Active Imagination

Active imagination, an ancient metaphysical meditation tool rediscovered by Dr. Jung just before the beginning of World War I, is the primary technique utilized in the Inner Guide Meditation. In his discussions of alchemy, Jung compares the process of active imagination to the production of the Philosopher's Stone of the alchemists. He describes the process in Mysterium Coniunctionis: [Active imagination] . . . is a method which is used spontaneously by nature herself or can be taught. . . . As a rule it occurs when the analysis has constellated the opposites so powerfully that a union or synthesis of the personality becomes an imperative necessity. Such a situation is bound to arise when the analysis of the psychic contents, of the patient's attitude and particularly of his dreams, has brought the compensatory or complementary images from the unconscious so insistently before his mind that the conflict between the conscious and the unconscious personality becomes open and critical. When this confrontation is confined to partial aspects of the unconscious the conflict is limited and the solution simple: the patient, with insight and some resignation or a feeling of resentment, places himself on the side of reason and convention. Though the unconscious motifs are repressed again, as before, the unconscious is satisfied to a certain extent, because the patient must now make a conscious effort to live according to its principles and, in addition, is constantly reminded of the existence of the
THE INNER GUIDE MEDITATION

repressed by annoying resentments. But if his recognition of the Shadow is as complete as he can make it, then conflict and disorientation ensue, an equally strong Yes and No which he can no longer keep apart by a rational decision. He cannot transform his clinical neurosis into the less conspicuous neurosis of cynicism; in other words, he can no longer hide the conflict behind a mask. It requires a real solution and necessitates a third thing in which the opposition can unite. Here the logic of the intellect usually fails, for in a logical antithesis there is no third. The "solvent" can only be of an irrational nature. In nature the resolution of opposites is always an energic process: she acts symbolically in the truest sense of the word, doing something that expresses both sides, just as a waterfall visibly mediates between above and below. The waterfall itself is then the incommensurable third. In an open and unresolved conflict dreams and fantasies occur which, like the waterfall, illustrate the tension and nature of the opposites, and thus prepare the synthesis. This process can, as I have said, take place spontaneously or be artificially induced. In the latter case you choose a dream, or some other fantasy-image, and concentrate on it by simply catching hold of it and looking at it. You can also use a bad mood as a starting-point, and then try to find out what sort of fantasy-image it will produce, or what image expresses this mood. You then fix this image in the mind by concentrating your attention. Usually it will alter, as the mere fact of contemplating it animates it. The alterations must be carefully noted down all the time, for they reflect the psychic processes in the

unconscious background, which appear in the form of images consisting of conscious memory material. In this way conscious and unconscious are united, just as a waterfall connects above and below. A chain of fantasy ideas develops and gradually takes on a dramatic character: the passive process becomes an action. At first it consists of projected figures, and these images are observed like scenes in the theatre. . . . As a rule there is a marked tendency simply to enjoy this interior entertainment and to leave it at that. Then, of course, there is no real progress but only endless variations on the same theme, which is not the point of the exercise at all. What is enacted on Basic Concepts 23 the stage still remains a background process; it does not move the observer in any way, and the less it moves him the smaller will be the cathartic effect of this private theatre. The piece that is being played does not want merely to be watched impartially, it wants to compel his participation. If the observer understands that his own drama is being performed on this inner stage, he cannot remain indifferent to the plot and its denouement. He will notice, as the actors appear one by one and the plot thickens, that they all have some purposeful relationship to his conscious situation, that he is being addressed by the unconscious, and that it causes these fantasy-images to appear before him. He therefore feels compelled, or is encouraged . . . to take part in the play and, instead of just sitting in a theatre, really have it out with his alter ego. For nothing in us ever remains quite uncontradicted, and consciousness can take up no position which will not call up, somewhere in the dark corners of the psyche, a negation or a compensatory effect, approval or resentment. This process of coming to terms with the Other (the other half or Shadow side of ourselves) in us is well worthwhile, because in this way we get to know aspects of our natures which we would not allow anybody else to show us and which we ourselves would never have admitted. It is very important to fix this whole procedure in writing at the time of its occurrence, for you then have ocular evidence that will effectively counteract the ever-ready tendency to self-deception. A running commentary is absolutely necessary in dealing with the Shadow, because otherwise its actuality cannot be fixed. Only in this . . . way is it possible to gain a positive insight into the complex nature of one's own personality. Here Jung outlines the technique of active imagination, although he presents it within the structure of an analytical relationship between doctor and patient. The technique is a process of interacting with and gradually assimilating, as a result of these interactions, those parts of ourselves that our current egos are ignorant of or have only partially assimilated. It is an invaluable experiential process, and in the Inner Guide Meditation it brings back to the Guide that energy and wisdom which up to now we have projected out from within us onto analyst, priest, guru, psychic or spirit guide channeler.

The Collected Works of C. G. Jung, ed. by G. Adler, M. Fordham, and H. Read; trans. R. F. C. Hull, Bollingen Series XX, vol. 14, Mysterium Coniunctionis, 1963 by Bollingen Foundation, reprinted by permission of Princeton University Press
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