became the god of both thieves and magicians. Aryeh Kaplan, however, gives the meaning as "I will create as I speak" (abra K'ADaBRA).124 This translation clearly underscores the power that magicians attribute to the act of speaking. Then when the friends were reunited the re-fitting together of the two halves would serve as a kind of proof of his or her identity. Versions of this trick have become a standard part of stage magic shows since Houdini's time. But to a large extent such titles are the results of projection, that process "by which a subjective content becomes alienated from the subject and is, so to speak, embodied in the object."151 So, as has been said, considering another person as a "magician" involves. Patients themselves often emphasize the beneficial or soothing effect of such pictures. Thus the King dwelt at the organizing center, from which the created world radiates. Sacred mountains, sacred trees, and inner sanctums all were the "power spots" through which an energy exchange took place between the various dimensions of reality.
The Dictionary of Symbols and Imagery, for example, describes the magic circle as "a circle of nine feet: the area within which the magician has contact with a spirit, and which he cannot leave before he has broken the spell."140 In both traditional and so-called. But he also has a "bright" and "positive" side. (Coincidentally, given our focus on the magician as archetype, the most famous current performers of this effect are "The Pendragons. (One evidence of his influence is the large number of performing magicians who have adopted stage names ending in "-ini" since his death.) Like Jung and many others in this period, Houdini (who was born one year prior to Jung) had a life-long interest. The Magician stands behind a table which extends, to the viewer's right, out of the frame of the picture.
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Like the staff of Moses which could alternately astound the masses by turning into a serpent and nourish them by striking water from the rock, we know that this tool will be used both to charm and to help. This must be so if the performance is to be successful at least.143 For there to a spectacle there must be spectators. Thus, as Verena Kast puts it, ". As with Hermes (or with Jesus or any other "hero for that matter the stories or legends surrounding Merlin's birth and childhood are significant. In this trick the magician is bound with restraints such as ropes or handcuffs and locked in a large trunk. Night after night, she would scream and I would yell just as wildly in my mind. Merlin, of course, was "fatherless. He set himself the goal of becoming history's greatest escape artist. Magic, both ceremonial and performing, is, after all, a kind of theater. Some analysts (James Hillman and Verena Kast come to mind) have chosen to discontinue seeing individual analysands so as to concentrate on writing and speaking for a broader audience.
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