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… The task consists in integrating the unconscious, in bringing together “conscious” and “unconscious.” I have called this the individuation process. At this stage the mother-symbol no longer connects back to the beginning, but points towards the unconscious as the creative matrix of the future. “Entry into the mother” then means establishing a relationship between the ego and the unconscious. Nietzsche probably means something of the kind in his poem:

Why hast thou enticed thyself
Into the old serpent’s Paradise?
Why hast thou stolen
Into thyself, thyself?

A sick man now,
Sick of the serpent’s poison;
A captive now
Who drew the hardest lot:
Bent double
Working in thine own pit,
Encaved within thyself
Burrowing into thyself,
Heavy-handed,
Stiff,
A corpse—
Piled with a hundred burdens,
Loaded to death with thyself,
A knower!
Self-knower!
The wise Zarathustra!
You sought the heaviest burden
And found yourself.

Sunk in his own depths, he is like one buried in the earth; a dead man who has crawled back into the mother; a Kaineus “piled with a hundred burdens” and pressed down to death, groaning beneath the intolerable weight of his own self and his own destiny. Who does not think here of Mithras, who, in the Taurophoria, took his bull (or, as the Egyptian hymn says, “the bull of his mother”), namely his love for his Mater Natura, on his back, and with this heaviest burden set forth on the via dolorosa of the Transitus? The way of this passion leads to the cave in which the bull is sacrificed. So, too, Christ has to bear the Cross to the place of sacrifice, where, according to the Christian version, the Lamb was slain in the form of the god, and was then laid to earth in the sepulchre. The cross, or whatever other heavy burden the hero carries, is himself, or rather the self, his wholeness, which is both God and animal — not merely the empirical man, but the totality of his being, which is rooted in his animal nature and reaches out beyond the merely human towards the divine. His wholeness implies a tremendous tension of opposites paradoxically at one with themselves, as in the cross, their most perfect symbol.


What seems like a poetic figure of speech in Nietzsche is really an age-old myth. It is as if the poet could still sense, beneath the words of contemporary speech and in the images that crowd in upon his imagination, the ghostly presence of bygone spiritual worlds, and possessed the capacity to make them come alive again. As Gerhart Hauptmann says: “Poetry is the art of letting the primordial word resound through the common word.” … .

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Carl Gustav Jung. The Battle For Deliverance From The Mother. Symbols of Transformation: Two. 
@2 years ago with 27 notes
#Carl Gustav Jung #Nietzsche #Gerhart Hauptmann 
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