The union of irreconcilables is experienced in the present parable as a visionary reality and is revealed in the form of an authentic God-image. The vision of the hier-osgamos in the treasure-house of Wisdom seems, temporarily at least, to have gripped the author's feelings; for whereas in the preceding parable an attempt was made to integrate the irruption of unconscious contents in a spiritual hierarchy, the present parable goes on to describe the author's emotional and moral confrontation with these inner events. The predomi-nance of feeling is reflected in the reappearance of the anima in the figure of Wisdom as contrasted with the Holy Spirit in the preceding parable. The lapis as treasure-house is now repre-sented primarily as the sum of man's moral qualities, the didac-tic, allegorical style and the disappearance of the poetic element being particularly striking-for one would hardly expect this after so momentous a vision. Obviously the content of the vision
— Marie-Louise von Franz
A vision arrives — the *hierosgamos*, the sacred marriage, the union of opposites held briefly as a living image — and the soul's first response is to become didactic. This is the tell. Von Franz is watching the pneumatic ratio execute its recovery maneuver in real time: the vision destabilizes, feeling floods in, and then the prose tightens, the allegory appears, the poetic element vanishes. The author reaches for moral instruction as if cataloguing the experience could domesticate it, could make it useful, could transform what just happened to him into something he now possesses and can transmit.
What the passage discloses is how quickly the mind converts a felt confrontation with the unconscious into doctrine. The anima arrives as Wisdom — that is, as the figure who knows — and the soul immediately begins extracting lessons. The irreconcilables were briefly held in union; the "lapis as sum of moral qualities" is the flight from that holding. It is not that the allegorical mode is wrong. It is that its sudden predominance after so momentous a vision is the evidence von Franz needs: feeling was there, it gripped the author, and then something moved to manage it. The vision did not become insight. It became instruction.
Marie-Louise von Franz·Aurora Consurgens: A Document Attributed to Thomas Aquinas on the Problem of Opposites in Alchemy·1966