The concordance 13 witnesses
Orientation
Something new is cooked, not argued, into being. Jung, describing the cauldron in his 1928 seminar, calls it the psyche’s own answer to the impossible impasse: things strange to each other, irreconcilable, are held together until a genuinely new thing comes forth, and he traces this vessel inward until the body itself becomes the cauldron and the kitchen hearth becomes sacred ground. The image is older than any one system. In Psychological Types Jung finds it in Dagda’s magic cauldron, which feeds each guest according to worth; Richard Wilhelm finds its Chinese counterpart in the bronze ting, the ancestral vessel from which the family head served the ritual meal. Joseph Campbell reads the cauldron of Caridwen as an initiatory ordeal, the hero Gwion Bach set to stir it without rest until it yields science and inspiration. Liu I-ming, glossing hexagram 50, makes the logic explicit: change discards the old, but the cauldron obtains the new, and a filled cauldron signals a mind so nourished by Tao that the merely human loses its grip. Nourishment and ordeal, then, are one vessel’s two names.
in the cauldron things are cooked together, and out of things strange to each other, irreconcilable, something new comes forth. This is obviously the answer to the paradox, the impossible impasse.
Jung identifies the cauldron as the psyche’s own solution to the impossible paradox, the archetypal vessel in which irreconcilable opposites are held until genuine novelty emerges.
, Dream Analysis: Notes of the Seminar Given in 1928-1930, 1984thesis
she was the owner of an immense kettle and desired to prepare therein a brew of science and inspiration… she put our hero, Gwion Bach, to stir the cauldron… that they should not suffer it to cease boiling for the space of a year and a day.
Campbell positions the cauldron of Caridwen as the mythological archetype of initiated transformation, a vessel of inspiration brewed through sustained ordeal that confers gnosis upon the hero.
, The Hero With a Thousand Faces, 2015thesis
Further evidence of the pagan root of the vessel symbolism is the ‘magic cauldron’ of Celtic mythology. Dagda, one of the benevolent gods of ancient Ireland, possesses such a cauldron, which supplies everybody with food according to his needs or merits.
Jung locates the Celtic magic cauldron within a deep archaeology of vessel symbolism, connecting it to the archetype of nourishment distributed according to individual worth.
, Psychological Types, 1921thesis
A cauldron is that wherein something is refined to obtain the new. The way to obtain the new has fire on top and wood below, perfecting wood in fire, changing its polluted substance and returning it to reality.
The Taoist I Ching defines the cauldron as the formal site of alchemical renewal, where elemental opposition between fire and wood enacts the destruction of the false and the disclosure of true nature.
, The Taoist I Ching, 1986thesis
2 yang: The cauldron is filled. One’s enemy is jealous, but cannot get at one; this is lucky… This represents nurturing the mind of Tao and naturally being free of the human mentality.
Liu I-ming reads the filled cauldron as the condition of inner sufficiency in which the Tao mind predominates and the ego-driven human mentality loses its purchase.
, The Taoist I Ching, 1986supporting
Change gets rid of the old, a cauldron obtains the new. Change means getting rid of the old and not using it.
Liu I-ming establishes a structural polarity between hexagram 49 (Change/revolution) and hexagram 50 (The Cauldron), in which destruction of the outmoded is the necessary precondition for the cauldron’s work of renewal.
, The Taoist I Ching, 1986supporting
one puts the cauldron into man himself, he becomes the cauldron… the kitchen became the most sacred place, the place where the fire was always burning.
Jung traces the interiorization of the cauldron symbol from external ritual vessel to the human body itself, linking it to communal sacred meal traditions and the sanctification of the kitchen hearth.
, Dream Analysis: Notes of the Seminar Given in 1928-1930, 1984supporting
The ting, cast of bronze, was the vessel that held the cooked viands in the temple of the ancestors and at banquets. The head of the family served the food from the ting into the bowls of the guests.
Wilhelm establishes the ting/caldron as a sacred vessel of ancestral nourishment and social communion, grounding its symbolic valence in the ritual life of Chinese antiquity.
, The I Ching or Book of Changes, 1950supporting
When the cauldron overturns on its base, it is beneficial to eject what is wrong… it is not useful to take the new, but rather it is useful to get rid of the old.
The Taoist commentary reads the overturned cauldron as a figure for moral and spiritual imbalance, the rectification of which demands prior purgation of error before the vessel can serve its purpose.
, The Taoist I Ching, 1986supporting
The six lines construct the image of Ting, THE CALDRON; at the bottom are the legs, over them the belly, then come the ears (handles), and at the top the carrying rings. At the same time, the image suggests the idea of nourishment.
Wilhelm’s structural reading of hexagram 50 maps the cauldron’s physical anatomy onto its symbolic meaning, with bodily nourishment as its primary signification.
, The I Ching or Book of Changes, 1950supporting
brilliant Achilleus gave orders to his companions to set a great cauldron across the fire, so that with all speed they could wash away the clotted blood from Patroklos.
In the Iliad the cauldron serves a ritual-purificatory function at the threshold of death, the heated water washing the warrior’s body in preparation for funerary rites.
, The Iliad of Homer, 2011supporting
the reaction vessel is a ding, a term which usually denotes an iron tripod but also refers to several instruments of different shape and function, and may even be a synonym for the simple clay crucible.
Kohn’s technical survey of Daoist alchemical apparatus clarifies the ding/cauldron as a polysemous instrument whose function shifts between ritual tripod and laboratory reaction vessel.
, Daoism Handbook, 2000aside
Multiple operations, multiple stoves. Ascending furnace drives the heat upward; descending furnace drives the heat downward; sand furnace surrounds the vessel in ashes, the warmth coming from yesterday’s fires.
Hillman catalogues the plurality of alchemical heating vessels and operations, providing the broader technical context within which the cauldron as transformative container is differentiated from other furnace forms.
, Alchemical Psychology, 2010aside