The Seba library treats Mist in 8 passages, across 6 authors (including Edinger, Edward F., Jung, Carl Gustav, Onians, R B).
it was as though he walked out of a mist and realized, 'I am myself now, now I exist.' Previously, that awareness had just never come to him.
Edinger cites Jung's autobiographical moment of ego-emergence as a literal walking out of mist, making mist the archetypal medium of pre-conscious existence prior to individuated selfhood.
, Science of the Soul: A Jungian Perspective, 2002thesis
I felt rising within me like a shapeless mist something unknown and yet deeply familiar. And out of this mist, image upon image detached itself.
Jung presents mist as the psychic medium from which suppressed historical and collective contents rise as distinct images into consciousness, making it the matrix of unconscious becoming.
, Memories, Dreams, Reflections, 1963thesis
Grief is itself the veil, the covering of mist. Darkness was believed to be substantial, mist. The darkness which veils the eyes in swoon or death.
Onians argues that archaic Greek thought understood mist as a substantial, material covering identical with grief, swoon, and death — not a metaphor but a physical ontological reality.
, The origins of European thought about the body, the mind,, 1988thesis
mists and death-clouds came upon him which closed a dark and gloomy veil over the open inlet windows of that prince's sight.
Onians documents Celtic and Greek sources in which mist and death-clouds are explicitly described as the substance that closes off the perceptual openings of the dying, linking mist ontologically to death.
, The origins of European thought about the body, the mind,, 1988thesis
portended by mist or darkness, 181-2 ... as an enwrapping cloud or vapour, 422-5, 427.
Onians's index entry confirms that across his study mist functions as both omen and substance of death, appearing as an enwrapping cloud or vapour in archaic thanatological thought.
, The origins of European thought about the body, the mind,, 1988supporting
the cathedral took from the blue-colored mist all the blue matter that the mist itself had taken from the sky. Monet's whole picture takes its life from this transference of blue, this alchemy of blue.
Hillman uses Monet's engagement with mist as a model of alchemical imaginal consciousness, where mist serves as the intermediate substance that transfers essential qualities between matter and imagination.
, Alchemical Psychology, 2010supporting
some women at age forty are in the psychic world of the mist beings.
Estés employs 'mist beings' as a designation for a specific psychic developmental age, positioning mist as the atmosphere of an intermediate, liminal phase of women's soul-life.
, Women Who Run With the Wolves Myths and Stories of the Wild, 2017supporting
sat down at the side of their father the dark-misted.
The epithet 'dark-misted' applied to Zeus in Lattimore's Iliad reflects the archaic identification of divine sovereignty with mist as an attribute of numinous, obscuring power.
, The Iliad of Homer, 2011aside