The term Collective Unconscious is an intuitive lesson by Dr Carl Jung, a critical issue in our life to understand the psyche. It is mostly misunderstood by many people, even his faithful Jungian fans, in the way of some sects, or he might talk about some elite groups of exceptional class!
It has nothing to do with any group of people generally but directly with a single person individually. It is a matter of Persona, individual history, and past heritage (Archetype), which we might have totally forgotten, but it has remained in our unconsciousness.

In other words, in the description from the book in German: ( Archetypen) published by dtv. which I chose and translated:
With the model of “archetypes”, C. G. Jung created one of the Keystones of his analytical psychology. Taken from ancient tradition, the term “archetype” refers to the archetypes of human imagination located in the collective unconscious. As a part of the psyche, the archetype is a hypothetical unit of the collective unconscious and manifests itself in images that are not a reflection of biological drives but rather autonomous and not immediately recognizable to humans. Above all, the most elementary human experiences such as birth, marriage, motherhood, separation and death have an archetypal anchoring in the human soul; they have produced similar images at all times and in all cultures and can be regarded as collective human experience. Their range of variation is just as great as their wealth of relationships; to perceive them, to analyze their appearance in images means to perceive the archetypal dimensions in the life of every human being and to use them for the development of the soul. From the numerous writings of C. G. Jung on the archetype, this volume brings together those that most clearly express his ideas on it.

Dr Jung explains:

Probably none of my terms has encountered as much misunderstanding as the idea of the collective unconscious. In the following, I will try to give 1. a definition of the term, 2. a presentation of its importance for psychology, 3. an explanation of the proof method and 4. a few examples.

Definition

The collective unconscious is a part of the psyche which can be negatively distinguished from a personal unconscious in that it does not owe its existence to personal experience and is, therefore, not a personal acquisition. While the personal unconscious consists essentially of content that was conscious at one time but has vanished from consciousness, either being forgotten or repressed, the contents of the collective unconscious have never been in consciousness and thus have never been individually acquired but owe it Existence exclusively of heredity.

The notion of the archetype, which is an indispensable correlate to the idea of the collective unconscious, indicates the presence in the psyche of specific ubiquitous or pervasive forms. Mythological research calls them “motives”; in the psychology of primitives, they correspond to Levy-Bruhl’s concept of “representations collectives”, and in the field of comparative religious studies, they were defined by Hubert and Mauss as “categories of imagination”. A long time ago, Adolf Bastian called them “elementary” or “primal thoughts”. From these references, it should be clear enough that my idea of the archetype – literally a pre-existing form – is not exclusively my concept but also recognized and named in other areas of knowledge.

So my thesis is as follows: In contrast to the personal nature of the conscious psyche, there is a second psychic system, of a collective, non-personal character, alongside our consciousness, which in turn is thoroughly personal in nature and which we—even if we consider the personal unconscious as Add appendages – believe to be the only psyche that can be experienced. The collective unconscious does not develop individually but is inherited. It consists of pre-existing forms: the archetypes that can only become conscious secondarily and entice the content of consciousness into a definite form.

To understand it better, I split this into some parts, which may be easier to catch the points. 😉🤗

The image on the top: Surrealism AI Art Spirituality Dark Weird Collective Consciousness Absurdism Illusion Imagination (Ethereal Luna, Pinterest)

Source:

On “The concept” of the collective unconscious (1936): Lecture 1936 in the Abernethian Society at St Bartholomew’s Hospital, London, under the title “The Concept of the Collective Unconscious < published in the journal of that hospital, XLIV, London 1936/37, p .46-49 and 64-66. The first edition of the German translation in Collected Works (CW), Volume 9/1, pp. 55-66.

There is no wonder, for sure, when one meets a genius with a stormy brain like Nietzsche, that he can always be good for a surprise!
He has written about teaching people with his advice; for example, in his book: Ecce Homo, he talks about why he is so smart. And now, we can have even good tips to write which, in my opinion, are very useful. I think he has always tried to validate himself, not only to others but also to himself.

One of the highest points in his life was the encounter with Lou Andreas-Salome. I once wrote an article about this appealing, intelligent, challenging and fascinating woman. Man must be lucky to meet a woman like her; awakening!

In fact, a man’s soul will be prepared by the woman’s; one must be lucky to have the right one: Nietzsche has had his sister and Lou; the duality! The influences show his development in his heritage.

Now let’s read about these ten rules to have the right style in writing.

The life of Russian-born poet, novelist, critic, and first female psychologist Lou Andreas-Salomé has provided fodder for both salacious speculation and intellectual drama in film and on the page for the amount of romantic attention she attracted from European intellectuals like philosopher Paul Rée, poet Ranier Maria Rilke, and Friedrich Nietzsche. Emotionally intense Nietzsche became infatuated with Salomé, proposed marriage, and, when she declined, broke off their relationship in an abrupt Nietzschean fashion.

For her part, Salomé so valued these friendships she made a proposal of her own: that she, Nietzsche and Rée, writes D.A. Barry at 3:AM Magazine, “live together in a celibate household where they might discuss philosophy, literature and art.” The idea scandalized Nietzsche’s sister and social circle and may have contributed to the “passionate criticism” Salomé’s 1894 biographical study, Friedrich Nietzsche: The Man and His Works, received. Barry argues that the “much-maligned” work deserves a reappraisal as “a psychological portrait.”

In Nietzsche, Salomé wrote, we see “sorrowful ailing and triumphal recovery, incandescent intoxication and cool consciousness. One senses here the close entwining of mutual contradictions; one senses the overflowing and voluntary plunge of over-stimulated and tensed energies into chaos, darkness and terror, and then an ascending urge toward the light and most tender moments.” We might see this passage as charged by the remembrance of a friend, with whom she once “climbed Monte Sacro,” she claimed, in 1882, “where he told her of the concept of the Eternal Recurrence ‘in a quiet voice with all the signs of deepest horror.'”

Perhaps primarily, we should see Salomé’s impressions as an effect of Nietzsche’s turbulent prose, reaching its apotheosis in his experimentally philosophical novel, Thus Spake Zarathustra. As a theorist of the embodiment of ideas, of their inextricable relation to the physical and the social, Nietzsche had some concrete ideas about literary style, which he communicated to Salomé in an 1882 note titled “Toward the Teaching of Style.” Before writers began issuing “similar sets of commandments,” writes Maria Popova at Brain Pickings, Nietzsche “set down ten stylistic rules of writing,” which you can find below in their original list form.

1. Of prime necessity is life: a style should live.

2. Style should be suited to the specific person with whom you wish to communicate. (The law of mutual relation.)

3. First, one must determine precisely “what-and-what do I wish to say and present,” before you may write. Writing must be mimicry.

4. Since the writer lacks many of the speaker’s means, he must in general have for his model a very expressive kind of presentation of necessity, the written copy will appear much paler.

5. The richness of life reveals itself through a richness of gestures. One must learn to feel everything — the length and retarding of sentences, interpunctuations, the choice of words, the pausing, the sequence of arguments — like gestures.

6. Be careful with periods! Only those people who also have long duration of breath while speaking are entitled to periods. With most people, the period is a matter of affectation.

7. Style ought to prove that one believes in an idea; not only that one thinks it but also feels it.

8. The more abstract a truth which one wishes to teach, the more one must first entice the senses.

9. Strategy on the part of the good writer of prose consists of choosing his means for stepping close to poetry but never stepping into it.

10. It is not good manners or clever to deprive one’s reader of the most obvious objections. It is very good manners and very clever to leave it to one’s reader alone to pronounce the ultimate quintessence of our wisdom.

As with all such prescriptions, we are free to take or leave these rules as we see fit. But we should not ignore them. While Nietzsche’s perspectivism has been (mis)interpreted as wanton subjectivity, his veneration for antiquity places a high value on formal constraints. His prose, we might say, resides in that tension between Dionysian abandon and Apollonian cool, and his rules address what liberal arts professors once called the Trivium: grammar, rhetoric, and logic: the three supports of moving, expressive, persuasive writing.

Salomé was so impressed with these aphoristic rules that she included them in her biography, remarking, “to examine Nietzsche’s style for causes and conditions means far more than examining the mere form in which his ideas are expressed; rather, it means that we can listen to his inner soundings.” Isn’t this what excellent writing should feel like?

Salomé wrote in her study that “Nietzsche not only mastered language but also transcended its inadequacies.” (As Nietzsche himself commented in 1886, notes Hugo Drochon, he needed to invent “a language of my very own.”) Nietzsche’s bold-yet-disciplined writing found a complement in Salomé’s boldly keen analysis. From her, we can also perhaps glean another principle: “No matter how calumnious the public attacks on her,” writes Barry, “particularly from [his sister] Elisabeth Förster-Nietzsche during the Nazi period in Germany, Salomé did not respond to them.”

Today I want to present some particular sides (sights) of the magical landscape of Egypt with fascinating colours.

Millions of years ago, the Sinai desert was eventually part of the Red Sea, and nowhere else has the ancient ocean left a more brilliant legacy upon the landscape than at the Colored Canyon near Nuweiba.

Mother Nature seems to have all the beautiful colours we can imagine in her soul to show us all at once. With highly appreciate Marie Grillot for letting us enjoy these magnificent views.

Images: Memfistour.com / Discoverbyond / Get Your Guide

“Coloured canyon”: the wadi that makes you see all the colours.

via égyptophile

Superlatives abound. So much so that the wealthiest descriptions of the chromatic circle seem too narrow to translate the emotions unanimously felt: an “impressive beauty”, an “incredible palette of colours, ranging from white to ocher through all the ranges of red and purple”; a “magnificent palette of colours ranging from sandy yellow to pink to blue”; “shades of yellow, purple, red, magenta and gold”; “crystalline colours”, a “velvety appearance”; a “range of hues from dark brown to red to straw yellow”; “amazing layers of colours like pink, purple, silver and gold; gorgeous colours that seem to come out of a fairy tale, so pure and varied”…

The ‘wadi’ is aptly named: “The Colored Canyon” “le “Canyon Coloré”. It is located in the Sinai, between Taba and Nouweiba, not far from the western coast of the Gulf of Aqaba.

With sumptuous layers of colour, this gorge is a labyrinth of limestone rocks reaching up to 60 meters high. A natural geological curiosity, “one of the most beautiful rock formations in the world”, which unfolds over nearly 800 meters in length and proves to the visitor that a canyon “does not have to be green to be beautiful”!

It is up to geologists to explain the why and how of this spectacular natural setting, which recalls the site of the Grand Canyon in Colorado on a minimal scale. The sources we have consulted, likely to provide some light, are content to put forward two successive and complementary causes of a phenomenon dating back millions of years: sedimentation (the Sinai region being submerged by oceanic water), then erosion – by water? Mechanical? Wind turbine? – the mineralized and coloured sandstone having been dug to take these forms, left to the imagination of nature, which arouses our wonder.

“This impressive geological phenomenon, we read on the “Treasures of the World” website, is still unexplained by specialists who are as amazed as tourists by this breathtaking spectacle of lights, which varies according to the inclination of the sun’s rays in the rocky corridor formed by the erosion of the rains.”

Let us, therefore, be guided by an admiring gaze: “Keep an eye for the details, and you will find that your imagination can easily take flight and find human faces or animals on the walls of the cliffs.”

The hike, say the guides, is “easy”, provided you are accompanied. A little exercise is, however, on the menu to overcome certain obstacles, especially when you have to slip under a rock that has come between two very close walls. But it’s “a fun experience, and certainly a memorable one!”

If the specialists in geology remain silent in front of a canyon, which makes them “see all the colours”, for the specialists in tourism, it could not be more explicit: “Coloured Canyon: excursion not to be missed under any pretext. You are engulfed in captivating labyrinths in this magical place where the rocks play with the colours. Beauty, silence and peace await you.” (Jean-Paul Labourdette, Dominique Auzias, Guide du “Petit Futé”)

Marie Grillot

sources :
allsinai.info
touregypt.net
geographia.com
tresorsdumonde

To put it bluntly, I have some heavy projects (might be for me!?) for publishing here on my WordPress page. They are some topics from Carl Jung to translate, but as I mentioned before, I am involved in the happening in my birth country, Iran, and the uprising of young women and men.

When discussing my busy time, my friends think about work, which is normal. When everybody says: I am hard at work, they talk about their jobs. It is the standard form of life, but I do say that I am not normal! I could never ever do what I wished!!
What I desired to do was not possible, and what I’ve done most of my life was to do something unwanted. In Iran, I was a journalist, but they closed down all the free press; I tried to be an actor and almost succeeded in making a career, but I was too rogue for their rules and finally had to escape. Here in Germany, I had to begin a new life, but in this new life, our stomachs must get full too; therefore, I took the first step from zero to earn money by driving taxis. You know, I would never believe that driving a cab could ever be a desired job, and I never became a taxi driver, though I did work for thirty years! I held out for that long because I was very popular, especially with the elderly dames.

Anyway, I have done what I could, and now, as I am retired, I feel it is another beginning for me to do and, indeed, do something I desire to do (apart from a weekday in which I must drive the taxi because my pension is lower than standard!), and it is writing; reading, learning and again writing.

Now as I am trying to do it, there are such lovely Persian people, mainly on Twitter, who are very engaged in helping each other to broadcast the news and find a way, or the best way, for the future of Iran. Yesterday, we spent about four hours discussing how philosophy can help a society like Iranians improve, from Socrates to Hannah Arendt. I was amazed at how much these young people do know.

I might utter my feelings that I have no plan to get back there at any time. However, I love their fights for their rights and am stunned by how they, despite of born under a totalitarian regime, have such desires for freedom. And those living out of Iran or who were born in Europe or America speak Persian and try to help.
Honestly, when I left Iran, I felt like a beaten dog, disappointed and desperate. I did all I could for my country without any goals; therefore, I said farewell to them all. But now, I feel proud of them, these brave youths.

However, I thank all my friends in the West, USA, Europe and elsewhere for their patience with me in the cases of my absence or not being present often or for my sharing posts in the Persian language more than in English. You are all with me to carry on till this horrible Islamic regime falls off the ground.

Addendum: I’ll be in my wife’s custody for the next two weekends (actually one week, anyhow, definitely kidnapping), the Easter holidays are coming, and my wife, the teacher, is hot for the unknown again. I will try to give some signs of life! I wish you all lovely friends, a particular time till then.

The image on top: Felipe Baeza,

This is a masterpiece of pectoral from the collection of Tutankhamun. It is a pectoral decorated in a complex way: the central part of the pectoral, which represents the king’s throne name (or prenomen), consists in the middle of a large lapis lazuli scarab. Below it is the hieroglyphic sign “neb”, which resembles a basket inlaid with blue glass; above this are the solar and lunar disks made of electrum.

Howard Carter discovered the tomb of Tutankhamun (1340-1331 B.C.) in November 1922. The pharaoh died at the age of 19; his mummy was in a solid gold coffin placed inside two wooden coffins drink. These three coffins were in a quartzite sarcophagus with a red granite lid. Around the sarcophagus, fit into each other, four chapels in gilded wood entirely occupied the room of the sarcophagus.

This beautiful winged scarab pectoral illustrates the throne name of King Tutankhamun, “Neb- Kheprew-re.” The central element is the scarab “Khepri” made of a fine piece of lapis lazuli and three strokes of the plural “sign in hieroglyphs” below it.

The Image on the top: Wikimedia

Now let’s deeply read this ever-brilliant article by Marie Grillot about this incredible find of the fascinating ancient jewel.💖🙏

Tutankhamun: a scarab pectoral with his king’s name … in rebus

via égyptophile

After six years of intense and costly research, punctuated by enthusiasm, hope, fatigue and discouragement, perseverance finally triumphs in the Valley of the Kings! Howard Carter and his patron Lord Carnarvon finally discovered, in November 1922, the tomb of the young pharaoh Tutankhamun! Seven weeks will be necessary to empty the antechamber… On February 16, 1923, the seals affixed to the door leading to the funerary chamber were removed in the presence, in particular of Pierre Lacau, director general of the Service of Antiquities. The next day the official opening. Takes place On a particular day, and exceptional guests: the discoverers have invited twenty of them, selected with meticulous care. As impressed as they were dazzled, they discovered the large chapels of gilded wood which filled almost the entire room…

As they continue their incredible – and unforgettable – exploration, they see: “a low door, on the right, which gave access to another, smaller room. (…) This door had not been blocked nor sealed. A single glance is enough to make us understand that it was it which contained the true treasures of the tomb. (…) A tabernacle, entirely covered with gold and surmounted by a frieze of sacred cobras. Around it stood the four tutelary goddesses of the dead, their arms outstretched in protection, so natural and so alive in their pose, their faces expressing so much compassion and pity that one hardly dared to look at them. (Howard Carter in “The Fabulous Discovery of Tutankhamun’s Tomb”).

In front of this naos, placed on the ground and to the left, are five chests containing sumptuous finery. They had been deposited there, most often pell-mell, by the employees of the necropolis responsible for handing over what remained of the funerary treasure after the passage of the looters… “According to an estimate by Carter, at least sixty per cent of the most beautiful ‘unattached’ jewels had disappeared. Those that remained – more than two hundred, including twenty precious metal breastplate elements and five counterweights – however, not insignificantly widened, both in quality and quantity, the range of jewels known at the time,” says Nicholas Reeves in “Tutankhamun, life, death and discovery of a pharaoh”.

The first ebony and ivory chest with a gently domed lid will be referenced; Carter 267. Inside “laid” eighteen pieces of gold smithery – abused but of exceptional quality: they will be referenced “267a”. to “267n”.

This beetle-shaped pectoral, 10.5 cm wide and 9 cm high, will be the first to be extracted (267a). The chain that slid into the horizontal cylinder attached to the back, allowing it to be hung around the king’s neck, is unfortunately missing.

It is distinguished “by a series of iconographic motifs endowed with a strong symbolic value, combined in a balanced and original composition, by the characteristic style of Tutankhamun’s jewellery. The lapis lazuli scarab, centre of the composition, is equipped with two large falcon wings, decorated using the technique of partitioning: the feathers of the bird are rendered by inlays of stones in pale colours, skilfully calibrated” (Silvia Enaudi, “The Wonders of the Egyptian Museum of Cairo”). The cloisonné technique here reaches a degree of excellence where gold, lapis lazuli, turquoise, carnelian, and green feldspar explode in a shimmering polychromy that offers a strong contrast with the midnight blue of the beetle.

The scarab, a symbol of renewal and rebirth, is very present in Egyptian jewellery, especially in the young king’s adornments. This attribute of Khepri pushes here, between its legs with hooks encircled with gold, the glowing solar disk in carnelian circled with gold…

To symbolism, the goldsmith has combined cryptography. It turns out to be “a clever way of writing the king’s coronation name, Nebkhéperourê (‘Re is the master of manifestations’). The syllable neb (which means, in this context, ‘master’) is written with a basket encrusted with green feldspar on this pectoral. The scarab in dark blue lapis lazuli and the three lines indicating the plural signify Kheperu (‘forms’ or ‘manifestations’). The syllable ‘Rê ‘ is represented by the solar disk in red carnelian”, which specifies Zahi Hawass.

This pectoral also worked using the “repoussé” technique on the reverse, after having been cleaned with hot water and ammonia by Alfred Lucas, left for the Cairo Museum. It was recorded there in the Entry Journal: JE 61886. Its reference at the Grand Egyptian Museum in Giza, where it will soon be exhibited, is GEM 159.

Marie Grillot

Sources:

Howard Carter, The Tomb of Tutankhamun, Volume 3: The Annexe and Treasury, Bloomsbury, London, 2014

The Griffith Institute – Tutankhamun: Anatomy of an Excavation – The Howard Carter Archives

http://www.griffith.ox.ac.uk/gri/carter/267a-c267a-2.html http://www.griffith.ox.ac.uk/gri/carter/267a-p1129.html

T.G.H. James, “Howard Carter, The path to Tutankhamun”, TPP, 1992https://archive.org/stream/HowardCarterThePathToTutankhamunBySam/Howard+Carter+The+Path+to+Tutankhamun+By+Sam_djvu.txt

The Griffith Institute – Tutankhamun: Anatomy of an Excavation – The Howard Carter Archives – Photographs by Harry Burton – © Copyright Griffith Institute, 2000-2004

http://www.griffith.ox.ac.uk/gri/carter/267m(1).html

Toutankhamon et son temps, Petit Palais, Paris, 17 février-juillet 1967, Catalogue par Christiane Desroches-Noblecourt, Ministère d’État Affaires Culturelles

Christiane Desroches-Noblecourt, Vie et mort d’un pharaon,  Hachette, 1963

Nicholas Reeves, Toutankhamon, vie, mort et découverte d’un pharaon, Editions Errance 

I.E.S. Edwards, Tutankhamun : his tomb and its treasures, The Metropolitan Museum of Art, 1977

Jean Capart, Toutankhamon, 1923 http://gallica.bnf.fr/ark:/12148/bpt6k5611389t/f60.texte

Carol Andrews, Harry N. Abrams, Ancient Egyptian Jewelry, INC., Publishers, 1991

Francesco Tiradritti, Trésors d’Egypte – Les merveilles du musée égyptien du Caire

Zahi Hawass, Découvrir Toutankhamon, Editions du Rocher, 2015

Marc Gabolde, Toutankhamon, Pygmalion, 2015

Zahi Hawass, Catalogue de l’exposition “Toutankhamon, trésors du pharaon d’or”, IMG Melcher Media, 2018

Nowruz, which falls on the spring equinox to the minute every year, a 13-day celebration of the Persian New Year, will fall this spring too. But I am convinced that it will be in some other kind.

Iran’s revolution enters 7th month as night rallies erupt in different cities. With all this, they celebrated the traditional Chaharshanbe Suri (the evening to the last Wednesday of the year. It is like the Easter celebration, with fire and fireworks welcoming spring, light and warmth.), which was also the other kind! In this condition, brave Iranian women and men do fight. They are even breaking their new year celebration or renouncing their traditional fiesta.

According to the latest reports, protesters in at least 282 cities throughout Iran’s 31 provinces have taken to the streets for 180 days, seeking to overthrow the mullahs’ regime. Regime security forces have killed over 750; at least 30,000 have been arrested via sources affiliated with the Iranian opposition PMOI/MEK.

For me, I am finished with any patriotism or any belongings to some territories, and I have had enough of all the searching for the roots; I am sure my root comes from somewhere else. But my memories and co-human feelings push me into this legendary and, simultaneously, the suffering period for Iranian people (especially women).

So then, let’s see how they will try to make this fiesta their own fiesta, continually fighting against the most brutal regime ever exists!

I would just wish for your presence, even through your thoughts, to help them win. Here I present a video, with heartfelt thanks to Walt Disney, this Mickey Mouse’s excellent explanation of this fiesta—also, the happy spring equinox.

I believe nothing is so crucial as raising our children with care and awareness. Of course, these loved ones need not only care but also have a deep desire for love and passion. I, myself, haven’t had an easy childhood. It was full of suffering and trauma; although challenging, love was strong among us.

When I became a father (it wasn’t planned), I was in the twilight of my chaotic unclear future and being the right father. I wasn’t prepared to take responsibility though I did my best to do so. At that time, I noticed how a child could be aware of its environment.
My son liked me so much, even when he was crawling, even though I wasn’t always present. And as I had experienced the lacking of father, I tried to avoid him becoming such a vacuum. But it was amazing for me to see how he’d realize and somewhat understand my situation. Since then, I have been convinced that children are much more conscious than we imagine.

Dr Carl Jung quoted this:

The “child” is all that is abandoned and exposed and, at the same time, divinely powerful; the insignificant, dubious beginning and the triumphal end. The “eternal child” in (hu)man is an indescribable experience, an incongruity, a handicap, and a divine prerogative, an imponderable that determines the ultimate worth or worthlessness of a personality. (…) …” (Jung, CW n. 9i, The Archetype of the Child)

Now, as a grandpa, I see this in my grandchildren. For example, my wife and I keep trying to have our grandchildren, Mila and Ilias, alternately sleep with us.
Once it was Ilias’ turn, it looked like it wasn’t his day because, in the beginning, when his father brought him to us, he wasn’t that enthusiastic. Anyway, I took him to the sitting room and brought different toys and playing stuff to play with. As I noticed his uneasiness, I tried to observe his behaviour. He was stunningly aware of this forced situation and knew no other solution existed. He began to play with me with cars and the railway carriage, but I noticed it very well with his sometimes aggressive reactions and how he tried to suppress his anger and dissatisfaction. I could expect it from a grownup but from a two-year-old child? It was exciting. I was more stunned as I asked him after his every outburst, “what is going on? Are you OK? He tried to calm himself, though I believe he didn’t know the reason why precisely.

To care about this phenomenon, we must be absolutely awakened and calm their soul with love and comfort. We need to know more about children and accept that they also have a certain consciousness. I’d call this “Instinct or Intuition. I am sure that they have it.

Dr Jung, in his book about Archetypes: a) The Archetype as a Past State, explains that;

There is no “reasonable” substitute for the archetype, any more than for the cerebellum or the kidneys. You can explore body organs anatomically, histologically and developmentally. The description of the archetypal phenomenology and a historical-comparative representation of the same corresponds to this. However, the meaning of bodily organs results solely from the teleological question. Hence the question arises: what is the biological purpose of the archetype? As physiology answers the question for the body, it is psychology’s concern to answer the same question for the archetype.

With statements such as that the child motif is a remnant of the memory of one’s own childhood and similar explanations, the question is only evaded. On the other hand, if we say – with a slight modification of this sentence – that the child motif is the image of certain things of our own childhood that we have forgotten, then we come closer to the truth. But since the archetype is always an image that belongs to the whole of humanity and not just to the individual, we might formulate it better: The child motif represents the preconscious childhood aspect of the collective soul.

And he adds as a footnote something essential:

It is perhaps not superfluous to note that lay prejudice is always inclined to equate the child motive with the concrete experience ‘child’ as if the real child were the causal premise for the existence of the child motive. In psychological reality, however, the empirical idea of ‘child’ is only a means of expression (and not even the only one!) for expressing a mental fact that cannot be defined more precisely. That is why the mythological conception of the child is expressly not a copy of the empirical “child” but a symbol that is clearly recognizable as such: it is a question of a divine, wonderful, precisely not human child, begotten, born, and raised under very unusual circumstances. Its deeds are as wonderful or monstrous as its nature or physical condition. It is solely because of these non-empirical properties that there is any need to speak of a ‘child motive’. Moreover, the mythological child is varied as a god, giant, thumbstall, etc., pointing to causality no less than rational or concretely human. The same applies to the archetypes of “father” and “mother”, which are also mythologically irrational symbols.

Images credit: Victor Nizovtsev / Erika C Brothers _ Modern Art on Canvas _

To be continued! 💖

Eckhart Tolle (born Ulrich Leonard Tölle, , February 16, 1948) is a German-born spiritual teacher. Honestly, I got to know him by his quotes which were permanently shared in the media.First, I noticed his first name made me making mistake with Meister Eckhart, until I found out that he changed that from Ulrich to Eckhart; according to his respect to the German philosopher and mystic, Meister Eckhart.

Although, he made an effort in a spiritual manner to find the way to the self. Here is a description of this point:

One night in 1977, at the age of 29, after having suffered from long periods of depression, Tolle says he experienced an “inner transformation”. That night he awakened from his sleep, suffering from feelings of depression that were “almost unbearable,” but then experienced a life-changing epiphany. Recounting the experience, he says,

I couldn’t live with myself any longer. And in this, a question arose without an answer: who is the ‘I’ that cannot live with the self? What is the self? I felt drawn into a void! I didn’t know at the time that what really happened was that the mind-made self, with its heaviness and problems, that lives between the unsatisfying past and the fearful future, collapsed. It dissolved. The following day I woke up, and everything was so peaceful. The peace was there because there was no self. Just a sense of presence or “beingness,” just observing and watching.

Tolle recalls walking in London the following day and finding that “everything was miraculous, deeply peaceful. Even the traffic.” The feeling continued, and he felt a strong underlying sense of peace in any situation.
I can understand his feeling because I know Germans and Brits! To put it bluntly, When a German travelled to England, would find lots more!!

Anyway, here is his finding out about the “so-called” complaining. The Germans say; Meckerei (grumbling). And I think it can be beneficial.

Nothing is personal. Everyone behaves according to their level of consciousness. When you say, “this and that did this to me,” that doesn’t mean the other person addressed what he personally did to you. But some people take it all personally. For example, when you drive your car, someone stands before you and blocks your way. Why take it personally? The other person doesn’t even know you, but the ego interprets the situation and says, “he blocked my way, mine”, while the other person always drives like that.
The ego likes to complain and say, “others did this and that to me”. And the more one complains about what others have done to one, the stronger becomes “my (they have done it)”, i.e. the ego. This mechanism is unconscious.

The reasons can be many, but the ego always interprets things as if others cannot please us – either they are doing something they shouldn’t, or they are not doing something they should, but always in relation to “me”. “. This is why the ego likes to complain about different things that others do. And the more it complains, the more we are right and others wrong.
The world is full of people who give us cause for complaint. And life does this not to break your nerves but to make you more conscious. It’s not like an evil demon gathered these people around you to make you miserable.

Your expectations of others to behave in a certain way makes you unhappy.
But you have to “catch” yourself complaining about others when you’re doing it to break out of this pattern. The ego will then feel that you haven’t fed it – and indeed it is – it will feel like it’s shrinking. “If I don’t complain,” the ego would say, “I get smaller and less,” because every time you complain, your ego inflates, and you feel yourself becoming “more.”

And the more emotional the complaint, the more you feel like you’re blowing up like a balloon. And often, anger can accompany the complaint. This is a great way to practice not complaining. At first, it will seem like something is missing, but then you will feel inner peace.
Of course, many will now ask themselves, “should I let myself be used by others and do what they want with me?”. Of course not. If you need to say something to the other person, you will say it, but without complaining. Suppose you are waiting for a technician to come to your house to fix an error. You call him once; he tells you he will come at this or that time, and he doesn’t come. Then you can contact him and say “I was waiting for you, but you didn’t come, I’ll get someone else, thanks for listening to me”. Complaining to him doesn’t help him. You won’t make him more aware. And the only “benefit” you get from the complaint is that you strengthen your identification with your false self.

You can really be thankful for all these people who make you more aware. When you realize you are complaining, you can observe your mind, turn your attention inward, and consider whether those thoughts are helpful. That is, even if you’re not overtly complaining, see if your mind keeps complaining by thinking of the appropriate views. Because you can’t say it, you can feel it. When you spot such thoughts, ask yourself if they make you happier or more satisfied or if your life would be better and more accessible without them.

*The text is an excerpt from a taped speech by Eckhart Tolle.
Source: Aytepignosi 

Images; Fly Me to the Moon by Ishyndar on DeviantArt / Amino App / Complex

It is, n any case, a dangling conversation. Have a lovely weekend, friends.💖🤗💖

https://youtu.be/MPOCo9eCvS4

We got to know and were heartfeltly amazed by such fabulous wall paintings by artisans of ancient Egypt. And naturally, these all motivated some painters, much later in the 19th century, like David Roberts, Jacob Jacobs, and many others, to try to copy these Masterworks. However, they did never reach close to the originals.

One of them was Robert Hay, not only a painter but also an Egyptologist. His works are fine and brisant.

And here is an attempt to step into the shoes of grandees.

Images credit:https://landioustravel.com/egypt/ancient-egyptian-tombs/ / Stock Photo / invaluable / Wikimedia Commons

Let’s enjoy this brilliant article by Marie Grillot about this enthusiastic and fascinated man for the magic land of Egypt.💖🙏

Robert Hay: his precious drawings, plans, and surveys of 19th-century Egypt have much to teach us…

via; égyptophile

Robert Hay is a Scottish Egyptologist and collector to whom we owe an important and magnificent collection of drawings, plans and copies of hieroglyphic inscriptions. The 49 “volumes” he will bring back from his travels constitute a unique “sum” and an invaluable testimony to Egypt and its sites as they appeared at the beginning of the 19th century.

Born on January 6, 1799, in Duns Castle in Berwickshire, Robert Hay first turned to a career in the navy, which also gave him the opportunity to visit Alexandria for the first time.

In 1819, when he was just 20 years old, he inherited – from his older brother – the Linplum estate. This legacy certainly leads him to reconsider his situation. So he decided to leave the navy, and in 1824, he left for the Middle East.

Strongly marked by the “drawings brought back from the land of the pharaohs by two architects”, it aims to survey the sites and ancient monuments of Egypt.

His thirst for learning, seeing, understanding, and interest in everything he discovers on the land of the pharaohs will never be denied. He will make many stays there, spread over ten years.

An excellent draftsman himself, he will be keen to surround himself with talented artists. During a stay in Rome, he hired Joseph Bonomi and offered him a modestly paid ‘commission’ as a sculptor and illustrator to accompany him on his Egyptian expedition. If Hay proves to be very demanding in the quality of the readings, wishing for maximum precision, Bonomi, ingenious and inventive, will be able to adapt and give the best of his talent, even when the working conditions prove to be complicated.

At Christmas 1824, they embarked for Nubia, where, for four months, they drew many sites. Then: “at the end of April, Hay and Bonomi leave Abu Simbel to continue the survey of various temples of Nubia before reaching Kalabsha (Beit al-Wali), where Bonomi works long hours, making numerous mouldings of the reliefs”.

After six weeks in Philae, they reached Thebes in October and found James Burton, a distant relative of Robert Hay, and settled in the Valley of the Kings.

In addition to Bonomi, Hay collaborated with half a dozen other artists, such as Owen Brown Carter, Frederic Catherwood, or even George Oskins, an antique dealer who, in particular, says: “The ‘Hay group’ most often stayed in the hypogeum of Ramses IV… The new occupants had stretched canvases at the monument’s entrance to protect themselves from the sun and installed their bedding in the corridors with a pleasant coolness.

The days were devoted to the surveys of the tombs. In parallel, Hay will conduct an in-depth study of the sarcophagi remaining in the Valley of the Kings. He will have many drawings executed.

But work also sometimes gave way to leisure. Thus, on Thursday evening: “artists and travellers passing through Thebes gathered in his house, or rather in his tomb… The beautiful paintings of the past were lit by torchlight, and the smell of mummies had been long chased away by the aroma of roasted meats.”

When Hay left the Valley of the Kings, he settled in a house in Gournah, a “small fortress” built-in 1820 by the consul Henry Salt, to house Athanasi in particular, which was located not far from the residence of the Egyptologist John Gardner Wilkinson. The relationship between Hay and the Egyptologist was special, as evidenced, in veiled terms, by this sentence: “Wilkinson and Hay had a lot in common. But they also had differences.”

In July 1826, considering he was paid too little, Bonomi decided to resign. He also wishes to strengthen his own reputation by producing designs and casts for himself. Hay is furious, but he finally quickly replaces him with Edward William Lane, nephew of the great painter Thomas Gainsborough.

In May 1828, Hay married in Malta Kalitza Psaraki, daughter of a Cretan magistrate whom he had previously rescued from the slave market in Alexandria. She will then accompany him on his various stays in the land of Egypt and will give him two sons.

In 1830, when Lane left his post for health reasons, Hay asked Bonomi to collaborate with him again, but this time with a much higher salary. “Bonomi hesitated at first, but Hay’s persuasion led him to finally agree to join the team by including one of his travelling companions, the artist A. Dupuy.”

In the spring of 1834: “Robert Hay definitively leaves Egypt where he has spent nearly ten years recording the temples and tombs of the Nile Valley, not only with sketches and brief descriptions, as earlier travellers had done but in a much more complete way, with plans, architectural data, detailed copies of wall paintings and inscriptions”.

Robert Hay published, in 1840, “Illustrations of Cairo”. The work, which brought together his own lithographs and those of his brilliant “colleagues”, did not receive the expected reception, and the author faced a big financial loss.

Years later, on February 28, 1862, James Burton died in relative destitution, abandoned by his family and friends. Robert Hay will be his executor and pay the debts he left behind.

He won’t survive a long time. It was the following year, on November 4, 1863, to be precise, that he died in East Lothian, Scotland, at the age of 64.

When he died, most of his collection of antiquities (529 pieces) was purchased by the British Museum “for £1000”. The rest of the objects inherited by his son Robert James Alexander Haye will be sold in London, in 1868, by the antique dealers Rollin and Feuardent to Mr Samuel A. Way. In June 1872, his son, C. Granville Way, donated it to the Boston Museum of Fine Arts.

As for the drawings, they remained for some time in the property of the Hay family, “but eventually they went to the British Library (then part of the British Museum), where they are now deposited in 49 portfolios”.

It remains for us to regret that the rich and interesting portfolios of Hay have not yet been published and to hope that they will be soon because, according to those who have had the immense good fortune to see them, it appears that “The Decorations of the Theban Tombs of Hay’s expedition are among the most delightful and the most precise. On the other hand, the panoramic views he drew provide reliable documentation of the small villages bordering the Nile nearly 200 years old. His artists’ evocative drawings of Islamic monuments, many no longer standing, show them in the 19th century.”

Marie Grillot

Sources:

The Lost Portfolios of Robert Hay, par Jane Waldron Grutz
Histoire de la Vallée des Rois, John Romer, Vernal – Philippe Lebaud, 1991

Six Views of Cairo – Robert Hay 

Travellers in Egypt, Paul Starkey, Janet Starkey, Tauris Parke, 2001

I have here another deep dive (but short!) into the fascinating magic power of the symbols, especially Eastern ones for you! My mind is going to explode, though, but as we might “must” know, the wisdom came from the orient towards the west to teach the barbarians and the Huns! Here we can read what Dr Jung explained so precisely:

Westerners cannot slap Eastern spirituality on top of a western ego and expect enlightenment. ~Carl Jung. By Mr Purrington 🙏

Here is an analysis of a dream, along with the Mandala Symbols. In his book: Dream and Dream Interpretation.

Dream 21; (Mandalasymbolic)
The large, transparent sphere contains many small spheres. A green plant grows out at the top.
The sphere is a whole that encompasses all content; the life that the useless struggle has stopped becomes possible again. In Kundalini Yoga, the “green womb” is a designation for Ishvara (Shiva) emerging from his latent state.

Trimuti- “three forms” or “trinity” are the trinity of supreme divinity in Hinduism, in which the cosmic functions of creation, preservation, and destruction are personified as a triad of deities. Typically, the designations are that of Brahma; the creator (A), Vishnu; the preserver (U), and Shiva; the destroyer (M). (OM)

Trimurti-image. The triangle symbolizes the coherence of the universe according to the peak of unity, the tortoise: Vishnu and the lotus, which grows up from the skull with the two flames: Shiva.

In the background: the radiant Brahma sun – the whole thing corresponds to the alchemical >opus<, where the tortoise symbolizes the >Massa Confusa<, the skull the >vas< of transformation, the flower the >self< or wholeness. (After an Indian depiction.)

C.G. Jung, Psychology of Alchemy. Do well everyone