“Man cannot stand a meaningless life.”

This is the answer the renown and revered psychologist Carl Gustav Jung gave to the final question posed to him by the British interviewer, John Freeman, in 1959.

I offer here my transcript of the final nine minutes of the Youtube video of the interview. I have added a few [clarifying words] and have indicated where the audio was unclear.


Carl Gustav Jung

Jung: … [regarding current dreams of war] We are so full of apprehensions, fears, that one doesn’t know exactly to what it [the dreams] points. One thing is sure: a great change of our psychological attitude is imminent. That is certain.

Freeman:  But why?

Jung: … because we need more understanding of human nature because the only real danger that exists is man himself. He is the great danger and we are pitifully unaware of it. We know nothing of man, far too little. His psyche should be studied because we are the origin of all coming evil.

Freeman: well, does man, do you think, need to have the concept of good and evil to live with; is it part of our nature?

Jung: Well, obviously.

Freeman: … and of a redeemer? Does man, do you think, need to have the concept of sin and evil to live with, is this part of our nature?

Jung: That is an inevitable consequence.

Freeman: This is not a concept which will disappear as we become more rational, it’s something…

Jung: Well, I don’t believe that man ever will deviate from the original pattern of his being. There will always be such ideas. For instance, if you do not directly believe is a personal redeemer, as it was in the case with Hitler, or the hero worship in Russia, then it is an idea, it is a symbolic idea.Freeman: You have written… sentences which have surprised me a little bit about death. In particular, I remember you said that death is psychologically just as important as birth, like it’s an integral part of life, but surely it can’t be like it’s an end.

Jung: Yes, if it’s an end, and there we are not quite certain about this and because, you know, there are these peculiar faculties of the psyche that, it isn’t entirely confined to space and time. You can have dreams or visions of the future; you can see around corners; and, such things only ignorance in denies these facts. You know, it’s quite evident that they do exist and have existed always. Now, these facts show that the psyche, in part at least, is not dependent upon these confinements. And then what? When the psyche is not under that obligation to live in time and space alone, and obviously it doesn’t, then to that extent the psyche is not separated to (sic) those walls and that means a practical continuation of life, of a sort of psychical existence beyond time and space.

Freeman: Do you, yourself, believe that death is probably the end, or do you believe…

Jung: (Interrupts, thinks out loud, briefly, for the right response) … well I, you can’t say… you see the word ‘belief’ is a difficult, difficult, thing for me. I don’t believe; I must have a reason for certain hypotheses. Either I know a thing and then I know it; I don’t need to believe it. If I… I don’t allow myself, for instance, to believe a thing a thing just for the sake of believing it. I can’t believe it! But, when there are sufficient reasons to form a certain hypothesis, I shall accept. [unclear] issues naturally, as you say, we have to reckon with the possibility of so-and-so, you know.

Freeman: You told us that we should regard death as being a [unclear] illusion, that the [unclear] away from it is to evade life (Jung: yes) what advice would you give to people in their later life to do this when most of them must, in fact, believe that death is the end of their movie?

Jung: Well. You see, I have treated many old people and it’s quite interesting to watch what the unconscious is doing with the fact that it is apparently threatened with a complete end. It disregards it!  Life behaves as if it was going on. And so, I think it is better for old people to live on, to look forward to the next day as if he had to spend centuries. And then he lives properly. But when he is afraid, when he doesn’t look forward, or that he looks back he petrifies, he gets stiffened, he dies before his time. But when he is living on, looking forward to the great adventure that is ahead, then he lives. And that is what the unconscious is intending to do, Of course, it’s quite obvious that we are all going to die and this is the sad finale of everything, but nevertheless there is something in us that doesn’t believe it, apparently, but this is merely a factor as I (struggles for a phrase) does it mean to me that it proves something? It is simply so. For instance, I may not know why we need salt, but we prefer to eat salt because you feel better. And so, when you think in a certain way you may feel considerably better. And if, I think, you think along the lines of nature then you think properly.

Freeman: And this leads me to the last question that I want to ask you. As the world become more technically efficient it seems increasingly necessary for people to behave communally and collectively. Now do you think it’s possible that the highest development of man may be to submerge his own individuality in a kind of collective consciousness?

Jung: That’s hardly possible. I think there will be a reaction. The reaction will setting (sic) against this communal dissociation. You know, man doesn’t stand forever his nullification. (At some time) there will be a reaction and I see it setting in. You know, when I think of my patients, they all seek their own existence, and to assure their existence against that complete atomization into nothingness or into meaninglessness. Man cannot stand a meaningless life.


I recommend the reading of Jung’s autobiography: Memories, Dreams, Reflections


 

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Darkness and Light: Exploring the Limits of the Human Soul, in Two Books

The books are: “Heart of Darkness,” by Joseph Conrad; and, “Death Comes for the Archbishop,” by Willa Cather. Among other parallel attributes, the two novels show us the geopolitical forces of the times and places of their narration. 

“Heart…” is well known, but “Death…” is not as much, and should be, if for no other reason than as an antidote to the visions Joseph Conrad conveys to us. There are, however, other reasons, discussed further below.

A book important to one’s understanding of Conrad’s experiences and his development of “Heart of Darkness” is “The Dawn Watch,” by Maya Jasanoff, who “brilliantly places Conrad as a pioneer of understanding the forces that shape the modern world… Captain Korzeniowski [Conrad’s original Polish name] meant to stay three years in the Congo, but after just five months of navigating the great waterways between Kinshasha and Kisangani, he resigned, chronically ill and an emotional wreck. He retired to Switzerland “in a state of psychological and moral despair” convinced of “the universal potential for savagery, and the hollowness of civilisation…” But he brought back more from the expedition than dysentery and depression. The notes and jottings the captain had made on his journey infiltrated their way first into the manuscript of a novel named “Almayer’s Folly” that he worked on upriver to keep himself from boredom and madness; then into a short story called An “Outpost of Progress”; and finally, in 1899, into what would become his most famous novel, Heart of Darkness. (Source)

The Europeans who had invaded and enslaved the peoples along the Congo River were not constrained by ordinary social structures—only by the commercial considerations imposed by the Belgian company who bought and marketed the ivory they took, stole, from the country; they were otherwise free to act as they will, becoming beasts, in the worst sense of the word.

The fictional man at the heart of Conrad’s darkness is “Kurtz,” made even darker and more memorable by a film derived from the novel, “Apocalypse Now,” in which Kurtz is played by Marlon Brando.

Marlowe, the narrator of “Heart of Darkness,” as he proceeds hundreds of miles up the river toward Kurtz, describes the jungle in vivid details, and the horror that its alien nature directly imparts to him.

Kurtz has lived for years as the only European (with one unimportant exception), further up the Congo River in a jungle distant from anything that could possibly be called civilization. He has seen into the depths of his own soul and has therefore seen the truth of the soul in all humans, and he has acted upon what he finds there. He has become as a god to the people he lives with. The ‘truths’ are what Kurtz imparts before his death to Marlowe. Kurtz’s final words are “The horror, the horror.”

In contrast, the book “Death…” provides loving and colorful detail of the mountains, hills, and desert of southwestern USA, especially New Mexico of the mid-19th Century, even though similarly alien to the protagonists of the story, two French Catholic missionary priests.

The two books are much alike in at least one respect: poetic use of the language. The opening pages of “Heart…” are like a tone poem in its description of the London harbor at dusk, and in other passages. Likewise, in “Death…” the author, Cather, flows her words over the page in loving paeans to the land, especially, and to the human interactions of the two priests. I want to read aloud portions of both books to a receptive audience.

The human interactions of the priests include those with the church hierarchy in Italy, the native peoples of the land, the Mexican settlers with their mixed Spanish heritage, and “American” military, settlers and outlaws.

The priests, especially the archbishop, are exemplars of humility, kindness and wisdom. They are not superior humans but, have a characteristic not found in the Europeans in the Congo: they are respectful of life—all life—and of the earth.

The priests and their love of the people and the land, as depicted by Willa Cather, become objects of the reader’s love. Whereas, poor Marlowe is pitied, yet the reader is hopeful that he will recover and will have gained a degree of enlightenment which will comfort and sustain him.

The real meaning of enlightenment is to gaze with undimmed eyes on all darknessNikos Kazantzakis.

 

 

 

 

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