James hillman – Page 2

The Dream and The Underworld

“⭐️This book changed the way I look at dreams, or maybe the book taught me what my heart always wanted me to understand. Hillman looks at the dream as happening in the “Underworld” – a place of death – and wants us to enter into that world to understand the dream instead of trying to drag the dream up into the day-world by interpreting it.

Some quotes from the book:

“Freud’s method projects the persons in a dream back over the bridge into the dream-day, even if for the sake of their latent meaning. We associate my dream-brother and dream-father to my day-brother and day-father and, by this association, return the dream to the day. Jung’s method of interpretation on the subjective level takes the dream persons into the subject of the dreamer. They become expressions of my psychic traits. They are introjected into my personality. In neither method do we ever truly leave the personal aspect of the dream persons, and thus they remain in the upperworld. Dare I say it loud and clear? The persons I engage with in dreams are neither representations of their living selves nor parts of myself. They are shadow images that fill archetypal roles; they are personae, masks, in the hollow of which is numen.”

“Public performance on a stage, perhaps because it puts us into the underworld of theatre, also constellates the curious interplay between life-soul and image-soul. The almost depersonalization experience of stage fright makes one feel deserted by one’s soul. All that one memorized and trained for has suddenly vanished. It is as if another soul must play the role, and this moment of going on stage is like a rite de passage, a transition into death.”

“For a dream image to work in life it must, like a mystery, be experienced as fully real. Interpretation arises when we have lost touch with the images, when their reality is derivative, so that this reality must be recovered through conceptual translation. Then we try to replace its intelligence with ours instead of speaking to its intelligence with ours.”

Hillman notes that when we see a killer in a dream, we tend to fear him. But Hillman looks at this figure as a helper who is trying to initiate us into the Underworld land-of-the-dead; the dream world:
“There is a divine death figure in the killer, either Hades, or Thanatos, or Kronos-Saturn, or Dis Pater, or Hermes, a death demon who would separate consciousness from it life attachments.

Hillman, in one section of the book describes the circus as a metaphor of the Underworld:
“Where else but the circus will we ever see the underworld in daylight: the tent of enclosed space, the rings, everyone as close to death as his or her art will allow, the freaks of nature that are beyond nature, and above all, the precise performances of repetitive nonsense, as if Ixion, Tantalus, and Sisyphus had once worked for Ringling Brothers.”

“The comic spirit masquerades in all things we do and say; we are each a joke and do not need to put on a white face. The matter is not one of becoming a clown but of learning what he teaches: making an art of our senseless repetitions, our collapsing and our pathologizings, putting on the face of death that allows the dream world in and watching it turn ordinary objects into amazing images, our public persons into butts of laughter.”

“Unfortunately psychology emphasizes attention and recall; the dayworld wishes to have, must absolutely have, a ‘good memory’; a bad memory is more devastating to success than is a bad conscience. Forgetting therefore becomes a pathological sign. But depth psychology based on an archetypal perspective might understand forgetting as serving a deeper purpose, seeing in these holes and slips in the dayworld the means by which events are transformed out of personal life, voiding it, emptying it. Somehow we must come to better terms with Lethe, since she rules many years, especially the last years, and we would be foolish to dismiss her work only as pathological. The romantics took Lethe most seriously.”⭐️

James Kulm, in reference to the book ‘The Dream and the Underworld’ by James Hillman

{self portrait series Kennedy Peak 8-6-24 part 4
::::The SilverScreen of the Underworld Dream }

~all photo captions contain quotes/excerpts from the book by Hillman

UNDERGROUND AND UNDERWORLD
When using the word underworld, it is imperative to keep in mind a distinction made by some classicists. This distinction is of great psychological importance, because it frees the psychic realm from nature. Chthon and ge (“underworld” and “underground”) do not necessarily refer to the same region or evoke identical feelings. “Chthon with its derivatives refers in origin to the cold, dead depths and has nothing to do with fertility. “This kind of deep ground is not the same as the dark earth; and the Great Lady (potnia chthon), who sends black-winged dreams and who can also be called Erinys, cannot simply be merged into the single figure of the Great Earth Mother.

Psychology’s great-mother complex has swallowed even her own differentiations. Small wonder that this complex is also called “uroboric consciousness,” for even she herself vanishes into an interpretive monotony that makes me believe that the monotheistic psychology I so often belabor is less a mimesis of ancient Hebrewism (within and alongside of which there was much space for imaginal variety) than it is a mimesis of the Great Mother. Monism as Momism. Be this as it may, when we read analytical psychology today to discover about the ‘chthonic,’ we find it has taken on her meaning of primitive earthiness. Morever, as primitive and earthy, it must mean matriarchal and feminine. Thus our instinctual body, whether in flesh or image, in men or women, in the past or now, belongs to her, and we must become murderous heroes to get it back. The great-mother complex hangs the trinket of female gender on agriculture and fertility, as well as on the earth, body, instinct, and on depth. This move ignores that chthonic is an epithet belonging in the sense of “Is ignorant about,” a chthon that cannot be identified with instinctual body or earthy soil.

Let us be clear: the chthonic is not only female, not only instinctual, not only physical, and it does not have to do with fertility rites. As Wilamowitz-Moellendorf said, Ïf modern scholars, who talk so much about chthonian cults, think in this connection of agriculture and all that goes along with Demeter in that sphere, they have not accustomed their ear to the overtones of Greek words.” The two words ge and chthon imply two worlds, the first of the earth and in it, the second below the earth and beyond it.

There are even three distinctions here which have been imagined as levels of earth: an earthed imagination in keeping with Ge herself, whose name we still find in ge-ography, ge-ology, and ge-ometry. The first of these distinctions is between Demeter’s horizontal green plain with its activities of growth and Ge, the earth below Demeter. This second level Ge, may be imagined as the physical and psychic ground of an individual or community, its ‘place on earth,’ with its natural rights, rituals, and laws (Ge-Themis). Here, Ge serves as a fundament on which human life depends even more deeply than on food and fertility, like a governing maternal principle that makes material fertility possible and is its spiritual ground, and then beneath these the third, chthon, the depths, the dead’s world.

Of course, a polytheistic mind does not firmly divide these “levels,” and so Demeter-Ge-chthon frequently merge in epithet and cult. (What scholars imagine about the Greeks does not correspond, nor must it, with what the Greeks imagine about the Gods.) Also against my distinctions is the fact that one can as well view the entire complex of the underworld that one can as well view the entire complex of the underworld from the perspective of Ge, as does Patricia Berry. She then is able to see much of the chthonic spirit that I meet in Hades to be equally present in Ge, and that Gaia (Ge) is both material, maternal earth, and chthonic void with its own spirit.

The question here partly turns on how one regards earth.
The strata of meanings which I have just laid out in terms of Demeter-Ge-chthon imagines a nonphysical earth or terre pur, below or beyond and maybe prior to the ground that we touch. Some etymologists and classicists try to relate the three “levels” culturally, believing one level of meaning to be prior in the sense of historically earlier than another; as if in a genealogy fantasy themselves, they try to derive one level from another, tracing the historical development of these three concepts. For example, Kirk refers to the very early pre-Socratic Pherecydes of Syros (frg. 1), who placed Chthon at the beginning with Zeus and Chronos, “but Chthonie acquired the name Ge…”

Rather than enter the arguments of historical fantasy, I would keep to the psychological distinctions reflected in the three words and three personifications. Ge herself shows two aspects. On the one hand, she has to do with retributive justice, with the Fates, and she has also mantic, oracular powers. (Ge chthonia was worshipped on Mykonos, together with Zeus Chthonios and Dionysos Leneus, as she was linked with the chthonic Pluto and Hermes and the Erinyes at Athens [Areopagus].) This is the “great lady” who sends the black-winged dreams and is appropriately the mother of Themis (“Justice”). This spiritual side of her can be distinguished, on the other hand, from the physical Ge to whom grains and fruits were given (Ge-Demeter). Demeter too has a mystery aspect; her daughter Persephone belongs to Hades and has an underworld function. The spiritual significance may not be reduced to the physical (death cult to fertility rites, sense of justice to agricultural rituals) without ignoring the blatant fact that there are different figures with different epithets. In other words, even the earth and nature have their psychic function as well as their terrestrial ones, and one may serve the earth and be on the ground in more ways than one, i.e., through psychic activities, and not only through natural ones.

“Is it the transition to light that gives the dream its shadowy quality? We all know how much of an art it is, not to dream, but to recall it.”

The distinction between chthonicand earthy, between invisible fundaments and tangible ground, between darkness of soul and blackness of soil, between three Egyptian hieroglyphs, one for earth, another for Aker or entrance to the underground at the edge of existence, and yet another for the realm of the dead of Anubis, the blue-black jackal-dog.

Once again, the distinctions are presented in terms of distance. The most radical classicist of the late nineteenth century, Erwin Rohde friend of Nietzsche, said in his great work Psyche that the underworld of Hades and Persephone is so remote from our world that those removed there “can have no influence upon the life and doings of men on earth.”He further emphasized the distinction between the underground of Ge and the chthonic underworld by saying that Ge ïn actual worship was seldom found among the groups of male and female deities of a chthonic nature such as were worshipped together at many places.”

The spiritual quality of the underworld stands forth most clearly in descriptions of Tartaros, which, from Hesiod onward, was imagined to be at the very bottom of Hades, its farthest chasm. Tartaros was compared with the sky – as distant from the earth as the heaven above, and it was personified as the son of ether and of earth, that is, a realm of dust, a composite of the most material and immaterial.
As the fantasy of Tartaros developed, it became more and more a pneumatic region of air and wind. Unlike the Christian hell of fire, in the imagination of late antiquity Tartaros was a region of dense cold air without light. Hence, Hades often was spoken of as having wings, just as in the Gilgamesh Epic, Enkidu dreams of his death as a transformation into a bird, his arms covered with feathers. The dead are clad like birds, their element evidently air.

The volatilization of the underworld contrasts it sharply with the ground under our feet. In the Alexandrian age, the netherworld lost its localization in the earth altogether – that is, it became free of natural literalism – and was geographically transposed to the underside of the world. There was now a lower hemisphere. The word subterranean (hypogeios, or “below ge”) referred to the whole celestial hemisphere curved below our earth and which, like Hades, must necessarily be invisible from our perspective. It cannot be seen from our usual standpoint. Already then the dayworld and the nightworld, the two sides of the romantic soul, were conceived in a geographical theology of the upperworld and netherworld.

In “this theology the world is divided into two halves by the line of the horizon; upper hemisphere is the domain of the living and the higher gods, the lower that of the dead and the infernal gods. “The Egyptians had carried into extreme detail this reversed world below our feet. The dead walked upside down, feet up, heads down. “People there walk with their feet against the ceiling. This has the unpleasant consequence that digestion goes in the reverse direction, so that excrements arrive in the mouth.” The Underworld is converse to the dayworld, and so its behavior will be obverse, perverse. What is merely shit from the daytime perspective – or what Freud called day-residues – becomes soul food when turned upside down. The way we go about there, the way we ruminate, even logic is stood on its head, for there our heads are in another place. (In Chapter 6 we shall look at some contemporary examples of this “upsidedownness,” including excrements in dreams.)

Might there be an archetypal figure within Freud’s “day residues” that are the material of the dream? Could these leftover scraps refer to the household garbage that was sacrifice to Hekate (Cults2:515)? Hekate has long been implicated in dream interpretations. Both the magical view that considers dreams to be foretellings and the nineteenth-century mechanistic view that attributes them to waste products of physiological sensations (garbage) show Hekate’s influence when she becomes equated with Nyx (night), as in Spenser and at times in Shakespeare, then dreams become her province and our interpretative ideas reflect her perspectives.

We may continue this tradition, although in a different manner. Yes, the dream is made of scraps that belong to the Goddess who makes sacred the waste of life, so that it all counts, it all matters. Offering the dream to “the mysteries of Hekate and the night” (King Lear, act 1, scene 1) means giving back the regurgitations that “come up” in dreams without attempts to save them morally or to find their dayworld use. The junk of the soul is primordially saved by Hekate’s blessing, and even our trashing ourselves can be led back to her. The messy life is a way of entering her domain and becoming a “child of Hekate.”Our part is only to recognize that there is a myth in the mess so as to dispose of the day residues at the proper place, that is, to place them at Hekate’s altar. Ritually, the garbage was placed at night at a crossroads so that each dream may lead off in at least three directions besides the one we have come from. Hekate, who has traditionally been represented with three heads, keeps us looking and listening in many ways at once.

Because the underworld differs so radically from the underground, that which has its home there, dreams, must refer to psychic or pneumatic world of ghosts, spirits, ancestors, souls, daimones. These are invisible by nature, and not merely invisible because they have been forgotten or repressed. This world is fluid, or dusty, fiery, muddy, or aetherial, so there is nothing firm to hold to – unless we develop intuitive instruments for seizing impalpables that slip through our fingers or burn at the touch.

By locating the dream among these impalpable fundamentals in Hades, we will begin to find that dreams reflect an underworld of essences rather than an underground of root and seed. They present images of being rather than of becoming. We will learn that a dream is less a comment on life and an indication as to where it is growing, than it is a statement from the chthonic depths, the cold, dense, unchanging state – what we so often today call psychopathic because, as Freud saw, the dream does not show morality, human feelings, or the sense of time. We can no longer turn to the dream in hopes of progress, transformation, and rebirth.

I think too that the underworld teaches us to abandon our hopes for achieving unification of personality by means of the dream. The underworld spirits are plural. So much is this the case that the di manes (underworld spirits), who were the Roman equivalent of the Greek theoi chthonioi, have no native singular form. Even individual dead persons were spoken of plurally, as di manes. “The ancient Egyptian was thought to live after death in a multiplicity of forms, each of these forms was the full man himself”(Ba, p. 113). The underworld is an innumerable community of figures. The endless variety of figures reflects the endlessness of the soul, and dreams restore to consciousness this sense of multiplicity. The polytheistic perspective is grounded in the chthonic depths of the soul. A psychotherapeutic emphasis will be upon the disintegrative effects of the dream, which also confronts us with our moral dis-integrity, our psychopathic lack of a central hold on ourselves. Dreams show us to be plural and that each of the forms that figure there are “the full man himself,” full potentials of behavior. Only by falling apart (RP, pp. 53-112) into the multiple figures do we extend consciousness to embrace and contain its psychopathic potentials.

We get into difficulties when we try to read the deep chthonic level from the viewpoints of Demeter or of Ge. To perceive the chthonic with Demeter’s eyes is to take the dream as signal for literal action and to translate it with naturalistic ethics into a moralized world. To take a dream as containing an immoral implication or a moral indication for setting matters right and redressing a balance is to read it from the Ge-Themis-Dike perspective. Perhaps we need the intervention of another lady of the underworld, Hekate, who was especially adept with ghosts, who both brought and banned fear, and who had nothing to do with the round of human life (marriage, birth, agriculture), herself without brother or sister or any descendants. “Her worship was without morality.” Hekate’s underworld perspective reaches to the chthonic depth of the dream, which, on the one hand, is a simple statement of essence – how spectral things look when stripped of their human context – and, on the other, elicits our psychopathy.
The region of the soul in which dreams have their home is deeper than flesh-and-blood urges, which we have been, mistakenly, calling chthonic, as if it were the same as natural, as if the underworld referred to ira and cupiditas, the blood-soul, the thymos. This all is earthy; the natural, physical, somatic soul of emotions. Our modern word unconscious has become a catch-all, collecting into one clouded reservoir all fantasies of the deep, the lower, the baser, the heavier (depressed), and the darker. We have buried in the same monolithic tomb called The Unconscious the red and earthy body of the primeval Adam, the collective common man and woman, and the shades, phantoms, and ancestors. We cannot distinguish a compulsion from a call, an instinct for an image, a desirous demand from a movement of imagination. Looking into the night from the while light of the dayworld (where the term unconscious was fashioned), we cannot tell the red from the black. So, we read dreams for all sorts of messages at once – somatic, personal, psychic, mantic, ancestral, practical, confusing instinctual and emotional life with the realm of death.
The pronounced distinction between emotion and soul, between emotional man and psychological man, comes out in another of Heraclitus’ fragments (85): “. . . whatever it [thymos] wishes it buys at the price of soul.” Thymos, the earlier Greek experience of emotional consciousness or moist soul, did not belong in the underworld. So, to consider the dream as an emotional wish costs soul; to mistake the chthonic as the natural loses psyche. We cannot claim to be psychological when we read dream image in terms of drives or desires. Whatever counsel an analyst gives about emotional life, supposing it drawn from dreams, refers to his experience, which he reflects from the dreams. It is not in the dreams. He is “sup-posing” about them, that is, he is “putting onto” them what he knows about life.
What one knows about life may not be relevant for what is below life. What one knows and has done in life may be as irrelevant to the underworld as clothes that adjust us to life and the flesh and bones that the clothes cover. For in the underworld all is stripped away, and life is upside down. We are further than the expectations based on life experience, and the wisdom derived from it.
Again, we can follow Heraclitus (frg. 27): “When men die there awaits what they neither expect nor even imagine.” The word translated here as “expect” is related in Greek to “hope” (elpis), so that the specific hope that is abandoned (Dante, Inferno 3) on entering the underworld perspective is the fantasy of daylife expectations and flesh-and-blood illusions. Souls in Hades are “incurable” said Plato. There is no alteration to be hoped for. Such hope would be hope for the wrong thing. We need more the hope of St. Paul, which is a hope of invisibles and for invisibles, than the hope of Pandora, who, as the wife of Prometheus, contains a hidden hope, which he makes evident in his mission to help mankind. To go deep into a dream requires abandoning hope, the hope that rises in the morning and would turn the dream to its purposes. At the Hades level of the dream there is neither hope nor despair. They cancel each other out; and we can move beyond the language of expectations, measuring progressions and regressions, ego strengthening and weakening, coping and failing.

Let me once more try to draw this distinction between the underground of vital, emotional life and the underworld Heraclitus said (frg. 15):
It it were not in honour of Dionysus
that they conducted the procession and sang
the hymn to the male organ, their activity would be
completely shameless.
Hades and Dionysus are the same, no matter
how much they go mad and rave celebrating
bacchic rites in honour of the latter.
The passage has given scholars – those who accept this phrasing at all – so much trouble partly because it juxtaposes, even identifies, the very different realms we are keeping distinct: psychic essences and emotional nature.

This fragment refers to the mystery of a sacred procession and it must be read with a similar reverence, even as a revelation of something profound in acts that seem shamelessly pornographic, raving, and mad. It is therefore not enough to pass it off with a moral generality, as some interpreters do, that Heraclitus means that even the wildest life forces also lead to death, or let it go by, as other interprets do, as another of his metaphysical generalities about the sameness of life and death (frgs. 62, 88). We are still left with the vivid imagery of this mystery in the sexual language that is so fundamental to psychology. So, Heraclitus, as one psychologist to another, across the centuries I read you to be saying that for this troublesome distinction between emotion and soul, between the perspective of vitality (Dionysos) and the perspective of psyche (Hades), sexual fantasy holds a secret. In what seems most evident, public, and concrete, there is also something covered in shame, hidden and invisible.

The Hades within Dionysus says that there is an invisible meaning in sexual acts, a significance for soul in the phallic parade, that all our life force, including the polymorphous and pornographic desires of the psyche, refer to the underworld of images. Things in life, no matter how full of life, are not only natural. Dionysos is also a “downer.” We may believe we are living life only on the level of life, but we cannot escape the psychic significance of what we are doing. Soul is made in the rout of the world. What has meaning for life has meaning for soul at the same moment, so consider you living in the light of the Hades within it.

The other side of the mysterious identity, the Dionysos within Hades, says that there is zoe, a vitality in all underworld phenomena. The realm of the dead is not as dead as we expect it. Hades too can rape and also seize the psyche through sexual fantasies. Although without thymos, body, or voice, there is a hidden libido in the shadows. The images in Hades are also Dionysian – not fertile in the natural sense, but in the psychic sense, imaginatively fertile. There is an imagination below the earth that abounds in animal forms, that revels and makes music. There is a dance in death. Hades and Dionysos are the same. As Hades darkens Dionysos toward his own richness. Farnell describes their fusion as a “mildness joined with melancholy.”

Soul-Speech

All modern therapies which claim that action is more curative than words (Moreno) and which seek techniques other than talk (rather than in addition to it) are repressing the most human of all faculties-the
telling of the tales of our souls. These therapies may be curative of the child in us who has not learned to speak or the animal who cannot, or a spirit-daimon that is beyond words because it is beyond soul. But only continued attempts at accurate soul-speech can cure our speech of its chatter and restore it to its first function, the communication of soul.

Soul of bulk and substance can be evoked by words and expressed in words; for myth and poetry, so altogether verbal and "fleshless," nonetheless resonate with the deepest intimacies of organic existence. A mark of imaginal man is the speech of his soul, and the range of this speech, its self-generative spontaneity, its precise subtlety and ambiguous suggestion, its capacity, as Hegel said,
"to receive and reproduce every modification of our ideational faculty, “ can be supplanted neither by the technology of communication media, by contemplative spiritual silence, nor by physical gestures and signs. The more we hold back from the risk of speaking because of the semantic anxiety that
keeps the soul in secret incommunicado, private and personal, the greater grows the credibility gap between what we are and what we say, splitting psyche and logos. The more we become tied by linguistic self-consciousness, the more we abdicate the ruling principle of psychological existence. That we then turn to the rats of Skinner and the dogs
of Pavlov, the geese and wolves of Lorenz--tune into dolphins or consider man a naked ape-in order to find prototypes for human behavior, indicates to what extent we are losing our speech and with it our sense of a distinctly human nature. It is not animal prototypes we need for discovering our original patterns, but personified archetypes, each of whom speaks, has a name, 'I' and has its existence in the language world of myth. Without speech we lose soul, and human being assumes the fantasy being of animals. But man is half-angel because he can
speak. The more we distrust speech in therapy or the capacity of speech to be therapeutic, the closer we are to an absorption into the fantasy of the archetypal subhuman, and the sooner the archetypal barbarian
strides into the communication ruins of a culture that refused eloquence as a mirror of its soul.

James Hillman, Re-Visioning Psychology

Language of the Soul

This is a style attempting to be precise in distinguishing among the faces of the soul, all the while appealing to that many-sided soul by speaking in figurative language to the emotions, senses, and fantasy, working its persuasion through artfulness, even if at times becoming bombastic, contrived, even piously woolly. This has all been called
rhetoric. In Renaissance rhetoric anima appears yet once more, this time as Aphrodite Peitho, the persuasive Venus who turns our head
with a well-turned phrase. Rhetoric played such an important part in Renaissance writing because it is the speech form of the anima archetype, the style of words when informed by soul.

Our academic tradition has missed the psychology of the Renaissance partly because it has not been attuned enough to this use of language, excoriating it for lack of solid evidence and marshaled argument. But logic and proof do not convince the anima, neither then nor now, so that really to hear Renaissance language we have to listen through anima, which is brought to life by personified and pathologized figures of speech, by hyperbole and metaphor, by indirection, repetition, allusion, conceit, and innuendo. This speech is forceful, seductive,
and convincing--until examined as scientific analysis or theological discourse. Then it is no longer "serious philosophy." Rhetoric's pleading, complaining, and reiterating speaks the way our symptoms speak,
the way our dreams speak. It is an argument of mood; or rather, the imagination does not argue, it imagines.'a Rhetoric never persuades the mind unless that mind be from the beginning susceptible to passion and images; its main discriminatory concern is not with forming definitions but with shaping the imagination itself into words.

Depth psychology today is heavily entangled in the problem of language, pulled between extremes of basing all therapy upon linguistic structures or leaving speech altogether for preverbal grunts and gestures. Therapy turns back either to Cartesian structuralism which abstracts speech into unutterable root units or to pietistic revivalism
where the inchoate sound of feeling is all. Neither those structures nor those feelings can carry psychology toward giving words to the full size
of soul, for they lack the main mark of rhetoric: eloquence. We need again what was common in the Renaissance-belief in the verbal imagination and the therapeutic incantational power of words. Besides the France of Lacan's intellect and the Germany of Reich's and Perl's feelings, there is the Mediterranean of the imagination, an inland sea of rhetoric from whose froth Venus rises.

~James Hillman , Re-Visioning Psychology

SoulMaking

🌟But the moment we realize body also as a subtle body–a fantasy system of complexes, symptoms, tastes, influences and relations, zones of delight, pathologized images, trapped insights–then body and soul lose their borders, neither more literal or metaphorical than the other. Remember: the enemy is the literal, and the literal is not the concrete flesh but negligence of the vision that concrete flesh is a magnificent citadel of metaphors.

Putting soul inside man also neglects that man, too, is a personified literalism- no more an actual real container than soul. In Chapter 1 the realization grew that a human life is actually a personification of
the soul, a projection of it, contained by it. Although we readily accept the notion that human energy, and nature, life, and Gods are not specifically human privileges and that they exist “‘outside” human be-
ings, we curiously balk over distinguishing soul from human being. Is this because we do not allow anima her independence? Is this the fundamental intolerance of human psychology: its inability to admit the distinct reality, the full reality, of soul, so that all our human struggle with imagination and its mad incursions, with the symptoms of com-
plexes, with ideologies, theologies, and their systems, are in root and essence the unpredictable writhing movements of Psyche freeing herself
from human imprisonment?

Our distinction between psyche and human has several important consequences. If we conceive each human being to be defined individually and differently by the soul, and we admit that the soul exists
independently of human beings, then our essentially differing human individuality is really not human at all, but more the gift of an inhuman daimon who demands human service. It is not my individuation, but the daimon’s; not my fate that matters to the Gods, but how I care for the psychic persons entrusted to my stewardship during my life. It is
not life that matters, but soul and how life is used to care for soul. This bears upon dreams. Dreams, we said earlier, are the best model of the actual psyche, for they show it personified, pathologized, and
manifold. In them the ego is only one figure among many psychic persons. Nothing is literal; all is metaphor. Dreams are the best model also because they show the soul apart from life, reflecting it but just as often unconcerned with the life of the human being who dreams them. Their main concern seems not to be with living but with imagining.”

~James Hillman , Re-Visioning Psychology

Wounds as Doors

The pathologized images have moved the soul in several ways: we are afraid; we feel vulnerable and in danger; our very physical substance and sanity appear to be menaced; we want to prevent or rectify. Especially this last seizes us. We feel protective, impelled to correct, straighten, repair. For we have confused something sick with something wrong. […]
affliction reaches us partly through the guilt it brings. Guilt belongs to the experiences of deviation, the the sense of being off, failing, ‘missing the mark’. […]
However the true missing of the mark is taking the guilt literally, where failings becomes faults to be set right. This places the guilt on the shoulders of the ego who ‘should not’ have failed. Then pathologizing reinforces the ego’s style and guilt serves a secondary gain, increasing the ego’s sense of importance: ego becomes superego, drivenly busy with repairing wrongs. A guilty ego is no less egocentric than a proud one.

James Hillman, Re-Visioning Psychology

{self Portrait series part 3 : 8-6-24}

“The poeisis of space
In this chaotic time
Of birth”
~Charleen Johnston

What door is opened into soul through our wounds.

James Hillman

The cure of the shadow is on the one hand a moral problem, that is, recognition of what we have repressed, how we perform our repressions, how we rationalize and deceive ourselves, what sort of goals we have and what we have hurt, even maimed, in the name of these goals. On the other hand, the cure of the shadow is a problem of love. How far can our love extend to the broken and ruined parts of ourselves, the disgusting and perverse? How much charity and compassion have we for our own weakness and sickness?… Loving oneself is no easy matter just because it means loving all of oneself, including the shadow where one is inferior and socially so unacceptable. The care one gives this humiliating part is also the cure. More: as the cure depends on care, so does caring sometimes mean nothing more than carrying.

James Hillman, Meeting the Shadow: The Hidden Power of the Dark Side of Human Nature

For any one of us, child or adult, the question eclipsing all others is: How does what comes with you to the world find a place in the world? How does my meaning fit with the meanings to which I am asked to conform? What helps growing down?

James Hillman, The Soul’s Code: In Search of Character and Calling

There is more in a human life than our theories of it allow. Sooner or later something seems to call us onto a particular path. You may remember this “something” as a signal moment in childhood when an urge out of nowhere, a fascination, a peculiar turn of events struck like an annunciation: This is what I must do, this is what I’ve got to have. This is who I am.

James Hillman, The Soul’s Code: In Search of Character and Calling

But our task here is not to restore all the invisibles but to discriminate among them by attending to the one that once was called your daimon or genius, sometimes your soul or your fate, and now your acorn.

James Hillman, The Soul’s Code: In Search of Character and Calling

Attention does for consciousness what our hands do for our bodies: it grabs hold of nature so that we can change it.

James Hillman, Alchemical Psychology: Uniform Edition of the Writings of James Hillman, Vol. 5

For the daimon surprises. It crosses my intentions with its interventions, sometimes with a little twinge of hesitation, sometimes with a quick crush on someone or something. These surprises feel small and irrational; you can brush them aside; yet they also convey a sense of importance, which can make you say afterward: “Fate.

James Hillman

Ideas that we do not know we have have us. And then they shape our experiences from behind, unbeknown. Psychology’s job, it seems to me, is to see the subjective, archetypal factor in our sight, before or while looking at facts and events. Other sciences have to pretend to being objective, to be describing things as they are; psychology fortunately is always bound by its psychic limitations and can be spared the pretense of objectivity. In place of the obligation to be objectively factual, it is obliged to be subjectively aware, which becomes possible only if we are willing to have an exhaustive go at the assumptions in our primary notions.

James Hillman, Anima: Anatomy of a Personified Notion

There is more in a human life than our theories of it allow.

James Hillman, The Soul’s Code: In Search of Character and Calling

“The work of soul–making is concerned essentially with the evocation of psychological faith, the faith arising from the psyche which shows as faith in the reality of the soul… Psychological faith begins in the love of images, and it flows mainly through the shapes of persons in reveries, fantasies, reflections, and imaginations. Their increasing vivification gives one an increasing conviction of having, and then of being, an interior reality of deep significance transcending one’s personal life….”

James Hillman

Psychological faith is reflected in an ego that gives credit to images and turns to them in its darkness. Its trust is in the imagination as the only uncontrovertible reality, directly presented, immediately felt.

James Hillman

Soul making, as work on anima through images, offers a way of resolving the dependencies of transference. For it is not the therapist or any actual person whatever who is the keeper of my soul beyond all betrayals, but the archetypal persons of the Gods to whom the anima acts as bridge. The shaping of her amorphous moods, sulfuric passions, bitter resentments, and bubbles of distraction into distinct personalities is the main work of therapeutic analysis or soul-making. Therefore, it works in imagination, with imagination, and for imagination. It discovers and forms a personality by disclosing and shaping the multiple soul personalities out of the primary massa confusa of arguing voices and pushing demands.

From Hillman, James, Re-Visioning Psychology, p. 50

This is what I must do, this is what I’ve got to have. This is who I am.

James Hillman, The Soul’s Code: In Search of Character and Calling

…you find your genius by looking in the mirror of your life. Your visible image shows your inner truth, so when you’re estimating others, what you see is what you get. It therefore becomes critically important to see generously, or you will get only what you see; to see sharply, so that you discern the mix of traits rather than a generalized lump; and to see deeply into dark shadows, or else you will be deceived.

James Hillman, The Soul’s Code: In Search of Character and Calling

Anytime you’re gonna grow, you’re gonna lose something. You’re losing what you’re hanging onto to keep safe. You’re losing habits that you’re comfortable with, you’re losing familiarity.

James Hillman

I can no longer be sure whether the psyche is in me or whether I’m in the psyche…

James Hillman

Each life is formed by its unique image, an image that is the essence of that life and calls it to a destiny. As the force of fate, this image acts as a personal daimon, an accompanying guide who remembers your calling.

James Hillman

The daimon motivates. It protects. It invents and persists with stubborn fidelity. It resists compromising reasonableness and often forces deviance and oddity upon its keeper, especially when neglected or opposed. It offers comfort and can pull you into its shell, but it cannot abide innocence. It can make the body ill. It is out of step with time, finding all sorts of faults, gaps, and knots in the flow of life – and it prefers them. It has affinities with myth, since it is itself a mythical being and thinks in mythical patterns.

James Hillman

It has much to do with feelings of uniqueness, of grandeur and with the restlessness of the heart, its impatience, its dissatisfaction, its yearning. It needs its share of beauty. It wants to be seen, witnessed, accorded recognition, particularly by the person who is its caretaker. Metaphoric images are its first unlearned language, which provides the poetic basis of mind, making possible communication between all people and all things by means of metaphors.

James Hillman

Extraordinary people display calling most evidently…they are extraordinary because their calling comes through so clearly and they are so loyal to it. They serve as exemplars of calling and its strength, and also of keeping faith with its signals.

James Hillman

For centuries we have searched for the right term for this “call”. The Romans named it your ‘genius’; the Greeks, your ‘daimon’; and the Christians your guardian angel. The Romantics, like Keats, said the call came from the heart, and Michelangelo’s intuitive eye saw an image in the heart of the person he was sculpting. The Neoplatonists referred to an imaginal body, the ‘ochema’, that carried you like a vehicle. It was your personal bearer or support. For some it is Lady Luck or Fortuna; for others a genie or jinn, a bad seed or evil genius. In Egypt, it might have been the ‘ka’, or the ‘ba’ with whom you could converse. Among the people we refer to as Eskimos and others who follow shamanistic practices, it is your spirit, your free-soul, your animal-soul, your breath-soul.

James Hillman, The Soul’s Code: In Search of Character and Calling

Perception bestows blessing—as the stories sketched in this chapter attempt to demonstrate. Perception brings into being and maintains the being of whatever is perceived; and when perception sees in “the holiness of the Heart’s affections,” again as these stories say, things are revealed that prove the Truth of the Imagination.

James Hillman, The Soul’s Code: In Search of Character and Calling

Aging is no accident. It is necessary to the human
condition, intended by the soul. We become more characteristic of who we are simply by lasting into later years; the older we become, the more our true natures emerge. Thus the final years have a very important purpose: the fulfillment and confirmation of one’s character.

James Hillman

Tell me what you yearn for and I shall tell you who you are. We are what we reach for, the idealized image that drives our wandering.

James Hillman

I like to imagine a person’s psyche to be like a boardinghouse full of characters. The ones who show up regularly and who habitually follow the house rules may not have met other long-term residents who stay behind closed doors, or who only appear at night. An adequate theory of character must make room for character actors, for the stuntmen and animal handlers, for all the figures who play bit parts and produce unexpected acts. They often make the show fateful, or tragic, or farcically absurd.

James Hillman

Love alone is not enough. Without imagination, love stales into sentiment, duty, boredom. Relationships fail not because we have stopped loving but because we first stopped imagining.

James Hillman

Anything you attend to carefully can bring blessing.

James Hillman

An individual’s harmony with his or her ‘own deep self’ requires not merely a journey to the interior but a harmonizing with the environmental world.

James Hillman

Archetypal psychology

🔥 In contrast, archetypal psychology holds that the true iconoclast is the image itself which explodes its allegorical meanings, releasing startling new insights. Thus the most distressing images in dreams and fantasies, those we shy from for their disgusting distortion and perversion, are precisely the ones that break the allegorical frame of what we think we
know about this person or that, this trait of ourselves or that. The “worst” images are thus the best, for they are the ones that restore a figure to its pristine power as a numinous person at work in the soul…

….A more general result of nominalism is “logophobia,” a dread of words especially of big words which might harbor irrealities. Our difficulty with the word archetype and with envisioning the reality of archetypal images and ideas is one of the effects of nominalism. We are in peculiar double bind with words; they fascinate and at the same time repel. For because of nominalism words have become both bloated in importance and dried in content. In the modern language-games of Wittgenstein, words are the very fundamentals of conscious existence, yet they are also severed from things and from truth. They exist in a world of their own. In modern structural linguistics, words have no inherent sense, for they can be reduced, every single one of them, to basic quasi-mathematical units. The fantasy of a basic number of irreducible elements out of which all speech can be constituted is a dissecting technique of the analytic mind which applies logical atomism to Logos itself–a suicide of the word.

Of course there is a credibility gap, since we no longer trust words of any sort as true carriers of meaning. Of course, in psychiatry, words have become schizogenic, themselves a cause and source of mental disease. Of course we live in a world of slogan, jargon, and press releases, approximating the “Newspeak” of Orwell’s 1984.

As one art and academic field after another falls into the paralyzing coils of obsession with language and communication, speech succumbs to a new semantic anxiety. Even psychotherapy, which began as a “talking cure” – ‘ the rediscovery of the oral tradition of telling one’s story- is abandoning language for touch, cry, and gesture. We dare not
be eloquent. To be passionate, psychotherapy now says we must be physical or primitive. Such psychotherapy promotes a new barbarism.
Our semantic anxiety has made us forget that words, too, burn and become flesh as we speak.

A new angelology of words is needed so that we may once again have faith in them. Without the inherence of the angel in the word- and angel means originally “’emissary, “‘message-bearer” -how can we utter anything but personal opinions, things made up in our subjective minds? How can anything of worth and soul be conveyed from one psyche to another, as in a conversation, a letter, or a book, if archetypal significances are not carried in the depths of our words?

We need to recall the angel aspect of the word, recognizing words as independent carriers of soul between people. We need to recall that we do not just make words up or learn them in school, or ever have them fully under control. Words, like angels, are powers which have Invisible power over us. They are personal presences which have whole mythologies: genders, genealogies (etymologies concerning origins and creations), histories, and vogues; and their own guarding, blaspheming, creating, and annihilating effects. For words are persons. This aspect of the word transcends their nominalistic definitions and contexts and evokes in our souls a universal resonance. Without the inherence of soul
In words, speech would not move us, words would not provide forms for carrying our lives and giving sense to our deaths. “Death” itself, and “soul” “Gods,” “persons, would become, as Antiphon the Sophist said thousands of years ago, mere conventions and artifacts.’ Personifying would be simply a manner of nominalistic speech.

It is this person in the word, its angelic power, that nominalism dreads. Nominalism is not simply a philosophical position which would disembowel words, emptying them into windbags, fatus voci. It is a psychological defense against the psychic component of the word. The bigness it fears and would reduce refers to the complex nature of words
which act upon us as complexes and release complexes in us. Philosophy works wholly with words, so it must bring their complexities into rational order. This is the job of rational speech whether in logic,
theology, or science. In fact, rational use of words was what the word “sanity” originally meant in Latin. Therefore, nominalism refuses to recognize the person in the word or to personify them; to do so implies insanity.

I admit that the personifying path we are on is, indeed, deviant if not mad. But it is from this psychological perspective that we must look at
all judgments against personifying. For these judgments come from a tradition that has progressively depotentiated both images and words
in order to maintain a particular vision of man, reason, and reality. This vision divides the world into objects and egos, giving to the soul no more place than the pea-sized pineal gland, to which island in the middle of the brain Descartes banished the psyche at the beginning of our modern period….🔥

🌟James Hillman , Re-Visioning Psychology pg.8-10

Anthropomorphism

🌜✨🌟….Anthropomorphism, the attribution of human form and character …..ascription of a human attribute of personality to anything impersonal or 'irrational" enters the English language in 1793 via the
French. Animism , the attribution of a living soul to inanimate objects and natural phenomena “, occurs a century later in the present sense made familiar by the anthropologist Tylor's Primitive Culture (1871).
The first is an emissary into English of the French Enlightenment with its acute sensitiveness to the irrationality of religion and its investment in the Cartesian world of dead and impersonal objects. The second is a product of Victorian progressive scientism. Both are heritages of nominalism. Both deprive that mode of experience to which they purportedly refer of its native validity. So we shall not use the terms anthropomorphism and animism but rather the term personifying to signify the basic psychological activity- the spontaneous experiencing
envisioning and speaking of the configurations of existence as psychic presences- and hopefully thereby save this authentic activity from being condemned as personification.

Personification is a psychologism. It implies a human being who creates Gods in human likeness much as an author creates characten out of his own personality. These Gods depict his own needs; they are his projections. Personification cannot imagine that these psychic presences (Gods, daemons, and other persons of the mythical realm) have autonomous substantial reality. It cannot imagine that an author, say, is driven to bear the messages of "his" characters, that it is their will that is done, that he is their scribe, and that they are creating him even
while he creates them. An author's fictions are often more significant than his own reality, containing more psychic substance, which lasts long after their
"creator" has gone. An author creates only by their
authority. The notion that literary fictions have an inherent autonomy is itself visioned by means of a personified Muse, without whose aid the entire writing venture becomes precarious.

All three terms- anthropomorphism, animism, personification - contain one basic idea: there exists a “mode of thought” which takes an inside event and puts it outside, at the same time making this content
alive, personal, and even divine. These three terms by saying that human beings tend to imagine things into souls, are actually describing a manner of soul-making. But by calling this activity a "mode of
thought" it becomes an act we perform- conscious or unconscious- rather than something we immediately experience. Where these three
terms assume thought makes soul, personifying recognizes soul as existent prior to reflection. Personifying is a way of being in the world and
experiencing the world as a psychological field, where persons are given with events, so that events are experiences that touch us, move us, appeal to us.

But as Van der Leeuw has said we waste breath trying to disprove the theory of animism. It can, however, be seen through as a psychological statement saying less about the soul of primitives than about the primitive soul of those writing about them. Animism is an anthropological report about the soul of anthropology. “In its entire structure and
tendency," says van der Leeuw, “this theory suits the second half of the nineteenth century far better than it does the primitive world."

The theory of animism represents a condition of soul (anima) which cannot find soul except as projected into infantile behavior, psychopathology of fetishism, the common people of the collective mind, or the dark places and peculiar behaviors of exotic peoples in distant islands or insane asylums. Through these concepts —personification, anthropomorphism, animism-- reason could indeed make stones live again and even create souls and Gods. The rational tradition, having lost its base in the psyche, was trying to Rediscover it through the anthropology of animism. “ 🌟✨🌛

James Hillman, are-Visioning Psychology ,pg.12-13

Animistic

🔥🃏🔥 But there was another tradition, which continued to regard personifying as a necessary mode of understanding the world and of being in it
It began with the Greeks and Romans, who personified such psychic powers as Fame, Insolence, Night, Ugliness, Timing, Hope, to name but a few. These were regarded as “real daemons to be worshipped and propitiated and no mere figments of the imagination. And, as is well known, they were actually worshipped in every Greek city. To mention Athens alone, we find altars and sanctuaries of Victory, Fortune, Friendship, Forgetfulness, Modesty, Mercy, Peace, and many more.

Many consider this practice as merely animistic, but it was really an act of ensouling; for there is no question that the personifying of the ancient Greeks and Romans provided altars for configurations of the
soul. When these are not provided for, when these Gods and daemons are not given their proper place and recognition, they become diseases -a point Jung made often enough. The need to provide containers for the many configurations of the soul was formulated in the third century A.D. by the greatest of all Platonist philosophers, Plotinus. In a section of his Enneads called appropriately "The Problems of the Soul" we find this passage:

~”I think, therefore, that those ancient sages, who sought to secure the presence of divine beings by the erection of shrines and statues, showed
insight into the nature of the All; they perceived that, though this soul is everywhere tractable, its presence will be secured all the more readilywhen an appropriate receptacie is elaborated, a place especially capable of receiving some portion or phase of it, something reproducing it, or
representing it and serving like a mirror to catch an image of it.”~

When in the next passage (IV, 3, 12) he speaks of "the souls of men, seeing their images in the mirror of Dionysus," he seems again to be referring to the ability of the soul to divide into many parts, and that
its portions and phases reflect the various images of divine persons. Personifying not only aids discrimination; it also offers another avenue of loving, of imagining things in a personal form so that we can find access to them with our hearts. Words with capital letters are charged with affect, they jump out of their sentences and become images. The
tradition of depersonifying recognized full well that personified words tend to become cherished and sacred, affecting the reason of the heart. Hence nominalists disparage the personified style of expression, calling it rhetoric with emotive meaning only. But this very recognition, that personifying emotionalizes, shift the discussion from nominalism to imagination, from head to heart.

The image of the heart- “l'immagine del cuor"- was an important idea in the work of Michelangelo who was strongly influenced by the Platonist tradition. Imagining with the heart refers to a mode of perception that penetrates through names and physical appearances to a personified interior image, from the heart to the heart. When Michelangelo portrayed Lorenzo and Giuliano Medici in the Sacristy of Sen Lorenzo, the features which he depicted were unnatural, not as they appeared in life but rather transfigured to conform with the true image
of their persons in the heart. While the scientific Renaissance (Bacon and Galileo) insisted on the primacy of sense perception, Michelangelo’s “imagine del cuor" implied that perception is secondary to imagination. By imagining through and beyond what the eye see, the imagination envisions primordial images. And these present themselves in
personified forms.

Nearer our own times another Mediterranean, the Spaniard Miguel de Unamuno (b. 1864), returned to the relationship of heart and personified images and explained the necessary interdependence between love and personifying:

~”In order to love everything, in order to pity everything, human and extra-human, living and non-living, you must feel everything within yourself, you must personalize everything. For everything that it loves, everything that it pities, love personalizes. We only love--that which is like ourselves . . . it is love itself that reveals these resemblances to us. ... Love personalizes all that it loves. Only by personalizing it can we fall in love with an idea.«”

He sums up, saying: "Our feeling of the world, upon which is based our understanding of it, is necessarily anthropomorphic and mythopeic. Loving is a way of knowing, and for loving to know, it must personify.
Personifying is thus a way of knowing, especially knowing what is invisible, hidden in the heart.
In this perspective personifying is not a lesser, primitive mode of apprehending but a finer one. It presents in psychological theory the attempt to integrate heart into method and to return abstract thoughts and dead matter to their human shapes. Because personifying is an epistemology of the heart, a thought mode of feeling, we do wrong to
judge it as inferior, archaic thinking appropriate only to those allowed emotive speech and affective logic- children, madmen, poets, and primitives. Method in psychology must not hinder love from working
and we are foolish to decry as inferior the very means by which love understands. If we have not understood personifying, it is because the
main tradition has always tried to explain it rather than understand it.

James Hillman , Re-Visioning psychology pg. 13-15

Mythic Perspective

🌀🌟To the mythic perspective the world appears personified, implying a passionate engagement with it. We do not ask: "Are things alive or dead?" or "Are Gods real or are they symbolic projections?" Questions of this sort “may be thought illegitimate," says the most psychological of all classicists, E. R. Dodds, “so long as myth-making is a living mode
of thought to confront it with this sort of brutal either-or' is to force upon it a choice which destroys its being. Mythic consciousness answers with Cassirer: "There is nowhere an 'it' as a dead object, a mere thing.'* Subject and object, man and Gods, I and Thou, are not apart and isolated each with a different sort of being, one living or real, the
other dead or imaginary. The world and the Gods are dead or alive according to the condition of our souls. A world view that perceives a dead world or declares the Gods to be symbolic projections derives from a perceiving subject who no longer experiences in a personified way, who has lost his ‘immagine del cuor.’

To rekindle this life we start with soul, reimagining its internal processes anthropomorphically.This leads to the ultimate conclusion that we do not actually per sonify at all. Mythical consciousness is a mode of being in the world that brings with it imaginal persons. They are given with the imagination and are its data. Where imagination reigns, personifying happens. We experience it nightly, spontaneously, in dreams. Just as we do not create our dreams, but they happen to us, so we do not invent the persons of myth and religion; they, too, happen to us. The persons present themselves as existing prior to any effort of ours to personify. To mythic consciousness, the persons of the imagination are real. The late German classical scholar who had the deepest insight into the nature of mythical persons, Walter F. Otto, made this same point in an attack against his rationalist and reductive colleagues:

~There is no such thing as personification, only a depersonification--just as there is no mythologizing (in the authentic sense) only a demythologizing. Schelling said that the question how did man ever come to God is senseless; there is only the question, how did man ever come away from God. So-called abstract concepts and words would never have been raised into the personal had they not been from the very beginning personal, that is, divine forms."

James Hillman , Revisionimg psychology pg.16-17

Personifying

Jung’s early work with word associations did not rest with quantifying results; he personified them. He discovered complexes which were invested with feeling, intention, autonomy, and fragments of consciousness. They were independent entities because they behaved as such. The same complex can alter the association of words, show itself as unwanted symptoms, and appear as a person in a dream. Dream persons are complexes walking around; symptoms are the irruption of these persons into our normal lives. Our personal complexities are indeed the persons of our complexes.

Where other psychologists might have used a so-called objective and neutral language of numbers, structures, or functions to account for the
same disturbances, Jung reverted courageously to the direct mode of personifying which in his day was still considered a primitive formulation.” He stood firmly by his method of naming, explicitly comparing
it with the spontaneous speech of the insane and the noncivilized. What was radically courageous then we now take for granted, so easily imagining ourselves to play roles, enter into games, and be composed of
different characters.

James Hillman , are-Visioning Psychology pg.21/22

“Jung’s animism is tightly tied to his notion of anima,” which is the word he uses for one’s personal and personified soul-image. The Anima Is a person and anima is a conceptual notion and anima means soul. Jung calls her “she,” and she it is who creates conflicting confusions and attractions, who brings moods and desires and neurovegetative symptoms, who kindles the peculiar fascinations of fantasy that turn
one’s head, and yet also conveys a vague sense of interiority, a sense of soul.”
~James Hillman

A person may converse with her, as for example, when a poet talks With his muse, a philosopher with his daimon, a mystic with his tutelary angel, or a madman with his hallucination. We find her in mythology In countless forms, and expressly as the maiden Psyche. ~ James Hillman

Jung’s position here states that the fundamental facts of existence are the “fantasy-images” of the psyche. All consciousness depends on these images. Everything else–ideas of the mind, sensations of the body, perceptions of the world around us, beliefs, feelings, hungers–must present themselves as images in order to become experienced. ” ‘Experience’ is, in its most simple form, an exceedingly complicated structure of mental images.”‘ Should we ask: just what is psyche? What do you mean by psychic experience and psychic reality?
The answer is: fantasy- images. “Image is psyche, ” says Jung. “The psyche consists essentially of images . … a
“picturing’ of vital activities.” In the beginning is the image; first imagination then perception; first fantasy then reality. Or as Jung puts it: “The psyche creates reality
every day. The only expression I can use for this activity is fantasy. “
Man is primarily an imagemaker and our psychic substance consists of images; our being is imaginal being, an existence in imagination. We are indeed such stuff as dreams are made on. Since we can know only fantasy-images directly and immediately , and from these images create our worlds and call them realities, we live in a world that is neither “inner” nor
“outer.” Rather the psychic world is an imaginal world, just as image is psyche. Paradoxically, at the same time these images are in us and we live in the midst of them. The psychic world is experienced empirically as inside us and yet it encompasses us with images. I dream and experience my dreams as inside me and yet at the same time I walk around in my dreams and am inside them.
James Hillman

Because our psychic stuff is images, image-making is a via regia, a royal road to soul-making. The making of soul-stuff calls for dreaming, fantasying, imagining. To live psychologically means to imagine things; To be in touch with soul means to live in sensuous connection with fantasy. To be in soul is to experience the fantasy in all realities and the
basic reality of fantasy.
~James Hillman