ABSTRACT
REMEMBERING t~e energy and affect of the previous drawing, Drawing IX. appears diagrammatic and again withdrawn. It is as though, in face of the challenge of the activated unconscious, consciousness had countered frenzy with detachment. We witnessed this same phenomenon before, when the embryonic vitality of Drawing III was succeeded by the two diagrammatic constructions, IV. and V. A similar polarity of mood was also discovered in the contents of Drawing I., where the contrast between the contents of the left and right halves of the drawing suggested the Dionysian-Apollonian analogy. It is interesting to watch this balancing alternation in the development of the myth. In the one phase the subject gives himself up to a spontaneous expression of the archaic imagery; in the next he envisages the same content with a certain detachment. I t is a tidal movement of extraversion and introversion, running through the developing myth like the systole and diastole of the heart's action.
