Hidden Symbolism of Alchemy and the Occult Arts - Herbert Silberer (great reads .TXT) 📗

We see therefore between the visualized image and the thought content, which is, as it were, represented by it, a number of relations. The whole image resolves itself insofar as it has characteristic features, almost entirely into such elements as are most closely related to the thought content. Apart from these connections of the material category, the image represents also my momentary psychic condition (transition to sleep). Whoever is going to sleep is, as it were, in the mental state of sinking into a dark sea. (The sinking into water or darkness, entrance into a forest, etc., are frequently-occurring threshold symbols.) The clearness of ideas vanishes there and everything melts together just as did the water and the atmosphere in the image.

This example is but to illustrate; it is in itself much too slight and simple to make any striking revelation of the remarkable interlacing of the two kinds of symbolism. I refer to my studies on symbolism and on dreams in the bibliography. Exhaustive treatment at this point would lead us too far afield. Let us rest satisfied then with the facts that the psychoanalysts simultaneously deal with two fundamentally different lines of interpretation in a product of the phantasy (dream, etc.), quite apart from the multiple determinants which they can find [pg 239] within the material as well as in the functional categories; both lines of interpretation are supplied by the same fabric of images, indeed often by the same elements of this image fabric. This context therefore must have been sought out artfully enough by the creative unconscious to answer the double requirement.

The coexistence of the material meaning with the functional is not entirely puzzling to the student of psychoanalysis. Two facts must be kept in mind throughout.

In the first place, we are acquainted with the principle of multiple determination or condensation. The multiplicity of the dimly moving latent dream thoughts condenses into a few clear dream forms or symbols, so that one symbol continually, as it were, appears as the representative of several ideas, and is therefore interpretable in several ways. That it should be susceptible of more than one interpretation can cause no surprise because the fundamental significance (the latent thoughts) were the very ones that, by association, caused the selection of the symbols from an infinite series of possibilities. In the shaping of the dream, and therefore in the unconscious dream work, only such pictorial elements could penetrate into consciousness as satisfied the requirements of the multiple determination. The principle of multiple determination is valid not only within the material and the functional categories, but makes the fusion of both in the symbol in question to some extent intelligible. Elements of both [pg 240] categories take an active part in the choice of the symbol. On the one hand, a number of affects press on towards the symbolic representation of objects to which they direct themselves (objects of love, hate, etc.). On the other hand, the psyche takes cognizance of its own impulses, play of affects, etc., and this perception will gain representation. Both impulses take part in the choice of those symbols which thrust themselves into the nascent consciousness of phantasy, and so the dream, like the poem, etc., besides the symbolism of the wish tendencies (material categories) that animate them, bears the stamp of the psychic authorship (functional category) of the dreamer or the author. [Ferenczi defends the view for the myth also that the material symbolism must coincide with the functional (Imago I, p. 283).]

Secondly, it has been shown in recent times in psychoanalytic studies that symbols which were originally material pass over to functional use. If we thoroughly analyze for a sufficient time the dreams of a person we shall find that certain symbols which at first probably appeared only incidentally to signify some idea content, wish content, etc., return and become a persistent or typical form. And the more such a typical form is established and is impressed, the farther it is removed from its first ephemeral meaning, and the more it becomes a symbolic representative of a whole group of similar experiences, a spiritual capital, so to speak, till finally we can regard it simply as the representative of a spiritual current (love, hate, tendency to frivolity, to cruelty, [pg 241] to anxiety, etc.). What has been accomplished there is a transition from the material to the functional on the path of a determination inward or intro-determination (verinnerlichung) as I shall call it. Later I shall have more to say about intro-determination. For the present this may suffice for the understanding, that the material and the functional symbolism, in spite of their at first apparently fundamental difference, are essentially related in some way, which is illuminated by the process of intro-determination.

The analogue of the problem of multiple interpretation unfolded in the preceding section is shown to be a question that can be easily answered. And we would bring our problem to a generally satisfactory position if we succeeded in showing that the anagogic interpretation, whose alignment with the psychoanalytic seemed so impracticable, is a form of functional interpretation, or at least related to it. In this case it would be at once comprehensible how a product of the imagination harmonizes with several expositions (problem of multiple interpretation); because this variety of sense had already operated in the selection of the symbol and indeed, in those cases as well where we did not at first sight suspect the coöperation of the anagogic thoughts; secondly, the anagogic and the psychoanalytic interpretations are somehow reconciled to each other, whereby possibly also the position of the natural science interpretation can be made somewhat clearer.

The possibility that the anagogic has some part [pg 242] in the creation of the functional, will be brought nearer by the fact that our previously offered anagogic expositions (fairy tales, parabola) markedly resemble functional interpretations. In the tale of the six swans Hitchcock explains the reception of the maiden into the castle as the reception of sin into the heart; the seven children are the seven virtues (consequently spiritual tendencies). The small maiden is conscience, the tissues are processes of thought. In the story of the three feathers, again, one son is conscience; the secret door is the entrance to the inner life, to spiritual absorption, the three feathers are spiritual tendencies, etc. In the dream of the “flying post” conscience appears as the conductor. The “Mills of God,” which psychologically also represents conscience, the more strikingly because the burden of sin, guilty feeling, drives them, also appear in the parable. The lion or the dragon which must be overcome on the mystic path is again a spiritual force. The approximation to the functional category is not to be denied. Processes that show an interplay of spiritual powers are symbolically represented there. But we are at once struck with a difference. The true functional phenomenon, as I have so far described it, pictures the actual psychic state or process; the anagogic image appears on the contrary to point to a state or process that is to be experienced in the future. We shall pass over for a time the last topic, which will not, however, be forgotten, and turn to the question as to the point on which the anagogic and the functional [pg 243] interpretations can best be brought together. This point appears to me to be introversion, first because it is related to the previously mentioned intro-determination, and second, because it is familiar to psychoanalysis and is of great importance in anagogic method.

The term “introversion” comes from C. G. Jung. It means sinking into one's own soul; the withdrawal of interest from the outer world; the seeking for joys that can be afforded by the inner world. The psychology of the neuroses has led to the concept of introversion, a province, therefore, which principally treats of morbid forms and functions of introversion. The sinking of oneself into one's own soul also appears exactly as a morbid losing of oneself in it. We can speak of introversion neuroses. Jung regards dementia precox as an introversion neurosis. Freud, who has adopted the concept of introversion [with some restrictions] regards the introversion of the libido as a regular and necessary precondition of every psychoneurosis. Jung (Jb. ps. F., III, p. 159) speaks of “certain mental disturbances [he means dementia precox] which are induced by the fact that the patients retire more and more from reality, sink into their phantasy, whereby in proportion as reality loses its force, the inner world takes on a reality and determining power.” We may also define introversion as a resignation of the joys of the outer world (probably unattainable or become troubled) and a seeking for the libido sources in one's own ego. So we see how generally [pg 244] self-chastisement, introversion and autoerotism are connected.

The turning away from the outer world and turning in to the inner, is required by all those methods which lead to intensive exercise of religion and a mystic life. The experts in mysteries provide for opportunities that should encourage introversion. Cloisters and churches are institutions of introversion. The symbolism of religious doctrine and rite is full of images of introversion, which is, in short, one of the most important presuppositions of mysticism.

Religious and mythical symbolism has countless images for introversion; e.g., dying, going down, subterranean crypts, vaults, dark temples, into the underworld, hell, the sea, etc.; being swallowed by a monster or a fish (as Jonah), stay in the wilderness, etc. The symbols for introversion correspond in large part with those that I have described for going to sleep and waking (threshold symbolism), a fact that can be readily appreciated from their actual similarity. The descent of Faust to the mothers is an introversion symbol. Introversion fulfills here clearly the aim of bringing to reality, i.e., to psychological reality, something that is attainable only by phantasy (world of the past, Helen).

In Jacob Boehme (De Vita Mentali) the disciple says to the master, “How may I attain suprasensuous life, so that I may see God and hear him speak?” The master says, “When you can lift yourself for one moment into that realm where no creature dwelleth, [pg 245] you will hear what God speaks.” The disciple says, “Is that near or far?” The master says, “It is in yourself.”

The hermetics often urge retirement, prayer and meditation, as prerequisites for the work; it is treated of still more in the hieroglyphic pictures themselves. The picture of death is already familiar to us from the hermetic writings, but in the technical language there are still other expressions for introversion, e.g., the shutting up in the receptacle, the solution in the mercury of the sages, the return of the substance to its radical condition (by means of the "radical" or root dampness).

Similar features in our parable are the wandering in the dense forest, the stay in the lion's den, the going through the dark passage into the garden, the being shut up in the prison or, in the language of alchemy, the receptacle.

Introversion is continually connected with regression. Regression, as may be recalled from the 2d section of Part I, is a harking back to more primitive psychic activities, from thinking to gazing, from doing to hallucinating; a striving back towards childhood and the pleasures of childhood. Introversion accordingly is accompanied by a desire for symbolic form of expression (the mystical education is carried on in symbols), and causes the infantile imagos to revive—chiefly the mother image. It was pre-eminently father and mother who appeared as objects of childish love, as well as of defiance. They are unique and imperishable, and in the life of adults [pg 246] there is no difficulty in reawakening and making active those memories and those imagos. We easily comprehend the fact that the symbolic aim of the previously mentioned katabasis always has a maternal character; earth, hole, sea, belly of fish, etc., that all are symbols for mother and womb. Regression revives the Œdipus complex with its thoughts of incest, etc. Regression leads back to all these relics now done away with in life and repressed. It actually leads into a sort of underworld, into the world of titanic wishes, as I have called them. How far this was the case in the alchemistic parable, I have fully shown in the psychoanalytic treatment of it. Here I need merely to refer to the maternal nature of the symbols cited: receptacle, mercury of the sages (“mother of metals”) and radical moisture, also called “milk” and the like.

Fairy tales have frequently a very pretty functional symbolism for the way in which introversion leads to the mother imago. Thus the simpleton in the fairy tale of the feathers comes through the gate of introversion exactly into the family