The least of things with a meaning is worth more in life than the greatest of things without it.
Therein lies the social significance of art: It is constantly at work educating the spirit of the age, conjuring up the forms in which the age is more lacking. The unsatisfied yearning of the artist reaches back to the primordial image in the unconscious, which is best fitted to compensate the inadequacy and one-sidedness of the present. The artist seizes on this image and, in raising it from deepest unconsciousness, he brings it into relation with conscious values, thereby transforming it until it can be accepted by the minds of his contemporaries according to their powers.
Anthropologists have often described what happens to a primitive society when its spiritual values are exposed to the impact of modern civilisation. Its people lose the meaning of their lives, their social organisation disintegrates, and they themselves morally decay. We are now in the same condition. But we have never really understood what we have lost, for our spiritual leaders unfortunately were more interested in protecting their institutions than in understanding the mystery that symbols present.
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.
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.
No psychic value can disappear without being replaced by another of equivalent intensity.
The symbol in the dream has more the value of a parable: it does not conceal, it teaches.
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