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Aion, by : Translated by R. F. C. Hull. Collected Works, Vol. 9, Part II. Illustrated. Bollingen Series 20. New York, Pantheon; London, Routledge and Kegan Paul, 1959. pp. xi + 333. 32s.
Aion, that is an era, a segment, of historical time, bears the mark of Jung's fully mature mind. His early books and those of middle life were written with precision. Often the substance was complex—nature usually is!—but the exposition, for instance of dreams, was easily assimilated. Few will find this book easy to read, and some may lay it aside. That is understandable; but the hesitant may start again if they reflect that Jung, now in his later years, feels it a duty, an obligation, to record his reflections and observations upon unusual and generally unnoticed psychological phenomena. He has gone to immense trouble, by detailed documentation and collation, to support his theme and, as always, he has been careful to avoid unjustifiable assumptions—let alone draw conclusions—which might imply a claim to absolute truth. Those who are interested to know what he has to say in this profound book must be prepared to read, to re-read, and to ponder.
Some readers will be mystified by the frontispiece, depicting the Mithraic god Aion, and possibly this has already puzzled some reviewers; at all events it has come in for little comment. No explanation is given for the choice of this plate; yet understanding the import of this god gives a hint about the intention of the book as well as its title. Many Mithraic statues of Aion have survived and the illustration used here is of one in the Vatican library. The god is seen in the likeness of a human monster with the head of a lion—this probably relates to the summer season—and the body enveloped by a serpent. According to Cumont (Cumont, Franz, The Mysteries of Mithra, pp. 107 et seq.), the statues of Aion are decorated with numerous symbols in keeping with the kaleidescopic nature of his character. Objects carried in the hands vary: s