1 [A lecture delivered to the Society for German Language and Literature, Zurich, May, 1922. First published as “Über die Beziehungen der analytischen Psychologie zum dichterischen Kunstwerk,” Wissen und Leben (Zurich), XV: 19-20 (Sept., 1922); reprinted in Seelenprobleme der Gegenwart (Zurich, 1931); translated by H. G. Baynes, as “On the Relation of Analytical Psychology to Poetic Art,” British Journal of Psychology (Medical Section) (Cambridge), III:3 (1923), reprinted in Contributions to Analytical Psychology (London and New York, 1928).—EDITORS.]

2 [By this Jung probably meant the analytical techniques that were in use at the time (1922), and more particularly the Freudian. Whether he had by then developed his own technique for constellating the collective unconscious is an open question. Cf. “The Transcendent Function” (orig. 1916), pp. 67ff., and ch. VI of Jung’s Memories, Dreams, Reflections.—EDITORS.]

3 [Here Jung defines the collective unconscious in much the same way as a year earlier (Psychological Types, pars. 624, 747) he had defined the archetype. Still earlier, in 1919, using the term “archetype” for the first time, he had stated: “The instincts and the archetypes together form the ‘collective unconscious’” (“Instinct and the Unconscious,” par. 270). This is in better agreement with his later formulations. The subject of the above sentence should therefore be understood as the archetype.—EDITORS.]

4 [Lit., “primitive Vorlage.” In the light of Jung’s later formulations, this would mean the “archetype per se” as distinct from the “archetypal image.” Cf. particularly “On the Nature of the Psyche,” par. 417.—EDITORS.]