4.3 The
content of the Hermetic opus: The death of the Heavenly king
4.3.1
Carl Jung’s problem with the interpretation of the unio corporalis
Twelve years after
the interpretation of the Rosarium,
in his work Mysterium
Coniunctionis (1955), the depth psychologist compares, as I
have already briefly mentioned,
the unio mentalis, the
release of the psyche out of matter or of the body (see 7th
picture on the right) and its union with the spirit to the
spirit-psyche in the Christian Heaven with Active Imagination.
Since the goal of the latter is exactly the creation of the
spirit-psyche, he compares his imagination method with the
alchemical production of the caelum,
the “heaven”. In a psychological terminology he interprets
further the first phase of Dorneus’ opus
as the integration of the personal shadow with the help of
Active Imagination. For him this
task is thus equivalent to arriving at self-knowledge.
As the procedure of
the liberation of the spirit or the psyche – Carl Jung never
distinguishes really between the two – from matter or from the
body, Active Imagination is per se a Neoplatonic concept. As a
logical consequence the
physical body stays outside of this procedure and Carl Jung’s
depth psychology ends with Neoplatonic Active Imagination,
the modern unio mentalis.
As I will show in
the following, the second phase of Dorneus’ opus, the unio corporalis, the second coniunctio,
the sexual union of the god and the goddess and its goal in its Hermetic
alchemical meaning, the
creation of the subtle body or of the quintessence, of the lily
or the Seal of Solomon
is not included, when Carl Jung interprets the
subtle body in a Neoplatonic way as the creation of the
“spiritual subtlety”, the quaternity of the conscious
functions, and as the integration of the shadow with the help of Active Imagination.
The main reason for
this inability is the circumstance that Active Imagination is,
in my terms, the liberation of the psyche from matter and its
union with the spirit. In alchemical terms the soul leaves the
body and unites with the spirit in Heaven. However, during the unio
corporalis the
psyche chooses now the opposite direction,
abandons the spirit and unifies again with matter, the
“earth” or the body.
Thus, Carl Jung has
now a problem, since it is impossible to compare the descent of
the psyche, the absolutely decisive process of the unio
corporalis, and its re-union with matter or the “earth”
in the dew, with the opposite process of Active Imagination, the
psyche’s liberation from matter or the body, and the
psyche’s union with the spirit in Heaven. Therefore the depth
psychologist begins now, in my opinion, to create a confusion,
in which, at the end, he tries to identify also the second phase
of Dorneus’ opus, the unio
corporalis, as Active Imagination, the liberation of the
psyche from matter (or from the instinctive patterns).
4.3.2
The descent of the god and his death in the womb of the goddess
In
the section The Monocolus
of his Work Mysterium Coniunctionis Carl Jung deals with the unio
corporalis. He introduces into the discussion some images of
a so-called “uniped” (monocolus), obviously the alchemical
king, the god. These pictures are published in the Paris codex
(Fr. 14765). Its author is Abraham le Juif, i.e., Abraham
Eleazar. The 7th
picture shows the union of the king with the queen:
In § 734 Jung
describes this image with the following words:
“What
our Abraham le Juif text says about the royal persons sounds
like a mythologem: the sun, the king of the blue sky, descends
to earth and it becomes night; he then unites
with his wife, the earth or sea. The primordial image of Uranos
and Gaia may well be the background of this picture. … The
French alchemists of the eighteenth century were familiar with
the king, the hot, red sulphur of the gold, and called it Osiris;
the moist (aquosum)
they called Isis.” [emphasis mine]
The hot, red
sulphur or the bright gold in Heaven, the spirit-psyche as
the result of the unio
mentalis, the king of the Logos principle is not yet the
final goal of the opus, the philosophical gold. For the wedding
with the queen this principle has to come down. Only like this
the red sulphur can re-unify with the white sulphur (or salt),
with the cold and moonlike silver, the moist substance.
Only then the final goal is reached, which is, after Albertus
Magnus Jung quotes here, the “gold [that] is silver
‘inside’ and vice versa.”,
synonymous to the lily, to the Seal of Solomon, to the
quintessence, the infans
solaris and to the red tincture.
This description of
the lapis as a
re-union of the opposites leads Carl Jung to the further remark
that the unio corporalis darkens the sun. It is obvious that an eclipse is
meant, since the eclipse of the sun and the moon is another
image for the coniunctio.
The depth psychologist tells us then that the French alchemists used also the
symbol of the divine pair Isis and Osiris, the latter the king
of the underworld. This shows that the union happens in fact not
in Heaven, but in the Beyond.
As I have shown,
the myth of Isis and Osiris is a vegetative myth, since after
the dismemberment of the god of the underworld – also the
central procedure of the unio
corporalis -- Isis does not find his phallus anymore. In the
re-union of his body she replaces therefore the real male sexual
organ with a wooden one. Symbolically seen, “wooden” means
“vegetative”. This detail shows us that in this moment the
opus continues with a deeply introverted procedure and has –
like the Buddhist and Hindu Tantrism – to do with the
sympathetic (“vegetative”) nervous system.
In Robert Fludd’s
opus Wolfgang Pauli was so fascinated of, it is the heaven that
comes down. Further, in a countermovement, the earth moves up,
and the two meet on an equal footing in the middle and create an
intermediary realm.
It is a subtle realm we can also equate with the Beyond or the
unus mundus, the psychophysical reality,
“an
invisible, potential form of reality that is only indirectly
inferable through its effects.”
In the alchemical visio
Arislei the king enters even the uterus of the queen and dissolves there into
atoms:
“Then
Beya [the queen] mounted upon Gabricius [the king] and enclosed
him in her womb, so that nothing at all could be seen of him any
more. And she embraced Gabricius with so much love that she
absorbed him completely into her own nature, and divided him
into indivisible parts.”
A further example
of “the silver plating of the gold” or of the union of the
red with the white sulphur is Ripley’s
Cantilena.
Carl Jung quotes the
decisive verses of this song as follows:
Usterly perish’d is the Flower of Youth,
Through all my Veines there courses naught but Death.
Mavelling I heard Christ’s voice, that from above
I’le be Reborne, I know not by what Love.
Else I God’s Kingdom cannot enter in:
And therefore, that I may be Borne agen,
I’le Humbled be into my Mother’s Breast,
Dissolve to my First Matter, and there rest.
And he concludes:
“In
order to enter into God’s Kingdom the king must transform
himself into the prima materia in the body of his mother, and
return to the dark initial state which the alchemists called the
‘chaos.’ In this massa confusa the elements are in conflict and repel one another;
all connections are dissolved. Dissolution is the prerequisite
for redemption. The celebrant of the mysteries had to suffer a
figurative death in order to attain transformation.”
A little earlier
the depth psychologist shows us the real revolution which in my
opinion is extremely constellated today, at the beginning of the
21st century (see also footnote 15). He stresses the
blasphemy of the identification of the alchemical king with God,
since the former is old, senile, infertile. Then he continues:
“We
have here, in fact, a new religious declaration: God is not only
in the unspotted body of Christ and continually present in the
consecrated Host but – and this is the novel and significant
thing – he is also hidden in the ‘cheap,’ ‘despised,’
common-or-garden substance, even in the ‘uncleanness of this
world, in filth.’”
[emphasis mine]
Of course the above
quote reminds us of the central motto of alchemy I discussed in
the Introduction: In stercore invenitur –
In the dirt we will find it
– not the aurum vulgi,
the common gold, but the philosophical gold, the “silver
plated gold” or the “gilded silver,”
the union of the opposites.
In his work Psychology
and Alchemy Carl Jung goes even further and tells the
perplexed reader that the lapis, the philosophical gold, is a parallel to the Christian God
and the alchemist thus “a redeemer of God and not the one to
be redeemed”.
It is obvious that this redemption must happen in stercore, in which the king, the parallel to the Christian God,
during the unio corporalis
has fallen.
In a special branch
of Jewish mysticism, the Kabbalah of Isaak Luria (1534 –
1572), there exists an impressive parallel: When God created the ten-fold tree
of the Sefiroth – a Gnostic image of the Anthropos (God-man)
– only the first three Sefiroth were strong enough to absorb
the Divine Light.
The rest were too weak and
broke whereby they were swallowed by the demonic forces and
matter. With this disintegration of the Anthropos a state of
non-redemption of man and
God was created. Therefore man has the challenge of the
so-called tikkun, the
restitution of the Anthropos (God-man) in his wholeness. In this
way every human being assists the godhead with the reversal of
the destruction of the world’s creation. When we contemplate
the disaster of today's world, the thought could come that such
a method could be the greatest and very last attempt to rescue
mankind.
Carl Jung was excited
about this idea of Luria's Kabbalah. He realized in it a
mystical correspondence to his individuation process, discovered
in empirical experience and writes in a letter:
“Here the thought emerges for the first time
that man must help God to repair the damage wrought by the
Creation. For the first time man’s cosmic responsibility is
acknowledged.”
4.3.3
The death of the Heavenly king as the necessary condition for
the creation of the quintessence or matter-psyche
Let us remember
once again that in the Rosarium
the alchemical sublimation is described in two completely
different ways, the production of the “spiritual subtlety”
on the one hand, and the creation of the quintessence on the
other. For the creation of the spiritual goal the psyche has to
abandon the body and unify with the spirit in Heaven (1st
coniunctio or unio mentalis). For the production of the quintessence however (2nd
coniunctio or unio corporalis), the “spiritualized” psyche has to abandon the
spirit and come down to earth. In this moment the spiritual king
in Heaven dies, and the above mentioned vegetative myth begins.
The Hermetic
alchemical myth, the unio
corporalis of Dorneus’ opus tells us therefore not the
story of the deification of the spirit-psyche in the Christian
Heaven or in the Platonic Empyreum, but of the death of “the
king of the blue sky”. The sky darkens in an eclipse, and the
king dissolves in the body of the queen. Only after this
sacrifice he can be reborn as the rejuvenated and regenerated
king.
We have seen in
section 3.6 that in the Rosarium
in the moment of the unio mentalis the two
bodies unify and die (pictures # 6 on the left
and # 7 on the right). Now however, since the psyche, the life essence,
leaves the spirit, also the king or masculine god, the
spirit-psyche created during the unio mentalis or during Active
Imagination dies. It is the death of the Logos principle during
the unio corporalis, in the moment the water
vapor condenses into the dew in picture # 8. The
unio corporalis describes thus a
second
death that follows
the first of the body in picture # 6. In this death of the
spirit-psyche, of the Logos king, however, the
dew, the matter-psyche
is born, and
it is exactly this matter-psyche and not the spirit-psyche that
will revive the dead body. As we will see later, the alchemical
symbols of the lily, the Seal of Solomon, the infans
solaris the red tincture and the quintessence correspond to
the matter-psyche and are the
catalyst as well as the goal of this 2nd coniunctio,
the unio corporalis.
[proofread
GJS, 11/11/05]
part
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