If one put into the center of vision, as goal of the work, the recovery of the harmonious state of the soul, one might express oneself about the three primary colors as follows: The paradisical state demands absolute freedom from conflict. We can attain this only by completely withdrawing from the external world whatever causes conflict in connection with the external world, so that there comes to pass with regard to it, a thorough-going indifference. This indifference is the black. The freedom from conflict (guiltlessness) in the now newly beginning life is the white. Previously, at the disintegration (rotting) of the material, one constituent part was removed and taken away. That is, the libido becomes free (love). It is gradually alloyed with the white material, which is dry (thirsty without thirst); sown in the white ground. Life is without conflict now drenched with love, red. This true red thus attained is permanent because it is produced [in contrast to mere instruction] from the heart of hearts, the roots of innermost feeling, which is subjected to no usury. The mystical procedure can be realized in different degrees of intensity. The lowest degree is as a program with the mere result of a stimulation; the highest degree is a final transmutation of the psyche. If this goal is attained in life, we have acquired the terrestrial stone. In contrast, the celestial stone belongs with the eschatological concepts and the celestial tincture is the apokatastasis. It is an interesting question whether the resolution of conflicts, with evasion of the process in the outer world, cannot be accomplished subjectively, by battles with symbols (personifications) and in symbols, thus amounting to an abbreviation of the process. Theoretically this is not impossible, for the conflicts do not indeed lie in the external world, but in our emotional disposition towards it; if we change this disposition by an inner development, the external world has a different value for the libido. “The projection into the cosmic is the primal privilege of the libido, for it naturally enters into our perception through the gates of all the senses and apparently from without, and actually, in the form of the pleasure and pain qualities of perception. These, as we all know, we attribute without further deliberation to the object, and their cause, in spite of philosophical deliberation, we are continually inclined to look for in the object, while the object is often hopelessly innocent of it.” (Jung, in Jb. ps. F., III, p. 222; with which compare the Freudian transference concept and Ferenczi’s essay on “Introjektion und Ubertragung,” in Jb. ps. F., I, p. 422.) Jung calls attention to the frequently described immediate projection of the libido in love poetry, as in the following example from the Edda (H. Gering): “In Gymer’s Courtyard I saw walking The maiden, dear to me; From the brightness of her arms glowed the heavens, And all the eternal sea.”