I have found/still find Jung, and others, deeply enriching to my life…

Dear Peter,

your quote from Jung to open the discussion needs to be seen, as far as I am concerned, as appearing just before World War II. His rebirth ‘essays’ are the more remarkable because of that CONTEXT. Indeed in one section he uses the 18th Sura of the Koran to elaborate his theme are rebrith and the emergence of the greening one. (And Jung knew full well what was lying ahead. His journey to India did nothing but confirm this.) I must say that I have never read anything from Jung, TAKEN IN CONTEXT’, from which I, personally, can construe that Jung was not intererested in co-operative and human interchange and growth. His point is/was that the individual was submerged under the collective ‘Nazi’ archetype that the individual had to heal into a sense of his own potency in order to contribute, in a sustained and enduring manner, to cultural enrichment and healthy development. I am only a post Jungian in that I am still alive today. I have found/still find Jung, and others, deeply enriching to my life.

And Judith, I really appreciate all your clarifications and appreciations of careful language. Thank you. Jean and all,

I have been following the discussion with interest.

Dear Jean,

At the moment I am struck by, moved by, your descriptions of what is going on in Baltimore.  I have been following our (CANADIAN National) news reporting of these events but have heard nothing of the oratory (just a little on our news), caring, individual and co-operative creativity – national guards and symphony orchestras, including the creativity of cleaning/sweeping, kneeling the pray and converse in the shards of rubble,  – that is unfolding to heal individuals and community.  This sort of endeavour is how I understand Jung’s coming to the realizations that “creation is redemption”. Thank you so much for telling us more of the story, and your story about on line bullying; you tell us from the point of view of ‘feet on the ground’.

I am taking the liberty, firstly, of enclosing a picture I used at the Phoenix conference, taken at a 7th century temple in Bhubaneswar. still daily adorned with flowers.   Over the threshold is shown the sun and moon and the five planets, and then, that which devours the sun and that which devours the moon (eclipses). At the time of presentation (Phoenix Rising) I dedicated the picture to you because I knew how profoundly Bubeneshawar, as well as more of Orissa, had affected you, and your genius, and because of your deep interest in and knowledge of ‘Astrological awareness’.

7th-century-temple-in-Bhubaneswar

Secondly I have taken the liberty of enclosing a few paragraphs from A Jasmine Journey

Page 12

The final question of the day at the University of Edinburgh’s celebration of David Hume (July 2011) was about how “people remain silent on matters that in some ways are in the domain of their own analysis.” The how of this deadly silence, the indifference, is the issue at hand. Jung clearly recognized his inability to say much about his 1937–1938 journey to India/Ceylon: it was not the primary domain of his own analysis. However, Jung’s opus diligently attempts to address this gaping, sucking vortex of horrendous silence and impotence on ethical matters and the parallel phenomena of the titanic constructions based on lies and obfuscations often for the purpose of deflecting from the “hole” of silence[1]. An unacknowledged impotence. Personal ethical matters. India remained his broadening subtext. Developing The Red Book was Jung’s 1913-1919 embroiling effort to address, personally, the horrors of “Worlds at War,” finding the details of this war within as well as without. The Red Book is infused with Indian mythology (Figure 8).

Pages 88 – 90

One evening, he witnessed a memorable ceremony where young men and women poured out enormous amounts of the five petaled jasmine flowers in front of the altars, at the same time singing a mantra under their breath. “No, they were not praying to a non-existent Buddha,” explained the monk, “they were singing:

This life is transitory as the beauty of these flowers.

May my deva[2] (my genius,) share with me the merit of this offering.”[3]

An hour-long drum concert was performed in the mandapam, “the hall of waiting”.[4] I am visually (Figure 70) juxtaposing this scene with the cupola of the

Figure 70 – Ravenna Cupola: 2006

Ravenna Mausoleum of Galla Placidia: “she,” and her mausoleum, opening Jung’s “heart” to experience the “baptistry”[5] non-constriction of space/time. I think the juxtaposition suggests Jung’s shift to acts of “creation as redemption”![6] The four drummers stood in each corner of the square hall.[7] In front of the entrance, covered with little oil lamps, was the fifth drummer, the soloist, standing in the middle of the square naked to the waist, his dark brown trunk glistening, a red girdle and white Shaka and turban, arms covered with shining bracelets, carrying a double drum. He stepped up to the Golden Buddha to “sacrifice the music,” and with beautiful movements of his body and arms, “he drummed alone a strange melody, artistically perfect.” With the ancient language of belly and solar plexus, the performance is not a prayer to a non-existent Buddha, but engenders the meritorious mantra or meditative utterance: one of the many acts of self-redemption performed by the awakened human being. Eros emergent. Today we might say that Jung is speaking as if from the Gospel of Thomas,[8] where we are told that Jesus, a teacher of Gnosis, said: “If you bring forth that which is within you, what you bring forth will save you. If you do not bring forth what is within you, what you do not bring forth will destroy you.” Jung is refining the opening paragraph of his biography regarding the desires of the personality to come forward.[9] What is to come forth is a highly developed, “framed”, fragrant[10] sacred performance, both personal and traditional, celebrated and suffered with the accompanying genius.

Toward the beginning of spring, Jung started the homeward voyage from Colombo, burying himself as a homunculus, like the little Bhubaneshwar mercurial figure, with his Latin alchemical texts, not even leaving the ship in the port of Bombay. But to my mind, this last “memoired” experience of deep-bellied “redemptive performance,” “meditative utterance” permeated with the fragrance and potency of jasmine,[11] infused the rest of Jung’s life, his Vishnu/Brahma activity, continuing to inspect all details of the lingam, the phallus, his genius, and the matrix from which it always arises, so that Shiva could keep dancing, letting the demon sleep. Shakti can engage in joyous, flamboyant, sensual and earth elegance. This eight-decade long work, this sustained effort through worlds at war, is Jung’s genius offering to the world.

I am grateful for the discussions that continue. It takes a long time to repond.

It is interesting to the Jung/Neuman conference is unfolding as I write.

Warm greetings from

Evangeline Rand,

Edmonton, Alberta,

CANADA

[1] Dowd, (2010), a Jungian analyst in Australia explores the Great Silence of Australia as the “land of disappearing memory.” Quoting Stams she reminds us that “no English words” are good enough to give a sense of the links between the Aboriginal groups and its homeland … .homelessness (that the Aboriginal) faces is a kind of vertigo of meaning.”

[2] “My guardian angel.” In Jung’s terms, we might think of his genius, his tutelary spirit, his daimon, what I call now his mature Vishnu/Brahma energy.

[3] Jung (1963), p. 283.

[4] Ibid. p. 283, called in India “the hall of waiting.”

[5] The baptistry is in short walking distance from the mausoleum.

[6] Indeed, in MDR Jung writes about this scene in the temple in Kandy, small but radiating a special charm, immediately before his writing on Ravenna, as if for him the two scenes were wedded. (The first Ravenna visit was as early as 1913.) Rand (2008), for Ravenna significance for Jung.

[7] Note the ceiling of the Galla Placidia’s mausoleum (Figure 70) in Ravenna. (There are no bodies in that place, not even hers). In surviving the terror of possible immanent shipwreck Galla Placidia had gathered together artists, and had constructed a church in which the perils of the sea would be shown. There are only mosaic remnants of that church. But it is in her mausoleum, that she had also had built, where one truly can feel “redemption as creation.” This is what Galla Placidia seemed to have inspired in Jung, even though he felt himself to be “a barbarian” in comparison. This is the “revolution” of his psychological “theology.” In his second visit to Ravenna he was accompanied by Toni Wolff. See Rand (2008).

[8] Pagels (2003).

[9] This is the revelation of “personality.” Refer back to opening paragraph of this essay, and Figure 35.

[10] Pagels op, cit., (2003), pp. 120, 121. This “gospel of truth” pictures the holy spirit as G**’s fragrant breath, not as words and images, but as fragrance, as the “fruit of the tree,” the “tree of knowledge,” the fragrance of creation.

[11] Jasmine is known for a very large number of effects on human health: vitality, renewal, and healing.

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