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This presentation is about both the idea of James Hillman and the ideas
of James Hillman. Hillman died on October 27, 2011, at the age of 85.
That was, for me, a very sad moment, as I am sure it must have been for
all those who saw, heard, and read him - and especially, of course, for
those who knew him personally.
What does Hillman say about death? I ask this question in the present
tense, for, to me, the very idea of James Hillman and the very ideas of
James Hillman are still very much alive. "We do not die alone," Hillman
says. "We join ancestors and all the little people, the multiple souls who
inhabit our night world of dreams, the complexes we speak with, the
invisible guests who pass through our lives, bringing us the gifts of urges
and terrors, tender sighs, sudden ideas" (1992: 140). I very much like the
idea that Hillman is now with those who, as he says, bring us the gifts of
"sudden ideas." Hillman does not say that we come up with ideas - he
says that ideas come to us. They are given to us, suddenly.
I knew James Hillman for 30 years. In contrast to many others who knew
him much longer than I did, he was never my analyst, he was never my
supervisor; he was never my teacher. He was my friend. Hillman likes the
word "soul." I never have. He and I both, however, like the word "image."
What interests Hillman, he says, is "a psychology of soul," but he
immediately also says that what he bases that project on is "a psychology
of image" (1975: xi). In this respect, Hillman was not my "soul mate" - he
was my "image mate."
The title of a new book that I have written is For Love of the Imagination,
which I have dedicated in loving memory to Hillman. In the book, I say:
"Long ago I fell in love with the imagination. It was love at first sight. I
have had a lifelong love affair with the imagination. I would love for
others, through this book, to fall in love, as I once did, with the
imagination" (Adams 2014: xiii). Hillman also loved the imagination, and
that is one of the reasons, one of many reasons, why I loved him.
The title of this presentation is "The Very Idea(s) of James Hillman" - not
"The Very Image(s) of James Hillman." If Hillman is an imaginal
psychologist, why "ideas" and not "images"? Although Hillman
emphasizes imagination, he also appreciates ideation. He says that
although each individual "has some talent," it is "rare" for any individual
"to have more than one." What one talent does Hillman say he has? It is
not imagination. "Mine," Hillman says, "is ideation" (1992: 145). At the
"Festival of Archetypal Psychology in Honor of James Hillman" at Notre
Dame University in 1992, I delivered a presentation with the title "My
Imaginal Hillman" (Adams 1992). The title of this presentation could be
"My Ideational Hillman."
The title of one of the most important books that Hillman wrote is Re-
Visioning Psychology. It could, equally well, have been Re-Thinking
Psychology. I do not mean that Hillman was a "thinking type." As I
experienced him, he was at least as much a "feeling type." In Lectures on
Jung's Typology, which includes essays by Marie-Louise von Franz and
Hillman, the title of the contribution by Hillman is not "The Thinking
Function" but "The Feeling Function" (1981). The title of the first book that
Hillman wrote was not Imagination or Ideation but Emotion (1960). Think,
however, if you will, of Hillman in a pose with his elbow on his knee and
his fist under his chin.
Jung had many, many ideas. Think of only some of them: archetype,
complex, imago, ego, persona, shadow, anima, animus, self, personal
unconscious, collective unconscious, compensatory function, prospective
function, transcendent function, individuation, amplification, active
imagination, introversion, extraversion, objective level, subjective level,
psychic reality, psychic energy, symbol of transformation, and
synchronicity. Is it any wonder that so many Jungians are satisfied with
Jung's ideas and feel that all they need do is apply them or work with
them? Hillman does not believe that Jungians should accept the whole of
Jung. He believes that they should accept the parts of Jung that appeal to
them and reject the parts that do not. Hillman has a take-it-or-leave it
attitude toward Jung's ideas. He takes some and leaves others.
In this respect, there is not just one Jung. There are at least two Jungs. I
do not mean the "No. 1" and "No. 2" Jungs in Memories, Dreams,
Reflections (1963: 57). I mean two Jungs with radically different
implications for the theory and practice of Jungian psychology. One of
these is what I might call the "conceptual Jung." The other is what I might
call the "imaginal Jung." Hillman, as I do, prefers the imaginal Jung to the
conceptual Jung.
What do I mean by the "conceptual Jung"? I mean the Jung who replaces
images with concepts. In contrast to this procedure, Hillman espouses "a
psychology that's not conceptual" (1983: 2). What do I mean by the
"imaginal Jung"? I mean the Jung who says: "To understand the dream's
meaning I must stick as close as possible to the dream images"
(1934, CW 16: par. 320). This is the Jung who says: "We have to keep it
very simple and stick to the image" (2008: 332). In The Dream and the
Underworld, Hillman says that this is "a method that Lopez-Pedraza
felicitously calls 'sticking to the image" (1979: 194). For Hillman, to "stick
to the image" (rather than replace it with a concept) is the fundamental
methodological principle of archetypal psychology - or, as I prefer to say,
imaginal psychology.
In a strict sense, to "stick to the image" is Jung's idea, not Hillman's idea.
That is, it does not originate with either Rafael Lopez-Pedraza or Hillman
but derives from Jung. It is Hillman, however, who promulgates the idea
as a maxim. Had Hillman not emphasized the idea of sticking to the
image, I would argue, it is quite probable that it would never have attained
the prominence and the importance that it has in contemporary Jungian
psychology. Before Hillman, to stick to the image was merely one idea
among many ideas in Jungian psychology - and hardly a conspicuous
idea. After Hillman, it assumed the status of a dictum.
"I don't mean throw out all conceptual language," Hillman says, "but,
generally speaking, conceptual language is where we're caught" (1983:
56-7). He notes that the language of dreams is not a language of
concepts but a language of images. "The word in the dream is not
restricted to conceptual interpretation because the word in the dream is
not a concept," he says. "It's an image arriving out of the imagination"
(1983: 57). Hillman says that "the dream speaks in images, or
even is images" (1979: 55). When he criticizes interpretation, he criticizes
a specific variety of interpretation, which I have called "conceptualization
of the imagination" (Adams 2004: 49) - that is, interpretation that replaces
concrete, particular images with abstract, general concepts. "Dreams call
from the imagination to the imagination," Hillman says, "and can be
answered only by the imagination" (1979: 55).
I don't like standing near the edge of a platform when an express train is
passing through. I like to stand right back and if possible to get a pillar
between me and the train. I don't like to stand by the side of a ship and
look down into the water. A second's action would end everything. (1966:
167)
Consider the actual qualities of the images in the specific context, mood,
and scene of a dream that Hillman presents:
There is a black dog, with a long tail, that shows its teeth at me. I am
terribly afraid. (1977: 86)
In this dream, what I call the "non-ego image" is a dog that is black with a
tail that is long and with teeth that it shows at what I call the "ego-image,"
which is terribly afraid. The "precision" Hillman would presumably stick to
these images just as the dream presents them, but that is not what
Hillman does in this instance. Instead, the "proliferation" Hillman asks
what the images are like:
We simply ask the dreamer, "What is this dog, this scene, this fear, like?"
Then we get: It's like when there is sudden sound and I jump with fright;
like coming to analysis and expecting you to pounce on everything I say;
like anger - sometimes I get so angry (or hungry) that I could savage
anyone who gets near me; like my ulcer gets angry and hungry at the
same time; like my mother used to look - her teeth; like going home after
work in the dark and being afraid my wife will bark at me, jump at me; it's
like dying - I'm so afraid - it's so vicious and low and degrading; it's like a
film I saw when I was little with black dogs in it and I had to leave the
movie theater I was so terrified; like the Jackal God, Anubis; like
Mephistopheles in Faust; like when I get sexy - I want to tear into the
meat and just eat and screw like a dog in the street, anywhere; it's like the
dog was a snake with a long tail. And so on. (1977: 86-7).
I prefer the first Hillman, the "precision" Hillman, to the second Hillman,
the "proliferation" Hillman. I do not consider images, the more the better,
all to be equally good. An infinite regress of images does not appeal to
me. I prefer the Hillman who values quality over quantity and who sticks
to the image in a specific context, mood, and scene. This is the Hillman
who says of animals in dreams: "To find out who they are and what they
are doing there in the dream, we must first of all watch the image and pay
less attention to our own reactions to it." In this instance, the dreamer
would watch the black dog to find out what it is doing there in the dream
(showing its teeth) and would pay less attention to his own reaction
(terrible fright). "Then," Hillman says of the image, "we might be able to
understand what it means with us in the dream" (1979: 148).
At first she vituperated her husband, and whilst doing so foamed at the
mouth. Next she approached close to him with compressed lips, and a
virulent set frown. Then she drew back her lips, especially the corners of
the upper lip, and showed her teeth, at the same time aiming a vicious
blow at him. (1955: 242)
Other animals also show their teeth to express anger. In this respect,
Darwin specifically mentions the dog: "When a dog is on the point of
springing on his antagonist, he utters a savage growl; the ears are
pressed closely backwards, and the upper lip is retracted out of the way
of his teeth, especially of his canines" (1955: 116). Hillman, too, describes
"the curled lip and bared teeth of the sudden dog jumping at you" (2008a:
154). In humans and other animals, the conical teeth between the lateral
incisor and the first premolar are canines, but so are dogs and other
carnivorous animals (wolves, jackals, foxes, and coyotes) canines,
or canidae. Darwin provides an illustration in which a dog angrily shows
his teeth (1955: 117):
John Rowan also provides an illustration that he entitles, simply, "Animal"
(1993: 55):
In the dream that Hillman presents, a black dog with a long tail shows its
teeth at the dreamer, who is terribly frightened. The non-ego image
expresses an emotion - anger - and the ego-image reacts (as ego-images
almost always do) defensively. The two most famous defenses are "fight"
and "flight." In this instance, the defense that the ego-image employs is
another "f-word." The defensive reaction of the ego-image is (a terrible)
"fright."
Jung says of animals in dreams that how they appear "depends on the
attitude of the conscious mind." He says that "if it is negative towards the
unconscious, the animals will be frightening" (in this instance, terribly
frightening), while, "if positive, they appear as the 'helpful animals' of
fairytale and legend" (1911-12/1952, CW 5: par. 264). Apparently, in this
instance, the attitude of the conscious mind is so negative toward the
unconscious that the ego-image just assumes that the black dog is not a
helpful animal but a harmful animal - not "man's best friend" but perhaps
even his worst enemy - and, as a result, reacts with fright. Rather than
pause and reflect, ponder and wonder, and ask (for example, in active
imagination) the black dog why it shows its teeth, the dreamer just reacts
defensively.
Why does the black dog in this dream show its teeth? "When a dog
approaches a strange dog or man," Darwin observes, it reacts with anger
(1955: 50). He notes that "the canine teeth are uncovered." When,
however, "the dog suddenly discovers that the man he is approaching, is
not a stranger, but his master," Darwin says, the dog reacts with affection.
He notes that "his tail, instead of being held stiff and upright, is lowered
and wagged from side to side" (1955: 51). Darwin provides an illustration
in which a dog affectionately wags his tail (1955: 55):
Perhaps the most famous image of a dog wagging its tail is Dynamism of
a Dog on a Leash by the futurist painter Giacomo Balla, who depicts
emotion by motion.
Presumably, the dreamer would like for the black dog in the dream to wag
its tail rather than show its teeth, but, as Jung says, dreams depict "the
inner truth and reality of the patient as it really is: not as I conjecture it to
be, and not as he would like it to be, but as it is" (1934, CW 16: par. 304).
What this dream indicates is that the ego-image and the non-ego image -
as they are - are not on familiar terms. This is why the black dog does not
wag its tail but shows its teeth at the dreamer. To the black dog, the
dreamer is a stranger, and so, to the dreamer, is the black dog. In this
sense, the "unfamiliar" is a synonym for the "unconscious." The black
dog, which is unfamiliar with (or unconscious of) the dreamer, reacts with
anger, and the dreamer, who is unfamiliar with (or unconscious) of the
black dog, reacts with fright.
What I might call the "danger assumption" toward non-ego images is what
is so problematic about the ego-image. In this respect, Jung says that the
unconscious is "a natural entity" that is "completely neutral." The
unconscious is not intrinsically dangerous. "It only becomes dangerous
when our conscious attitude to it is hopelessly wrong," Jung says. "To the
degree that we repress it, its danger increases" (1934, CW 16: par. 329).
Or, as I prefer to say, non-ego images are only assumptively dangerous
and then only to the extent that the ego-image is defensive (and, as
Hillman notes, the non-ego image frequently turns out to be less
dangerous than the ego-image immediately assumes it to be, or, I would
add, not dangerous at all). The dangerousness of non-ego images is,
ironically, a function of the defensiveness of the ego-image. The one is
directly proportional to the other.
References
Adams, M.V. (1992) "My Imaginal Hillman; or, James, I'll See You in My
Dreams," Boulder, CO: Sounds True Recordings: audiotape.
Hillman, J. (1979) The Dream and the Underworld, New York: Harper &
Row.
Hillman, J., with Pozzo, L. (1983) Inter Views: Conversations with Laura
Pozzo on Psychotherapy, Biography, Love, Soul, Dreams, Work,
Imagination, and the State of the Culture, New York: Harper & Row.
Jung, C.G. (2008) Children's Dreams: Notes from the Seminar Given in
1936-1940, ed. L. Jung and M. Meyer-Grass, trans. E. Falzeder with T.
Woolfson, Princeton, NJ: Princeton University Press.
Lord Moran (1966) Winston Churchill: The Struggle for Survival, 1940-
1965, London: Constable & Company.
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Thoughts Out of School: Thinking about Jungian Schools of Thought
The Man Who Was So Pissed Off He Couldn't Pee: Anxiety, Anger, and Identification with the Aggressor
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