By Joseph L. Henderson

A considerate paintings through a senior analyst, co-author (with Jung) of guy and His Symbols. levels during the global of paintings, mythology, literature and the historical past of principles.

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Though it may be differently conceived and differently expressed-and certainly also differently received-the aesthetic task of any one artist in any one time is felt to depend less upon his inspiration than upon his conscious will. His true vocation, like that of Joyce, announces itself in advance; the goal may or may not be attained, but its intent is implicit from beginning to end. An aesthetic attitude of the period corresponding to the work of < previous page page_48 If you like this book, buy it!

Technological progress was all that really interested them, and its many exciting possibilities for development kept them fully occupied. The simple joys or sorrows of family life provided all the cultural life they seemed to need. It seemed to me that the dream was telling the son of a part of the story he did not know: that the men of his father's generation had paid a specific price for failing to contribute to the cultural life of their families; they had neglected the basic religious principle of rebirth which allows spiritual as well as biological life to flourish.

Outside she could see the water of the bay and the islands beyond, but this ship's prow was going nowhere. In all these cases I noticed a real stasis of feeling-feeling for life. Instead there was a sense of isolation which comes from looking at life, rather than from experiencing its vital force. They were highly self-conscious and able to objectify their lives and relationships to a remarkable degree, but there was a sense that nothing new was happening to them. They longed for an experience that would change them, but whenever such an opportunity came their way they tried to organize it so as once more to aestheticize it.

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