C.G.Jung

I Ching – the method C. G. Jung from "Synchronicity"

The I Ching, which we can well call the experimental foundation of classical Chinese philosophy, is one of the oldest known methods for grasping a situation as a whole and thus placing the details against a cosmic background.

Unlike the Greek-trained Western mind, the Chinese mind does not aim at grasping details for their own sake, but at a view which sees the detail as part of a whole. For obvious reasons, a cognitive operation of this kind is impossible to the unaided intellect. Judgment must therefore rely much more on the irrational functions of consciousness, that is on sensation (the “sens du réel”) and intuition (perception by means of subliminal contents). The I Ching, which we can well call the experimental foundation of classical Chinese philosophy, is one of the oldest known methods for grasping a situation as a whole and thus placing the details against a cosmic background—the interplay of Yin and Yang.

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This grasping of the whole is obviously the aim of science as well, but it is a goal that necessarily lies very far off because science, whenever possible, proceeds experimentally and in all cases statistically. Experiment, however, consists in asking a definite question which excludes as far as possible anything disturbing and irrelevant. It makes conditions, imposes them on Nature, and in this way forces her to give an answer to a question devised by man. She is prevented from answering out of the fullness of her possibilities since these possibilities are restricted as far as practicable. For this purpose there is created in the laboratory a situation which is artificially restricted to the question and which compels Nature to give an unequivocal answer. The workings of Nature in her unrestricted wholeness are completely excluded. If we want to know what these workings are, we need a method of inquiry which imposes the fewest possible conditions, or if possible no conditions at all, and then leaves Nature to answer out of her fullness.
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The Stone C. G. Jung

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Time is a child — playing like a child — playing a board game — the kingdom of the child. This is Telesphoros, who roams through the dark regions of this cosmos and glows like a star out of the depths. He points the way to the gates of the sun and to the land of dreams.

In 1950 I made a kind of monument out of stone to express what the Tower means to me. The story of how this stone came to me is a curious one. I needed stones for building the enclosing wall for the so-called garden, and ordered them from the quarry near Bollingen. I was standing by when the mason gave all the measurements to the owner of the quarry, who wrote them down in his notebook. When the stones arrived by ship and were unloaded, it turned out that the cornerstone had altogether the wrong measurements; instead of a triangular stone, a square block had been sent: a perfect cube of much larger dimensions than had been ordered, about twenty inches thick. The mason was furious and told the barge men to take it right back with them.
But when I saw the stone, I said, “No, that is my stone. I must have it!” For I had seen at once that it suited me perfectly and that I wanted to do something with it. Only I did not yet know what.
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At Bollingen C. G. Jung

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I pump the water from the well. I chop the wood and cook the food. These simple acts make man simple; and how difficult it is to be simple!

At times I feel as if I am spread out over the landscape and inside things, and am myself living in every tree, in the plashing of the waves, in the clouds and the animals that come and go, in the procession of the seasons. There is nothing in the Tower that has not grown into its own form over the decades, nothing with which I am not linked. Here everything has its history, and mine; here is space for the spaceless kingdom of the world’s and the psyche’s hinterland.
I have done without electricity, and tend the fireplace and stove myself. Evenings, I light the old lamps. There is no running water, and I pump the water from the well. I chop the wood and cook the food. These simple acts make man simple; and how difficult it is to be simple!

Inner peace and contentment depend in large measure upon whether or not the historical family which is inherent in the individual can be harmonized with the ephemeral conditions of the present.

Our souls as well as our bodies are composed of individual elements which were all already present in the ranks of our ancestors. The “newness” in the individual psyche is an endlessly varied recombination of age-old components. Body and soul therefore have an intensely historical character and find no proper place in what is new, in things that have just come into being. That is to say, our ancestral components are only partly at home in such things. We are very far from having finished completely with the Middle Ages, classical antiquity, and primitivity, as our modern psyches pretend. Nevertheless, we have plunged down a cataract of progress which sweeps us on into the future with ever wilder violence the farther it takes us from our roots. Once the past has been breached, it is usually annihilated, and there is no stopping the forward motion. But it is precisely the loss of connection with the past, our uprootedness, which has given rise to the “discontents” of civilization and to such a flurry and haste that we live more in the future and its chimerical promises of a golden age than in the present, with which our whole evolutionary background has not yet caught up. We rush impetuously into novelty, driven by a mounting sense of insufficiency, dissatisfaction, and restlessness. We no longer live on what we have, but on promises, no longer in the light of the present day, but in the darkness of the future, which, we expect, will at last bring the proper sunrise. We refuse to recognize that everything better is purchased at the price of something worse; that, for example, the hope of greater freedom is canceled out by increased enslavement to the state, not to speak of the terrible perils to which the most brilliant discoveries of science expose us. The less we understand of what our fathers and forefathers sought, the less we understand ourselves, and thus we help with all our might to rob the individual of his roots and his guiding instincts, so that he becomes a particle in the mass, ruled only by what Nietzsche called the spirit of gravity.

Omnis festinatio ex parte diaboli est — all haste is of the devil

Reforms by advances, that is, by new methods or gadgets, are of course impressive at first, but in the long run they are dubious and in any case dearly paid for. They by no means increase the contentment or happiness of people on the whole. Mostly, they are deceptive sweetenings of existence, like speedier communications which unpleasantly accelerate the tempo of life and leave us with less time than ever before. Omnis festinatio ex parte diaboli est — all haste is of the devil, as the old masters used to say.
Reforms by retrogressions, on the other hand, are as a rule less expensive and in addition more lasting, for they return to the simpler, tried and tested ways of the past and make the sparsest use of newspapers, radio, television, and all supposedly timesaving innovations…
C. G. Jung from „Memories, Dreams, Reflections”

Tower C. G. Jung

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Dzięki pracy naukowej z wolna udawało mi się oprzeć moje imaginacje i treści nieświadomości na pewnym gruncie. Słowa i papier nie były wszakże, w moich oczach, dość realne; trzeba było jeszcze czegoś. Moje najskrytsze myśli i własną mą wiedzę powinienem niejako wyryć w kamieniu – w kamieniu wyryć moje credo. Tak narodziła się wieża, którą zbudowałem sobie w Bollingen. Pomysł ten może wydać się niedorzeczny, ale ja go zrealizowałem; dało mi to nie tylko niepospolitą satysfakcję, ale było też pełnym znaczenia spełnieniem.
Od początku miałem pewność, że trzeba budować nad wodą. Zawsze mnie pociągał szczególny urok brzegów górnego Jeziora Zuryskiego, toteż w 1922 roku kupiłem działkę w Bollingen. Znajduje się ona w okolicy Menirad i była dobrem kościelnym – dawną własnością St. Gallen.

Początkowo nie myślałem o prawdziwym domu, tylko o parterowej budowli z paleniskiem pośrodku i miejscami do spania wzdłuż ścian – czymś w rodzaju prymitywnego domostwa. Przed oczyma miałem obraz chaty afrykańskiej: pośrodku płonie otoczony kilkoma kamieniami ogień, wokół toczy się życie rodzinne. W gruncie rzeczy prymitywne chaty są urzeczywistnieniem idei Całkowitości – rzec można: całkowitości rodzinnej, w której uczestniczy nawet drobny inwentarz. Coś takiego chciałem właśnie zbudować – domostwo odpowiadające pierwotnym uczuciom człowieka. Powinno dawać poczucie bezpieczeństwa, nie tylko w sensie fizycznym, ale także psychicznym. Lecz już w czasie pierwszych prac zmieniłem plan, bo wydawał mi się zbyt prymitywny. Zrozumiałem, że muszę zbudować prawdziwy piętrowy dom, a nie tylko przycupniętą do ziemi chatę. Tak narodził się w 1923 roku pierwszy okrągły dom. Kiedy został ukończony, zobaczyłem, że jest to prawdziwa wieża, w której można zamieszkać.
Uczucie spokoju i odnowienia, jakie od początku wiązało się dla mnie z wieżą, było niezwykle silne. Wieża była dla mnie jak matecznik. Powoli zacząłem jednak odnosić wrażenie, że nie wyraża ona wszystkiego, co jest do powiedzenia. Czegoś tam jeszcze brakowało. Dlatego cztery lata później, w 1927 roku dołączona została budowla środkowa z aneksem w kształcie wieży.
Po jakimś czasie znowu miałem uczucie niedosytu. I w tej formie budowla wydawała się prymitywna. Toteż w roku 1931 – znów minęły cztery lata – rozbudowałem aneks w kształcie wieży; teraz była to prawdziwa wieża. W tej drugiej wieży jedno pomieszczenie przeznaczyłem wyłącznie dla siebie. Myślałem przy tym o domach indyjskich, w których z reguły jest jedno pomieszczenie, choćby kąt pokoju oddzielony zasłoną, dokąd można się wycofać. Medytuje się tam przez pół godziny czy może przez kwadrans lub praktykuje ćwiczenia jogi. Czytaj dalej →

Synchronicity – An Acausal Connecting Principle Carl Gustav Jung

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All the events in a man’s life would accordingly stand in two fundamentally different kinds of connection: firstly, in the objective, causal connection of the natural process; secondly, in a subjective connection which exists only in relation to the individual who experiences it, and which is thus as subjective as his own dreams.

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The writer Wilhelm von Scholz^1)↓ has collected a number of stories showing the strange ways in which lost or stolen objects come back to their owners. Among other things, he tells the story of a mother who took a photograph of her small son in the Black Forest. She left the film to be developed in Strassburg. But, owing to the outbreak of war, she was unable to fetch it and gave it up for lost. In 1916 she bought a film in Frankfurt in order to take a photograph of her daughter, who had been born in the meantime. When the film was developed it was found to be doubly exposed: the picture underneath was the photograph she had taken of her son in 1914! The old film had not been developed and had somehow got into circulation again among the new films. The author comes to the understandable conclusion that everything points to the “mutual attraction of related objects,” or an “elective affinity.” He suspects that these happenings are arranged as if they were the dream of a “greater and more comprehensive consciousness, which is unknowable.”

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Decisive evidence for the existence of acausal combinations of events has been furnished, with adequate scientific safeguards, only very recently, mainly through the experiments of J. B. Rhine and his fellow-workers,^2)↓ who have not, however, recognized the far-reaching conclusions that must be drawn from their findings. Up to the present no critical argument that cannot be refuted has been brought against these experiments. The experiment consists, in principle, in an experimenter turning up, one after another, a series of numbered cards bearing simple geometrical patterns. At the same time the subject, separated by a screen from the experimenter, is given the task of guessing the signs as they are turned up. A pack of twenty-five cards is used, each five of which carry the same sign. Five cards are marked with a star, five with a square, five with a circle, five with wavy lines, and five with a cross. The experimenter naturally does not know the order in which the pack is arranged, nor has the subject any opportunity of seeing the cards. Many of the experiments were negative, since the result did not exceed the probability of five chance hits. In the case of certain subjects, however, some results were distinctly above probability. The first series of experiments consisted in each subject trying to guess the cards 800 times. The average result showed 6.5 hits for 25 cards, which is 1.5 more than the chance probability of 5 hits. The probability of there being a chance deviation of 1.5 from the number 5 works out at 1 : 250,000. This proportion shows that the probability of a chance deviation is not exactly high, since it is to be expected only once in 250,000 cases. The results vary according to the specific gift of the individual subject. One young man, who in numerous experiments scored an average of 10 hits for every 25 cards (double the probable number), once guessed all 25 cards correctly, which gives a probability of 1 : 298,023,223,876,953,125. The possibility of the pack being shuffled in some arbitrary way is guarded against by an apparatus which shuffles the cards automatically, independently of the experimenter. Czytaj dalej →

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1.	↑	Der Zufall: Eine Vorform des Schicksals.
2.	↑	J. B. Rhine, Extra-Sensory Perception and New Frontiers of the Mind. J. G. Pratt, J. B. Rhine, C. E. Stuart, B. M. Smith, and J. A. Greenwood, Extra-Sensory Perception after Sixty Years. A general survey of the findings in Rhine, The Reach of the Mind, and also in the valuable book by G. N. M. Tyrrell, The Personality of Man. A short résumé in Rhine, “An Introduction to the Work of Extra-Sensory Perception.” S. G. Soal and F. Bateman, Modern Experiments in Telepathy.

Carl Gustav Jung: The Interview

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The Tao C. G. Jung

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‚Master Lü-tsu said: That which exists through itself is called the Way (Tao)’ – The Secret of the Golden Flower begins. The Hui Ming Ching begins with the words: ‘The subtlest secret of the Tao is human nature and life.’

It is characteristic of the Western mind that it has no concept for Tao. The Chinese character is made up of the character for ‘head’, and that for ‘going’. Wilhelm translates Tao by Sinn (Meaning).^1)↓ Others translate it as ‘way’, ‘providence’, or even as ‘God’, as the Jesuits do. This shows the difficulty. ‘Head’ can be taken as consciousness,^2)↓ and ‘to go’ as travelling a way, thus the idea would be: to go consciously, or the conscious way. This agrees with the fact that ‘the light of heaven’ which’dwells between the eyes’ as the ‘heart of heaven’ is used synonymously with Tao. Human nature and life are contained in ‘the light of heaven’ and, according to Liu Hua-yang, are the most important secrets of the Tao. Now ‘light’ is the symbolical equivalent of consciousness, and the nature of consciousness is expressed by analogies with light. The Hui Ming Ching is introduced with the verse:

If thou wouldst complete the diamond body with no outflowing,
Diligently heat the roots of consciousness^3)↓ and life.
Kindle light in the blessed country ever close at hand,
And there hidden, let thy true self always dwell.

These verses contain a sort of alchemistic instruction, a method or way of creating the ‘diamond body’ which is also meant in our text. ‘Heating’ is necessary; that is, there must be an intensification of consciousness in order that the dwelling place of the spirit may be ‘illumined’. But not only consciousness, life itself must be intensified. The union of these two produces ‘conscious life’. According to the Hui Ming Ching, the ancient sages knew how to bridge the gap between consciousness and life because they cultivated both. In this way the sheli, the immortal body, is ‘melted out’, and in this way ‘the great Tao is completed’.
If we take the Tao to be the method or conscious way by which to unite what is separated, we have probably come close to the psychological content of the concept. In any case, the separation of consciousness from life cannot very well be understood to mean anything but what I have described above as an aberration, or deracination, of consciousness. Without doubt, also, the realization of the opposite hidden in the unconscious, i.e. the ‘reversal’, signifies reunion with the unconscious laws of being, and the purpose of this reunion is the attainment of conscious life or, expressed in Chinese terms, the bringing about of the Tao.
C. G. Jung, Commentary to „The Secret of the Golden Flower”