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One of the great joys of my life is watching speeches and interviews given by great intellectuals. It was in pursuing this pleasure that I happened upon an episode of the ABC’s panel discussion show, Question and Answers. Coming out of the Festival of Dangerous Ideas, the four people on the panel – the traditional conservative, Peter Hitchens; the feminist writer, Germaine Greer; the American writer, Hanna Rosin; and the gay rights activist, Dan Savage – spent an hour discussing tops ranging from western civilisation to modern hook-up culture.
It became quickly apparent that the intellectual stature of the four panellists was not evenly matched. Hanna Rosin and Dan Savage were less rational, less mature, and more ignorant than Peter Hitchens and Germaine Greer. By comparison, Hitchens and Greer gave carefully considered answers to most of the questions asked. Hitchens, in particular, gave responses based on careful consideration, rational thought, fact, and wisdom. (This is not to say one is required to agree with him)
It was the behaviour of the audience that proved the most alarming, however. Like most Questions and Answers audiences, it was comprised mostly of idealistically left-wing youth. Their primary purpose for being there was to have their ideological presuppositions reinforced. With no apparent motivation to listen to the answers to their questions, these youngsters would clap and cheer like trained seals whenever someone makes an ideologically-correct statement.
How has our society become so stupid? Why do we no longer see being wise and knowledgeable as virtues in and of themselves? Part of the answer comes from a culture of self-hate and contempt promulgated by left-wing intellectuals. Accordingly, Christianity is regarded as archaic (unless, of course, it promotes left-wing beliefs), inequality is caused by capitalism, and the problems of women come as the result of the “patriarchy.” Even the Killing Fields of the Khmer Rouge are rather conveniently blamed on “trauma” emanating from the Vietnam War (rather than the actions of Pol Pot and his band of murderous, communist brutes).
This continuous, unrelenting assault on Western civilisation has led to a general estrangement from Western culture. The common people have been robbed of their inheritance because scholars and intellectuals have reduced their culture into a caricature to be dismantled at will. As a result, they are no longer exposed to the great works of art, architecture, literature, music, philosophy, poetry, sculpture, theology, and theatre that the Western world has produced.
The modern proclivity for ignorance and stupidity comes out of a very special kind of arrogance. It is the kind of arrogance that makes people believe that all those who came before them must be dumber than they are. It does not acknowledge that our modern “enlightenment” is built on the works of those who came before us. Our forebears would be dumbfounded to find a world where, despite having greater access to information than anyone else in history, people have closed their minds to learning.
What all this boils down to is a rejection of wisdom. If you believe that all those who came before you are dumber than yourself you are unlikely to believe they have anything worthwhile to contribute. As such, you are unlikely to believe in wisdom as a universal good. As Neel Burton over at Psychology Today pointed out: “in an age dominated by science and technology, by specialisation and compartmentalisation, it [wisdom] is too loose, too grand, and too mysterious a concept.”
We have made phenomenal advancements in all areas of human knowledge. Sadly, our successes have also made us arrogant and self-righteous. If we are to take full advantage of our potential, we need to reignite our cultural past and find the humility to learn from those who went before us.
Culture is more important than politics. However, in the hierarchy of priorities, many conservatives rank it somewhere between checking their privilege and meeting diversity and inclusion quotas. They simply do see it as being of any importance.
Conservatives mistakenly believe that the culture is less important than politics and economics. In their mind, culture is akin to leisure, something that is relegated to times to relaxation. However, as the late Andrew Breitbart (1969 – 2012), was fond of pointing out: politics is downstream of culture. It is culture – art, film, theatre, literature, sports, video games, news media, and comic books, among other things – that informs public opinion long before policy is announced to the public or even made.
The left has realised this. They have made it a key aspect of their long-term strategy to dominate the culture and exclude conservatives. It has spent decades infiltrating the halls of culture, politics, and academia with little to no opposition from conservatives who, much to their detriment, have failed to realise the importance of these institutions.
To understand the importance of culture it is necessary to understand what culture is. Culture communicates ideas through art, literature, literature, film, and so forth. It is from culture that ideas and beliefs are popularised or dismissed. And it is from culture that our worldview is formed.
The difference between left-wing culture and right-wing culture is that left-wing culture expresses false ideas, whilst the ideas expressed by right-wing culture tend to be truthful.
Just take a look at conservative art compared with left-wing art. Left-wing art champions communism: a political ideology that has killed and enslaved tens-of-millions of people, Conservative art champions Christian values, honour, patriotism, love, and freedom. The Brady Bunch featured a two-parent family (admittedly blended, but that doesn’t really matter) and espoused the virtues of duty, honour, and responsibility whereas a show like Gilmore Girls glorified single motherhood and self-centredness.
If conservatives wish to promote good and truthful ideas, they must be prepared to invest more in the culture. They must be prepared to create businesses, establish grants, and more in order to finance and distribute conservative art. In doing so, they can prevent left-wing censorship and can ensure that good, truthful ideas continue to be promoted.
The 1993 and 2012 adaptations of Much Ado About Nothing reveal what can be gained and what can be lost when Shakespeare’s plays are adapted to the silver screen. Namely, the 1993 adaptation maintains the integrity of Shakespeare’s literary genius, whilst the 2012 adaptation violates it.
Joss Whedon’s 2012 adaptation attempts to modernise Shakespeare’s works while maintaining its eloquent language. The setting – time and location – of the film do not suit the dialogue spoken. It may be preferable to retain Shakespeare’s original dialogue, but that dialogue can only work if the audience can be made to believe that the characters in that situation would actually talk that way. Otherwise, it distracts from the film’s plot. It would have been advisable to retain Shakespeare’s story but to utilise modern parlance. Joss Whedon’s 2012 adaption of Much Ado About Nothing comes across as a high school media production, and a poorly made one at that. It is precisely what happens when the plays of William Shakespeare are poorly adapted to the screen.
By contrast, Kenneth Branagh’s 1993 adaptation is grand and lavish, being like a breath of fresh air to Shakespeare’s play. Its setting – periodic, though the exact period is hard to confirm, and expansive location (though it takes place in one village, it feels much larger) – means that the audience is more willing to accept the decision to retain the play’s original dialogue. The audience can and does, believe that the characters in the film would actually speak the way they are depicted as speaking. Kenneth Branagh’s adaptation of Much Ado About Nothing is precisely what happens when Shakespeare’s plays are adapted properly to the screen.
This week for our cultural article we will be examining William Wordsworth’s (1770 – 1850) 1815 poem, I Wandered Lonely as a Cloud.
William Wordsworth was born on April 7th, 1770 in Cockermouth, Cumberland to John Wordsworth (1740 – 1783), a legal agent to the Earl of Lowther (1736 – 1802), and Ann Wordsworth (1747 – 1778). Wordsworth came as the second of John and Ann’s five children. Richard Wordsworth (1768 – 1816) came before him and was followed by Dorothy (1771 – 1855) (who would aid him throughout his career), Christopher (1774 – 1846), and John, Jr.
Wordsworth attended grammar school near Cockermouth Church as well as Ann Birkett’s school in Penrith. His love of the natural world began early stemming from his childhood living in a terraced garden house along the Derwent River.
Wordsworth experienced personal tragedy early in his life. In March of 1778, Ann Wordsworth died while visiting a friend in London. By June, Wordsworth’s beloved sister, Dorothy, had been sent to live with her mother’s cousin, Elizabeth Threlkheld (1745 – 1837), in Halifax. The pair would not be reunited until 1787. As if that wasn’t bad enough, John Wordsworth, Sr. would die in December of 1783 after being forced to spend a night out in the cold. Following the death of his father, Wordsworth and his brothers were sent to live at the house of Ann Tyson and attended school at Hawkshead. It was here that Wordsworth first began composing prose, an enterprise that was greatly encouraged by his headmaster, William Taylor.
In 1787, Wordsworth went to Cambridge University to attend St. John’s College as a sizar (an undergraduate student receiving financial assistance from the university). That same year, he published his first poem in The European Magazine. Although his academic career was unremarkable, Wordsworth managed to graduate with a Bachelor of Arts in 1791.
During his last term, Wordsworth and his friend, Robert Jones (1769 – 1835), embarked on a walking tour of Europe. The tour would prove to be a great influence on Wordsworth poetry which started in earnest while he was travelling through France and Switzerland. During his travels, Wordsworth was also exposed to the ravages of the French Revolution, an experience which his inspired his lifelong sympathy for the common man.
Between 1795 and 1800, Wordsworth and his sister, Dorothy, would move three times. In 1795, the pair used a legacy obtained from a close relative to move to Dorset. Two years later, they would move to Somerset where Wordsworth would become neighbours and close friends with the poet, Samuel Taylor Coleridge (1772 – 1834). Finally, in 1799, the pair would settle at Dove Cottage in Grasmere following a trip to Germany with Coleridge.
In 1802, Wordsworth returned to France with his sister to meet his illegitimate daughter, Caroline (1792 – 1862), whom he had conceived illegitimately while living in France. Upon his return, he married his childhood friend, Mary Hutchinson (1770 – 1859). Together, the couple sired five children: Reverend John Wordsworth (1803 – 1875), Dora Wordsworth (1804 – 1847), Thomas Wordsworth (1806 – 1812), Catherine Wordsworth (1809 – 1812), and William Wordsworth, Jr. (1810 – 1883).
In 1813, Wordsworth made the Distributor of Stamps for Westmoreland. Years later, following the death of Robert Southey (1774 – 1843), Wordsworth was made Poet Laureate. He died on April 23rd, 1850, in Rydal.
I wandered lonely as a Cloud
That floats on high o’er Vales and Hills,
When all at once I saw a crowd,
A host of golden Daffodils;
Beside the Lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the Milky Way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced, but they
Out-did the sparkling waves in glee:—
A Poet could not but be gay
In such a jocund company:
I gazed—and gazed—but little thought
What wealth the shew to me had brought:
For oft when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude,
And then my heart with pleasure fills,
And dances with the Daffodils.
William Wordsworth is credited with ushering the English romantic movement. Accordingly, Wordsworth is remembered as an intensely spiritual and epistemological writer whose poetry moved away from the grand, moralising themes of the past towards that which explored the purity and beauty of nature.
I Wandered Lonely as a Cloud was first published in Poems in Two Volumes in 1807. (The version analysed here is the 1815 revised version). The poem was inspired by a long walk Wordsworth took with his sister, Dorothy, around Glencoyne Bay, Ullswater. During their walk, the pair came across a “long belt” of daffodils. Wordsworth became inspired to write the poem after reading his sister’s diary description of the walk:
“When we were in the woods beyond Gowbarrow park we saw a few daffodils close to the water side, we fancied that the lake had floated the seed ashore and that the little colony had so sprung up – But as we went along there were more and yet more and at last under the boughs of the trees, we saw that there was a long belt of them along the shore, about the breadth of a country turnpike road. I never saw daffodils so beautiful they grew among the mossy stones about and about them, some rested their heads upon these stones as on a pillow for weariness and the rest tossed and reeled and danced and seemed as if they verily laughed with the wind that blew upon them over the Lake, they looked so gay ever glancing ever changing. This wind blew directly over the lake to them. There was here and there a little knot and a few stragglers a few yards higher up but they were so few as not to disturb the simplicity and unity and life of that one busy highway – We rested again and again. The Bays were stormy and we heard the waves at different distances and in the middle of the water like the Sea.”
— Dorothy Wordsworth, The Grasmere Journal Thursday, 15 April 1802.
I Wandered Lonely as a Cloud consists of four stanzas with six lines each and featured an “ababcc” rhyming sequence. The poem has a peaceful and tranquil feel to it which is expressed through simplistic language, figurative vocabulary, and subtle rhymes. The first three stanzas of the poem describe the narrator’s experiences. Its first line, “I wandered lonely as a cloud” serves to personalise the poem. Likewise, the reference to “a crowd, a host of golden daffodils” describes an ideal place, a form of euphoric paradise which the narrator experiences for the briefest period of time. The second stanza gives the impression that the daffodils were majestic, even other-worldly in their beauty. The narrator even compares them to the stars of the milky way. The poem’s last stanza details the poet’s recollection of his experiences. He describes how his recollection causes his heart to fill the pleasure and “dance with the daffodils.” In the end, I Wandered Lonely as a Cloud reminds us that beauty can only be found when we are willing to slow down and take notice of the world around us.
This is our weekly theological article.
For most of my life I have had a great affinity for cemeteries and graveyards. A gentle stroll through the neat and peaceful rows of graves, pausing occasionally to read the inscription on the headstone of someone who lived and died long before I was born has been the source of great pleasure for me.
I believe cemeteries and graveyards are important for two reasons. First, they are incredibly artistic. One cannot help but notice the well-manicured lawns and beautiful gardens, the magnificent sculpting’s of the headstones, and the often-poetic rhetoric of the epitaphs. Second, I believe that cemeteries and graveyards provide people with a physical connection with their cultural heritage and allows them to tap into their ancestral past. As Doctor Celestina Sagazio, a historian working for Melbourne’s Southern Metropolitan Cemeteries Trust, observed, cemeteries and graveyards provide a clue into the daily lives of people throughout history.
Modern culture has little time for the contemplation of death. That would go against ‘positive thinking’ and the perpetual lie of ‘eternal youth.’ This, however, stands in stark contrast with the convictions of most of our forebears. From antiquity through to the early twentieth century, the consideration of death was considered a good motivator for leading a virtuous and meaningful life. Recent studies affirm this belief, finding that the contemplation of one’s own mortality acts as a motivator for assessing one’s values and goals and can greatly improve physical health.
The phrase, ‘Memento Mori’, is said to have originated with the Ancient Romans. Tradition in Ancient Rome dictated that a servant or slave should stand behind a triumphant General during his victory parade. This servant or slave would whisper in the General’s ear: “Respice post te! Hominem te esse memento! Memento Mori!” (“Look behind you! Remember that you are but a man! Remember that you will die!”).
Between the 14th and 17th centuries, the concept of ‘Memento Mori’ took on new motifs. The engraving, ‘The Triumph of Death’ (1539) by Georg Pencz (1500 – 1550) depicted a scythe-wielding skeleton commanding an oxen-driven chariot. Similarly, the dance of death – involving skeletal figures – lead everyone from the Pope to the humble ploughman in a final dance of death. During the 17th and 18th centuries, many New England graves were adorned with epitaphs like ‘Memento Mori’ and ‘Hora Fugit’ (‘the hour flees’) and were emblazoned with images of skulls, bones, winged death’s heads, hourglasses, and other symbols of death and the passage of time.
The Roman stoic philosopher, Seneca (4BC – AD65) advised: “Let us prepare our minds as if we’d come to the very end of life. Let us postpone nothing. Let us balance life’s books each day… The one who puts the finishing touches on their life each day is never short of time.” The careful contemplation of mortality and the deliberate awareness of death has a profoundly positive effect on the health and vitality of the soul.
This week for our weekly cultural article we will be examining the David Lean’s (1908 – 1991) 1946 film Great Expectations, considered to be one of the greatest British films ever made. When it was released in 1946, it was met with glowing reviews. Today, seventy years later, it has been described by Criterion as “one of the greatest translations of literature into film.”
David Lean’s Great Expectations captures the essence of Charles Dicken’s (1812 – 1870) literary genius by juxtaposing his memorable characters with the artful film direction of David Lean. Leans use of black and white to add to the foreboding and melancholy atmosphere of the film. Then there are the numerous dark, creepy, rundown, and ultimately human locations that burn themselves into the memory: the creepy graveyard where a young Pip first meets escaped convict Abel Magwitch, the Kentish marshes, Miss Havisham’s dilapidated and macabre home whose clocks are stopped at the exact time Miss Havisham learnt of her fiance’s betrayal, 19th century London, Mr. Jagger’s offices whose walls are decorated with the death masks of defendants lost to the gallows, the prison where Magwitch dies, and so forth.
Then there are the wealth of memorable characters the film presents to us. The most notable of these is Pip through whom we see all of the tragedy and injustice of early 19th century England. Pip acts as more of an observer to the world around him than an actual protagonist. We first meet Pip (Anthony Wager, 1932 – 1990) as a young orphan being raised by his overbearing older sister (Freda Jackson, 1907 – 1990) and her kindly blacksmith husband (Bernard Miles, 1907 – 1991). It is during this time that Pip first encounters Abel Magwitch (Finlay Currie, 1878 – 1960), a kind yet ultimately decent escaped convict, in the cemetery, and when his heart is broken by the coquettish Estella (Jean Simmons, 1929 – 2010) and the dishevelled and deranged Miss Havisham (Martita Hunt, 1900 – 1969).
As the film progresses, we see Pip grow into a young man, played by John Mills (1908 – 2005), who, it could be argued, was perhaps a little too old to play Pip in his early twenties. This Pip has been bequeathed a large allowance by an unknown benefactor and travels to London with the view of becoming a gentleman. There he forms a friendship with the Herbert Pocket (Alec Guinness, 1914 – 2000) who helps him refine his manners. The adult Pip finds himself corrupted by the ponce and ceremony of the English upper-class and is ashamed to admit that he would have paid money to keep Joe Gargery, dressed in his cheap suit and awkward manner, away. Pip is forced to reexamine his views after discovering that his benefactor is none other than the escaped convict Magwitch, who was so struck by Pip’s childhood compassion that he was inspired to make something of himself and become his benefactor. Magwitch’s kindness and gratitude cause Pip to regain his lost humanity.
Great expectations represents a type of film that no longer exists: one that deals entirely with the human condition. These films are no longer made because they often do not involve exciting elements, but rather present characters that are flawed and suffering and places these characters in stories that are essentially tragic in nature. These films are no longer made because they do not fit into the blockbuster formula. Rather than the larger-than-life heroes of the blockbuster, films on the human condition feature characters that are ultimately flawed and suffering. These characters are placed in stories that are ultimately tragic in their nature. A far cry from the often over-the-top plots of the modern blockbuster. There is something deeply satisfying about films like Great Expectations which shows normal people to be capable of leading a dignified existence regardless of the tragedy and suffering they are forced to face.
This week for our cultural article, we will be examining Robert Frost’s (1874 – 1963) poem, The Road Not Taken.
First appearing in Frost’s poetry collection, Mountain Interval, in 1916, The Road Not Taken is one of America’s most enduring poems. It has become a part of our cultural lexicon, appearing in in numerous films and books, among other mediums, including, most notably, Dead Poet’s Society (1989), as well as in advertisements for Nicorette, Mentos, AIG, Ford, and more.
Robert Lee Frost was born in San Francisco, California, on March 26th, 1874, to William Prescott Frost, Jr. (185- – 1885), a journalist, and Isabella Moodie (1844 – 1900). William Frost would die of tuberculosis when Frost was eleven years old. Shortly after, he would move with his mother and younger sister, Jeanie, to Lawrence, Massachusetts.
It was during high school that Frost first developed an interest in poetry and literature. In 1892, Frost enrolled at Dartmouth College in Hanover, New Hampshire. He dropped out after only two months and took a series of menial jobs – teacher, cobbler, and editor of the Lawrence Sentinel, among others – to support himself. Later he would attend Harvard University but would drop out due to poor health.
Robert Frost published his first poem, The Butterfly, in the New York newspaper, The Independent, in 1894. On December 19th, 1895, Frost married Elinor Miriam White (1873 -1938), with whom he had shared valedictorian honours in high school. Together, the couple would have six children, only two of whom would live to see old age. Elliot Frost, born 1896, would die of Cholera in 1900. Carol Frost, born 1902, would commit suicide in 1940. Marjorie Frost, born 1905, would die in childbirth in 1935. Elinor Frost, born 1907, would die in infancy. Only Leslie Frost, born 1899, and Irma Frost, born 1903, would live to see old age.
After failing to generate enough income as farmers in New Hampshire, the Frosts emigrated to England in 1912. There Robert Frost made numerous friends, and garnered inspiration, with various British poets and writers. Among these were Edward Thomas (1878 – 1917), Rupert Brooke (1887 – 1915), Robert Graves (1895 – 1985), and Ezra Pound (1885 – 1972) – who helped Frost publish and promote his poetry. The Frosts returned to America in 1915. By this time, Robert Frost had published two collections of his poetry, A Boy’s Hill, published 1913, and North of Boston, published in 1914.
By the 1920s, Robert Frost had become the most celebrated poet in America. He received more and more accolades, which included Pulitzer prizes, with every collection of poetry he published.
In 1938, Robert Frost was widowed when his wife, Elinor, lost her battle with breast cancer. He never remarried. Between 1958 and 1959, Frost served as the consultant for poetry at the Library of Congress. Robert Frost died in Boston, Massachusetts, on January 29th, 1963. He was eighty-eight years old.
Embedded throughout world religion and mythology is the psychological motif of the shadow. In the story of the fall of man, the shadow is symbolised in the snake that tempts Eve to eat the fruit of the tree of the knowledge of good and evil. In modern times, the motif of the shadow can be seen in various superhero and fantasy films. Batman can be seen as the shadow of Bruce Wayne, Harry Potter’s ability to speak to snakes is a sign of his magical connection to the evil Lord Voldemort, and so forth.
Perhaps the most notable example of the shadow, however, comes in the distinction between the light and dark sides of the force in the Star Wars saga. Indeed it is the inability to recognise and come to terms with his own shadow that causes Anakin Skywalker to succumb to the dark side and become Darth Vader. Years later, Vader’s son, Luke would also battle his shadow, but, unlike his father, he would be able to recognise and ultimately overcome his own dark nature.
The shadow is an aspect of the Jungian concept of the psyche. The psychologist Carl Jung (1875 – 1961) conceived of the human psyche as a self-regulating system comprised of many complex and archetypal parts. The ‘self’, therefore, is the totality of all the aspects of the psyche. It is the part of us that expresses a desire for fulfilment, that aims at goals, and drives us forward.
The Jungian concept of the psyche consists of the persona, the ego, the self, the personal unconscious, the collective unconscious, the shadow, and the anima and animus. The ego represents the aspects of our psyches that we are consciously aware of. It is the part of our psyches that regulates and organises our memories, our thoughts, our feelings, our sensory experiences, our intuitions, and so forth. From the psyche, our concept of ourselves and our place in existence springs forth.
Standing in contrast to the ego is the Jungian concept of the unconscious, which can be split into the collective unconscious and personal unconscious. The collective unconscious refers to the deep-seated and archetypal memories and instincts shared by the entirety of the human race. The personal unconscious is developed through the interaction between the collective unconscious and personal development. Jung himself defined it as:
“Everything of which I know, but of which I am not at the moment thinking; everything of which I was once conscious but have now forgotten; everything perceived by my senses, but not noted by my conscious mind; everything which, involuntarily and without paying attention to it, I feel, think, remember, want, and do; all the future things which are taking shape in me and will sometime come to consciousness; all this is the content of the unconscious… Besides these we must include all more or less intentional repressions of painful thought and feelings. I call the sum of these contents the ‘personal unconscious’.”
It is from the collective unconscious that the shadow is grounded. This is because people are the product of both nature through the evolution of the human mind over millions of years (yes, this author is a believer in evolution), and their cultural heritage.
The simplest way of considering the shadow is to think of it as the part of your personality that you do not like. It is the part of yourself you have rejected because you consider it to be weak, flawed, inferior, or even disgusting. The Jungian psychologist, Aniela Jaffe (1903 – 1991), defined the shadow as the “sum of all personal and collective psychic elements which, because of their incompatibility with the conscious attitude, are denied expression in life.”
The shadow emerges out of the essential need for choice and opposition in life. The shadow represents all those ‘unchosen’ choices. When we choose to be one way, we choose not to be the other way. As the British philosopher, Alan Watts (1915 – 1973) said:
“It’s always the devil, the unacknowledged one, the outcast, the scapegoat, the bastard, the bad guy, you see, the black sheep of the family. It’s always from that point, that which we could call the fly in the ointment, you see, that generation comes. In other words, in the same way as in the drama to have the play it is necessary to introduce a villain, it’s necessary to introduce a certain level of trouble. So, in the whole scheme of life, there has to be the shadow because without the shadow there can’t be the substance.”
Jung saw the shadow as presenting a “moral problem that challenges the whole ego-personality.” Because it represents a side of ourselves that we do not like our instinct is to try and hide and repress our shadow. Often those who have totally rejected their own dark side will unconsciously project the dark or negative aspects of their own personalities onto people or entities that they do not like. The more we condemn the evil in others, Jung observed, the blinder we are to it in ourselves.
Understanding and reconciling oneself to their shadow is an integral part of self-enlightenment. One must make himself consciously aware of the darker elements of their own psyche without being an enemy to it, and then accept it as absolutely present and real. In doing so, it is possible for the individual to integrate the evil within themselves and place their devils in their proper function.