Explore Quotes by Carl Jung

The primordial image, or archetype, is a figure--be it a daemon, a human being, or a process--that constantly recurs in the course of history and appears wherever creative fantasy is freely expressed. Essentially, therefore, it is a mythological figure. . . . In each of these images there is a little piece of human psychology and human fate, a remnant of the joys and sorrows that have been repeated countless times in our ancestral history. . . .

The darkness which clings to every personality is the door into the unconscious and the gateway of dreams, from which those two twilight figures, the shadow and the anima, step into our nightly visions or, remaining invisible, take possession of our ego-consciousness.

How else could it have occurred to man to divide the cosmos, on the analogy of day and night, summer and winter, into a bright day-world and a dark night-world peopled with fabulous monsters, unless he had the prototype of such a division in himself, in the polarity between the conscious and the invisible and unknowable unconscious?

You can take away a man's gods, but only to give him others in return.

The upheaval of our world and the upheaval of our consciousness are one and the same.

The world of gods and spirits is truly 'nothing but' the collective unconscious inside me.

Liverpool is the pool of life, it makes to live.

There is no birth of consciousness without pain.

A complex is a cluster of energy in the unconscious, charged by historic events, reinforced through repitition, embodying a fragment of our personality, and generating a programmed response and an implicit set of expectations.

All art intuitively apprehends coming changes in the collective unconsciousness.

The heaping together of paintings by Old Masters in museums is a catastrophe; likewise, a collection of a hundred Great Brains makes one big fathead.

A purely psychological explanation is ruled out... the discs show signs of intelligent guidance, by quasi-human pilots.

I cannot love anyone if I hate myself. That is the reason why we feel so extremely uncomfortable in the presence of people who are noted for their special virtuousness, for they radiate an atmosphere of the torture they inflict on themselves. That is not a virtue but a vice.

The cinema, like the detective story, makes it possible to experience without danger all the excitement, passion and desirousness which must be repressed in a humanitarian ordering of life.

The curve of life is like the parabola of a projectile which, disturbed from its initial state of rest, rises and then returns to a state of repose... Like a projectile flying to its goal, life ends in death. Even its ascent and its zenith are only steps and means to this goal... For, enlightenment or no enlightenment, consciousness or no consciousness, nature prepares itself for death.

I feel very strongly that I am under the influence of things or questions which were left incomplete and unanswered by my parents and grandparents and more distant ancestors. It often seems as if there were an impersonal karma within a family which is passed on from parents to children. It has always seemed to me that I had to answer questions which fate had posed to my forefathers, and which had not yet been answered, or as if I had to complete, or perhaps continue, things which previous ages had left unfinished.

Without freedom there can be no morality.

It is really the mistake of our age. We think it is enough to discover new things, but we don't realize that knowing more demands a cor­responding development of morality.

What happens after death is so unspeakably glorious that our imagination and our feelings do not suffice to form even an approximate conception of it. The dissolution of our time-bound form in eternity brings no loss of meaning.

The unconscious psyche believes in life after death

Every psychic advance of man arises from the suffering of the soul.