Hidden Symbolism of Alchemy and the Occult Arts by Herbert Silberer (great book club books txt) 📖

I perceived a man of brass, holding in his hand a book of lead, and I heard him tell me in a loud voice: ‘See, I command all those who are subjected to punishments to learn from this book. I command every one to take the book of lead and to write in it with his hand until his pharynx is developed, the mouth is opened, and the eyes have taken their place again.’ The act followed the word, and the master of the house, present at this ceremony, said to me, ‘Stretch your neck and see what is done.’ ‘I see,’ said I. ‘The brazen man that you see,’ said he, ‘and who has left his own flesh, is the priest before the altar. It is he who has been given the privilege of disposing of this water.’ In going over all this in my imagination I awoke and said to myself, ‘What is the cause of this occurrence? What indeed is it? Is it not the water white, yellow, boiling, divine?’ I found that I had reasoned well.... Finally, to be brief, build, my friend a temple of a single stone [monolith] ... a temple that has neither beginning nor end, and in the interior of which there is found a spring of purest water, and bright as the sun. It is with the sword in hand that one must search and penetrate into it, for the entrance is narrow. It is guarded by a dragon, which has to be killed and flayed. By putting the flesh and the bones together you make a pedestal up which you will [pg 303] climb to reach the temple, where you will find what you are looking for. For the priest, who is the brazen man whom you saw sitting near the spring, changes his nature and is transformed into a man of silver, who can, if you wish, change himself into a man of gold.... Do not reveal anything of this to any one else and keep these things for yourself, for silence teaches virtue. It is very fine to understand the transmutation of the four metals, lead, copper, tin, silver, and to know how they change into perfect gold....”

Psychoanalysis, like comparative mythology, makes it probable that the killing or dismemberment of the father figure is equivalent to castration. That has, according to intro-determination, an anagogic, a wider sense, if we compare the organ of generation to the creative power, and a narrower, if we compare it to sexuality. The wider conception does not require immediate interpretation. With regard to the narrower, I observe that the mystical manuals show that the most active power for spiritual education is the sexual libido, which for that reason is partially or entirely withdrawn from its original use. (Rules of chastity.) “Vigor is obtained on the confirmation of continence.” (Patanjali, Yoga-Sutra, II, 38.) These instruction books have recognized the great transmutability of the sexual libido. (Cf. ability of sublimation in the alchemistic, as well as in the Freudian terminology.) Naturally the reduction of sexuality had to occur at the beginning of the work in order to furnish that power; hence the [pg 304] castration at the commencement of the process. The killing of the phallic snake amounts, of course, to the same thing. The snake with its tail in its mouth is the cycle of the libido, the always rolling wheel of life, of procreation, which always procreates itself, and of the creation of the world. The same cycle is represented by a god who holds his phallus in his mouth, and so (in accordance with infantile and primitive theory) constantly impregnates himself. The serpent is good and also evil. Whoever breaks through the ring frees himself from the wheel of compulsion, raises himself above good and evil, in order to put in its place later a mystical union [Hieros Gamos].

Regarded from the point of view of knowledge, the formation of types reveals itself as a symbolic presentiment of an anagogic idea, not at first clearly conceivable. For the spirit, what cannot yet be clearly seen (mythological level of knowledge) or can no longer be seen (going to sleep, etc.) is pictured in symbolic form. [More details will be found in my essays, “Phantasie und Mythos,” “Ueber die Symbolbildung,” and “Zur Symbolbildung” (Jb. ps. F., II, III, IV).] This symbol form is the form of knowledge adapted to the spirit's capacity as it then existed. Not that any mysterious presentiment or prophetic gift of vision must be assumed. The circumstance that man can get ever deeper meaning from his symbols gives them the appearance of being celestial harbingers sent forth by the latest ideas that they express. In a certain [pg 305] sense, however, the last meaning is implicated in the first appearance of the typical symbol. It has already been explained by intro-determination how that was possible. The psyche, whose inventory of powers is copied symbolically in the elementary types, knows, even if only darkly at first, the possible unfolding of the powers. These unfoldings are originally not actual but potential. [See Note F.]

The more then that the psyche is so developed, that what was originally only a possible presentiment of actuality and that hence tends to come nearer the merely potential, begins to become actual, the more symbolism has the value of a “program.” According to Jung, Riklin, etc., the phantasy (dream, myth-making) can be conceived not only as with Freud, “as a wish fulfillment, wherein older and infantile material expresses the wish for something unsettled, unattained or suppressed, but also as a mythological first step in the direction of conscious and adapted thinking and acting, as a program.... Maeder has discussed the teleological functions of the dream and the unconscious. In the course of an analytic treatment we discover the continuous transformations of the libido symbol in the dream current, till a form is reached which serves as an attempt to adapt oneself to actuality. There are epochs in the history of civilization which are particularly characterized by a storing of the libido in the sense that from the reservoir of mythological and religious thought forms, new adaptations to the real processes and data are made. A significant [pg 306] example is the Renaissance, which a study of renaissance literature and a visit to the renaissance cities, e.g., Florence, make evident in a high degree. The analysis of romanticism ... confirms these processes of development.” (Zentralblatt f. Psa., III, p. 114.)

We have here the thought that the “program” is expressed in art, which therefore has prescience in a certain degree of the coming event. Jung (Jb. ps. F., III, pp. 171 ff.) writes: “It is a daily experience in my professional work (an experience whose certainty I must express with all the caution that is required by the complexity of the material) that in certain cases of chronic neuroses, a dream occurs at the time of the onset of the malady or a long time before, frequently of visionary significance, which is indelibly imprinted on the memory and holds a meaning, concealed from the patient, which anticipates the succeeding experiences, i.e., the psychological significance. Dreams appear to stay spontaneously in memory so long as they suitably outline the psychological situation of the individual.”

The more the program is worked out the more the value of the symbolism (whose types can always remain the same in spite of changes in their appearance) changes into that of the functional symbolism in the narrower sense; for the functional symbolism in the restricted sense is that which copies the actual play of forces in the psyche.

To the functional symbolism of actual forces belong, e.g., in large part the faces in my lecanomantic [pg 307] experiments, although they also contain program material; further, in purest form, the previously related autosymbolic vision of the mountains. The progress of a psychoanalytic treatment is, apart from the program connections, generally copied in the dream in correspondence to the momentary psychic status, and therefore actually and functionally. It is quite probable that the progress of the mystical work is represented to the mystic in his phantasying (dreams, visions, etc.) in a symbolic manner. But when one happens upon written phantasy products of the mystics, of course only he who has mystical experiences of his own can venture to say whether a program symbolism or an actually functional symbolism is exhibited. For example, I make no judgment on the degree of actuality in the anagogic symbolism of the parable.