My First Plagiarist

I don't mind that someone called "tortugo23" posted something I wrote to People's Health and Fitness; I do object to being quoted at length without a link or at least a byline. I wrote "Jung's Tower and Personal Mythology" back in 1982, first as a term paper for a psychology class, then as a misguided effort to get something published in Parabola, lastly as a three-part blog entry, hoping it might find the one or two people out of six billion who might be interested in Jung's "metaphor made of stone".

JUNG'S TOWER and PERSONAL MYTHOLOGY, Part Three

[Continued from Part Two]...

.... Four years later, Jung's "testament in stone" reached its penultimate state: "I added a courtyard and a loggia by the lake, which formed a fourth element that was separated from the unitary threeness of the house." This fourth element opens the self up to nature and the sky, to the divine and the cosmos. The courtyard is a part of the house but it is also connected to something far beyond the Self. to look into the eye of God.

Twenty years later, after the death of his wife Emma, Jung made his last addition to the building, an upper story added to the central section. "I felt an inner obligation to become what I myself am," Jung explains to himself in Memories, Dreams, Reflections, "I could no longer hide myself behind the 'maternal' [Part I] and the 'spiritual' towers [Part II]. I added an upper story to this section, which represents myself, or my ego-personality."

Why this fifth stage of development in the structure? What more is there to build, after the womb, action taking action in the world, after withdrawal into the self, after the open courtyard perceiving the eternal? There is the final act that mystics speak of as bringing the divine down to this world and rising up to meet it so that the two are one, indistinguishable from one another. This is what the design of the Star of David represents with its two triangles meeting to form a single star: "As above, so below"; "I and the Father are One".

This concept is common to many mystic traditions. In Kundalini yoga, seven "chakras"-- levels of spiritual development-- are imagined at seven points in the human body. The penultimate chakra, on the forehead between the eyes, represents a level of development wherein "God", or the "Universe", has finally revealed itself to the seeker-- but the ultimate chakra is higher still, at the crown of the head, where the mystic becomes one with the divine, no longer separate, beyond polarity. The Christian mystic Meister Eckhardt speaks of "the leaving of God for God for God"-- that is to say, growing beyond one's preconceptions in order to discover the true mystery.

As a caveat, this might be the time to tell the story of the moth who spent all night banging against the glass of a lantern trying to reach the flame within. When he went home the next morning, he told his friends, "I've seen God!", and his friends replied, "You don't look any better for it."

Had Jung attempted this stage of spiritual development at any other time than in his old age, it would have been a gross act of inflation. Coming at this time of life, his acknowledgement of ego is a simple act of recognition, like crowning a piece in the game of checkers when it reaches the other side of the board. "I felt an inner obligation to become what I myself am... Earlier, I would have regarded it as presumptuous self-emphasis. Now it signified an extension of consciousness avhieved in old age."

How much of the tower's evolutionary design was intentional, and how much was unconscious? Jung hints that he knew perfectly well what he was doing with this pun made of stone, when he speaks of the marker stone outside the tower: "The stone stands outside the Tower, and is like an explanation of it. It is a manifestation of the occupant, but one which remains incomprehensible to others. Do you know what I wanted to chisel into the stone? 'Le cri de Merin!' For what the stone expressed reminded me of Merlin's life in the forest, after which he vanished from the world. Men still hear his cries, so the legend runs, but they cannot understand or interpret them."

The truly transcendent experience cannot be described; it cannot be adequately translated to others. As the Sufis say, "To taste is to know"-- words are not experience. As the Sufis (and young animals) say, "To taste is to know"-- words are not experience. It is as the naturalist Loren Eiseley explained, after his own transcendent moment involving a wild fox cub, a chicken bone, and a moment of play: "The universe was swinging in some fantastic fashion around to present its face, and the face was so small that the universe itself was laughing... It is the gravest, most meaningful act I shall ever accomplish, but, as Thoreau remarked of some peculiar errand of his own, there is no use reporting it to the Royal Society."

Jung's Bollingen is like a magician's tower from fable: the edifice is not just a representation of his temporal power, but synonymous with the magician itself. Unlike the tower made from faery dust, Bollingen did not collapse when its magician died, perhaps because of the integrity of the craftsmanship.

JUNG'S TOWER and PERSONAL MYTHOLOGY, Part Two

(Continued from Part One)
The first expansion of Jung's tower-- what is now the central structure-- came four years after the initial stage. Despite the feelings of "response and renewal" within the first structure, Jung felt that something more was needed, beyond the familial hearth.
In a practical sense, the tower would have to be expanded in order to become useful as a work space, family cottage, guest room, an actual dwelling. Its potential usefulnes expands. This stage of the building can be read as a symbol in stone of the need for the Self to move beyond the castle keep of the womb, beyond its source, into action in the world, to become, as humans must, a socialized animal.

After action in the world, the evolving Self will feel the need to withdraw into itself if only to recharge and rest, to assimilate exxperience and listen for its own voice. Four years later, Jung's tower is extended again-- and hear its personal meaning is fairly well spelled out for us by Jung himself:
"I wanted a room in this tower where I could exist for myself alone. I had in mind what I had seen in Indian houses, in which there is usually an area-- though it may be only a corner of a room separated off by a curtain-- in which the inhabitants can withdraw. There they may meditate for perhaps a quarter or half an hour, or do yoga exercises. such an area of retirement is essential in India, where people live crowded very close together."
Jung keeps the key to this private room well guarded. He meditates, he paints on the wall, he writes arcana in his magician's diary, the so-called "Red Book" containing paintings of his visions-- expressing "all those things which have carried me out of time into seclusion, out of the present into timelessness... a place of spiritual concentration." One of the pictures shown here-- "Shadow Cornered"-- was painted during the depression that followed Jung's break from Freud.
Following to Gaaskell's scholarly stricture, it should be noted that the Greek god informing this third stage of development-- the Spiritual-- is Hermes, the trickster benefactor of alchemists, tricksters, thieves and travelers.

To be Continued...

JUNG'S TOWER and PERSONAL MYTHOLOGY, Part One

C.G. Jung described the stone tower he built with his own hands at Bollingen on Lake Zurich as a "representation in stone of my innermost thoughts and of the knowledge I had acquired... a confession of faith in stone." The tower's design is something more than an intellectual exercise in spiritual symbolism, more than weekend physical exercise designed to call the intellect back to earth. The tower is also one of the more interesting self-portraits of European culture. The evolution of its design, as related in "Memories, Dreams, Reflections", parallels the evolution of a soul. "At Bollingen," he said, "I am in the midst of my true life, I am most deeply myself."

The home built after Jung's marriage was well and good for a proper Swiss physician and family man; the sorcerer-in-training required something more. The tower is, in a sense, a part of Jung himself left behind, like the shell of a chambered nautilus.

The Bollingen stone tower took shape in five stages, corresponding with five stages of consciousness described by mystics of various disciplines as follows:
-- The physical plane, that of our animal flesh;
-- The astral plane, containing the so-called "lower" emotions such as desire and possessiveness;
-- The mental plane, where the higher emotions and the individua personality begin to manifest themselves;
-- The spiritual plane, where the wisdom of nature and the "Holy Spirit" begin to inform the mystic pilgrim;
-- the celestial plane, where a manifest god, God-the-Son for the Christians, Apollo for the Greeks, the discovery of the "god within", the individuated "Self" appears.

Beyond these five stages of spiritual development awaits the unknown, the "Absolute": the God Unknown, the Tetragrammaton, the living archetypes of the Divine.

These five stages, borrowing from G.A. Gaskell's "Dictionary of All Scriptures and Myths", correspond with the gods and symbols of both ancient and modern pantheons. In ancient Egypt, for example, the god Nepthys represented the physical level of development, Set the astral level, Thoth the mental, Isis the spiritual, Osiris the celestial, with Ra as the unknowable archetype over all. It risks academic grasping to fit Jung's homely architecture into such a tight boot, but the pattern does offer intriguing parallels.

Jung tells us that the first section of the tower "represented for me the maternal heart." It is here that the family gathers 'round-- a birthplace, a primal source. Interestingly, Gaskell's study identifies the "physical" stage not just with Nepthys but with the Greek goddess Hestia (in Rome, "Vesta"): the goddess of the hearth.

Continued...