individual squares and triangles constantly change and I explain that it is essential for one tomaintain the balance of the whole composition by immediately compensating a color change by acorresponding change on the opposing side. (This color balancing is incredibly complex as theobject is three-dimensional and the colors are in constant motion.) Then my eye travels up to thetop of the pyramid of dreams, the apex. There is nothing there. It is the sole point of intersectionat which the structure could be held together, yet it is empty space. As I look into this space itbegins to glow, then radiate a white light.Again the dream changes. The pyramid shape remains but, instead of triangles andsquares, it is now composed of shit. The apex is still glowing. I have the sudden realization thatthe invisible point is made visible by the solidity of the shit and vice versa, and the shit is madevisible by the invisible apex. I peer deeply into the shit and somehow I grasp that I am looking atthe hand of God. In a flash of insight, I understand why the apex is invisible. It is the face of God.Then Miss Von Franz and I are walking beside the river. She is laughing and says jokingly, 'I'msixty-one, not sixteen, but they both add up to seven!Let us look at the dream in our accustomed manner. Its drama takes place first in the opensquare of an ancient city, later it continues on the bank of a river. First it is more concerned withsomething man-made, the cultural side, namely the problem of interpretation, i.e., what we do ordo not do with dreams. Later it shows a purely natural happening. The young teller of the dreamis described as especially healthy, probably in order to show the normality and healthiness of whatproduces dreams (even in a "neurotic" patient). The dreams which he tells are something real-asort of substance. The moment of interpretation is represented by a stone falling from heaven; thedreamer does not do the interpretation himself. This probably compensates for what heovervalued in his consciousness: the importance of his good or bad interpreting of dreams. It saysthat a good interpretation is an event, not a "doing." Things which fall from heaven,mythologically speaking, are thrown down from the gods, signs of the gods for man. Thereforemeteorites were always and everywhere considered to be sacred. The Ka'aba of the Moslems alsocame originally from heaven. Dream interpretation is evidently a being hit by some mysteriousactive forces in the spiritual area of the unconscious (i.e., heaven). Those parts of the dreamwhich are hit then turn into bread. If we understand a dream in the right way we are vitalized andnourished by its meaning. It is like manna or that "super-substantial" bread for which we ask inthe Lord's Prayer. ("Our daily bread" is a wrong translation. The Greek word hyperousion meanstranscendental, above substance.) The other parts of the dream each turn into a "bolt with a nut"(or mother!), for every real understanding of a dream is simultaneously a coniunctio. The bolt andits mother represent the union of a masculine and feminine and are also something which servesto bind things together. Each time a dream is realized, the conscious and unconscious unite andsomething in us, which was autonomous before, becomes one with the rest of the personality andthus the structure of the Self slowly emerges.The voice then explains that one must know-as in life also-what to discard and what to keep.Probably the "flesh" of the dream (the bolts are, as it says, its skeleton) must be discarded: it isthe surface of many images which veil, so to speak, the deeper meaning of the dream. Peopleoften say that they had a "silly" or "disagreeable" dream, but when one analyzes it, it alwayscontains a deep and helpful message.After the period of seeking for the structural elements, there then comes a more "fluid" way of contacting dreams-contemplating them together with the stream of life. The structure has becomea pyramid, which in Egyptian religion is a symbol of the Ba-soul, of the individual immortal kernelof man. Though the Self always already exists (it probably throws the transforming boulder ontothe dreams), it is also "built up" by our attending to our dreams and thus becoming conscious of it. The pyramid consists of innumerable triangles and squares constantly changing in shape andcolor. In a more advanced phase of dream interpretation, all the different nuances of emotion andof feeling tones become relevant and also their constant complementary play of opposites and
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