I think there is such a thing as a bad seed that comes to flower in certain people. The danger with that theory is that we begin to look for those "troublemakers" early on and try to weed them out. That's very dangerous, because it could work against kids who are just routine troublemakers.

By setting up a universe which tends to hold everything we do, see, and say in the sway of its cosmos, an archetype is best comparable with a God

It helps to regard soul as an active intelligence, forming and plotting each person's fate. Translators use "plot" to render the ancient Greek word mythos in English. The plots that entangle our souls and draw forth our characters are the great myths. That is why we need a sense of myth and knowledge of different myths to gain insight into our epic struggles, our misalliances, and our tragedies. Myths show the imaginative structures inside our messes, and our human characters can locate themselves against the background of the characters of myth.

We vote for Perot. We think he's a great, marvelous, honest man. We send money to his campaign, even though he is one of the richest capitalists in our culture. Imagine, sending money to Perot! It's unbelievable, yet it's part of that worship of individuality.

Beauty has never been an important topic in the writings of the major psychologists. In fact, for Jung, aesthetics is a weak, early stage of development. He follows the Germanic view that ethics is more important than aesthetics, and he draws a stark contrast between the two. Freud may have written about literature a bit, but an aesthetic sensitivity is not part of his psychology.

Vessels expose the invisible Zeitgeist, the visible formed by the invisible.

I like to imagine a person's psyche to be like a boardinghouse full of characters. The ones who show up regularly and who habitually follow the house rules may not have met other long-term residents who stay behind closed doors, or who only appear at night. An adequate theory of character must make room for character actors, for the stuntmen and animal handlers, for all the figures who play bit parts and produce unexpected acts. They often make the show fateful, or tragic, or farcically absurd.