Jung Model by Young Woon Ko Essay

This book ensures Carl Gustav Jungs (1875-1961) possibility of coincidentity and demonstratees the problem of philosophic seeds and Yijing (the Book of Changes) that he brings to represent his synchronistic tenet. By trend of the token of synchronizing, Jung presents the signifi tince of most tender organism scram as unexplainable in spite of appearance the frame of scientific ground and causality base on analytical consistency. Jung asserts that in the phenomenon of synchronisation is a meaty par each(prenominal)el mingled with an step to the foreer showcase and an inner psychicalal situation caus solelyy un link up to each early(a).Jungs supposition of synchronisation is a condensed select of his prototypal psychology, in which the preconceived pattern or the un intendedness of the kind-heartede idea manifests itself. The synchronic veritable(a)t is a phenomenon true in the un apprised depth of the heed, which is riddleic full-lengthy do evide nt in situation the limit of the sure headland. Jung theorizes that these ambiguous contents of the un sure(p)(p) be difficult to be grasped in the sure assessment, beca make use of they ignore non be verified plainly as truthful or false.For the surmisal of synchronism, Jung seeks to dep unrivaled that paradoxical suggestions chiffonier be 2 true and false or uncomplete true nor false in a complemental similitude among the opposites of the cognizant and the un intended(p)(p)(p). Jung argues that synchronistic phenomena nuclear number 18 non the air of true or false per geted by the analytic certainty of conscious activity merely alternatively ar events counterfeited in the cognitive number of the unconscious in reply to ego-knowingness.In swan toexamine the harshness of his pattern of synchronisation, Jung appeals to the philosophical systems of Gottfried Wilhelm Leibniz (16461716), Immanuel Kant (1742-1804), and Arthur Schopenhauer (17881 860). For Jung, these philosophical sources of synchronizing support his criticism of the strong harshness of scientific rationality in which totally nameless and paradoxical statements atomic number 18 eliminated in logical sourceing, and they understandably indicate the bound of charitable fetch out ground on scientific causality and logical reasoning.In contrast to the NewtonianCartesian mechanical exemplar, which pursues the absolute friendship of objective reality by right smart of which the subject-object and the principal-body dichotomy is carcassed, Jungs bewilder of synchronicity posits an inter blood amongst these severalize poles. eight Introduction However, it is important to place out that in his development of his synchronistic normal, Jung adapts his reading sources sporadically so that almost of his statements become procrustean. In Kants critical school of thought supra all does Jungs philosophical source for sustaining his archetypical psychology and synchronicity culminate.Jung advocates for the situationless and deathless outside merciful reason and centripetal cognizance, as described in Kantian epistemology, as a source for the theory of synchronicity. Kant take overs the border for the limits of benevolent reason within space and clipping and develops the touch sensation of the thing-in-itself as the spaceless and judgment of convictionless beyond sympathetic knowledge, the noumenon. He solves the problems of any antinomy or paradox emerging in military personnel perception and date in phenomenon by travel to the logical of Aristotle (384-322 BCE), in which antithetical propositions are demarcated by the contrast of true and false.Although Kants opinion of noumenon to a greater extentovert support the principle of synchronicity, which is not grasped in sensate semi empiric in abidanceation, Kant focuses on the limits of clement knowledge and experience, so that he constructs no propositio n around noumenon. In this fashion Kants noumenon distinguishes itself from Jungs principle of synchronicity constructed by the balance of paradoxical elements. For Jung, the issue of the empirical phenomenal mankind is the master(prenominal) factor for his analytical psychology found on experiential data and facts.It is in his culling of discrepant thought subprograms from his philosophical sources for supporting his theory of synchronicity that Jung has difficulty in maintaining a undifferentiated heart of the phenomenon of synchronicity. I examine Jungs regularity acting of validity and his philosophy of science, which bring other philosophical and psychological concepts to support his principle of synchronicity, special(a)(prenominal)ly Platos (427-347 BCE) stem of form, Leibnizs monadology, Kants thing-in-itself, Schopenhauers judgement of will, Sigmund Freuds (1856-1939) dream rendition, and Wolfgang Paulis (1900-1958) theory of modern physics.I seek how those rea ding sources verify Jungs synchronistic principle and a similar saddle out their differences from Jungs discourse of synchronicity. The purpose of citing the similarities and differences amid Jungs synchronicity and his reading sources is to clarify how Jung take in charges to gear up his typical claim for synchronicity form his useial adaptation. Jungs synchronistic principle target be understood within a confoundile construction of clipping, which includes the past, the present, and the future.Given this observe of time, Edmund Husserls (1859-1938) phenomenological mode of time- understanding becomes a observe for understanding the time structure of Jungs synchronicity. Jungs becharm of time that is develop in the synchronistic principle can be clarified by way of phenomenological Jung on synchronising and Yijing A Critical apostrophize ix time-consciousness, which is not the issue of time-in-itself entirely that of lived experiences of time. Husserl opposes the Manichaean differentiation mingled with the phenomenon and thing-in-itself.To drop it another way, he rejects the Kantian edge of forgiving knowledge by which virtuoso does not continue to practice angiotensin converting enzymes intentional activity to the effrontery object only ascribes the object itself to the un cognisable. For Husserl, all that is meaningful can be knowable to our intuition. The dichotomy of thing-initself and thing-as-it-appears (noumenon-phenomenon) is an illegitimate concession to dualistic metaphysics. In other words, thing-in-itself can result from the activity of human universes imaginative intuition in Husserls phenomenology.The reason for opposing such(prenominal) dualism is attachedly related to the perceptive mode in the phenomenological method in which the present is not the atomic present plainly the present draws on the past and the future. This unified whole of time does not correspond to the timeless in the view of thing-in-itself . Unlike Kants way based on the rationalist usage in the subject-object notation, Husserls phenomenology, based on experience and intuition in the length of time, can collaborate with Jungs view of time.The synchronistic moment that Jung presents is the phenomenon al slipway involved in subjective experience and intuition, which are genuine in the duration of time. The synchronistic phenomenon is not intuitive or the objective flowing of time-in-itself disregardless of our subjective experience. Finally, I examine Jungs discussion of Yijing, matchless of the primary classics in the Chinese traditions, for his theory of synchronicity. I discuss the distinction among the two by pointing out the perspective of Yijing uncove ruddy from Jungs partial understanding.Then I research how the organic model of Yijing can hang on Jungs theory of the synchronistic resemblance in the midst of the mind and the carnal event by looking to the transition of change in the development of time. done his reading of Yijing, I excessively discuss Jungs notion of the divine developed in the synchronistic principle. Jung regards the images of yin-yang fundamental interaction developed in the text of Yijing as the readable fender and the symbolisationic nomenclature of Yijing as dictated from the prototypes of the unconscious.Yijing specifies the phenomena of changes that our ego-consciousness cannot grasp. In this fashion, within the text of Yijing is the principle of synchronicity by way of first example, which is prior to ego-consciousness. By focusing on a method of oracularity, Jung maintains that the hexagrams of yin and yang attained by the odd and even numbers form by dividing the x Introduction forty-nine yarrow stalks or throwing three coins down together video display the synchronistic notification between the participants psychic sphere and the physical world.This method of Yijing is conducted by emptying the egoconsciousness and drawing upon the proportion of the unconscious via first representation. An encounter with a wider horizon of the mind can be explained as the process of self-cultivation in the eastside Asian tradition. Jung articulates this process as the process of individuation, or self-realization by actor of the realization of a balance between the conscious and the unconscious. tally to Jung, the phenomenon of synchronicity refers to the close bindion between the archetypal passel of the unconscious and the physical event.Such a connection is not simple panorama only if quite a is a meaningful coincidence. In special, Jungs psychological understandation of the divine clarifies the religious significance of the apprisalship between the human mind and the arbitrary crowning(prenominal) developed in the Yijing context. Jung examines the human experience of god in the inb reddened relation between the divine and the human unconscious. Jungs discussion of the divine is developed by examining the archetypal process of the unconscious shown in the experience of synchronicity.The human experience of God, as an unconscious compensation in response to ego-consciousness, is the religious and theological paper that Jung brings into his discussion of synchronicity and cowcatcher. That is, Jungs notion of the religious self is derived from the experience of self-transformation, which is performed by the archetypal representation of the divine. In this perceive divine constitution is always cognise and constructed in-and- d adept the human mind. From Jungs perspective, God is God-within-the-human mind.Yet, Jungs argument concerning God is different from the idea that God is the result of individual psychic phenomenon. Jung relates God to his notion of the corporate unconscious of the human mind, which is beyond the face-to-face proportion of the mind. Jung defines the divine fictional character in relation to the general and embodied belongings of the human mind. The de finition of the Supreme supreme in the Yijing tradition has been often identified with non-religious form in the absence of divine character and transcendent reality.However, the concept of the Supreme Ultimate cannot be attri simplyed simply to the non-religious tradition in footing of Jungs interpretation of God experienced finished the human mind of the unconscious. tally to Jung the image of God finished the unconscious represents the wholeness embrace the contrasting poles of good and evil in their compensatory relationship. This can be an analogical model for create the divine and religious image of the Jung on synchronization and Yijing A Critical draw close xiSupreme Ultimate in the Yijing tradition, which represents the balance of the opposites finished the yin-yang interactive process. Yet, it is in his culling of discrepant views from his sources for supporting the theory of synchronicity that Jung has difficulty in maintaining a consistent meaning of the phenom enon of synchronicity. Jungs concept of fender as the a priori form of the human mind, which is the basis of synchronicity, shows a clear distinction from the central theme of Yijing as the principle of change and creativity in time and the empirical world.This distinction salutary represents the distinction between Jung in the Platonic and Kantian Western tradition and Yijing in the East Asian tradition in which ultimate principle is constructed in the dynamic process of the empirical world rather than the a priori. In this sense Jungs points of view about Yijing are formed through his theory of synchronicity rather than through actual usage of or an soaking up into the Yijing cultural system.Jungs operation of Yijing into his argument of the timeless with his notion of buffer exhibits a theory-laden observation. This observation articulates his difference from the Yijing tradition based on the principle of change that posits owing(p) value to the time-factor of the phenomena l world. Jungs phenomenon of synchronicity ascribed to the representation of the exemplification as a priori form can be seen as reductive in terms of Yijing, which posits the sources of various(a) empirical data in the cover phenomenon of change in the world.Also, Jungs business relationship of archetype itself has difficulty, consistent with his partial application of Kantian noumenon. succession Jung argues the archetype as a priori form unknown to the empirical world, he as well brings it into the synchronistic event, which Jung regards as an empirical phenomenon. In this regard the relation between ultimate principle and the empirical world developed in the Yijing tradition can intensify Jungs attempt to draw the pattern of the archetype into the phenomenal world.To stray it another way,ultimate principle or pattern formed in the interaction of human mind and nature in Yijing can become a model for the meaningful relation between the mind and nature that Jung argues in p henomena of synchronicity. Given this model of Yijing, Jungs a-causal connecting principle and archetypal representation can be understood in a pattern constructed within the principle of change and creativity in the dynamic structure of time rather than from the point of view of a transcendent absolute form of knowledge beyond human experience.CHAPTER ONE JUNGS ARCHETYPAL coordinate OF THE PSYCHE AND THE PRINCIPLE OF SYNCHRONICITY In this chapter I introduce the principle of synchronicity in relation to the notion of the incorporated unconscious and explain how Jung identifies the synchronistic phenomena with an unconscious process of the human mind. The Collective Unconscious, Instinct and specimen, and first Images for the Theory of Synchronicity Jungs project on synchronicity as a meaningful coincidence dates from 1925 to 1939 during which he candid a series of seminars at the mental Club in Zurich.1 It is from this plosive that his theory of synchronicity becomes a stud y part of his analytical psychology, even though he altogether first publishes his raise On Synchronicity in 1951 and indeed revises it in 1952 with the name Synchronicity An Acausal Connecting pattern. With the notion of synchronicity, Jung attempts to show the archetypal process of the human head, which is driven from the a-priori form or too soon image deeply rooted in human unconsciousness. Jung argues that the depth of the psyche is about associated with an outer(a) event through the synchronistic moment.He maintains the following in his essay on Synchronicity If, and then, we entertain the hypothesis that sensation and the analogous (transcendental) meaning big businessman manifest itself simultaneously in the human psyche and in the arrangement of an external and breakaway event, we at once come into encounter with the convention of all scientific and epistemic views. . . . Synchronicity postulates a meaning which is a priori in relation to human consciousness a nd apparently exists outside man. 2 2Chapter One Jung focuses on the non-causal dimension of the human experience irreducible to the cause-effect system of mind and nature. Jung argues that the correspondence of the inner psyche to the outer event is performed by the archetypal representation derived from the incorporated unconscious, which is beyond the individual self. Therefore, the synchronistic phenomenon cannot be properly described by the causal relation between mind and nature according to traditionally-Western logical reasoning.Jungs notion of synchronicity is based on the concepts of embodied unconsciousness, which is composed of replete(predicate) and archetype and the archetypal image these elements are correlative with champion(a) another for the whole scheme of his psychology. consort to Jung, joint unconsciousness refers to the deepest layer of the human psyche. It is given by birth and greatly works ones psyche in various ways without being acknowledge by one s consciousness. Jung distinguishes this embodied area of the unconscious from the individual(prenominal) dimension of the unconscious.The former, the collective unconscious, is shaped a priori and reveals customary phenomena throughout all humankind beyond time and space. The last mentioned, based on particular experiences of individuals, refers to a dim state of the personalised psyche (or memories), which hasten disappeared from ego-consciousness by being quash and forgotten. Jung calls this the personal unconscious. 3 Although collective and personal are easily high-flown in their definitions, those two words put down across a complex of meanings in describing the unconscious aspects of human experience.The notion of the unconscious indicates an obscure phenomenon not grasped in any conscious knowledge, so that it is truly difficult to be described in a linguistic manner. In other words, whether the unconscious is the personal or the collective is not clearly distinct in our psychic experience. From this meaning structure of the unconscious, Jung presents the concept of collective unconscious in an attempt to distinguish himself from Sigmund Freud and to implant his own psychological system. Jung writes the following about Freuds description ofthe unconscious In Freuds view, as most quite a little know, the contents of the unconscious are reducible to immature tendencies which are repressed because of their inappropriate character. Repression is a process that begins in early childhood under the moral influence of the environment and continues throughout life. By meaning of analysis the repressions are removed and the repressed wishes do conscious. 4 Jungs prototypical Structure of the Psyche and the Principle of Synchronicity 3 Thus does Jung see Freuds notion of the unconscious including the process of repression by the ego-consciousness.In a conflict between ones situational limitation and infantile wishes, the repressed psychic content s persist unconscious, a situation which can also bring forth various types of symptoms and neuroses in the process of ones wishfulfillment. By regarding this Freudian notion of the unconscious as only part of what makes up the unconscious, Jung seeks to bear on its meaning According to this Freuds theory, the unconscious contains only those parts of the personality which could just as well be conscious, and have been subdue only through the process of education.Although from one point of view the infantile tendencies of the unconscious are the most conspicuous, it would nonetheless be a mistake to define or evaluate the unconscious entirely in these terms. The unconscious has still another side to it it includes not only repressed contents, but all psychic material that lies on a lower floor the threshold of consciousness. 5 Jung turns around the relation between the conscious and the unconscious through his criticism of Freud. He maintains that the realm of the unconscious does not originate in the determine repressed from the conscious but rather the conscious sprouts from the unconscious.Of course, this turning point does not suggest Jungs overall defence mechanism of Freuds notion of the unconscious. Jung is greatly influenced by Freuds psychoanalytical method and develops his major psychological concepts within the context of his discussion about Freud, who elaborated the correlation between egoconsciousness and unconsciousness in a scientific manner. Jung affirms and advances Freuds idea that the unconscious emerges in persons conceive of, lapse of memory, neurosis, and symptoms, the expressions of which also appear in the persons dreams.Yet, Jungs dissatisfaction with Freuds method occurs at the point where Freud reduces all the sources of the unconscious to the contents of the infantile wish repressed from the conscious and focuses on those contents in terms of the instinctual drive. It is from this criticism that Jung posits the presence of t he unconscious that encompasses the deeper level of the human psyche, which Jung calls the collective unconscious. The psychic contents of the collective unconscious are based upon non-sensory perceptions.Jungs collective unconsciousness includes obsolescent vestiges inherited from ancestral experiences and thus instantly unknown to the percipients experience. Jung differentiates the collective from the personal unconscious as follows 4 Chapter One The collective unconscious is a part of the psyche which can be prejudiciously distinguished from a personal unconscious by the fact that it does not, like the latter, owe its existence to personal experience and consequently is not a personal acquisition.While the personal unconscious is made up essentially of contents which have at one time been conscious but which have disappeared from consciousness through having been forgotten or repressed, the contents of the collective unconscious have never been in consciousness, and therefore have never been one at a time acquired, but owe their existence altogether to heredity. 6 Jungs exploration of the psychical dimension outside the phenomenal world limited in time and space is based on his assumption of the collective unconscious. According to Jung, the scope of consciousness is fix in comparison with that of unconsciousness.Human consciousness functions simply with some contents in a given situation but does not embrace the whole gas of the psyche. These contents of the collective unconscious are commonly found at a deep level of the psyche throughout all of humankind. 7 The contents of the collective unconscious, therefore, become the source of the production of mythological and religious motifs with the nonrational dimension of the human experience. Jung attempts to derive the concrete and immediate blows of the psyche from the notion of the collective unconscious.From his perspective, rationality results from the process of abstract reasoning from psychic data grasped in consciousness. Jung introduces and employs the concepts of the collective unconscious in Wandlungen und Symbole der Libido in 1912 (translated as The Psychology of the Unconscious), which is subsequent revised under the title Symbole der Wandlung in 1952 (Symbols of Transformation). According to Jung, Creative fantasy is continually engaged in producing analogies to instinctual processes in order to free the libido from sheer instinctuality by manoeuvre it toward analogical ideas.. . . The libido has, as it were, a graphic penchant it is like water, which must have a gradient if it is to flow. The nature of these analogies is therefore a serious problem because, as we have said, they must be ideas which pull grit the libido. Their special character is, I believe, to be discerned in the fact that they are archetypes, that is, universal and inherited patterns which, taken together, constitute the structure of the unconscious. 8 By using the allegory water for the flow of libido, Jung brings the character of perceptual direction to the psychic structure.Libido is the muscularity producing the psychic quality that transmits the unconscious Jungs archetypical Structure of the Psyche and the Principle of Synchronicity 5 contents (such as imaginative fantasy or imagination) into the conscious. This process of libido is not developed simply in a repetitive and numeric pattern but in a specific way as in the direction of water-flow. Libido does not mean the phenomenon of pushing that manifests simply quantitative character. As Volney Gay makes the difference between energy and libido, it energy is purely quantitative and relative, not qualitative and particular.Yet libido has special negative qualities (need, displeasure, unlust) and special positive qualities (pleasure and satisfaction). 9 Libido refers to the particular character of the psyche with qualitative energy that shows ones own inclination. Jung attempts to connect the notion of lib ido with archetype by indicating that the libido is not driven only by the instinctual dimension. According to Jung libido per se is deeply rooted in archetype as the a-priori form of the psyche. Archetype is the ultimate factor of the unconscious that brings the libidinal flowing into the specific form of the psyche.While instinct means behavior itself coming into court in its natural process, archetype is the apriori form of instinct itself or self-recognition of instincts. 10 To put it another way, Jung maintains that archetype is a form of idea or pattern booster cable instinctual energy. In this definition of archetype, libido refers to the psychic process developed in archetypal structure, which associate instinctual elements with a particular pattern. some(prenominal) instinct and archetype for Jung are the elements comprising the collective unconscious. These two are not personally acquired but inherited factors in the structure of the unconscious.Yet, go instinct is con cerned with all unconscious behavior and physiological phenomena as the base process of human existence, archetype is delineate as the phase prior to instinct. In other words, archetype is concerned with ones own idea, perception, and intuition formed in the deep level of the unconscious. Jung supposes that the archetype is the fundamental root providing the psychic experience with a certain character in a definite fashion. The relation between archetype and instinct is as follows We also find in the unconscious qualities that are not individually acquired but are inherited, e.g. , instincts as impulses to carry out actions from necessity, without conscious motivation. In this deeper stratum we also find the a priori, inborn forms of intuition, namely the archetypes of perception and apprehension, which are the necessary a priori determinants of all psychic processes. Just as his instincts have man to a specifically human mode of existence, so the archetypes force his ways of per ception and apprehension into specifically human patterns. The instincts and the archetypes together form the collective unconscious.11 6 Chapter One Thus is the relation between archetype and instinct not contrastive but correlative in the constitution of the collective unconscious. Psychic energy such as fictive fantasy and imagination should be considered the transformation of instinct in the innate form of archetype. Both (instinct and archetype) are real, together they form a pair of opposites, which is one of the most rich sources of psychic energy. There is no point in driving one from the other in order to give primacy to one of them.12 In this manner Jung accentuates the complementary relation between instinct and archetype as aspects of the collective unconscious. Whereas instinct can be known scientifically in the disciplines of physiology or neurology in relation to the body-ego,13 according to Jung, the character of archetype as the unknown reality is not grasped in our perception. Jung writes that even if we know only one at first, and do not remark the other until much later, that does not essay that the other was not there all the time. 14 Jungs statement indicates that our archetypal knowledge cannot be identified with the physical world. He argues that archetype cannot be grasped by our knowledge and understanding archetype is not known in itself but represented in different images of our life. In an attempt to distinguish the quality of archetype from instinct, Jung uses fables of emblazon. The instinctual image is to be located not at the red end but at the imperial end of the colorizeing band. The oomph of instinct is lodged as it were in the infra-red part of the spectrum, whereas the instinctual image lies in the ultra-violet part.If we remember our colour symbolism, then, as I have said, red is not such a rubber match for instinct. But for spirit, as might be expected, colored would be a better match than violet. Violet i s the deep colour, and it certainly reflects the indubitably mystic or paradoxical quality of the archetype in a most satisfactory way. 15 The reason the color of violet as a metaphor helps to understand archetypal images is the fact that it is not at the same level as other colorise but rather is the color encompassing several other colors.While red or no-count refers to a distinctive color, violet consists of the combination of such colors, thereby becoming analogous to the paradoxical images of archetype. With acknowledgment to this quality of colors, Jung uses another metaphor, ultra-violet, to suggest the undetectable portion of the spectrum beyond the color of violet, archetype itself. Just as ultra-violet shows the character of the meta-color (i. e. , color of colors), so is archetype itself the ultimate form prior to the differentiation between mind and body or spirit and instinct.Jungs Archetypal Structure of the Psyche and the Principle of Synchronicity 7 Jungs use of violet as a metaphor is not a perfect lead for archetypal image. Whereas archetypal image is driven from the a-priori form of our experience, violet comes from the a-posteriori form that results from the compartmentalisation of different colors. Despite this difference Jung characterizes violet as the color that receives other colors, rather than as to the name for a particular color. Violet is a compound of blue and red, although in the spectrum it is a colour in its own right.Now, it is, as it happens, rather more(prenominal) than just an edifying thought if we olfactory modality bound to emphasize that the archetype is more accurately characterized by violet, for, as well as being an image in its own right, it is at the same time a dynamism which makes itself felt in the numinosity and fascinating power of the archetypal image. 16 As violet appears in some combination of different colors but is not simply definable for its color itself like red or blue, so archetypal represe ntation is expressed in diverse images of the phenomenal world but not easily grasped by our perception.In this manner, we cannot define archetype per se, which is not simply located in our perception. Archetype is represented by paradoxical features rather than unclouded contents of a concrete notion. Because the archetype is a formative principle of instinctual power, its blue is contaminated with red it appears to be violet, again, we could interpret the simile as an apocatastasis of instinct embossed to a higher frequency, just as we could easily derived instinct from a latent (i. e. , transcendent) archetype that manifests itself on a weeklong wave-length.Although it can admittedly be no more than an analogy, I nevertheless discover tempted to recommend this violet image to my ratifier as an illustrative hint of the archetypes affinity with its own opposite. The creative fantasy of the alchemists sought to express this mingled secrete of nature by means of another, no les s concrete symbol the Uroboros, or tail-eating serpent. 17 Jung maintains that archetype refers to the exemplary phase of the pre-ego status, which is unknown to human consciousness.Through the example of the uroboros, Jung defines archetype as the non-differential feature and the wholistic image of the universe before the progeny of the ego. This means that archetype is not a certain stage of the ego-development but affects its whole stages. By way of this, archetype refers to the coupled form between individual and the collective, the psyche and the physical event, the subject and the object, the human being and nature.These opposite characters can become antagonistic in their separation by the emergence of the ego-consciousness but paradoxically united and 8 Chapter One undifferentiated in the archetype. According to Jung, the archetype itself is distinguished from archetypal representations. give care the invisible character of ultra-violet, archetype is the non-differential or irrepresentable form. The archetypal representations (images and ideas) mediated to us by the unconscious should not be mixed with the archetype as such.They are very varied structures which all point back to one essentially irrepresentable basic form. The latter is characterized by certain formal elements and by certain fundamental meanings, although these can be grasped only approximately. The archetype as such is a psychoid factor that belongs, as it were, to the invisible, ultraviolet end of the psychic spectrum. It does not appear, in itself, to be capable of reaching consciousness. I venture this hypothesis because everything archetypal which is perceive by consciousness seems.