By Marion Goodman
Dependancy to Perfection
by means of Marion Woodman
Through case stories, goals, and myths, a Jungian analyst explores the hidden explanations of compulsion within the lives of fellows and ladies. on the root of consuming problems, substance abuse, and different addictive and compulsive behaviors, Woodman sees a starvation for non secular success. the necessity to event a sacred connection to an strength more than their very own drives humans to go looking for an illusory excellent of perfection. via discussions of parenthood, creativity, and physique photograph, this presentation exhibits that freedom from habit are available by way of studying the knowledge and tool of the female precept. Shambhala Lion Editions
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Additional resources for Addiction to Perfection: The Still Unravished Bride: A Psychological Study (Studies in Jungian Psychology by Jungian Analysts)
This radical shift from identification with the mother to standing in her own shoes on her own ground is the archetypal shift from the witch to Sophia. Medusa is human unmeaning; Sophia is human which means. In the last part of chapter three I mentioned the coming together of body and spirit. Where there has been a radical split, I believe a somatic container must be prepared to receive the psychic labor. There must be a greeting of the spirit, a chalice to receive the wine. The dream of a woman who had been in analysis for three years illustrates the harmony that can exist between body and spirit. The spiritual energy is firmly rooted in the instinctual roots, at the same time maintaining its relationship to the Self. The dream makes clear the difference between the evil witch and Sophia: My friend and I are in a rugged stone country church. There are two side aisles, and one central aisle leading to the altar. The church is full of shepherds and simple folk. A woman in a long leather gown, wearing a primitive crown and carrying a scepter, which she uses as a pointer, is moving down the side aisle trying to make the shepherds sing. She persuades, scolds, and becomes very angry, but only while she is looking in their direction will they reluctantly sing. When she passes they mumble unhappily among themselves. She consults with a man who is dressed up as a king, who is also moving about, but he is even more angry. "That's no queen," I whisper to my friend. Then another woman enters from the same side door, tall and regal, dressed in a simple gown, without crown or scepter, but in herself a queen. She moves down the aisle and everyone sings. The peasants adore her and she loves them. Her radiance is connected to a genuinely kingly man who now stands at the altar. Although her eyes never turn to his, her antennae seem to be guiding her inevitably toward him. She puts her hand into his outstretched hand, and the whole church bursts into a triumphant wedding song. I put my hand into my friend's hand. "She has Grace," he says. The setting is a country church built of fieldstone, a sacred place that rises straight out of the ground, and its occupants are simple shepherds who live close to nature. In her analysis this woman had tried to bring spiritual and instinctual together, as this setting verifies, but the ego had not yet found its rightful relationship to either. This dream illustrates that the dreamer has reached a crisis both in her analysis and in her life. The dream clearly constellates her choice between her false self and her real self and makes clear that Page 70 the reconciliation must come from the Self (Church) which is deeply rooted in nature. She watches two queens who symbolize two different attitudes. The one relies on her ego and the power principle, thus blocking the creative flow from the unconsious. The other has surrendered her ego to what the dream calls "Grace," thus opening herself to love, inner harmony and the energy from her own creative depths.