p Critics of psyhoanalysis chose the “pan-sexualism” of dream symbolics and other products of phantasy as the main target for their attacks. Carl Gustav Jung aimed at creating a more 55 “respectable-looking" system, for which he radically revised one of the basic notions of psychoanalysis—the libido. In his teaching the libido was seen as some universal "psychic energy", and the imagery, which was engendered, according to Freud, by real libidinous passions, such as, for example, dreams of sexual intercourse with one’s mother (the so-called Oedipus complex), was interpreted as a desire to relieve the burden of the feeling of responsibility because no one else but mother can instill in a person the state of serene comfort. Thus, a highly complicated emotional form replaces a primitive biological drive. Yet Jung does not limit himself to this: he comes to the conclusion that symbols are inherited in the form of so-called archetypes. Jung and his school even discuss the collective subconscious element, which determines the life and creativity of a person and of whole populations. Jung maintains that symbols and images of phantasy in general are stipulated by archetypes, i. e., by a priori abstract patterns inherited in man’s psyche since his birth and representing "typical forms of apprehension" or a factor determining uniformity and regularly recurring ways of apprehension (194, 281). Some of Jung’s followers come up with suppositions about the probable existence of special anatomico-pliysiological substrates of archetypes which resemble inherited mnemonic engrams. They are said to preserve the experience of a race acquired through the centuries of its existence (233, 54).

p Erich Neumann writes in his The Great Mother: "When analytical psychology (Jung’s school.—/./?.) discusses the original image or the archetype of the Great Mother, it does not mean anything concrete existing in time and space, but a certain inner image operating in human psyche" (220, 19). Later, however, we learn that the very image of the Great Mother dates back to its still more ancient archetype of “Uroboros” which was the "symbol of the initial psychic state and primordial situation ... when the positive and the negative, the male and the female were mixed" (220, 33).

p Herbert Read makes wide use of archetypes for explaining painting and scuplture. He interprets the characters and details of Picasso’s Minotauromachie as a realization of various archetypal images; the bearded man ascending the stairs embodies the archetype of a wise man; the Minotaur, the incarnation of all the dark forces of the Labyrinth, the subconscious; the sacrificial steed symbolizes the subdued forces of the libido (drive), and, finally, the child with a torch is the expression of supreme consciousness (233, 66).

p The French investigator of mythology, Claude Levi-Strauss, 56 maintains that "each child beginning from its birth possesses forms of , structural mental sketches which incorporate the sum-total of means which mankind has been using eternally for determining its relations.to the world" (202, 120-121).

p Another French investigator of mythology, Gilbert Durand, emphasizes that it would be wrong to derive the symbols from external phenomena. Contrary to that, in his opinion,one must seek to explain the phenomenon of archetypes and symbols only by peculiarities of human psyche (144, 28-29). That would mean that there is nothing essentially new in the creativity of poets and writers and that the best they can do is just vary the inherited primordial images of archetypes.

p In asserting the predetermination of products of phantasy, the hypothesis of archetypes appears as a pure mental abstraction or a speculation which is based neither on experimental data nor on clinical analysis, Jung’s idealistic conception is extreme to the extent that it denies any possibility of creating anything new in principle, and links with extreme mechanistic conceptions of phantasy which regard products of creativity merely as imitation, re-arrangement or recombination of perceptive ideas.

p The idea expressed by sculptor Henry Moore deserves special attention, for the advocates of the doctrine of archetypes widely used his sculptures as illustrations of their tenets: "But though the nonlogical, instinctive, subconscious part of the mind must play its part in his (the sculptor’s) work, he also has a conscious mind which is not inactive. The artist works with a concentration of his whole personality, and the conscious part of it resolves conflicts, organizes memories, and prevents him from trying to walk in two directions at the same time" (217, 68).

Thus, Jung’s theory almost emasculates the whole concrete psychological content of the subconscious, transforming it into a formal scheme predetermining the nature of imagery. This conception is absolutely mystical in nature, its idealistic essence coming close to the conceptions which view phantasy as an original and inexplicable force. Yet, in contrast to the latter which nonetheless endowed phantasy with an ability to create new values, Jung’s theory attributed to it merely a reproductive role.