(originally published on brotherharmonius.blogspot.com)

I would like to speculate on the Page of Cups, and its connection to Aion: Researches into the phenomenology of the self, Bollingen Series XX Volume 9, ii of Jung's Collected Works.

That whole book (Aion) is about the fish, the Piscean Age or Aion, and the Christ figure as an expression of complete self.

(B.T.W.,to appreciate Jung, you needn't be a believer in the dogmatic, patristic form of Christianity. If anything, that makes for a more sensational Jung critic at the expense of plumbing Jungian theory's profound depth. Recognizing his heritage was neither Hindu nor Buddhist, Jung used Christianity as the logical allegory that contained all the elements within the scope of his theory. You might argue that, if that was the case, then why didn't he explain in terms of European paganism? Well, in fact he did, and often.)

Now, simply stated, the fish isan object of the unconscious. It is a thought, a problem, or an archetype that has its origins in the deep, where we can't see it, or are unaware of it. But, it's there alright.

The fish rises to thesurface--that is, the unconscious object begins to materialize before our eyes. The Page is the contemplative self. We see this also with how the pages appear in the other suits, they look at, gaze, and are fascinated by the objects of their suit (but not the Page of Swords, who looks away, as toward an adversary).

It surfaces, we see it andrecognize it, and thus is genius brought forth to the conscious awareness. The Page of Cups is the step just before integration of idea and ego takes place. The two objects are still polarized, not quite "hooked," but in a state that immediately precedes conjunction.

Carl Jung, Aion, p. 182:

In this respect the patristic allegory of the capture of Leviathan (with
the cross as the hook, and the Crucified as the bait) is highly
characteristic: a content (fish) of the unconscious (sea) has been
caught and has attached itself to the Christ figure. Hence the
expression used by St. Augustine: "de profundo levatus" (drawn from the
deep).

October 26, 2007

(First published on brotherharmonius.blogspot.com)

In Metamorphosis Kafka reflects, however unwittingly, the inescapable economics of metaphysical law. Other critical analyses allude to this by pointing out the reciprocity of fortune between protagonist Gregor Samsa in opposition to his family.

The psychonanalyst Hellmuth Kaiser wrote from a psychonanalytical perspective, proposing that Kafka had a punishment wish. Be that as it may, throughout his short critical essay Kaiser refers to very plain transpositions that support my contention of a balance of metaphysical economy.1

The basis of this metaphysical economy is the Kabbalistic principle of "As above, so below."2 Role reversals and reversals of fortunes within the household are reflective of corresponding dynamic shifts happening on the metaphysical plane.

The initial story event, that of turning into an insect was not the entire metamorphosis, as Kaiser seems to understand it. There as an ongoing metamorphosis of Gregor descending into bestiality, and the family members, father, mother and Grete Samsa rising from their material dependence on Gregor Samsa.

Grete's transformation is especially analogous to the butterfly, as her spirit metamorphosis happens before our eyes. This change may be indicated by her choice of instrument, the violin, which is one of culture and ascension. Even its high notes suggest a skyward aspiration.

If the violin is symbolic of Grete's spiritual ascent, Gregor's slovenly eating habits are a clear indication that his corresponding metamorphosis is one of descent, the finality of which is death (stagnation; cessation of growth). As a lowly bug (indeed at some point he is no longer Gregor but persona non grata) Gregor embraces bestiality as his inevitable misfortune. Grete continues to uplift her older brother by cleaning his room, and preserving certain cultural reminders, but ultimately these acts fail because, as we should know, the unconscious must be recognized.

In keeping with a law of metaphysical economy one should not wonder that, just as when one end of the scale tips downward, the other end must tip upward, this is precisely the dynamic being played out within the microcosm of the Samsa household.

¹Kaiser, H. (1931) Kafka's fantasy of punishment. Internationaler Psyxchoanalytischer Verlag. "The son cannot put himself in the father's position without the father putting himself in the son's position," and, "As we have already stated, the balance of power between father and son is reversed by means of the son's metamorphosis."

²Jung, C.G. (1963). Mysterium Coniunctionis. Bolingen Series XX, The Collected Works of C.G. Jung, Vol. 14. p17, "II. That which is below is like that which is above, and that which is above is like that which is below, to accomplish the miracle of One Thing." The Emerald Table of Hermes Trismegistus (an unattributed translation in my electronic collection). Here, Jung refers to the Tabula Smaragdina, De alchemia, p.362, and also Tabula Smaragdina, Ruska, p.2.