The problem of my destiny goes back a hundred and fifty years. Indeed it appeared as early as the twelfth century, as I have now discovered. Formerly I believed it only went back to Goethe's Faust. (Jung now told the dream of his ancestors in which the last was only able to move his little finger.) The problem that appeared as a question in the twelfth century became my extremely personal destiny. Already Goethe had found an answer a hundred and fifty years ago. My father was so tormented by it that he died at the age of fifty-four. ~ Carl Jung, Conversations with C.G. Jung, Page 67.
Biographies should show people in their undershirts. Goethe had his weaknesses, and Calvin was often cruel. Considerations of this kind reveal the true greatness of a man. This way of looking at things is better than false hero worship! ~Carl Jung, C.G. Jung Speaking, Page 165.
Beyond that I have had experiences which are, so to speak, "ineffable," "secret" because they can never be told properly and because nobody can understand them (I don't know whether I have even approximately understood them myself), "dangerous" because 99% of humanity would declare l was mad if they heard such things from me, "catastrophic" because the prejudices aroused by their telling might block other people's way to a living and wondrous mystery, "taboo'' because they are “Holy” protected by “Fear of the Gods” as faithfully described by Goethe:
Shelter gives deep cave.
Lions around us stray,
Silent and tame they rove, And sacred honors pay To the holy shrine of love. ~Carl Jung, Letters Vol. 1, Pages 140-142.
Faust II has been my companion all my life but it was only 20 years ago that certain things began to dawn on me, especially when I read Christian Rosencreutz's Chymical Wedding, which Goethe also knew but, interestingly enough, did not mention among the alchemical literature of his Leipzig days. ~Carl Jung, Letters Vol. II, Pages 246-247.
So far as we know, Goethe used only the relatively late alchemical literature, and it was the study of the classical and early medieval texts which first convinced me that Faust I and II is an opus alchymicum in the best sense. ~Carl Jung, Letters Vol. II, Pages 246-247.
As in Goethe's Faust, here too it is the feminine element (Eve) that knows about the secret which can work against the total destruction of mankind, or man's despair in the face of such a development. ~Carl Jung, Letters Vol. II, Pages 386-387
Goethe's Faust almost reached the goal of classical alchemy, but unfortunately the ultimate coniunctio did not come off, so that Faust and Mephistopheles could not attain their oneness. ~Carl Jung, Letters Vol. II, Pages 453-454.
We must not forget that even Goethe is not the absolute authority but a human being who, as far as his unconscious is concerned, is just as small and impotent as any other insignificant person. ~Carl Jung, Jung-Schmid Correspondence, Pages 74-86
It was from the spirit of alchemy that Goethe wrought the figure of the “superman” Faust, and this superman led Nietzsche’s Zarathustra to declare that God was dead and to proclaim the will to give birth to the superman, to “create a god for yourself out of your seven devils.” ~Carl Jung, CW 13, Para 163.
It was from the spirit of alchemy that Goethe wrought the figure of the “superman” Faust, and this superman led Nietzsche’s Zarathustra to declare that God was dead and to proclaim the will to give birth to the superman, to “create a god for yourself out of your seven devils.” ~Carl Jung, CW 13, Para 163.
I would give the earth to know whether Goethe himself knew why he called the two old people "Philemon" and "Baucis." ~Carl Jung, Letters Vol. I, Pages 309-310
Goethe's Faust aptly says: “in the beginning was the deed”." "Deeds" were never invented, they were done; thoughts, on the other hand, are a relatively late discovery of man. First he was moved to deeds by unconscious factors; it was only a long time afterward that he began to reflect upon the causes that had moved him; and it took it him a very long time indeed to arrive at the preposterous idea that he must have moved himself . . . his mind being unable to identify any other motivating force than his own. ~Carl Jung; Man and His Symbols; Page 70.
"All that is outside, also is inside," we could say with Goethe. But this "inside," which modern rationalism is so eager to derive from "outside," has an a priori structure of its own that antedates all conscious experience. It is quite impossible to conceive how "experience" in the widest sense, or, for that matter, anything psychic, could originate exclusively in the outside world. The psyche is part of the inmost mystery of life, and it has its own peculiar structure and form like every other organism. Whether this psychic structure and its elements, the archetypes, ever "originated" at all is a metaphysical question and therefore unanswerable. The structure is something given, the precondition that is found to be present in every case. And this is the mother, the matrix—the form into which all experience is poured. ~Carl Jung, CW 9i, Pages 101-102
Medieval alchemy prepared the way for the greatest intervention in the divine world order that man has ever attempted alchemy was the dawn of the scientific age, when the daemon of the scientific spirit compelled the forces of nature to serve man to an extent that had never been known before. It was from the spirit of alchemy that Goethe wrought the figure of the "superman" Faust, and this superman led Nietzsche's Zarathustra to declare that God was dead and to proclaim the will to give birth to the superman, to "create a god for yourself out of your seven devils." Here we find the true roots, the preparatory processes deep in the psyche, which unleashed the forces at work in the world today. Science and technology have indeed conquered the world, but whether the psyche has gained anything is another matter. ~Carl Jung, CW 13, Para 163
The creative process has a feminine quality, and the creative work arises from unconscious depths—we might truly say from the realm of the Mothers. Whenever the creative force predominates, life is ruled and shaped by the unconscious rather than by the conscious will, and the ego is swept along on an underground current, becoming nothing more than a helpless observer of events. The progress of the work becomes the poet's fate and determines his psychology. It is not Goethe that creates Faust, but Faust that creates Goethe. And what is Faust} Faust is essentially a symbol. By this I do not mean that it is an allegory pointing to something all too familiar, but the expression of something profoundly alive in the soul of every German, which Goethe helped to bring to birth. ~Carl Jung, CW 15, Para159
Dante decks out his experience in all the imagery of heaven, purgatory, and hell; Goethe brings in the Blocksberg and the Greek underworld; Wagner needs the whole corpus of Nordic myth, including the Parsifal saga; Nietzsche resorts to the hieratic style of the bard and legendary seer; Blake presses into his service the phantasmagoric world of India, the Old Testament, and the Apocalypse; and Spitteler borrows old names for the new figures that pour in alarming profusion from his muse's cornucopia.
Everything to do with the masses is hateful to me. Anything popularized becomes common. Above all I would not disseminate Goethe, rather cook books. ~Carl Jung, Letters Vol. 1, Pages 88-89.
Apart from a few poems, the only thing of Goethe's that is alive for me is Faust. For me this was always a study-for relaxation I prefer English novels. ~Carl Jung, Letters Vol. 1, Pages 88-89.
Everything else of Goethe's pales beside Faust, although something immortal glitters in the poems too. ~Carl Jung, Letters Vol. 1, Pages 88-89.
What one could "enjoy" of Goethe is, for me, too patriarchal, too much de l'epoque. What I value in Goethe I cannot "enjoy"; it is too big, too exciting, too profound. ~Carl Jung, Letters Vol. 1, Pages 88-89.
It seems to me that one cannot meditate enough about Faust, for many of the mysteries of the second part are still unfathomed. ~Carl Jung, Letters Vol. 1, Pages 88-89.
