When you are up against a wall, put down roots like a tree, until clarity comes from deeper sources to see over that wall and grow.

...it seemed to me I was living in an insane asylum of my own making. I wnt about with all these fantastic figures: centaurs, nymphs, satyrs, gods and goddesses, as though they were patients and I was analyzing them. I read a Greek or Negro myth as if a lunatic were telling me his anamnesis.

There are two reasons why man loses contact with the regulating center of his soul. One of them is that some single instinctive drive or emotional image can carry him into a one-sidedness that makes him lose his balance...his one-sidedness and consequent loss of balance are much dreaded by primitives, who call it 'loss of soul.' Another threat...circles around particular complexes

To make what fate intends for me my own intention

The primordial image, or archetype, is a figure--be it a daemon, a human being, or a process--that constantly recurs in the course of history and appears wherever creative fantasy is freely expressed. Essentially, therefore, it is a mythological figure. . . . In each of these images there is a little piece of human psychology and human fate, a remnant of the joys and sorrows that have been repeated countless times in our ancestral history. . . .

The term "self" seems a suitable one for the unconscious substrate whose actual exponent in consciousness is the ego. The ego stands to the self as the moved to the mover, or as object to subject, because the determining factors that radiate outward from the self surround the ego on all sides and are therefore supraordinate to it. The self, like the unconscious, as an a priori existent out of which the ego evolves. It is, so to speak, an unconscious prefiguration of the ego. It is not I who create myself; rather, I happen to myself.

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.