榮格後來在他與弗洛德的參與和友誼分離后，在他看來是一段深刻的不安時期發展了他關於積極想像的思想。這對他們倆來說都是一段重要的關係。在他生命中的那一刻，他正在與自己的潛意識進行深度相遇。他生病了，但他的病是一種創造性的疾病，使他處於一個敏感和情緒化的地方，在那裡他可以探索他的恐懼經歷。他一直批評弗洛德的還原方法，因為他認為符號的全部含義不容易被瞭解，符號的功能可能會丟失。他需要知道它的含義和目的。榮格意識到，他在這一時期寫的詩《VII Sermones ad Mortuos》（1967 年）是在尋找他與過去歷史的關係。在這首詩中，他深深地沉浸在他早已去世的家庭成員的重要性中。事實上，他正在經歷一個深刻的哀悼過程。他在《回憶、夢想、反思》（1980：215-17）中寫到那段插曲：因為既然我的命運要求我回答的問題和要求不是來自外部的，它們一定來自內心世界。這些與死者的對話構成了我必須向世界傳達的關於無意識的資訊的前奏，一種秩序模式和對其一般內容的解釋。 他一直批評弗洛德的還原方法，因為他認為符號的全部含義不容易被瞭解，符號的功能可能會丟失。Sermones ad Mortuos》（1967 年）是在尋找他與過去歷史的關係。在這首詩中，他深深地沉浸在他早已去世的家庭成員的重要性中。事實上，他正在經歷一個深刻的哀悼過程。他在《回憶、夢想、反思》（1980：215-17）中寫到那段插曲。這些與死者的對話構成了我必須向世界傳達的關於無意識的資訊的前奏，一種秩序模式和對其一般內容的解釋。
雖然當無意識的內容在清醒狀態下暴露出來時，就會產生一種新的情況，並且需要有意識的工作來理解它們，但幻想圖像擁有其後續發展所需的一切。正如我之前所說，積極和創造性地參與積極想像，要求我們沉入無意識，然後觀察或繪製其內容，用粘土建模，有時像童話故事一樣跳舞或寫作。榮格使用 Janet 的術語“abaissement de niveau mental”作為自我脫離以誘導意識狀態改變時的情感模式的起點。如果可能，患者隨後可能會探索這幅畫並與之關聯。 榮格使用 Janet 的術語 "abaissement de niveau mental "作為自我脫離以誘導意識狀態改變時的情感模式的起點。Janet 的術語 "abaissement de niveau mental "作為自我脫離以誘導意識狀態改變時的情感模式的起點。如果可能，患者隨後可能會探索這幅畫並與之關聯。
Kalff， D.M. （1980） 沙盤遊戲。A Psychotherapeutic Approach to the Psyche， Sigo Press. Killick， K. （1993） “在藝術治療中處理精神病過程”，《精神分析心理治療》，7 （1）。 Kalff，D.M. （1980 年）沙盤遊戲。A Psychotherapeutic Approach to the Psyche，Sigo Press.Killick， K. （1993）"在藝術治療中處理精神病過程》，《精神分析心理治療》，7 （1）。 MacDougall， J. （1989） Theatres of the Body， London： Free Association Books（身體劇院），倫敦：Free Association Books。 MacDougall, J. （1989）。Theatres of the Body，London： Free Association Books（身體劇院），倫敦：Free Association Books。
Milner， M. （1971） On Being Not Able to Paint， 倫敦：Heinemann Educational Books。 Milner，M. （1971） 倫敦：Heinemann Educational Books。On Being Not Able to Paint， 倫敦：Heinemann Educational Books。 （1987） 〈1952： The role of illusion in symbol formation〉，載於《The Suppressed Madness of Sane Men》，倫敦：塔維斯托克出版社。 Plaut， A. （1966） “對無法想像的反思”，《分析心理學雜誌》，11 （2）。 （1987）1952： The role of illusion in symbol formation〉，載於《The Suppressed Madness of Sane Men》，倫敦：塔維斯托克出版社。"對無法想像的反思》，《分析心理學雜誌》，11 （2）。 Powell， S. （1985） “分析師的超越功能作為理解的橋樑”，《分析心理學雜誌》，30 （1）。 Ryce-Menuhin， J. （1992） 榮格沙盤遊戲。The Wonderful Therapy，倫敦：勞特利奇。 Powell， S. （1985）。「分析師的超越功能作為理解的橋樑」，《分析心理學雜誌》，30 （1）。 Ryce-Menuhin，J. （1992）。榮格沙盤遊戲。The Wonderful Therapy，倫敦：勞特利奇。 Weaver， R. （1964） The Wise Old Woman， London： Vincent Smart Ltd. （英语：The Wise Old Woman， London： Vincent Smart Ltd.） Weaver，R. （1964 年）The Wise Old Woman，倫敦： Vincent Smart Ltd.（英语：The Wise Old Woman，伦敦： Vincent Smart Ltd.）
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第 7 章
宗教與靈性
榮格將諾斯替主義和煉金術的信仰和實踐體系視為分析心理學的先驅。佩吉·鐘斯 （Peggy Jones） 探索了這些系統作為宗教功能的表達，並展示了榮格心理學的中心原則。無意識首先在投射中遇到，不僅是實現這些投射的領域，「微妙現實的中間領域......由符號表達”這個原則被奉為煉金術公式 Deo concedente。 榮格將諾斯替主義和煉金術的信仰和實踐體系視為分析心理學的先驅。佩吉-鐘斯 （Peggy Jones)探索了這些系統作為宗教功能的表達，並展示了榮格心理學的中心原則。無意識首先在投射中遇到，不僅是實現這些投射的領域，「微妙現實的中間領域...... 由符號表達 "這個原則被奉為煉金術公式 Deo concedente。
As Jung reflected on his experiences, he concluded that not only have we at all times and in all places been asking these ‘religious’ questions, but that we have also been engaged in answering them, projecting our imagination into the world and ‘finding’ the answer, or the echo, apparently outside us. Recognising the central role of imagination in alchemy, he wrote: ‘The Imaginatio . . is in truth a key that opens the door to the secret of the opus’ (1944: para. 400). In symbols and stories, art and myth, ritual and education, in the sciences and in philosophies and theologies of all sorts we have found - and created - this antiphonal response. 當榮格反思他的經驗時，他的結論是我們不只在任何時間、任何地點都在提出這些「宗教性」的問題，而且我們也一直在回答這些問題，將我們的想像力投射到這個世界，並且「找到」答案或回音，這些答案或回音顯然是在我們之外。認識到想像力在煉金術中的核心作用，他寫道：「想像力......其實是一把鑰匙，可以打開通往煉金術秘密的大門」（1944：第 400 段）。在符號與故事、藝術與神話、儀式與教育、科學、哲學與各種神學中，我們都發現並創造了這種反調的回應。
Jung’s ideas have always resonated for some with their own experience, while others have found them mystifying or alien. While he was, personally, convinced of the universality of the collective unconscious and the religious function, he none the less needed and sought validation for his conclusions. In a candid and poignant expression of his self-doubt and insecurity he speaks in his memoirs of his continuing need for recognition: ‘it was clear to me from the start that I could find contact with the outer world and with people only if I succeeded in showing . . . that the contents of psychic experience are real, and real not only as my own personal experiences, but as collective experiences which others also have. … I knew that if I did not succeed, I would be condemned to absolute isolation’ (1963: 220). Jung felt he found confirmation for his conclusions when he discovered the early Gnostic writings and the extensive work of the alchemists. Here were intelligent and dedicated men and women, seeking to penetrate and understand the hidden nature of matter and of its relationship to the spirit. As they struggled to express their experiences and discoveries, the language they employed was that of symbol and paradox, of myth and allegory, the same vocabulary and images which Jung had found occurring not only in fairy tales and the religions of antiquity, but also in his own dreams and experiences and those of his patients. 'I had stumbled upon the historical counterpart of my psychology of the unconscious. The possibility of a comparison with alchemy, and the uninterrupted intellectual chain back to Gnosticism, gave substance to my psychology. When I pored over these old texts everything fell into place’ (ibid.: 231). 有些人認為榮格的觀點與自己的經驗產生了共鳴，有些人則認為這些觀點很神秘或與自己格格不入。儘管他個人深信集體無意識和宗教功能的普遍性，但他仍然需要並尋求對其結論的驗證。在他的回憶錄中，他坦率而深刻地表達了他的自我懷疑和不安全感，他說他一直需要別人的認同：「從一開始我就很清楚，只有當我成功地證明......心理經驗的內容是真實的，而且不只是我個人的經驗，而是其他人也有的集體經驗，我才能找到與外部世界和人們的接觸。......我知道如果我沒有成功，我就會陷入絕對的孤立」（1963: 220）。當榮格發現早期的諾斯底教著作和煉金術士的大量工作時，他覺得他的結論得到了證實。在這裡，聰明且熱忱的男男女女，試圖滲透並了解物質隱藏的本質，以及物質與精神的關係。當他們努力表達自己的經驗和發現時，他們所使用的語言是符號和悖論、神話和寓言，這些詞彙和圖像不僅出現在童話故事和古代宗教中，也出現在榮格自己和他的病人的夢境和經驗中。我偶然發現了我的無意識心理學的歷史對應物。與煉金術進行比較的可能性，以及回溯至諾斯替教（Gnosticism）的不間斷的知識鏈，為我的心理學提供了實質內容。當我閱讀這些古老的文獻時，一切都水到渠成了」（同上：231）。
Gnosticism and alchemy - redemption and transformation 諾斯替教與煉金術 - 贖罪與轉化
Gnosticism 诺斯替主义
Background 背景資料
‘Jesus called for a full reversal of values’, writes James Robinson, General Editor of The Nag Hammadi Library in English, 耶穌呼籲全面顛覆價值觀」，The Nag Hammadi Library in English的總編輯James Robinson寫道、
advocating the end of the world as we have known it and its replacement by a quite new, utopian kind of life in which the ideal would be real. He took a stand quite independent of the authorities of his day … and did not last very long before they eliminated him. Yet his followers reaffirmed his stand - for them he came to personify the ultimate goal. . . . Christian Gnosticism thus emerged as a reaffirmation, though in somewhat different terms, of the original stance of transcendence central to the very beginnings of Christianity. 他主張結束我們所知的世界，取而代之的是一種全新的、烏托邦式的生活，在這種生活中，理想是真實的。他的立場完全獨立於當時的權威......他沒有堅持多久就被權威剷除。然而，他的追隨者重申了他的立場 - 對他們來說，他是終極目標的化身。. . .基督教的可知論因此而出現，儘管用語略有不同，但都是對基督教創始之初的超越立場的重申。
(Robinson, 1988: 3-4)
What Robinson identifies as ‘somewhat different’ was, in fact, radically different in terms of both social structure and shared belief. In the early centuries of the Christian era the establishment of a central teaching and authority was of prime importance if the new faith was not to be defeated by distance and diversity. The loose structuring of Gnostic groups and their emphasis on the individual’s personal experience and expression of revelation was at odds with the need the church fathers perceived for consolidation and conformity. But a more fundamental difference of view and - in its implications - a more far-reaching one, centred on the nature of good and evil and its application to the perennial question of the relationship of spirit to matter. Whereas the early church was formulating a creed which envisioned a loving Creator God, the Father who had incarnated Himself in His only Son, and who gave in addition the gift of Himself as Holy Spirit, the Gnostic view was of an original God who was wholly outside of and alien to the cosmos, which was instead the creation of the demiurge. Matter, rather than manifesting God’s love, was viewed as worthless and even evil, whereas in orthodox Christianity evil was only the absence of good, of God, not a force in its own right. This is a bald statement of the dualism for which Gnosticism is well known, and it does not do justice to the creativity, beauty and subtlety of Gnostic mythology and belief. It seems characteristic of Gnosticism that it both enchants and alienates. Gnosticism is a general term which includes non-Christian, pre-Christian and early Christian systems of religious belief and practice. Stephan Hoeller writes: 羅賓遜認為「有些不同」的事實上在社會結構與共同信仰兩方面都完全不同。在基督教時代的早期，若要新信仰不被距離與多樣性所擊敗，建立中央教導與權威是最重要的。諾斯底派（Gnostic）團體的鬆散結構及其對個人經驗與啟示表達的強調，與教父們所認知的鞏固與一致性的需求相違背。然而，一個更根本的觀點差異，也是影響更深遠的觀點差異，集中在善與惡的本質，以及善與惡在精神與物質關係這個永恆問題上的應用。早期教會所制定的信條，憧憬著一位慈愛的創造主神，也就是化身為祂的獨生子，並賜下祂自己作為聖靈的天父，而諾斯底派（Gnostic）的觀點則是一位完全置身於宇宙之外、與宇宙格格不入的創造主神，而宇宙則是半神的創造物。物質非但沒有展現上帝的愛，反而被視為毫無價值，甚至是邪惡的，而在正統基督教中，邪惡只是善與上帝的缺失，其本身並不是一種力量。這是對諾斯底教（Gnosticism）眾所皆知的二元論的赤裸裸的陳述，對諾斯底教（Gnostic）神話與信仰的創造力、美感與微妙性並不公平。諾斯底教的特點似乎是既令人著迷又令人疏離。諾斯底教（Gnosticism）是一個統稱，包括非基督教、前基督教及早期基督教的宗教信仰與實踐系統。Stephan Hoeller寫道：
Most of them probably would not have called themselves by the name Gnostic but would have considered themselves Christians, or more rarely Jews, or as belonging to the traditions of the ancient cults of Egypt, Babylon, Greece and Rome. . . . People who shared with each other a certain attitude toward life. This attitude may be said to consist of the conviction that direct, personal and absolute knowledge of the authentic truths of existence is accessible to human beings, and, moreover, that the attainment of such knowledge must always constitute the supreme achievement of human life. 他們中的大多數人可能不會自稱為諾斯底派（Gnostic），而會認為自己是基督徒，或猶太人，或屬於埃及、巴比倫、希臘和羅馬的古代邪教傳統。. . .彼此分享某種生活態度的人。這種態度可以說是由以下信念所構成，即人類可以直接、個人且絕對地獲得有關存在的真實真理的知識，而且，獲得這種知識必須永遠構成人類生活的最高成就。
Central themes 中心主題
The following notes summarise elements common to most Gnostic sects. Individuality of expression was, however, encouraged and the ‘flesh’ which covered these ‘bones’ produced a multitude of different forms. 以下筆記總結了大多數諾斯提派的共同要素。然而，個性化的表達是受到鼓勵的，而包覆這些「骨頭」的「肉」則產生了許多不同的形式。
The revelatory experience of ‘gnosis’ - of both knowing and being known - was immediate, compelling and numinous. The ‘call’, when it came, may have been facilitated by the transmission of esoteric knowledge, but the ‘knowledge’ which was gained through the experience of ‘gnosis’ was personal and life-changing. Once awakened by the ‘call’, man’s alienated soul, separated from the true God in the original pre-cosmic ‘fall’, experienced ‘homesickness’ and came to long for and lament its lost home. The ‘rulers’ of this world, the archons, seduced and bound man to and within the created systems and powers to prevent him from ‘waking up’ and remembering his original ‘home’ and the true God. ‘Gnosis’ frees man from his thraldom to these powers and systems. 悟道」的啟示性體驗──知與被知──是即時的、令人信服的、令人迷醉的。當「呼召」來臨時，可能會藉由傳授神秘的知識而得到幫助，但是透過「悟」的經驗而獲得的「知識」是個人的、改變生命的。一旦被「呼召」喚醒，人類在宇宙墜落前與真神分離的異化靈魂就會經歷「思鄉之情」，開始渴求並哀悼失去的家園。這個世界的「統治者」（'ruleers「the archons）誘惑人並將人束縛在受造的系統與力量中，阻止他」覺醒「並記起他原本的」家'與真神。悟道」將人從這些力量和系統的束縛中釋放出來。
The cause of the ‘fall’ was the subject of many beautiful myths and speculations; the effect of it was that ‘sparks’, particles of the original Unity or Pleroma, became separated and entrapped within matter. Thus the One was dispersed into the Many. Redemption of this divine ‘spark’ was the primary goal for the Gnostic, undertaken through the pursuit of self-knowledge and requiring the recognition of both the base and the divine within each individual. Elaine Pagels summarises: ‘Whoever comes to experience his own nature - human nature - as itself the “source of all things”, the primary reality, will receive enlightenment’ (1982: 149). The doctrine of the Valentinians, Jonas notes, ‘justified the equating of individual unification with the reuniting of the Universe with God’ (1992: 61). 墜落」的原因是許多美麗的神話和猜測的主題；其結果是「火花」，也就是原始合一或 Pleroma 的微粒，被分離並困在物質中。因此，「一 」分散為 「多」。救贖這個神聖的「火花」是諾斯底教派的主要目標，透過追求自知之明來達成，並且需要認清每個人內在的基礎與神聖。Elaine Pagels 總結：「誰能體驗到自己的本性 - 人類本性 - 是「萬物之源」，是最主要的現實，誰就能獲得啟蒙」（1982: 149）。Jonas 指出，瓦倫提尼派的教義「將個人的統一等同於宇宙與上帝的重聚」（1992: 61）。
Relevance 相關性
Gnosticism was a system of belief which attempted, as all religions do, to answer fundamental questions. In the face of what was seen and known, that life was full of suffering, persecution and inequality, questions were asked about the Unseen and the Unknown and thus, as we have seen above, the intermediate realm of the symbol was opened. The 'activity of the soul “outside the body”, took the form in Gnosticism of elaborate and beautiful myths of redemption and transformation which demonstrated and affirmed the Gnostic intuition that the ‘empirical conscious being’ was only a partial and illusory representation of reality. Through experiences of revelation and ‘gnosis’ the individual’s need for a sense of coherence and agency was satisfied. 諾斯替教（Gnosticism）是一種信仰體系，如同所有宗教一樣，試圖解答基本的問題。面對可見和已知的事物，即充滿痛苦、迫害和不平等的生活，人們提出了關於 「不見 」和 「未知 」的問題，因此，正如我們在上面所看到的，開啟了象徵的中間領域。靈魂在「身體之外」的活動，在諾斯替教（Gnosticism）中以精心創作的美麗救贖與轉化神話的形式出現，證明並肯定了諾斯替教的直覺，即「經驗意識的存在」只是現實的片面與虛幻的表徵。透過啟示和「悟性」的經驗，個人對於連貫性和能動性的需求得到了滿足。
Not everybody experiences a life-defining ‘call’, but the discovery of an inner ‘voice’ which seems to reflect and speak from an authentic centre of the personality, capable not only of sustaining the individual through times 不是每個人都經歷過生命中決定性的「呼召」，而是發現了內在的「聲音」，它似乎反映並說出了個性的真實中心，不僅能夠支持個人度過時光，還能夠讓個人的生命變得更有意义。
of conflict, when seemingly impossible choices must be made, but also of challenging one’s assumptions - this discovery can be life-changing. ‘Integrity’ ceases to be solely a concept and becomes a continuous challenge, experienced by the whole person, to live creatively connected to this centre. 當必須做出看似不可能的選擇時，會有衝突，但也會挑戰自己的假設 - 這種發現可能會改變生命。正直」不再只是一個概念，而是一個持續的挑戰，由整個人來體驗，與這個中心連成一線，創造性地生活。
In his Afterword to The Nag Hammadi Library, Richard Smith writes: Richard Smith 在《The Nag Hammadi Library》的後記中寫道：
If cultures define themselves not at their calm centers but at their peripheral conflicts of inclusion and exclusion, then Gnosticism, whatever we mean by it, is more than an antiquarian curiosity. It stands as a continuing testament to difference in the face of our cultural tendencies toward closed homogeneity. 如果文化的定義不是在其平靜的中心，而是在其外圍的包容與排斥的衝突，那麼，無論我們對諾斯底教（Gnosticism）的意義是什麼，它都不只是一種古老的好奇心。當我們的文化趨向封閉的同一性時，它是對差異的持續證明。
(Smith, 1988: 549)
Difference is always disturbing for the individual and for society. Our sense of identity and security is largely dependent upon the experience of ‘belonging’, and when an individual is unable to identify with traditional collectivities, s/he may come to feel an ‘outsider’, to herself and to the group. Existentialism provided and still provides a ‘home’ for many in the twentieth century who have found themselves alienated in this way. This experience brings many to analysis and perhaps makes others avoid it for fear of being ‘shrunk’ to fit into a world unable to contain their difference. The comparison with the early Gnostics is apposite. It is important, however, to recognise the potential nihilism which lies at the heart of Gnostic belief: if matter and spirit are not seen as indissolubly linked, then there may be little motive to value sacrifice, suffering, joy, love or life itself. 對於個人和社會來說，差異總是令人不安的。我們的認同感與安全感主要取決於「歸屬感」的經驗，而當一個人無法認同傳統的集體時，他/她可能會覺得自己是「局外人」，無論是對自己還是對團體而言。在二十世紀，存在主義為許多以這種方式發現自己被疏離的人提供了一個「家」，現在仍然如此。這種經驗讓許多人開始分析，也可能讓其他人因為害怕被「縮小」以適應一個無法容納他們的差異的世界而迴避它。與早期諾斯替派（Gnostics）的比較是適切的。然而，重要的是要認識到諾斯底信仰的核心是潛在的虛無主義：如果物質與精神不被視為不可分割的連結，那麼可能就沒有什麼動機去重視犧牲、痛苦、喜樂、愛或生命本身。
Patience and imagination are necessary if one wishes to ‘understand’ Gnostic or alchemical material; both speak in a language of symbol and paradox. In his book The Redress of Poetry, Seamus Heaney explores ‘the way consciousness can be alive to two different and contradictory dimensions of reality and still find a way of negotiating between them’ (Heaney, 1995: xiii). The untitled poem with which Heaney concludes his book seems an appropriate if paradoxical note on which to conclude this section (ibid.: 203): 如果想要「理解」諾斯底教或煉金術的材料，耐心與想像力是必要的；兩者都是以象徵與弔詭的語言表達。Seamus Heaney 在他的《The Redress of Poetry》一書中，探討「意識如何活於現實中兩個不同且矛盾的層面，並在兩者之間找到一種協商的方式」(Heaney, 1995: xiii)。Heaney 以這首無題的詩作為這本書的結尾，看來是本節的適當結尾，儘管這首詩是自相矛盾的（同上：203）：
The annals say: when the monks of Clonmacnoise 傳說：當 Clonmacnoise 的僧侶們
Were all at prayers inside the oratory 所有人都在演講廳做禱告
A ship appeared above them in the air. 一艘船出現在他們上方的空中。
The anchor dragged along behind so deep 錨拖在後面，如此之深
It hooked itself into the altar rails 它把自己鉤在祭壇軌道上
And then, as the big hull rocked to a standstill, 然後，當大船身搖晃到停滯不前時、
A crewman shinned and grappled down the rope 一名船員閃著光從繩索上往下抓
And struggled to release it. But in vain. 掙扎著想要釋放它。但是徒勞
‘This man can’t bear our life here and will drown,’ 這個人受不了我們在這裡的生活，會淹死的。
The abbot said, ‘unless we help him.’ So 住持說：「除非我們幫他。所以
They did, the freed ship sailed, and the man climbed back 他們照做了，被釋放的船起航了，那個人也爬回去了
Out of the marvellous as he had known it. 走出他所知的奇妙世界。
Alchemy 煉金術
Unlike Gnostic texts . . . Jungian psychology does not see salvation as a separation of [the] divine fragment from the mundane and its removal to the divine. Rather, Jung takes the entire dualist myth and locates it within the psyche. 與諾斯底教的典籍不同.. .榮格心理學並不將救贖視為神聖片段與世俗的分離，並將其移至神聖處。相反地，榮格將整個二元論的神話，定位在心理之中。
(Smith, 1988: 540-1)
Although Jung admired the Gnostics’ intelligence, individuality and intuitive grasp on the vital work of self-knowledge, his concern was always that mankind should face the eternal conflict of the opposites within and address the Gnostic demiurge as the inner Shadow. He stressed what he saw as our moral and ethical duty to become aware not only of the inner dark and light, but also our proclivity to project the dark and identify with the light. Jung never underestimated the demands which disciplined work towards greater consciousness and the development of moral integrity imposed. Like the alchemical ‘opus’, this endeavour was ‘contra naturam’, in opposition to mankind’s preference for unconsciousness. 儘管榮格非常欣賞諾斯多德派的智慧、個性以及對自我認知這一重要工作的直覺把握，但他始終關注的是人類應該面對內在對立面的永恆衝突，並應對作為內在陰影的諾斯多德派神靈。他強調，在他看來，我們的道德和倫理責任不僅是要意識到內在的黑暗和光明，還要意識到我們投射黑暗和認同光明的傾向。榮格從來沒有低估為了達到更高的意識和道德正直的發展而進行的紀律性工作所帶來的要求。就像煉金術的'opus「一樣，這種努力是」contra naturam'，與人類偏好的無意識相反。
One of the reasons why the work of the alchemists was of such great importance to Jung lay in the fact that their observations and interpretations - the ‘activity of the soul outside the body’ - were made not only scrupulously but also innocently. Marie-Louise von Franz writes: 煉金術士的工作對榮格如此重要的原因之一，在於他們的觀察與詮釋 - 「靈魂在身體外的活動」 - 不僅是嚴謹的，也是天真的。Marie-Louise von Franz寫道：
They believed that they were studying the unknown phenomenon of matter . . . and they just observed what came up and interpreted that somehow, but without any specific plan. There would be a lump of some strange matter, but as they did not know what it was they conjectured something or other, which of course would be unconscious projection, but there was no definite intention or tradition. Therefore one could say that in alchemy, projections were made most naively and unprogrammatically, and completely uncorrected. … Thus there exists in alchemy an astonishing amount of material from the unconscious, produced in a situation where the conscious mind did not follow a definite program, but only searched. (von Franz, 1980: 21-2) 他們相信自己在研究未知的物質現象......他們只是觀察所出現的東西，然後以某種方式詮釋，但沒有任何特定的計劃。他們會看到一坨奇怪的物質，但由於不知道那是什麼，他們就猜測是什麼東西，這當然是無意識的投射，但卻沒有明確的意圖或傳統。因此可以說，在煉金術中，投射是最天真的、無規律的，而且是完全未經糾正的。......因此在煉金術中存在著大量來自無意識的材料，這些材料是在有意識的頭腦沒有遵循明確的程式，而只是在尋找的情況下產生的。(von Franz, 1980: 21-2)
As we have seen above, the result of this concentration of energy and observation is that the embedded, unseen and unknown contents of the psyche are projected and ‘discovered’ in the intermediate realm of the symbol. Within the tightly boundaried space of the alchemist’s laboratory, 正如我們在上文所看到的，這種集中能量與觀察的結果，就是在符號的中間領域中，投射並「發現」了內藏的、不見的、未知的心理內容。在煉金術師實驗室的緊密空間裡、
the observer both effected and was affected by his or her participation in and interpretation of what was ‘seen’. This circularity of transformational processes - projection, combination, transformation, reintegration reflects the Circulatio of the alchemical fountain, one of the great images of alchemy. 觀察者的參與和對所見事物的詮釋，既影響了觀察者，也影響了觀察者。這種轉化過程的循環性 - 投射、結合、轉化、重新整合，反映了煉金術噴泉的 Circulatio，也是煉金術的偉大圖像之一。
Jung devoted volumes to the study of this ancient art, philosc-l?y and discipline. His essay, ‘The Psychology of the Transference’ discovers and weaves the process of psychotherapy within the alchemical opus as imaged in the text and ten plates of the Rosarium Philosophorum, offering an unparalleled vision of the interpersonal and intrapsychic dynamics underlying the analytic relationship. Edward Edinger’s Anatomy of the Psyche (1993) explores and amplifies the seven alchemical operations of Calcinatio, Solutio, Coagulatio, Sublimatio, Mortificatio, Separatio and Coniunctio, his sensitive approach making these great processes both accessible and recognisable. Marie-Louise von Franz explores other manifestations of alchemy in her book, Alchemy (1980), where, using the format of a lecture followed by questions and answers, she devotes three lectures each to Old Greek, Arabic and later European alchemy. What follows is an approach to the subject based on personal discovery and experience. I hope it will serve as an example of the living reality of the processes described by Jung and all those who preceded and followed him. 榮格花了大量篇幅研究這門古老的藝術、哲學和學科。他的論文《移情心理學》(The Psychology of the Transference) 發現並將心理治療的過程納入《玫瑰哲學》(Rosarium Philosophorum) 的正文和十幅圖版所描繪的煉金術作品中，為分析關係所依據的人際關係和內在心理動力提供了無與倫比的視野。Edward Edinger 的 Anatomy of the Psyche (1993) 探索並擴大了 Calcinatio、Solutio、Coagulatio、Sublimatio、Mortificatio、Separatio 和 Coniunctio 七個煉金術的操作，他敏感的方法使這些偉大的過程既容易理解又容易辨認。Marie-Louise von Franz 在她的著作《煉金術》（Alchemy，1980 年）中探討了煉金術的其他表現形式，她採用先演講後問答的形式，針對古希臘、阿拉伯和後來的歐洲煉金術各做了三場演講。接下來的內容是以個人的發現和經驗為基礎的研究方法。我希望它能成為一個例子，說明榮格和所有前後人所描述的過程是活生生的現實。
Alchemy is a term describing an activity which seems to extend backwards in time, in various guises, as far as human records go, sharing with the equally ancient practice of shamanism, a common vision of a spiritual process of continuing transformation through recognisable states of integration followed by disintegration, of death and rebirth, of growth and stagnation. It addresses the living relationship between the visible and the invisible, the world of matter and that of the spirit. It came alive for me when, ten or fifteen years (or more) after I had dreamt or experienced them, I returned to a series of waking and sleeping experiences with the intention of gathering them up, seeing if there was a common thread or a process I could recognise at work. I was highly motivated at this time by a sense of urgency which I did not understand but which was compelling, and the period of recalling, painting (for that was how I decided to gather up these parts of me) and reflecting - about eighteen months - was characterised by a single-mindedness of energy and focus which is best described by the word ‘driven’. I chose to consult weekly with a Jungian colleague during this period; however, although I showed him the paintings, we did not discuss them. He offered me support at a time when I felt I was in danger of being almost overwhelmed by the process which was ‘driving’ me. 煉金術（Alchemy）是一個詞彙，描述的是人類歷史上似乎可以追溯到很久以前的一種活動，它以各種不同的面貌出現，與同樣古老的薩滿教（Samanism）有著共同的願景，那就是一種持續轉化的精神過程，經過可辨認的整合狀態，然後是瓦解、死亡與重生、成長與停滯。它處理的是有形與無形、物質世界與精神世界之間的活生生的關係。在我做夢或體驗這些經驗十年或十五年（或更久）之後，我重新回到一連串醒著和睡著的經驗中，打算把它們彙整起來，看看是否有共同的主線或我可以辨識的過程在起作用，這時它對我來說是活生生的。在這段回憶、繪畫（因為這是我決定彙集我的這些部分的方式）和反思的時期（大約十八個月），我被一種我不明白但卻強迫的緊迫感所激勵，這種一心一意的精力和專注，用「驅動」一詞來形容再貼切不過了。在這段期間，我選擇每週向一位榮格學的同事請教；然而，儘管我給他看了我的畫作，我們並沒有討論這些畫作。他在我覺得自己快被這個「驅使」我的過程壓倒的危機時，提供我支持。
These dreams and experiences had not formed part of my original analysis and, until I went back over journals and notebooks, many, indeed most, had been forgotten. The image that occurred to me in reflecting on 這些夢境和經驗並未構成我原始分析的一部份，而且在我翻閱日記和筆記本之前，許多，甚至大部份，都已經忘記了。我在反思時想到的畫面是
this process at a later date was that of the Möbius strip which may be constructed by taking a thin strip of paper, giving it one turn and connecting the ends. The result is an endless surface which turns back upon itself over and over again; there is no top or bottom, just a continuity. The original dreams and experiences had been one movement on this continuum which was turned back on itself when I re-collected and re-covered the material, some of which went back almost fifty years, a living experience of the Circulatio. In reflecting on it, painting it and further reflecting on the order in which I ‘chose’ to paint the experiences - an order which was neither chronological nor consciously systematic in any way - it seemed that further ‘turns’ in the spiral were occurring ‘naturally’ and I felt a continuity emerging between the past and the present, the known and the unknown and, most dramatically, between my personal images and words and what I found later in exploring the images and language of alchemy. In fact, Jung’s memorable image of the alchemist as one ‘who no longer knew whether he was melting the mysterious amalgam in the crucible or whether he was the salamander glowing in the fire’ (1954: para. 399), reflects my experience; it was often more as if I were being recollected and recovered by the material than vice versa. And here again, the spiral turns as I bring the material forward into this chapter. 莫比烏斯帶的構造方法是將一張薄紙轉一轉，然後將兩端連接起來。結果是一個無窮無盡的表面，一次又一次地回到自己身上；沒有頂或底，只有連續性。原本的夢境與經驗就是這個連續體上的一個動作，當我重新收集、重新覆蓋這些素材時，這些夢境與經驗又回到自己身上，有些素材可以追溯到近五十年前，這是一種活生生的 Circulatio 體驗。在反思它、繪畫它，以及進一步反思我「選擇」繪畫這些經驗的順序時（這個順序既不是以時間為序，也不是有意識地以任何方式有系統地進行），螺旋狀的進一步「轉彎」似乎是「自然」發生的，我感覺到過去與現在、已知與未知之間，以及最引人注目的，我個人的圖像和文字與我後來在探索煉金術的圖像和語言時發現的東西之間，出現了連續性。事實上，榮格對煉金術士的印象令人難忘，他說：「他不再知道自己是在坩堝中熔化神秘的汞合金，還是在火中發光的蠑螈」（1954：第399段），這反映了我的經驗；我經常好像被材料重新回憶和復原，而不是反過來。在此，當我將材料帶入本章時，螺旋再次轉向。
My paintings were primitive and lack of skill frustrated and limited my efforts constantly, but the experience of attempting to translate the impact of a dream or an ineffable experience into a single image was intense and exhilarating; it felt dangerous, incomprehensible and incredibly satisfying when a finished picture somehow captured what remained, none the less, elusive and deeply mysterious. I will list some of the images: the inside of a massive tower where layers of air and water slowed or sped my own descent as I tried to catch a falling scrap of blanket, with the knowledge that if it fell beyond the reach of light we were both doomed; a skinned man, bound on a wheel, being roasted; an image of four birds, first growing blindly out of the soil, then unfledged and fighting, then defeated by an eagle, then transformed into what I called a ‘Missal’ Thrush; an image of a sort of ‘crucifixion’ taking place on a massive stone globe while I watched and then, shockingly, when I wondered what my face looked like as I observed this scene, I turned to look at myself and my face was the stone globe, alight and alive. One image which felt almost more dangerous than I dared attempt was that of a descent into the underworld down a receding spiral staircase with the certain knowledge that dismemberment and death lay at the bottom and no promise at all of return. A recurring and violent earthquake heralded by astonishingly beautiful and massive cloud movements was relatively straightforward, whereas some dreams - for example, one at a crossroads where a composite animal ran from the left and disappeared into the right quadrant - seemed impossible to depict, mainly, I believe, because I did not understand or grasp the symbol. 我的繪畫很原始，技巧的缺乏使我的努力不斷受到挫折和限制，但嘗試將夢境或無法言喻的經驗轉化為單一圖像的體驗是強烈而令人興奮的；當完成的圖像以某種方式捕捉到仍然難以捉摸、深具神秘感的事物時，我感到危險、難以理解，而且滿足感令人難以置信。我將列出其中一些影像：在一座巨塔的內部，層層的空氣和水讓我的下降速度或慢或快，我試圖抓住掉下來的毯子碎片，因為我知道如果它掉到光線範圍之外，我們兩個都會完蛋；一個被綁在車輪上的被剝了皮的人正在被烤；四隻鳥的圖像，先是盲目地從土裡長出來，然後是未長成羽毛的鳥在搏鬥，最後被鷹擊敗，再轉變成我所稱的「密蘇里」鶇；在我看著的時候，在一個巨大的石球上發生了一種「受難」的圖像，然後，令人震驚的是，當我想知道我觀察這個場景時的臉是什麼樣子時，我轉過頭來看我自己，我的臉就是那個石球，燃燒著的，活生生的。有一個畫面讓我覺得幾乎比我敢嘗試的更危險，那是一個從螺旋梯下降到冥界的畫面，我確信底部就是肢解和死亡，而且完全沒有回來的希望。而有些夢境，例如在十字路口，有一隻複合動物從左邊跑來，消失在右邊的象限，則似乎無法描繪，我相信主要是因為我不了解或無法掌握這個象徵。
Altogether I did about forty small paintings and then, it seemed, I had completed what I needed to do and the ‘grip’ of the process lessened. The experience was one of being ‘operated’ upon by forces beyond my conscious perception. Vividly and arrestingly I ‘saw’ a process at work during the course of my life, during the period of most intense dreaming and experiencing, during the period of recalling and painting, and later, when I worked to find words to describe those experiences. It was and is a process of change and growth, of disintegration and transformation, of well-nigh unbearable conflict and oppositional tensions, of learning about alchemy from the inside, feeling and learning about the terrifying power and depths of the unconscious and, most of all, being incredibly moved by what felt like a silent and invisible ‘partner’ whom I had not attended to or sufficiently respected in spite of many, many ‘taps on the shoulder’ indicating an active, living presence with, within and with-out me. 我一共畫了大約四十幅小畫，然後，我似乎完成了我需要做的事，過程中的「控制」也減少了。那是一種被我意識以外的力量所「操作」的經驗。在我的生命過程中，在最激烈的夢想和經驗期間，在回憶和繪畫期間，以及之後，當我努力尋找描述這些經驗的詞彙時，我栩栩如生地「看見」一個過程在運作。這是一個改變與成長的過程，是一個瓦解與轉化的過程，是一個幾乎無法忍受的衝突與對立緊張的過程，是一個從內在學習煉金術的過程，是一個感受並學習無意識的可怕力量與深度的過程，而最重要的是，我無法置信地被一個無聲無形的「夥伴」所感動，儘管有許多許多「拍肩膀」的動作，顯示出他活生生地存在於我的內外，但我卻沒有注意到或充分尊重他。
Concluding remarks 結語
Responding to a question about the Mass, Jung said, ‘The heart of the Mass contains a living mystery, and that is the thing that works. When I say “a living mystery”, I mean nothing mysterious; I mean mystery in that sense which the word has always had - a mysterium tremendum’ (1939: para. 615). If I have conveyed nothing else I hope to have communicated a sense of this mysterium around which questions of meaning and experiences of transformation have always centred. At the heart of existence, as at the heart of matter, there is a mysterium tremendum. We may well be touched by it in the course of psychotherapeutic work and call it ‘grace’. My emphasis in this chapter has been on the projected psyche, the ‘activity of the soul outside the body’, the search for meaning which, as Jung wrote, ‘makes a great many things endurable - perhaps everything’ (1963: 373). But that is only half the picture, which is why I want to close with the famous inscription above the door at Küsnacht: ‘Vocatus atque non vocatus deus aderit’ - ‘Called and not called God will be there.’ 在回答一個關於彌撒的問題時，榮格說：「彌撒的核心包含了一個活生生的奧秘，而那就是起作用的東西。當我說「活生生的奧秘」時，我指的不是什麼奧秘；我指的是這個詞一直以來的意義上的奧秘 - 一個極大的奧秘」(1939: para. 615)。如果我沒有傳達別的意思，我希望我已經傳達了一種神秘感，而意義的問題與轉化的經驗一直都是圍繞著這種神秘感。在存在的核心，就像在物質的核心一樣，存在著一種震古烁今的神秘感。在心理治療的過程中，我們很可能會被它觸動，並稱之為「恩典」。我在本章所強調的是投射的心理，也就是「靈魂在身體之外的活動」，也就是尋找意義，正如榮格所寫的，「讓許多事變得可以忍受，也許一切都可以忍受」（1963: 373）。但這只是畫面的一半，這就是為什麼我想以 Küsnacht 大門上方著名的銘文作為結束：「Vocatus atque non vocatus deus aderit」──「被稱呼或未被稱呼的神都會在那裡」。
References 參考資料
Edinger, Edward F. (1993) Anatomy of the Psyche. Peru, IL: Open Court Publishing Company. Edinger, Edward F. (1993) Anatomy of the Psyche.Peru, IL: Open Court Publishing Company.
Heaney, Seamus (1995) The Redress of Poetry. London: Faber and Faber. Heaney, Seamus (1995) The Redress of Poetry.倫敦：Faber and Faber。
Hoeller, Stephan A. (1982) The Gnostic Jung and the Seven Sermons to the Dead. Wheaton, IL: Theosophical Publishing House. Hoeller, Stephan A. (1982) The Gnostic Jung and the Seven Sermons to the Dead。Wheaton, IL: Theosophical Publishing House.
Jonas, Hans (1992) The Gnostic Religion. London: Routledge. Jonas, Hans (1992) The Gnostic Religion.倫敦：Routledge.
Jung, C.G. (1939) The Symbolic Life. Collected Works 18. Jung, C.G. (1939) The Symbolic Life.作品集 18.
(1944) Psychology and Alchemy. Collected Works 12. (1944) Psychology and Alchemy.作品集 12.
(1949) Foreword to I Ching, trans. Richard Wilhelm, London: Arkana. (1949) Foreword to I Ching, trans.Richard Wilhelm，倫敦：Arkana.
(1954) The Practice of Psychotherapy. Collected Works 16. (1954) The Practice of Psychotherapy.作品集 16.
(1960) Psychological Types. Collected Works 6. (1960) Psychological Types.作品集 6.
(1963) Memories, Dreams, Reflections. London: Routledge and Kegan Paul/ Collins. (1963) Memories, Dreams, Reflections.倫敦：Routledge and Kegan Paul/ Collins。
Pagels, Elaine (1982) The Gnostic Gospels. Harmondsworth: Penguin. Pagels, Elaine (1982) The Gnostic Gospels.Harmondsworth：企鵝出版社。
Robinson, James M. (ed.) (1988) The Nag Hammadi Library in English. Netherlands: E.J. Brill. Robinson, James M. (ed.) (1988) The Nag Hammadi Library in English.荷蘭：E.J. Brill.
Smith, Richard (1988) ‘Afterword’, in The Nag Hammadi Library in English. Netherlands: E.J. Brill. Smith, Richard (1988) 'Afterword', in The Nag Hammadi Library in English.荷蘭：E.J. Brill.
von Franz, Marie-Louise (1980) Alchemy. Toronto: Inner City Books. von Franz, Marie-Louise (1980) Alchemy.多倫多：Inner City Books.
'God Could Be Something Terrible’ 上帝可能是可怕的東西
Margaret Clark 瑪格麗特-克拉克
'I regard the psyche as real'
(Jung, 1952: para. 751) 我將心理視為真實」（Jung，1952：第 751 段）。
As kingfishers catch fire, dragonflies draw flame; 如同翠鳥著火，蜻蜓引火；
As tumbled over rim in roundy wells 在圓形水井的邊緣翻滾
Stones ring; like each tucked string tells, each hung bell’s 石頭的鈴聲；就像每條纏繞的繩子在訴說，每個懸掛的鈴聲
Bow swung finds tongue to fling out broad its name; Bow 搖晃著他的舌頭，說出了他的名字；
Each mortal thing does one thing and the same: 每一件凡物都做一件事，而且都是一樣的：
Deals out that being indoors each one dwells; 每個人都住在室內；
Selves - goes itself; myself it speaks and spells, 自我 - 去它自己；我自己會說話和咒語、
Crying What I do is me: for that I came. 哭泣 我所做的就是我：為此我來了。
I say more: the just man justices; 我多說一句：公正的人公正；
Keeps grace: that keeps all his goings graces; 保持恩典：保持他所有的恩典；
Acts in God’s eye what in God’s eye he is - 在上帝眼中的行為 在上帝眼中的行為 在上帝眼中的行為 在上帝眼中的行為
Christ - for Christ plays in ten thousand places, 基督 - 因為基督在萬處演奏、
Lovely in limbs, and lovely in eyes not his 肢體可愛，眼睛也不像他那麼可愛
To the Father through the features of men’s faces. 透過人臉上的特徵來見天父。
(G.M. Hopkins)
For Jung, as for Hopkins, ‘Each mortal [person] does one thing and the same: / Deals out that being indoors each one dwells; . . . / Crying What I do is me: for that I came.’ This ‘being’ that dwells indoors us Jung calls our self, and he writes: ‘the urge and compulsion to self-realisation is a law of nature and thus of invincible power’ (1940: para. 289; my italics). This self is at first unconscious. So we project it - as from infancy we project our unconscious feelings, ‘seeing’ them first outside us, in another person, situation or story. Our self is so huge that we need a huge symbol as a container to project it into - such as a circle, a tree, a jewel, an egg, a god. Such projections are inevitable. They are also useful, enabling us to understand in depth our affective responses, first to our symbol and then, if we can take back our projections, to our own self: we realise in consciousness 對榮格而言，就像霍普金斯一樣，「每個凡人都在做一件事，而且是一樣的：................./ 哭喊我所做的就是我：為此我來了。這個住在我們裡面的「存在」，榮格稱之為我們的自我，他寫道：「自我實現的衝動與強迫是自然的定律，因此具有無敵的力量」（1940：第 289 段；我的斜體）。這個自我一開始是無意識的。所以我們投射它 - 就像從嬰兒時期開始，我們就投射我們無意識的感覺，先在我們之外，在另一個人、情境或故事中「看見」它們。我們的自我是如此的巨大，以至於我們需要一個巨大的符號作為容器來投射它，例如一個圓、一棵樹、一顆寶石、一個蛋、一個神。這樣的投射是無可避免的。這些投射也是有用的，可以讓我們深入了解我們的情感反應，首先是對我們的符號，然後，如果我們可以收回我們的投射，就可以了解我們的自我：我們在意識裡意識到
that the mystery, power and terror formerly attributed to God (and the devil) belong to our own self and are our responsibility. Thus we come to see other people, objects and ideas more objectively, less distorted by our projections into them. Only then can we be just and act justly: ‘the just man justices’. This process Jung calls individuation; its effects are not confined to internal psychic development. 以前歸因於上帝（和惡魔）的神秘、力量和恐怖都屬於我們自己，是我們的責任。因此，我們會更客觀地看待其他人、物體和想法，而不會被我們對他們的投射所扭曲。唯有如此，我們才能公正地行事：「公正的人公正」。榮格將這個過程稱為個人化；它的影響不僅限於內在的心理發展。
Analysis/therapy is for me about accepting as much as we can of our own reality. Internal reality, to Jung, is as real as external reality. So an apparently universal belief in God is a psychic fact which needs to be taken seriously, understood as a projection of our self and not as establishing (or denying) a metaphysical truth (Jung, 1938: paras 166-8). 對我來說，分析/治療是關於盡可能接受我們自己的現實。對榮格而言，內在現實與外在現實同樣真實。因此，表面上看來對上帝的普遍信仰，是一個需要認真看待的心理事實，它被理解為我們自我的投射，而不是建立（或否認）形而上學的真理（Jung, 1938: paras 166-8）。
Because, like Jung, I have a background in traditional Christianity, I’m focusing here on Jung’s interpretation of Christian, rather than of Gnostic or alchemical imagery, following his injunction to ‘give a little thought to what the symbols really mean’ (Jung, 1948: para. 293). The Christian story, of God incarnated in Jesus and of Jesus’ struggle with Satan, exemplifies in powerful symbols the process of our self coming into our consciousness, including our struggle with our shadow. So we can use this story to explore, in a projected form, our internal reality. I find these symbols have immediate relevance in very ordinary clinical situations. 由於我和榮格一樣，都有傳統基督教的背景，因此我在此著重於榮格對基督教而非諾斯替教或煉金術意象的詮釋，並遵循他「稍微思考一下符號的真正意義」（Jung，1948：第 293 段）的指示。基督教故事中，上帝化身為耶穌，耶穌與撒旦的鬥爭，以強有力的象徵體現了我們的自我進入我們意識的過程，包括我們與陰影的鬥爭。因此，我們可以利用這個故事，以投影的形式來探索我們的內在現實。我發現這些符號在非常普通的臨床情況中也有直接的關聯性。
God and Satan 神與撒旦
In the traditional Christian story, evil is split off from good. Satan has been expelled from Heaven; then, on earth, either on the Cross or in a final battle at the end of time, Jesus defeats Satan, who is bound for ever. And the ‘new Jerusalem, coming down from God out of heaven’, offers us a place solely spiritual and with no pain or sorrow (Rev. 21. 1-4). Satan - and matter have been eliminated. 在傳統的基督教故事中，邪惡從正義中分裂出來。撒旦被逐出天堂；然後，在地上，不是在十字架上，就是在末日的最後一場戰爭中，耶穌擊敗了撒旦，使他永遠被綑綁。由神從天上降下的新耶路撒冷」為我們提供了一個完全屬靈、沒有痛苦或悲傷的地方（啟示錄 21.1-4）。撒旦和物質都被消除了。
Jung sees this as no solution: it represents an idealised view of the self based on denial of our shadow and our bodies. In fact, we live in matter - in our bodies, and in a material world - and our struggle with our shadow is never ended. This struggle is essential as, for Jung, the psyche is essentially structured through a tension between opposites: we can know ‘above’ only in contrast to ‘below’. So for good to be ‘real’ and known, evil also must be ‘real’ and known. Jung consistently attacks the view which implies that good is the norm and evil only a lack of good, and which thus minimises the power of evil (1948: para. 247). He reinterprets the story that God created Satan, to emphasise that Satan stays part of God. 榮格認為這並非解決方案：它代表了一種理想化的自我觀點，以否定我們的陰影和身體為基礎。事實上，我們活在物質中 - 活在我們的身體裡，活在物質世界裡 - 我們與陰影的掙扎永遠不會結束。這種掙扎是非常重要的，因為在榮格看來，心理的結構本質上是透過對立面之間的張力所構成的：我們只有在「下面」與「上面」的對比中才能認識「上面」。因此，為了讓善「真實」且為人所知，惡也必須「真實」且為人所知。榮格一直在抨擊這樣的觀點，它暗示善是常態，而惡只是善的缺乏，因此將惡的力量降到最低（1948：第247段）。他重新詮釋上帝創造撒旦的故事，強調撒旦是上帝的一部分。
Even as a child, Jung knew that ‘God could be something terrible’ (Jung 1983: 25, 56 f.). And in his 70s, in six tremendous essays published between 1946 and 1956, he writes that God is terrible because Satan is an integral and inevitable part of God. God is originally ‘a unity unclouded by criticism’ 甚至在孩童時代，榮格就知道「上帝可能是可怕的」（Jung 1983: 25, 56 f.）。而在他七十多歲時，他在 1946 年到 1956 年間發表的六篇重要論文中寫道，上帝之所以可怕，是因為撒旦是上帝不可或缺、不可避免的一部分。上帝本來就是「一個不受批判遮蔽的合一」。
who then ‘begets’ Jesus - and thereby, also, inevitably, Satan: ‘the opposites latent in the Deity flew apart when the Son was begotten’; we can recognise Jesus ‘only by virtue of something else that is not Jesus’, i.e. Satan (1948, paras 201, 254, 259). 然後，他「生出」耶穌，也因此不可避免地生出撒旦：「當聖子被生出時，潛藏在神性中的對立面就飛散了」；我們「只能藉由其他不是耶穌的東西」，也就是撒旦，才能認出耶穌（1948 年，第 201、254、259 段）。
This account is an archetypal image of individual development, in the separating of the baby’s ego out of her primary self (c.f. chapter 1 in this volume), of consciousness out of unconsciousness, of mind from body, and of the baby from her parents. Each separation inevitably ‘begets’ a shadow, because consciousness brings awareness of difference, which means, inevitably, awareness of loss, frustration, anxiety. So the regressive pull not to become conscious is powerful. 這個描述是個人發展的原型圖像，嬰兒的自我從她的主要自我中分離出來 (參閱本冊第 1 章)，意識從無意識中分離出來，心靈從身體中分離出來，嬰兒從她的父母中分離出來。每一次的分離都不可避免地「生出」一個陰影，因為意識帶來了對差異的覺察，也就意味著，不可避免地，對失去、挫折、焦慮的覺察。所以不變得有意識的倒退拉力是強大的。
Earlier in his analysis, my patient, Andrew, kept his ‘unity’, in unconsciousness, by projecting into his wife his envy and hatred of me for what he perceived as my power over him - his wife, he said, didn’t want him to have analysis. He himself felt only gratitude to me. Now he realises, after struggling with his shame, that the envy and hatred are also his. When someone loses the ‘semblance of unity . . . realises that he himself has a shadow, that his enemy is in his own heart, then the conflict begins and one becomes two’ (1946: para. 399). 我的病人 Andrew 在他分析的較早時候，在無意識的情況下，透過投射到他太太身上他對我的 羨慕和憎恨，因為他認為我對他有力量 - 他說他太太不希望他有分析。他自己對我只有感激之情。現在，他在與羞愧掙扎之後，意識到妒忌和憎恨也是他自己的。當一個人失去了「統一的表象......意識到他自己有一個陰影，他的敵人就在他自己的心中，那麼衝突就開始了，一個人變成了兩個人」（1946：第399段）。
The shadow: Satan within 陰影：內在的撒旦
The shadow is therefore not a metaphysical but an eminently practical problem. And ‘one of the toughest roots of all evil is unconsciousness’ (1948: para. 291). So, when Andrew’s wish to dominate was unconscious, he projected it into his workmates, experienced them as dominating him, and was therefore abusive to them. Similarly, in society, we project our collective shadow - for instance, into nuclear weapons (c.f. Redfearn, 1992). 因此，陰影不是一個形而上學的問題，而是一個非常實際的問題。而「所有邪惡的最堅硬根源之一就是無意識」（1948：第 291 段）。因此，當 Andrew 無意識地想要主宰他人時，他就會將這種想法投射到他的工作夥伴身上，體驗到他們在主宰他，因此對他們施暴。同樣地，在社會中，我們投射出我們的集體陰影 - 例如，投射到核子武器上 (c.f. Redfearn, 1992)。
When Caroline came to therapy, she was suffering from depression, panic attacks and feeling ‘unreal’. She was totally unconscious of her shadow, totally identified with her persona, seeing herself solely as a loving wife and mother and assuming a pseudo-independence based on omnipotence. She’s now gradually accepting that she’s an ordinary woman, who gets tired and cross, wants to control people and be dependent, feels insecure, and would sometimes like to leave her husband and children. Caroline 前來接受治療時，正飽受憂鬱、恐慌和「不真實」感的折磨。她完全沒有意識到自己的陰影，完全認同自己的角色，只將自己視為一個慈愛的妻子和母親，並假定自己是建立在萬能基礎上的假獨立。她現在逐漸接受自己是個平凡的女人，她會感到疲倦和煩躁，想要控制別人和依賴別人，感到沒有安全感，有時候想離開她的丈夫和孩子。
These feelings are now irreversibly conscious, and Caroline feels more ‘real’; as Jung says, ‘My shadow . . . gives me substance and mass’ (1929b: para. 134). But Caroline isn’t sure what is her shadow, what’s right or wrong for her to do, as in the dream Jung reports of a black magician confusingly clad in white and a white magician clad in black (1928: para. 287). She knows only that her wish to stay and her wish to leave are both inextricably part of her self; ‘Satan’ is inextricably part of ‘God’. She’s caught in ‘a conflict of duties, whose solution requires us to understand 這些感覺現在是不可逆轉的意識，而 Caroline 感到更「真實」了；正如榮格所說：「我的陰影 ... ... 給我實質和質量」（1929b：第 134 段）。但是 Caroline 並不確定什麼是她的陰影，對她來說，什麼是對的，什麼是錯的，就像 Jung 所說的夢境一樣，夢見一個身穿白衣的黑衣魔術師和一個身穿黑衣的白衣魔術師，令人困惑（1928: 第 287 段）。她只知道她想要留下與想要離開的願望都是她自我不可分割的一部份；「撒旦」是「上帝」不可分割的一部份。她陷入了「一個責任的衝突，其解決方法需要我們了解
that our “counter-will” is also an aspect of God’s will’ (1948: para. 292). Through her now conscious tension between these opposites, she may find her own ‘life-form’. I certainly can’t find it for her. As Jung says: ‘the shoe that fits one person pinches another; there is no universal recipe for living. Each of us carries his own life-form within him - an irrational form which no other can outbid’ (1929a: para. 81). 我們的「反意願」也是神的意願的一個方面」（1948：第 292 段）。透過她現在意識到的這些對立面之間的張力，她可能會找到她自己的「生命形式」。我當然無法替她找到。正如 Jung 所說：「一個人穿合腳的鞋子，另一個人就會穿著不合腳；並沒有放之四海皆準的生活方式。我們每個人內心都有他自己的生命形式 - 一種非理性的形式，沒有其他人可以比得上」（1929a: 第 81 段）。
What we’ve met of Caroline’s shadow so far isn’t satanic, ‘merely somewhat inferior, primitive, unadapted, and awkward; not wholly bad’ (1938: para. 134). But other people in my consulting room can experience their shadow as an evil power like Satan: a man realises he wants to punch me to pulp; a woman discovers she wants to murder her husband. It’s the death of our previous partial view of ourselves - which brings the possibility of resurrection or of re-birth, as ‘a new man’ (1938: para. 56). It also brings the possibility of the ego being overwhelmed by the shadow, as with the patient who’s becoming aware of her sadism, her depression, and the hollowness of her omnipotence, and is finding it hard to keep going. The patient may even identify with the emerging shadow, as in psychosis, when the devil or the tiger in them may act out murderous attacks. The risks are real; God (our whole self) can be terrible. 到目前為止，我們所見到的 Caroline 的陰影並不是撒旦，「只是有點低級、原始、不適應、笨拙；不完全是壞的」 （1938：第 134 段）。但是在我的諮詢室裡的其他人卻能體驗到他們的陰影是像撒旦一樣的邪惡力量：一個男人意識到他想把我揍成肉泥；一個女人發現她想謀殺她的丈夫。這是我們之前對自己片面看法的死亡--這帶來了復活或重生的可能性，成為「一個新的人」（1938：第 56 段）。它也帶來了自我被陰影壓倒的可能性，就像病人開始意識到她的虐待狂、她的憂鬱、她的全能的空洞，並且發現很難再繼續下去。病人甚至可能認同新出現的陰影，就像在精神病中，他們心中的魔鬼或老虎可能會做出謀殺攻擊的行為。風險是真實存在的；神（我們的整個自我）可能會很可怕。
In his late teens, Jung had a dream about the shadow and consciousness: 在他十幾歲的時候，榮格做了一個關於影子和意識的夢：
It was night in some unknown place, and I was making slow and painful headway against a mighty wind. Dense fog was flying along everywhere. I had my hands cupped around a tiny light which threatened to go out at any moment. Everything depended on my keeping this little light alive. Suddenly I had the feeling that something was coming up behind me. I looked back, and saw a gigantic black figure following me. But at the same moment I was conscious, in spite of my terror, that I must keep my little light going through night and wind, regardless of all dangers. When I awoke I realised at once that the figure was a ‘spectre of the Brocken’, my own shadow on the swirling mists, brought into being by the little light I was carrying. I knew, too, that this little light was my consciousness, the only light I have. My own understanding is the sole treasure I possess, and the greatest. Though infinitely small and fragile in comparison with the powers of darkness, it is still a light, my only light. 那是一個不知名的夜晚，我迎著強風緩慢而痛苦地前行。濃霧四處飛揚。我的雙手緊握著一盞隨時可能熄滅的小燈。一切都取決於我能否讓這盞小燈繼續亮著。突然，我感覺有東西從我後面過來了。我回頭一看，只見一個巨大的黑色身影跟在我後面。但同時我也意識到，儘管我很害怕，我必須不顧一切危險，讓我的小燈在黑夜和風中繼續發亮。當我醒來的時候，我立刻意識到那個身影是 「布洛肯的幽靈」，是我自己在漩渦的迷霧中的影子，是我身上的小燈帶來的。我也知道，這盞小燈是我的意識，是我唯一擁有的光。我自己的理解力是我擁有的唯一寶藏，也是最偉大的寶藏。雖然與黑暗的力量相比，它無限渺小、脆弱，但它仍然是一道光，我唯一的光。
(1983: 107f.; my italics) (1983: 107f.; my斜體)
Although our shadow is there all the time, it seems to us that we bring it into being by the light of our consciousness - because that’s when we become aware of it. Quite early in our work together, Anna, a white woman, dreamed of her shadow wanting to become conscious. She dreamed of having to tie a black girl of fifteen on to a bed. This girl was pleading to be allowed to get up, with just her hands tied. The dreamer 雖然我們的陰影一直都在，但對我們來說，似乎是我們的意識之光讓它出現的 - 因為那是我們意識到它的時候。在我們一起工作的初期，白人女性 Anna 夢到她的陰影想要變得有意識。她夢到不得不把一個十五歲的黑人女孩綁在床上。這個女孩懇求被允許起身，只是雙手被綁著。夢者
decided she could tame her, that it would be all right and that the judge had been wrong in saying she should be tied up for life because she’d stabbed her elder sister and perhaps her mother. 她決定她可以馴服她，一切都會好起來的，法官說她應該被終身監禁是錯的，因為她刺傷了她的姐姐，也許還刺傷了她的母親。
Through our discussion, Anna found it safe to untie her shadow, to allow into consciousness her hostile feelings to her sister and mother, and her wish to kill her internal sister and mother. In place of the clarity of splitting and denial, where the shadow remains unconscious (in the Christian story, Satan is bound for ever and Christ rules in triumph), Anna, like Caroline, meets her shadow, in confusion and compromise, in consciousness (c.f. Dourley, 1995: 186f.). 透過我們的討論，Anna 發現可以安全地解開她的陰影，讓她意識到她對姐姐和母親的敵意，以及她想殺死她內心的姐姐和母親的願望。取而代之的是分開和否認的清晰，在那裡陰影保持無意識（在基督教故事中，撒旦永遠被束縛，基督在勝利中統治），Anna，就像Caroline一樣，在混亂和妥協中，在意識中與她的陰影相遇（參見Dourley, 1995: 186f.）。
The Incarnation 道成肉身
This coming of unconscious contents (the self) into consciousness is symbolised in Christianity by the story of the Incarnation of God in the man Jesus, his crucifixion and resurrection. The dangers attending his birth, for instance, symbolise the difficult and uncertain beginnings of the individuation process, with Herod as that part of ourselves which feels threatened by change and tries to eliminate it (see Edinger, 1987). Jesus, Jung writes, ‘must suffer the terrible torture of having to endure the world in all its reality. This is the cross he has to bear’ (1948: para. 265). As our self comes more into consciousness, we become more conscious of reality, of the inevitability of limitation, failure, separation, conflict, loss. 這種無意識的內容（自我）進入意識的過程，在基督教中象徵著上帝在耶穌身上道成肉身、受難和復活的故事。例如，耶穌誕生時的危險象徵著個人化過程開始時的艱難與不確定性，而希律王則是我們內心感受到改變所帶來的威脅，並試圖消除這種威脅的部分（見 Edinger, 1987）。榮格寫道：「耶穌必須承受可怕的折磨，必須忍受這個世界所有的現實。這是他必須背負的十字架」（1948：第 265 段）。當我們的自我更加進入意識時，我們對現實、對限制、失敗、分離、衝突、損失的無可避免性也更加意識到。
But, without this limitation, there can be no Incarnation at all. The only channel for a realisation of any part of my self is the consciousness and actions of my ego and my body, which have to exist and act in particular time and particular space - as Jesus lived when he did, chose his apostles from the people he met - and one of them betrayed him. Equally, I can live only one of the many lives potentially in my self: if I choose to be an analyst, I can’t also be an accountant. For some people, having thus to relinquish anything of their selves is so painful that they can’t choose anything: they stay suspended, unable to commit themselves to this partner, this job, because of the loss this entails of all the other potential partners and jobs. So there is no incarnation, no action, no life. 但是，如果沒有這個限制，根本就不可能有「道成肉身」。要實現我自我的任何部分，唯一的管道就是我的自我與我的身體的意識與行動，它們必須在特定的時間與特定的空間中存在與行動──就像耶穌活著的時候，從他所遇到的人中挑選他的使徒──其中一個背叛了他。同樣地，我只能活在自我潛在的眾多生命中的一種：如果我選擇當分析師，我就不能同時當會計師。對某些人來說，要放棄自我的任何東西是如此痛苦，以至於他們無法選擇任何東西：他們懸而未決，無法委身於這個夥伴、這份工作，因為這樣會失去所有其他潛在的夥伴和工作。所以沒有化身、沒有行動、沒有生命。
Jung sees Christ, crucified between a good and a bad thief, as experiencing the agony of uniting opposite experiences - of the choices and limitations of life, of good and bad, of horizontal and vertical held together in the structure of the cross (Jung, 1951: para. 123). Early in her work with me, Brenda used this symbolism to express her sense of herself. Excruciatingly stuck in her depression, she brought me a ‘picture’ - with nails and fragments of wood and leather embedded in plaster, all in white except for a streak of red dripping off a nail. It represented for her a broken cross, and this was how she experienced herself. The opposites, symbolised in the structure of the cross as held together, were for her fragmented, and she 榮格認為基督被釘在一個好小偷和一個壞小偷之間，他經歷了結合相反經驗的痛苦 - 生命的選擇與限制、好與壞、橫向與縱向在十字架的結構中結合在一起（榮格，1951：第 123 段）。在她與我合作的早期，Brenda 使用這個象徵來表達她對自己的感覺。她非常痛苦地陷在她的憂鬱中，她帶給我一幅「圖畫」--有釘子、木頭和皮革的碎片嵌在石膏中，除了從釘子上滴下的一條紅色條紋之外，其他都是白色的。對她來說，這代表著一個破碎的十字架，而她就是這樣體驗自己的。十字架的結構象徵著對立，但對她來說卻是支離破碎的。
had no sense of her self as able to unite them - there is here no Christ being crucified. After some six months, she began to dream of opposite states which didn’t meet - literally ‘states’ in the case of the heavily guarded border between France and Germany, metaphorically in dreams of the beach and the sea, or of the walls of a house which didn’t quite meet the floor. She was becoming aware of the opposites she was carrying inside herself - such as her passive depressed mother and her active manic father. 她不覺得她的自我能夠將它們結合起來--這裡沒有基督被釘在十字架上。大約六個月之後，她開始夢到不相交的對立狀態 - 字面上的「狀態」是指法國與德國之間戒備森嚴的邊界，隱喻上是指海灘與大海，或是房子的牆壁與地板不相交。她開始意識到自己內心的對立面，例如被動消沉的母親和主動狂躁的父親。
Jung writes frequently that ‘Christ exemplifies the archetype of the self’. But sometimes he thinks of God as symbolising the self - a God who can beget both Christ and Satan - and Christ as lacking ‘a nocturnal side’ and so realising only part of the archetype of the self, because the self is ‘by definition a complexio oppositorum’. In this view, Jesus isn’t fully man, as he was born ‘perfect’, without Original Sin (1948: paras 232, 283; 1951: paras 70, 123; cf. 1954: para. 414). 榮格經常寫道：「基督體現了自我的原型」。但有時候，他認為上帝是自我的象徵 - 一個可以同時孕育基督與撒旦的上帝 - 而基督缺乏「夜間的一面」，因此只實現了自我原型的一部分，因為自我「依定義是一個複雜的對立面」。在這個觀點中，耶穌不是完全的人，因為他生來就是「完美的」，沒有原罪（1948：第 232、283 段；1951：第 70、123 段；參見 1954：第 414 段）。
Jung writes, ‘What happens in the life of Christ happens always and everywhere’ (1938: para. 146) - and the Christ stories help us understand what is happening, always and everywhere in our human psyches. When we read these stories as an enactment in projection of our own psychic processes, then they are invaluable, as symbols which represent for us what is, without a symbol, irrepresentable. But when we take the stories literally, as if they are about someone else, we stay unconscious of our own rich potential and of the ethical imperative this brings. We then remain as little children, dependent on God, instead of taking responsibility for our own ‘child’ and our own ‘God’. Jung says, 'The Christ Child . . . is a religious necessity only so long as the majority of men are incapable of giving psychological reality to the saying: “Except ye become as little children . . .” (1940: para. 287; my italics). 榮格寫道：「基督生命中發生的事，無時無刻、無處不在發生」（1938：第 146 段）──基督的故事幫助我們了解在我們人類的心理中，無時無刻、無處不在發生的事。當我們把這些故事當作我們自己心理過程的投射來閱讀時，這些故事是無價的，它們就像符號一樣，為我們呈現那些沒有符號就無法呈現的東西。但是，當我們從字面上理解這些故事時，就好像它們是關於別人的故事一樣，我們對於自己豐富的潛能以及由此帶來的倫理責任就毫無意識。我們就會像小孩子一樣依賴上帝，而不是為自己的「孩子」和自己的「上帝」負責。榮格說：「基督的孩子......是宗教的必需品，只要大多數人無法在心理上實現這句話：「除非你們變得像小孩子一樣......」（1940：第 287 段。(1940: para. 287; my斜體)。
The coming of the Holy Spirit: Christ within 聖靈的降臨內在的基督
Viewing the whole Christian story, including the coming of the Holy Spirit at Pentecost, as ‘psychological reality’, we understand as symbols Jung’s statements that ‘the future indwelling of the Holy Ghost in man amounts to a continuing incarnation of God’, and that we are now ‘the stable in which the Lord is born’ (1952: para. 693; 1948: para. 267). This develops the Christian mystical tradition of the ‘God within’, which the Church has emphasised less than the historical Jesus, in order to preserve continuity and the Church’s own authority, and to prevent the dangers of heresy and inflation (c.f. 1954: para. 446). 將整個基督教的故事，包括聖靈在五旬節的降臨，視為「心理的現實」，我們可以理解為榮格的象徵，他說：「未來聖靈住在人身上，等於神繼續道成肉身」，我們現在是「主誕生的馬棚」（1952：第 693 段；1948：第 267 段）。這發展了基督教「內在的神」的神秘傳統，教會較少強調歷史上的耶穌，以維持連續性與教會本身的權威，並防止異端與膨脹的危險（參1954：第446段）。
Inflation occurs when ‘God dwells in me’ becomes ‘therefore I am God’. As Jung points out, Jesus himself says that ‘you are gods, sons of the Most High, all of you’ (1952: para. 692) (echoing the Serpent’s temptation in Genesis (3: 5): ‘Ye shall be as gods’): but how are we to integrate into our consciousness the powerful aspects of our self previously projected into 當「神住在我裡面」變成「因此我就是神」時，就會出現膨脹。正如榮格所指出的，耶穌自己說「你們都是神，都是至高者的兒子」（1952：第 692 段）（與《創世記》（3：5）中蛇的誘惑相呼應：你們應當如神一樣」）：但我們要如何將我們自我的強大層面整合到我們的意識中呢？
