Tag Archives: metaphors

Blake, Jung, and the Collective Unconscious

Blake, Jung, and the Collective Unconscious: The Conflict Between Reason and Imagination by June Singer, introduced by M Esther Harding part of the Jung on the Hudson book series, a 2000 paperback from Nicholas-Hays, is part of the collection at the Reading Room.

Amusingly, I also have a previous version of this same book, which I purchased on a separate occasion, but that has a different, more provocative, title and from another publisher: The Unholy Bible: Blake, Jung, and the Collective Unconscious by June Singer, introduced by M Esther Harding, a 1986 paperback from Sigo Press, is also part of the collection at the Reading Room.

June Singer M Esther Harding Blake, Jung and the Collective Unconscious from Nicolas-Hays

“More than ever, the time is ripe for June Singer’s penetrating commentary on William Blake’s work. The Marriage of Heaven and Hell. For even the most devout literary scholars and art historians, much of Blake’s mystical visions and writing are perplexing. With his pen and brush, he gave birth to mythological figures and fantastic metaphors. Singer shows us that Blake was actually tapping into the collective unconscious and giving form and voice to primordial psychological energies, or archetypes, that he experienced in his inner and outer world. Blake’s writing and art was his personal dialogue between God and his own inner self—a reconciliation of duality—in which we can find clues to contemporary issues.

In the 18th century, Blake was a pioneer in finding, nurturing, and celebrating his personal connection with the divine, a search that still appeals to people who are coming to terms with the contemporary struggle between science and spirituality—the conflict between reality and imagination. With clarity and wisdom, Singer examines the images and words in each plate of Blake’s work, applying in her analysis the concepts that C. G. Jung advanced in his psychological theories. There is no more perfect lens with which to look at Blake’s work than that of Jung’s concept of the archetypes, the process of individuation, and the mysterium coniunctionis, in which consciousness and the unconscious are united.

This edition includes a new preface by Jung [sic!] Springer and a reproduction of 24 pages from Blake’s The Marriage of Heaven and Hell.” — back cover


June Singer M Esther Harding The Unholy Bible from Sigo Press

The Hiram Key

Hermetic Library fellow T Polyphilus reviews The Hiram Key: Pharaohs, Freemasonry, and the Discovery of the Secret Scrolls of Jesus by Christopher Knight from the Fair Winds Press:

Christopher Knight's The Hiram Key from Fair Winds


This book has been the source of some heat, if little light, among students of esoteric history.

The scholarship in The Hiram Key is not profound, and it compares poorly with other books that treat similar themes and topics, such as Robertson’s Born in Blood or Assmann’s Moses the Egyptian. It is certainly wide-ranging, and seems to incorporate a dozen other recent theories on the Shroud of Turin, Templar survival in Scotland, Egyptian elements in Hebrew religion, lost Christian scriptures, and Masonic origins.

The picture of Gnosticism presented by Knight and Lomax is a caricature. Their theories of Egyptian origins for Masonry are in many cases laughable, such as using the ancient Egyptian doctrine of Ma’at (denoting both physical/architectural and metaphysical/moral order) as proof that the central metaphors of Masonry must descend directly from Egypt.

Perhaps the most novel and interesting material in the book concerns the authors’ readings of Hebrew scripture, and their theories of Hebrew custody of “the Sequenere resurrection ritual.” Fortunately for serious students who may become impatient with the irritating journalistic style of the book, each chapter has a single-page “Conclusion” which can substitute as a summary for the chapter as a whole. I recommend reading the “Conclusions,” and only going back to the actual details of the chapter for those that strike a personal interest.

The authors state in their first chapter that they “are very aware that the information which [they] give here may be considered by some Masons a betrayal of those secrets” which they have sworn to conceal. In fact, they give very detailed accounts of the Craft ceremonies as they received them in English lodges. We are expected to forgive them these willful exposures and violations of their oaths for two reasons:

1. “The United Grand Lodge of England considers only the means of recognition to be the protected secrets of the Order.” (So much the worse for the United Grand Lodge of England! Masonry benefits from a stricter reading of the obligation of secrecy, where initiates acquire and demonstrate the discipline of confidentiality.)

2. The authors took their obligations on the condition that “they would not interfere with [their] freedom as moral, civil or religious agents,” and they claim that to maintain secrecy on the matters discussed in the book would violate that condition.

Having read the book, I can find nothing in it which would create a moral, civil, or religious imperative for ritual exposure. The action agenda to which the authors’ thesis builds, is to excavate under Rosslyn Chapel in search of early Christian MSS. The real imperative for the authors must surely have been the prospect of making some money off of a book to be sold to the general public. That being so, I recommend that Masons interested in the book check it out of a public library or buy a used copy, in order to avoid contributing to the royalty stream for the authors. [via]



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General Orders No. 9


“What should the new map look like?”


An experimental documentary that contemplates the signs of loss and change in the American South as potent metaphors of personal and collective destiny.


One last trip down the rabbit hole before it’s paved over.


Awarded for its visionary cinematography, General Orders No. 9 breaks from the constraints of the documentary form as it contemplates the signs of loss and change in the American South.

The stunning culmination of over eleven years’ work from first time writer-director Robert Persons, General Orders No. 9 marries experimental filmmaking with an accessible, naturalist sensibility to tell the epic story of the clash between nature and man’s progress, and reaches a bittersweet reconciliation all its own.

Told entirely with images, poetry, and music, General Orders No. 9 is unlike any film you have ever seen. A story of maps, dreams, and prayers, it’s one last trip down the rabbit hole before it’s paved over.” [via]