to be and also an authoritative wise old man who had lived in the eighteenth century.

The precise
imagery of Jung's other personality seems to have been adopted from a piece of terra cotta sculpture
that depicted a well-known medical dot.tor of the day and his patient. So powerful was his sense of a
past life that, in doing schoolwork, he would occasionally write "1786" instead of the correct date, 1886.
The second theme was contained in Jung's secretly held belief that certain thoughts, dreams, visions,
and fantasies he periodically experienced were truly important, externally derived revelations, secret
wisdom that only a few, rare people were privileged to acquire.
The Stone Between the ages of seven and nine, Jung had several experiences that helped form his belief
that he actually had two distinct personalities. The first experience involved a game that Jung played
with a large chunk of stone jutting from a garden wall. Frequently, when alimit, Jung would mount the
stone and pass the time in reverie: "I am sitting on top of this stone and it is underneath." But the stone
also could say "I" and think: "I am lying here on this slope and he is sitting on top of me." The question
then arose: "Am I the one who is sitting on the stone, or am I the stone on which he is sitting?" This
question always perplexed me, and I would stand up, wondering who was what now. The answer
remained totally pnclear, and my uncertainty was accompanied by a feeling of curious and fascinating
darkness. (Jung, 1961, p. 20) Jung thought his apparent ability to shift his sense of his center of
awareness to this chunk of stone was his first discovery of the "mysterious" in life. This sense of a deep
connec-tion with what was mysterious and hidden to others made him less open to the formal re-ligious
doctrines he heard. When the very religious adults around him (his father was a minister and his mother
a minister's daughter) tried to "pump" religious teachings into him, Jung would inwardly resist: "Yes, but
there is something else, something very secret that people don't know about" (1961, p. 22). Jung
realized that a self-calming motive lay behind his sometimes thinking that he was a stone rather than a
person: . . . it was strangely reassuring and calming to sit on my stone. Somehow it would free me of all
my doubts. Whenever I thought that 1 was the stone, the conflict ceased. "The stone has no
uncertainties, no urge to communicate, and is eternally the same for thousands of years," I would think,
"while I am only a passing phenomenon which bursts into all kinds of emotions, like a flame that flares
up quickly and then goes out." I was but the sum of my emotions, and the Other in me was the timeless,
imperishable stone. (Jung, 1961, p.12)
The Mannequin When Jung was ten years old, he carved from a wooden ruler a small male figure, a
man-nequin approximately two inches long. With ink and small bits of wool, Jung fashioned a miniature
frock coat, shiny black boots, and a top hat for this mannequin. He also de-vised a little bed for the
figure from a pencil case. Jung deposited in the pencil case, along with the mannequin and makeshift
bed, a blackish oblong stone that he had painted with watercolors: "This was his [the mannequin's]
stone. All this was a great secret. Secretly I took the case to . . . the attic at the top of the house . . . and
hid it with great satisfac-tion on one of the beams under the roof—for no one must ever see it! . . . I felt
safe, and the tormenting sense of being at odds with myself was gone" (Jung, 1961, p. 21). Thereafter,
whenever Jung was under stress, he would visualize his hidden mannequin and feel more at peace.
Sometimes he would devise small scrolls of paper on which, in a secret language of his own invention,
he would write a particularly pleasing saying. Each