In such doubtful matters, where you have to work as a pioneer, you must be able to put some trust in your intuition and follow your feeling even at the risk of going wrong.

I know that previously I would not have dared to express myself so explicitly about so uncertain a matter. I can take this risk because I am now in my eighth decade, and the changing opinions of men scarcely impress me any more; the thoughts of the old masters are of greater value to me than the philosophical prejudices of the Western mind.

I am no longer alone with myself, and I can only artificially recall the scary and beautiful feeling of solitude. This is the shadow side of the fortune of love.

As soon as the dialogue between two people touches on something fundamental, essential, numinous, and a certain rapport is felt, it gives rise to a phenomenon which Lévy-Bruhl fittingly called participation mystique. It is an unconscious identity in which two individual psychic spheres interpenetrate to such a degree that it is impossible to say what belongs to whom.

What was given to us by the past is adapted to the possibilities of the future.

At times I feel as if I am spread out over the landscape and inside things, and am myself living in every tree, in the plashing of the waves, in the clouds and the animals that come and go, in the procession of the seasons.

From the viewpoint of analytic psychology, the theatre, aside from any aesthetic value, may be considered as an institution for the treatment of the mass complex.