Hidden Symbolism of Alchemy and the Occult Arts Part 4

The gruesome meal in the story of the juniper tree reminds us of the Tantalus story and the meal of Thyestes. Demeter (or Thetes) ate a shoulder of the dismembered Pelops, who was set before the G.o.ds by his father Tantalus, and the shoulder, after he was brought to life again, was replaced by an ivory one. In a story from the northeastern Caucasus, a chamois similarly dismembered and brought to life, like Thor's goats, gets an artificial shoulder (of wood).

For the purpose of being brought to life again the parts of the dismembered animal are regularly put in a vessel or some container (kettle, box, cloth, skin). In the case of the kettle, which corresponds to the belly or uterus, they are generally cooked. Thus in the tale of the juniper tree, the magic rejuvenations of Medea, which-except in the version mentioning the magic potion-she practices on Jason and aeson, and also on goats (cf. Thor and his goats). I must quote still other pertinent observations of Rank (p. 313 ff). The motive of revivification, most intimately connected with dismemberment, appears not only in a secondary role to compensate for the killing, but represents as well simple coming to life, i.e., birth. Rank believes that coming to life again applies originally to a dissected snake (later other animals, chiefly birds), in which we easily recognize the symbolical compensation for the phallus of the Osiris story, excised and unfit for procreation, which can be brought to life again by means of the water of life. "The idea that man himself at procreation or at birth is a.s.sembled from separate parts, has found expression not only in the typical widespread s.e.xual theories of children, but in countless stories (e.g., Balzac's Contes drolatiques) and mythical traditions. Of special interest to us is the antique expression communicated by Mannhardt (Germ. Myth., p. 305), which says of a pregnant woman that she has a belly full of bones," which strikingly suggests the feature emphasized in all traditions that the bones of the dismembered person are thrown on a heap, or into a kettle (belly) or wrapped in a cloth. [Even the dead Jesus, who is to live again, is enveloped in a cloth. In several points he answers the requirements of the true rejuvenation myth. The point is also made that the limbs that are being put in the cloth must be intact, so that the resurrection may be properly attained (as in a bird story where the dead bird's bones must be carefully preserved). The incompleteness (stigmata) also appears after the resurrection.

John XIX, 33. "But when they came to Jesus, and saw that he was dead already, they brake not his legs."-40 f. "Then took they the body of Jesus and wound it in linen cloths with the spices.... Now in the place where he was crucified there was a garden, and in the garden a new sepulcher, wherein was never man yet laid."

We shall mention later the significance of garden and grave. It supports that of the cloths.]

Rank considers that the circ.u.mstance that the dismembered person or animal resurrected generally lacks a member, points without exception to castration.

What he has said about dismemberment we can now sum up with reference to the lion in the parable in the formulae: Separation of parents; the pushing aside of the father; castration of father; taking his place; liberation of the power of procreation; improvement. In its bearing on the incest wish, castration is indeed the best translation of the "anatomizing" of the lion. The dragon fighter has to release a woman. The idea that the mother is in need of being released, and that it is a good deed to free her from her oppressor, father, is according to the insight of psychoa.n.a.lysis a typical element of those unconscious phantasies of mankind, which are stamped deeply with the greatest significance in the imaginative "family romance" of neurotics. To the typical dragon fight belongs, however (according to Stucken's correct formulation), the motive of denial. As a matter of fact the hero of our parable is denied the prize set before him-the admission into the college-for several of the elders insist on the condition that the wanderer must resuscitate the lion (Sec.

7). In myths where the dragon has to fight with a number of persons this difference generally occurs: that he produces dissension among his opponents. (Jason throws a stone among the men of the dragon's teeth, they fight about the stone and lay each other low.) Dissension occurs also among the old men. They turned (Sec. 7) "fiercely on each other" if only with words.

The wanderer removes, as it were, an obstacle by the fight, tears down a wall or a restraint. This symbol occurs frequently in dreams; flying or jumping over walls has a similar meaning. The wanderer was carried as if in flight to the top of the wall. Then first returns the hesitation. The symbolism of the two paths, right and left, has already been mentioned.

The man that precedes the wanderer (Sec. 7 and 8) may be quite properly taken as the father image; once, at any rate, because the wanderer finds himself on the journey to the mother (that is indeed the trend of the dream) and on this path the father is naturally the predecessor. The father is, however, the instructor, too, held up as an example and as a model for choosing the right path. The father follows the right path to the mother also; he is the lawful husband. The son can reach her only on the left path. This he takes, still for the purpose of making things better. Some one follows the wanderer on the other side (Sec. 8), whether man or woman is not known. The father image in front of the wanderer is his future for he will occupy his father's place. The Being behind him is surely the past, the careless childhood, that has not yet learned the difference between man and woman. It does not take the difficult right way, but quite intelligibly, the left. The wanderer himself turns back to his childish irresponsibility; he takes the left path. The many people that fall down may be a foil to ill.u.s.trate the dangers of the path, for the purpose of deepening the impression of improvement. Phantasies of extraordinary abilities, special powers; contrasts to the anxiety of examinations; all these in the case of the wanderer mark the change from apprehension to fulfillment. We must not fail to recognize the element of desire for honor; it will be yet described. In view of myth motives reported by Stucken, the entire wall episode is to be conceived as a magic flight; the people that fall off are the pursuers.

At the beginning of the ninth section of the parabola, the wanderer breaks red and white roses from the rosebush and sticks them in his hat.

Red-white we already know as s.e.xuality. The breaking off of flowers, etc., in dreams generally signifies masturbation; common speech also knows this as "pulling off" or "jerking off." In the symbolism of dreams and of myths the hat is usually the phallus. This fact alone would be hardly worth mentioning, but there are also other features that have a similar significance. The fear of impotence points to autoerotic components in the psychos.e.xual const.i.tution of the wanderer (of course not clearly recognized as such), which is shown as well in the anxiety about ridicule and disgrace that awaken ambition. This is clearest in the paragraphs 6, 10, 14, of the parable. That the masturbatory symbol precedes the subsequent garden episode, can be understood if we realize that the masturbation phantasy (which has an enormous psychic importance) animates or predetermines the immediately following incest.

The wall about the garden that makes the long detour necessary (Sec. 9) is as we know the resistance. Overcoming the resistance = going round the wall, removal of the wall. Of course, after the completion of the detour there is no wall. The wall, however, signifies also the inaccessibility or virginity of the woman. The wall surrounds a garden. The garden is, however (apart from the paradise symbolism derived from it), one of the oldest and most indubitable symbols for the female body.

"Maiden shall I go with you In your rose garden, There where the roses stand The delicate and the tender; And a tree nearby That moves its leaves, And a cool spring That lies just under it."

Without much change the same symbolism is found in stately form in the Melker Marienlied of the 12th century. (See Jung, Jb. ps. F., IV, S. 398 ff.)

Sainted Mary Closed gate Opened by G.o.d's word- Sealed fountain, Barred garden, Gate of Paradise.

Note also the garden, roses and fountains in the Song of Solomon.

The wanderer wishes to possess his mother as an unravished bride. Also a feature familiar to psychoa.n.a.lysis. The generally accompanying ant.i.thesis is the phantasy that the mother is a loose woman = attainable, s.e.xually alluring woman. Perhaps this idea will also be found in the parable.

The young people of both s.e.xes, separated by a wall, do not come together because they are afraid of the distant detour to the door. This can, with a little courage, be translated: The auto-erotic satisfaction is easier.

[C G. Jung writes (Jb. ps. F., IV, p. 213 ff): "Masturbation is of inestimable importance psychologically. One is guarded from fate, since there is no s.e.xual need of submitting to any one, life and its difficulties. With masturbation one has in his hands the great magic. He needs only to imagine and in addition to m.a.s.t.u.r.b.a.t.e and he possesses all the pleasures of the world and is under no compulsion to conquer the world of his desire through hard work and struggle with reality. Aladdin rubs his lamp and the slaves come at his bidding; this story expresses the great psychologic gain in local s.e.xual satisfaction through facile regression." Jung applies to masturbation the motive of the dearly won prize and that of the stealing of fire. He even appears to derive in some way the use of fire from masturbation. In this at any rate I cannot follow him.]

On his detour the wanderer (who desires to reach the portal of woman) meets people who are alone in the rooms and carry on dirty work. Dirt and masturbation are wont to be closely a.s.sociated psychically. The dirty work is "only appearance and individual fantasy," and "has no foundation in Nature." The wanderer knows that "such practices vanish like smoke." He has done it himself before and now he will have nothing more to do with it. He aspires to a woman, that the work done alone leads to nothing is connected with the fact that the work of two is useful. But "dirty work"

is also to be understood as sensual enjoyment without love.

In paragraph 10 we again meet the already mentioned symbolism of the walled garden. The wanderer is the only one that can secure admission to the maiden. After a fear of impotence (anxiety about disgrace) he goes resolutely to the door and opens it with his Diederich, which sticks into a narrow, hardly visible opening (deflowering). He "knows the situation of the place," although he has never been there before. I mean that once, before he was himself, he was there in the body of his mother. What follows suggests a birth fantasy as these occur in dreams of being born.

The wanderer now actually takes part in being born in reverse direction. I append several dreams about being born.

"I find myself on a very narrow stairway, leading down in turns; a winding stairway. I turn and push through laboriously. Finally I find a little door that leads me into the open, on a green meadow, where I rest in soft luxuriant bushes. The warm sunshine was very pleasant."

F. S. dreams: "In the morning I went to work with my brother (as we went the same road) in the Customs House Street. Before the customs house I saw the head postillion standing. From it the way led to a street between two wooden walls; the way appeared very long and seemed to get narrower toward the end and indeed so close that I was afraid that we would not get through. I went out first, my brother behind me; I was glad when I got out of the pa.s.sage and woke with a beating heart." Addenda. "The way was very dark, more like a mine. We couldn't see, except in the distance the end, like a light in a mine shaft. I closed my eyes." Stekel notes on the dreams of F. S.: "The dream is a typical birth dream. The head postillion is the father. The dreamer wants to reverse the birth relations of his brother who is ten years older than he. 'I went out first, my brother after me.' "

Another beautiful example in Stekel: "Inter faeces et urinas nascimur."

[We are born between faeces and urine] says St. Augustine. Mr. F. Z. S.

contributes an account of his birth which strongly reminds us of the sewer-theory.

"I went into the office and had to pa.s.s a long, narrow, uneven alley. The alley was like a long court between two houses and I had the indefinite feeling that there was no thoroughfare. Yet I hurried through. Suddenly a window over me opened and some one, I believe a female, spilled the wet contents of a vessel on me. My hat was quite wet and afterwards I looked at it closer and still noticed the traces of a dirty gray liquid.

Nevertheless, I went on without stopping, and quickened my steps. At the end of the alley I had to go through the house that was connected by the alley with the other. Here I found an establishment (inn?) that I pa.s.sed.

In this establishment were people (porters, servants, etc.) engaged in moving heavy pieces of furniture, etc., as if these were being moved out or rearranged. I had to be careful and force my way through. Finally I came to the open on a street and looked for an electric. Then I saw on a path that went off at an angle, a man whom I took for an innkeeper who was occupied in measuring or fastening a hedge or a trellis. I did not know exactly what he was doing. He was counting or muttering and was so drunk that he staggered."

Stekel: "In this dream are united birth and effects of the forbidden or unpermissible. The dreamer goes back over the path-evidently as an adult.

The experiences represent an accusation against the mother. This accusation was not without reason. Mr. F. Z. S. had a joyless childhood.

His mother was a heavy drinker. He witnessed her coitus with strangers.

(Packing up = coitus.) The packers and porters are the strange men who visited his inn (his mother was also his nurse) in order to store heavy objects, etc. Finally he was obstructed in his birth, for a man is occupied in measuring. The father was a surveyor (the innkeeper). In the dream, furthermore, he was measuring a trellis-fence. Both trellis and hedge are typical dream symbols of obstacles to copulation."

Comparing Sections 10 and 11 of the parable carefully with the contents of this dream, we find astonishing correspondences. Notice the details, e.g., the rosebushes, the sun, the rain, the hedge. On the "well builded house"

of Section 10, I shall only remark that Scherner has noticed in this connection that the human body represents a building. "Well built house"

signifies "beautiful body."

If we remember that the wanderer reverses the way of birth, we shall not be surprised that he finds a smaller garden in the larger. That is probably the uterus. The wanderer attains the most intimate union with his ideal, the mother, in imagining himself in her body. This phantasy is continued still less ambiguously,-but I do not wish to antic.i.p.ate. Be it only said: He possesses his mother as a spouse and as a child; it is as if in the desire to do everything better than his father he desires to beget himself anew. We already know the mythological motives of new creation, that should follow the forcible separation of the parents and that we have not yet noticed in the parable. Shall the better world still be created, the dismembered paternal power be renewed, the lion again be brought to life?

The rectangular place in the garden suggests a grave. A wall in a dream means, among other things, a cemetery wall and the garden, a cemetery. And widely as these ideas may be contrasted with the lifegiving mother's womb, they yet belong psychologically in very close connection with her. And perhaps not only psychologically.

Stekel tells a dream of Mrs. Delta in which occurs "an open square s.p.a.ce, a garden or court. In the corner stood a tree, that slowly sinks before our eyes as if it were sinking in water. As the tree and the court also made swinging motions, I cleverly remarked, 'Thus we see how the change in the earth's surface takes place.' " The topmost psychic stratum of the dream reveals itself as an earthquake reminiscence. "Earth" leads to the idea of "Mother Earth." The tree sinking into it, is the tree of life, the phallus. The rectangular s.p.a.ce is the bedroom, the marriage bed. The swinging motions characterize the whole picture still better. The earthquake, however, contains, as is found in the a.n.a.lysis, death thoughts also. The rectangular s.p.a.ce becomes a grave. Even the water of the dream deserves notice. "Babies come out of the water," says an infantile theory of procreation. We learn later that the ftus floats in amniotic liquor.

This "water" lies naturally in "Mother Earth." In contrast we have the water of the dead (river of the dead, islands of the dead, etc.). Both waters are a.n.a.logous in the natural symbolism. It is the mythical abode of the people not yet, or no longer, to be found in the world.

As water will appear again at important points in the parable, I will dwell a little longer on that topic.

Little children come out of Holla's fountain, there are in German districts a number of Holla wells or Holla springs (Holla brunn?) with appropriate legends. Women, we are told, who step into those springs become prolific. Mullenhof tells of an old stone fountain in Flensburg, which is called the Gronnerkeel. Its clear, copious water falls out of four c.o.c.ks into a wide basin and supplies a great part of the city. The Flensburgers hold this fountain in great honor, for in this city it is not the stork which brings babies, but they are fished out of this fountain.

While fishing the women catch cold and therefore have to stay in bed.

Bechstein (Frank. Sagensch.) mentions a Little Linden Spring on a road in Schweinfurt near Konigshofen. The nurses dip the babies out of it with silver pails, and it flows not with water but with milk. If the little ones come to this baby fountain they look through the holes of the millstone (specially mentioned on account of what follows) at its still water, that mirrors their features, and think they have seen a little brother or sister that looks just like them. (Nork. Myth d. Volkss., p.

501.)

From the lower Austrian peasantry Rank takes the following (Wurth. Zf. d.

Mythol., IV, 140): "Far, far off in the sea there stands a tree near which the babies grow. They hang by a string on the tree and when the baby is ripe the string breaks and the baby floats off. But in order that it should not drown, it is in a box and in this it floats away to the sea until it comes into a brook. Now our Lord G.o.d makes ill a woman for whom he intended the baby. So a doctor is summoned. Our Lord G.o.d has already suggested to him that the sick woman will have a baby. So he goes out to the brook and watches for a long time until finally the box with the baby comes floating in, and he takes it up and brings it to the sick woman. And this is the way all people get their babies."

I call attention briefly also to the legend of the fountain of youth, to the mythical and naturalistic ideas of water as the first element and source of all life, and to the drink of the G.o.ds (soma, etc.) Compare also the fountain in the verses previously quoted.

The bridal pair in the parable (Sec. 11) walk through the garden and the bride says they intend in their chamber to "enjoy the pleasures of love."

They have picked many fragrant roses. Bear in mind the picking of strawberries in Mr. T.'s dream. The garden becomes a bridal chamber. The rain mentioned somewhat earlier, is a fructifying rain; it is the water of life that drops down upon Mother Earth. It is identical with the sinking trees of Mrs. Delta's dream, with the power of creation developed by the wanderer, with the mythical drink of the G.o.ds, ambrosia, soma. We shall now see the wanderer ascend or descend to the source of this water of life. To gain the water of life it is generally in myths necessary to go down into the underworld (Ishtar's h.e.l.l Journey), into the belly of a monster or the like. Remember, too, that the wanderer puts himself back in his mother's womb. There is indeed the origin of his life. The process is still more significantly worked out in the parable.

The wanderer (Section 11, after the garden episode) comes to the mill. The water of the mill stream also plays a significant part in the sequel. The reader will surely have already recognized what kind of a mill, what kind of water is meant. I will rest satisfied with the mere mention of several facts from folklore and dream-life.

Nork (Myth. d. Volkss., p. 301 f.) writes that Fenja is of the female s.e.x in the myth (Horwendil) which we must infer from her occupation, for in antiquity when only hand mills were as yet in use, women exclusively did this work. In symbolic language, however, the mill signifies the female organ (????? from which comes _mulier_) and as the man is the miller, the satirist Petronius uses _molere mulierem_ = (grind a woman) for coitus, and Theocritus (Idyll, IV, 48) uses ???? (I grind) in the same sense.

Samson, robbed of his strength by the harlot, has to grind in the mill (Judges XVI, 21) on which the Talmud (Sota fol. 10) comments as follows: By the grinding is always meant the sin of fornication (Beischlaf).

Therefore all the mills in Rome stand still at the festival of the chaste Vesta. Like Apollo, Zeus, too, was a miller (??e??, Lykophron, 435), but hardly a miller by profession, but only in so far as he presides over the creative lifegiving principle of the propagation of creatures. It is now demonstrated that every man is a miller and every woman a mill, from which alone it may be conceived that every marriage is a milling (jede Vermahlung eine Vermehlung), etc. Milling (vermehlung) is connected with the Roman confarreatio (a form of marriage); at engagements the Romans used to mingle two piles of meal. In the same author (p. 303 and p. 530): Fengo is therefore the personification of grinding, the mill (Grotti) is his wife Gerutha, the mother of Amleth or Hamlet. Grotti means both woman and mill. Greeth is only a paraphrase of woman. He continues, "Duke Otto, Ludwig of Bavaria's youngest son, wasted his substance with a beautiful miller's daughter named Margaret, and lived in Castle Wolfstein.... This mill is still called the Gretel mill and Prince Otto the Finner" (Grimm, D. S., No. 496). Finner means, like Fengo, the miller [Fenja-old Norman? = the milleress], for the marriage is a milling [Vermahlung ist eine Vermehlung], the child is the ground grain, the meal.

The same writer (Sitt. u. Gebr., p. 162): "In concept the seed corn has the same value as the spermatozoon. The man is the miller, the woman the mill."

In Dulaure-Krauss-Rieskel (Zeugung i. Glaub usw. d. Volk., p. 100 ff.) I find the following charm from the writings of Burkhard, Bishop of Worms: "Have you not done what some women are accustomed to do? They strip themselves of clothes, they anoint their naked bodies with honey, spread a cloth on the ground, on which they scatter grain, roll about in it again and again, then collect carefully all the grains, which have stuck on their bodies, and grind them on the mill stone which they turn in a contrary direction. When the corn is ground into meal, they bake a loaf of it, and give it to their husbands to eat, so that they become sick and die. When you have done this you will atone for it forty days on bread and water."

Killing is the opposite of procreating, therefore the mill is here turned in reverse direction.