Psychology of the Unconscious: A Study of the Transformations and Symbolisms of the Libido. A Contribution to the History of the Evolution of ThoughtJung, C. G. (Carl Gustav)
Philosophy
Psychology of the Unconscious: A Study of the Transformations and Symbolisms of the Libido. A Contribution to the History of the Evolution of Thought
Jung, C. G. (Carl Gustav)
Libido (Psychology); Mother and child; Psychoanalysis; Subconsciousness; Symbolism (Psychology)
It sounds like a confirmation, when the succeeding vision of Miss
Miller’s is _une falaise à pic_, “a steep, precipitous cliff.” (Compare
_gouffre_.) The entire series of individual visions is completed, as the
author observes, by a confusion of sounds, somewhat resembling “wa-ma,
wa-ma.” This has a very primitive, barbaric sound. Since we learn from
the author nothing of the subjective roots of this sound, nothing is
left us but the suspicion that this sound might be considered, taken in
connection with the whole, as a slight mutilation of the well-known call
ma-ma.
CHAPTER VI
THE BATTLE FOR DELIVERANCE FROM THE MOTHER
There now comes a pause in the production of visions by Miss Miller;
then the activity of the unconscious is resumed very energetically.
A forest with trees and bushes appears.
After the discussions in the preceding chapter, there is need only of a
hint that the symbol of the forest coincides essentially with the
meaning of the holy tree. The holy tree is found generally in a sacred
forest enclosure or in the garden of Paradise. The sacred grove often
takes the place of the taboo tree and assumes all the attributes of the
latter. The erotic symbolism of the garden is generally known. The
forest, like the tree, has mythologically a maternal significance. In
the vision which now follows, the forest furnishes the stage upon which
the dramatic representation of the end of Chiwantopel is played. This
act, therefore, takes place in or near the mother.
First, I will give the beginning of the drama as it is in the original
text, up to the first attempt at sacrifice. At the beginning of the next
chapter the reader will find the continuation, the monologue and the
sacrificial scene. The drama begins as follows:
“The personage Chiwantopel, came from the south, on horseback; around
him a cloak of vivid colors, red, blue and white. An Indian in a
costume of doe skin, covered with beads and ornamented with feathers
advances, squats down and prepares to let fly an arrow at Chiwantopel.
The latter presents his breast in an attitude of defiance, and the
Indian, fascinated by that sight, slinks away and disappears within
the forest.”
Public-domain text, read in full here on John Shaqi.
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