A Jungian Study of Shakespeare: The Visionary Mode by Matthew A. Fike

By Matthew A. Fike

Making use of the analytical psychology of Carl Jung, Matthew A. Fike presents a clean knowing of individuation in Shakespeare. This research of “the visionary mode”— Jung’s time period for literature that comes during the artist from the collective unconscious—combines a robust grounding in Jungian terminology and conception with delusion feedback, biblical literary feedback, and postcolonial thought. Fike attracts widely at the wealthy discussions within the amassed Works of C. G. Jung to light up chosen performs similar to A Midsummer Night’s Dream, The service provider of Venice, The Henriad, Othello, and Hamlet in new and unbelievable methods. Fike’s transparent and thorough method of Shakespeare bargains intriguing, unique scholarship that may entice scholars and students alike.

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H. A. 10–21), or merely a particular character’s unconscious mind. As suicides, the ghosts are rather the disembodiment of Pyramus and Thisbe’s suicidal despair, which corresponds to the Athenian lovers’ potential fate if the chaos of the night woods (the unconscious) should totally overcome rational restraint. It is not just that they may end up as dead as Ovid’s characters but also that they may get stuck in a thought pattern—in this world but not of it, unable to move on, and perhaps not even conscious that they are actually dead.

G. Jung Lexicon defines archetypes as “primordial, structural elements of the human psyche . . ”2 Here, in other words, is the difference between an archetype and an archetypal image/idea: archetype is to the potential for representation as archetypal image/idea is to actual representation. One is a sort of imageor idea-making capacity; the other is an actual created image or idea in consciousness, visual art, or a literary text. In short, the collective unconscious sums up “the mental history of mankind” (CW 7, 108/68), and when it is put to artistic purposes (rather than being projected onto a therapist in the transference process), it enables what Jung calls the visionary mode of artistic creation.

Nonetheless, the breakdown of language indicates that the transport may be not only inward into the unconscious but also outward into the realm of spirits. This distinction is roughly what Robert H. 44 Perhaps with such outer mystery in mind, Roy Battenhouse connects Bottom’s allusion to 1 Corinthians to Paul’s experience in 2 Corinthians 12:2–4,45 in which he expresses uncertainty about the circumstances of a visionary event: “I know a man in Christ aboue fourteen yeres agone, (whether he were in the bodie, I can not tel, or out of the bodie, I can not tel: God knoweth) which was taken vp into the thirde heauen.

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