The Symbols of Transformation 51

The Symbols of Transformation 51

Carl Jung
卡尔 荣格



Before we enter upon Miss Miller’s attempt to bring
to light through her suppositions the
root of this subliminal
creation, we will attempt a short analytic survey
of the material already in our possession.


The impression
on the ship has already been properly emphasized,
so that we need have no further difficulty in gaining possession
of the dynamic process which brought about this
poetical revelation.


It was made clear in the preceding
paragraphs that Miss Miller possibly had not inconsiderably
undervalued the importance of the erotic impression
This assumption gains in probability through experience,
which shows that, very generally, relatively
weak erotic impressions are greatly undervalued


can see this best in cases where those concerned, either
from social or moral grounds, consider an erotic relation
as something quite impossible, for example, parents and
children, brothers and sisters, relations (homosexual)
between older and younger men, and so on If the impression
is relatively slight, then it does not exist at all
for the participator ; if the impression is strong, then a
tragic dependence arises, which may result in some great
nonsense, or be carried to any extent


This lack of understanding
can go unbelievably far; mothers, who see the
first erections of the small son in their own bed, a sistei
who half-playfully embraces her brother, a twenty-yeaiold
daughter who still seats heiself on her father’s lap,
and then has “strange” sensations in her “abdomen.”
They are all morally indignant to the highest degree if
one speaks of “sexuality.”


Finally, our whole education
is carried on with the tacit agreement to know as little
as possible of the erotic, and to spread abroad the deepest
ignorance in regard to it It is no wonder, therefore,
that the judgment, in punctice, of the importance of an
erotic impression is generally unsafe and inadequate.


Miss Miller was under the influence of a deep erotic
impression, as we have seen Because of the sum-total
of the feelings aroused by this, it does not seem that this
impression was more than dimly realized, for the dream
had to contain a powerful repetition. From analytic experience,
one knows that the early dreams which patients
bring for analysis are none the less of especial interest,
because of the fact that they bring out criticisms and
valuations of the physician’s personality, which previously,
would have been asked for directly in vain.


enrich the conscious impression which the patient had of
his physician, and often concerning very important points.
They are naturally erotic observations which the unconscious
was forced to make, just because of the quite universal
undervaluation and uncertain judgment of the
relatively weak erotic impression In the drastic and
hyperbolic manner of expression of the dream, the impression
often appears in almost unintelligible form on account
of the immeasurable dimension, of the symbol


A further
peculiarity which seems to rest upon the historic strata of
the unconscious, is this that an erotic impression, to
which conscious acknowledgment is denied, usurps an
earlier and discarded transference and expresses itself
in that. Therefore, it frequently happens, for example,
that among young girls at the time of their first love,
remarkable difficulties develop in the capacity for erotic
expression, which may be reduced analytically to disturbances
through a regressive attempt at resuscitation of
the father image, or the “Father-Imago.”


Indeed, one might presume something similar in Miss
Miller’s case, for the idea of the masculine creative deity
is a derivation, analytically and historically psychologic,
of the “Father-Imago,” 7 and aims, above all, to replace
the discarded infantile father transference in such a way
that for the individual the passing from the narrow circle
of the family into the wider circle of human society may
be simpler or made easier


In the light of this reflection, we can see, in the poem
and its “Praeludium,” the religious, poetically formed
product of an introversion depending upon the surrogate
of the “Father-Imago ”


In spite of the incomplete apperception of the effectual impression, essential component
parts of this are included in the idea of compensation,
as marks, so to speak, of its origin, (Pfister has
coined for this the striking expression,
” Law of the Return
of the Complex”) The effectual impression was
that of the officer singing in the night watch,
” When the morning stars sang together ” The idea of this opened
a new world to the girl. (Creation )


This creator has created tone, then light, and then
love. That the first to be created should have been tone,
can be made clear only individually, for there is no cosmogony
except the Gnosis of Hermes, a generally quite
unknown system, which would have such tendencies. But
now we might venture a conjecture, which is already ap
parent, and which soon will be proven thoroughly, viz.,
the following chain of associations: the singer the singing
morning stars the God of tone the Creator the
God of Light (of the sun) (of the fire) and of Love.


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