After Apollo's conquest of the oracle, the thunderbolt God,
Zeus settled the conflict by ruling in favor of his son claiming
that prophecy based on the observation of external signs, that is,
inductive divination, is the only way to foretell the future.
Merlin Stone writes in _The Goddess Re-Awakening_, "Apollo's taking
of the shrine of Gaia at Delphi symbolized the conquest of so-
called rational and abstract thinking over the knowledge gained
through the emotions, intuition and mystical revelation" (Nicholson
1989, 10).
Zeus proclaimed Apollo's take-over liberated men from the
mysterious forces of the darkness. His decision bestowed his
arrogance on his son who also inherited his prestige. As Sagan's
son, Apollo had no problem getting his books published and reviewed
by the most prestigious national publishers. He told Doctress
Neutopia he could even go on T.V. talk shows if he wanted to
promote his ideas. He was also extremely arrogant to Dr. Neutopia
when she question him about his theory of the reproduction of the
planet, acting as if she was not astute enough to understand his
concepts of the ironies of Nature.
Following Apollo's matricidal act, Orestes violated the
ultimate matriarchal law by killing his mother, Clytemnestra, the
last matriarchal queen of Mycenae. While he was on his way to
fight in the Trojan War, Agamemnon, Orestes' father, tricked
Clytemnestra into sending him their daughter, Iphigenia, ostensibly
to give her in marriage to Achilles. But, actually, he wanted to
sacrifice her to the gods in hopes of receiving favorable winds.
It was the Queen's duty to avenge anyone who had shed kindred
blood, and the justice for the King's murder of his daughter was
his death. After Agamemnon returned from the Trojan War with his
concubine Cassandra, he was taking a ritual bath to cleanse himself
from the sins of war. While at the water, Clytemnestra and her new
consort entangled him in a net and stabbed him to death. Cassandra
was also killed in the battle which is the reason why she now knows
that all blood is kindred blood and all justice by capital
punishment is wrong. Now as Doctress Neutopia she asks, "Can you
imagine what a blood bath there would be if there was capital
punishment for Capitol Hill...execution for the men who voted to
build the weapons of mass destruction?" In those ancient times,
Cassandra must have realized it was marriages of convenience
arranged for political and economic reasons which was the basic
reason for the downfall of the matriarchal social structure.
Orestes went to the Delphi oracle to decide what he should do
about the death of his father. The oracle said he was obligated to
kill his father's murderess and then and only then would there be
an important trial at the Delphi temple. So following the oracle's
advise, he killed his mother. At the trial there was a jury of
twelve Athenian elders. The Goddess Athena presided over the court.
Apollo acted as Orestes' advocate, and the Furies were Orestes
prosecutors. When the vote by the jury turned out to be a draw,
Athena, acting as president, gave the final vote which absolved
Orestes from the crime. She said it was no crime because it was
the father who gave life to a child, and so was the real parent...
not the mother.
Zeus, the ruler of consciousness, knew his judgement on the
murder of the Pythoness was an extremely political move. It caused
the shift from the communally based system of property to a system
of private property and women own by men. This determined the fate
of the Earth, whether there would be peace between the sexes or the
threat of nuclear war on the planet. Apollonian priests wanted to
overthrow the oracles because they knew the oracles were the chief
means of controlling public opinion and public action. By
controlling the oracles, they controlled the consciousness of the
people just like politicians brainwash the people today by
controlling education and the press.
The word conscious means knowing together, the fusion of the
self with the deity. Freud realized it was people's fusion with
the God, the Father deity, which was causing their stupidity and
their inability to evolve beyond their Oedipal dependencies. By
relying on an external father authority, people are unable to find
the their intellectual strength and freedom to grow out of the
Oedipal complex and to draw on their inner authority, which Freud
called Superego. These people behave in overly strict and
authoritarian ways or childish and irresponsible ways. Once the
Father/Husband has been overthrown, one can discover their super-
egos. Creativity and personal freedom can then develop. When the
Heavenly Father religions fall, one finds that religious
experiences are within the human mind. However, Jung stated to
Freud that "only the wise are ethical from sheer intellectual
presumption, the rest of us need the eternal truth of
myth...Religion," Jung said, "can only be replaced by religion"
(Goldenberg 1979, 47). The role of the wise is to be the
mythmakers who are the essence of religion binding us back to the
cardinal question of the romance between Aphrodite and Eros.
HEAVENLY FATHER RECALL THE DREAM!
Dr. Cosmos had better believe his hell-on-earth NUCLEAR WAR
prophecy will come true unless he radically changes heart by
listening to the oracle of Gaia! In Char McKee's essay, "Feminism:
A Vision of Love" she points out
Feminism is ultimately the single most important movement for
planetary and social change in all recorded history, calling
for the radical transformation of our deepest selves and the
way we live our lives. As many "big picture" feminists are now
expressing, our ultimate goal is to challenge and transform
the fundamental beliefs of the dominant patriarchal culture
and to create a new world culture based upon different
beliefs (Nicholson 1989, 252).
After the decline of these Pagan Gods, the Heavenly Father
feared and envied Gaia's womb so much that he influenced other
misogynist to write sexist creation myths like the story of Adam
and Eve which distorted the birth act by making Eve an afterthought
who come out of Adam's rib. Sex became the original sin and the
cause for the couple to be expelled from the Garden of Eden.
Because of this fall which Eve was blamed for since she listen to
the advice of the Serpent, Utopia has been seen as an unachievable
dream abandoned long ago, a dream which is futile to work towards.
But the fact was Pandora's vessel, Eve's apple and the Serpent gave
us all the original blessings: clean water, fertile soil, living
forests, singing birds, and healthy DNA for our reproduction.
Finally Pandora gave to Doctress Neutopia the noblest gift of
all..._The Sagan Saga_ to lead us to the Solar Epoch of the
Superorganism. The life-force made Doctress Neutopia attempt to
teach Dr. Sagan's son, Mr. Biospheres, about the holiness of the
sex act and the power of love to direct us to our metaphysical
mates. Just as Prometheus had prophesied: Zeus's downfall lay in
the hands of the ancient female powers of justice spinning a
messianic idealistic vision of an ordered world around his life
to save eukaryotes.
THE DECLINE OF THE GODDESS TRADITION
The Goddess tradition is extremely ancient in comparison to
the patriarchal religions beginning with Zeus which appeared around
2500 B.C. and Abraham in 1800 B.C. Goddess statues dated back to
25,000 B.C. The Heavenly Father rule did not strive to build heaven
on earth and earth in heaven like the Goddess tradition had done,
but disrespected the female powers of regeneration which is certain
to result in our extinction if not immediately corrected. Zeus and
his other pseudo-scientific and pseudo-religious colleagues said a
person had to wait until the afterlife to experience the good
world. They told the slaves and the peasants that the earth was
simply a stepping stone to a better world to come after one's
death.
Karl Marx tried to correct this fallacy by writing his theory
in hopes of de-alienating labor. He attempted to energize the
masses to engage in a world-wide revolutionary arms struggle
against the plutocrats. But by declaring Communism an ideology of
atheism, he was unable to transform the deity which was causing the
problem. The new story which must be told is one which brings the
alienated souls of human beings back in touch with the Super-
organism, the one inner truth of existence, so that there will be
a common understanding for people to be able to communicate with
each other. Tragically enough, we can see the cause for our
withering cosmic garden. This alienating, warrior, dystopian,
anti-love, God-the-Father who denies the Goddess worldview has
produced ozone depletion, global warming, and, the greatest
threats of all, nuclear war and its aftermath, nuclear winter.
The Goddess tradition started falling apart as a result of the
"cultural amalgamation of three waves of barbarian invaders, the
Ionians, the Achaeans, and finally the Dorians, who moved into
Greece from 2500 to 1000 B.C." (Spretnak 1971, 17). The Dorian's
favorite God in Crete was Apollo which certainly stands to reason
why he overthrew the Gaian oracle. The invasions corrupted
the balance of power between the sexes resulting in perverted
Goddess rituals which were cruel and unjust to men.
MATRIARCHAL TYRANNY
During this time of social upheaval and before the concept of
fatherhood, it was thought that male access to the deity was gained
through the Queen. For a male to gain a privileged position
require his sexual union with the high priestess. Some of these
pre-Homeric matrilineal cults would make sacrifices of the
Goddess-Queen's son/lover around the time of March as a fertility
rite. Sometimes the old king would be killed by the new king who
the Queen felt had more sex-appeal since it was believed that this
determined the fertility of the land. If the Queen tired of him,
then his reign was over. Or if their was a drought or two much rain
a king would be sacrificed in hopes of gaining the approval of the
deity. "His ritual death varied greatly in circumstance: he might
be torn in pieces by wild women, transfixed with a sting-ray spear,
felled with an axe, pricked in the heel with a poisoned arrow,
flung over a cliff, burned to death on a pyre, drowned in a pool,
or killed in a pre-arranged chariot crash" (Graves 1955, 19).
Men began to gain power in the Goddess religion by castrating
themselves, wearing long feminine robes, and becoming the eunuch
priests and magicians in Cretan palaces. In Anatolia and Rome, a
young male Goddess-worshipper would run down the streets holding
his severed genitals after castrating his own body eventually
throwing them into a house along the way. The custom was that the
inhabitants of that house gave him the woman's clothes which he was
to wore from then on. By imitating the female clergy, priests
eventually replaced the role of the priestessess (Stone 1976, 165).
Certainly this could explain the reason for Freud's castration
anxiety!
REBUILDING A PARTNERSHIP CIVILIZATION
According to Eiane Eisler in her book _The Chalice and the
Blade_, there is archaeological evidence to suggest that there was
a period in the history of Crete when a partnership model of human
organization ruled the culture. During this time, archaeologists
have found images of women and men equally working for the common
good. Nature and Goddess images were worshipped and honored. The
Cretans had a healthy enjoyment of sexuality reflected in their
dress. Women and men freely exposed their reproductive organs
revealing the grace of the human body without seduction, fear, or
shame. There have been no symbols of warfare, fortifications,
voilent deaths, conquests, invasions, or male domination found on
these sites. One can only conclude there is a "direct relationship
between Goddess religion and peaceful co-existence" (Gadon 1989,
24). These Neolithic images showed an equal understanding of the
joint roles females and males play in procreation which complement
one another. Neither one was subordinate to the other, and so their
power was doubled.
Zeus tried to divide this power believed in pre-existence
to be a part of a single body. The sexes were not two, but three
in number, woman, man, and the union of the two. According to
Aristophanes in Plato's Symposium, the four-legged, two headed
creature had a power to pose a threat to the Gods. Zeus' solution
was to enfeeble the four-legged creature by cutting them into two
parts. This would diminish their strength and increased their
numbers making them more profitable to the economic system of the
Olympian Gods. Women and men were then forever destined to search
the earth for their lost soul mates in a world deprived of the
idealist vision of love.
Inspired by Eisler's book, Doctress Neutopia wrote red-letter
epistles to Mr. Biospheres in hopes of creating a partnership since
their work seemed to fit naturally together. They seemed to be
working on the same level of activity and consciousness. Even
though their backgrounds and accomplishments were very different,
it looked as though they were coming together as equals inspired by
the same vision. Doctress Neutopia even proved her point by
showing him a woodcut print of the planet's reproduction which she
made several years before he described the same vision in his book
_Biospheres_.
After receiving a copy of _Biospheres_ in February 1990,
Doctress Neutopia went into an ecstatic state for two weeks reading
everything she could find on the nature of Philosophic Eros. During
that time she was unable to sleep for her life was becoming the
collective dream. She thought her exile was finally coming to an
end! She had found her eternal soulmate, the alchemical blend!
She realized that in the grace of Gaia's love and mystery of its
will, it had brought them together for a common calling. They were
to be a new model of how woman and man must live, work, and create
together to build a gaian order for the human family.
MEDUSA AND THE PHILOSOPHER'S STONE
Doctress Neutopia realized from her research the evolutionary
movement needed the linking of their bodies and minds, female and
male, animus and anima and came up with the idea of Lovolution.
Since he seemed to indicate from what he had written that a
movement to save terrestrial life was needed, Dr. Neutopia invited
Mr. Biospheres to participate in organizing the world lovolution.
But he answered in a vituperative letter that he wanted no part in
carrying out such a frivilous idea. Like Cassandra she was born to
be ignored. The deadly tyranny of the curse of Apollo and Zeus was
still around, destroying the world. Mr. Biospheres indicated he
was satisfied with the incestuous relationship he seemed to have
with Mother Earth and didn't need the recombination with another
female deity. She asked herself, "Why do these men who consider
themselves leading thinkers, fear to move beyond the so-called
rational politics to explore the mysterious management of Gaia so
that the human experiment could be saved? Was it because they were
out, ultimately, to obtain the goal of power over the
Universe...Omnipotence Unlimited, with the supreme power to shape
all things without understanding the inherent kernel of wisdom from
the Goddess Medusa?"
How much longer can the ecosystem survive before the male
magician sees the truth that the female wizard is the governess
of the philosopher's stone? She has been flashing its radiant
beauty in the magician's face for centuries in an attempt to break
his amnesia so that he could remember the majestic serpent power
needed to bring justice to this endangered world, impoverished by
male rule. But for centuries, he has been under the spell that if
looked at her, he would instantly be turned into stone. She was
Medusa, mother of all the gods, the Queen-ruler of past, present,
and future time. She was the Goddess who could destroy the present
war regime with her prophetic tongue. This was why Athena gave
Perseus the weapons to decapitate her, and why Athena hung Medusa's
head on the alter of her temple as a symbol of Medusa's end. But
Medusa was essentially the mistress of Timelessness. Once again,
she has returned to seek her proper place beside the King of the
Primordial Sea in order to destroy the incestuous relationships
which control the family, schools, corporations, and the
military-industrial regimes.
Cassandra's prophecy was not solely a warning about the black
rain on Judgement Day if we don't correct our insane patterns of
social behavior and land development. But, above all, she held the
trump card as to how to make the minds of the world flower from the
global brain.
Certain days, for some inexplicable reason, Dr. Neutopia felt
if she could not convince Mr. Biospheres the feminist energy
lacking in male reasoning, she might end up the first martyr to the
cause of Lovolution. Mr. Biospheres had become for Dr. Neutopia
the archetype of the patriarch and she was beginning to fear that
he would never evolve to where his third eye, his soul, his anima,
his inner ear, or whatever the reader wishes to call it, opens up
to the divine life-force. But other days, she is re-empowered when
as , i.e., she read, Brian Swimme's book _The Universe is a Green
Dragon_. He writes,
The slow learner has so many more opportunities to watch the
dynamics of love's play. If he is the most stubborn human
in the history of the Earth, he will have had the opportuni-
ty to see how shrewd love can be as love penetrates all his
character armor. When the stubborn human finally falls in
love, he will understand how hard the universe had to labor
to finally win him. He will know something of the subtle
arts of love: how protean, how untiring, how confident, how
intelligent, how faithful, how boundless, how inflamed, how
unitive, how irresistible love can be. Such stubborn humans
become the world's greatest lovers, for they have been
through an initiation that demanded many resources of love;
they make themselves just as irresistible and as intelligent
as love in drawing others into the joy of living (64-65).
This irresistible power in the joy of living is the charismatic
energy needed to create millennia of peace. She felt it was ironic
that Mr. Biospheres after writing books on sex and the nature of
the Superorganism, could not understand how to tap into her
microbial love. He seemed horrified that his words had given
Doctress Neutopia the divine inspiration to write an epic love poem
in which she and he became the principal characters who could
destroy the sexist tales of Adam and Eve and the virgin birth
stories which had for centuries repressed the true nature of
romance. She wanted to confront him with her understanding that
this was no laughing matter so he could break through his egoistic
barriers and infantile relationships to reach into the geo-state of
consciousness which could give him access to the mystery of unknown
forces. She wanted him to fall in love with her ideas and accept
responsiblity for a leading part in the Gaian mythic process which
he espoused. How could he resist the protoplasmic bliss with a
Queen of Love?
THE GAIA MESSIAH AND THE ANIMA/ANIMUS THEORY
The epic form is a rare cosmological event. Helen White in her
book _The Metaphysical Poets_, (1936), quotes T. S. Eliot "The
capacity for writing poetry is rare; the capacity for religious
emotion of the first intensity is rare; and it is to be expected
that the existence of both capacities in the same individual should
be still rarer." Most writers agree epic is not a commonplace
story. But as John Clark writes in the _History of the Epic_, it
must satisfy the "grand emotion of the soul."
The research of Dr. Renee Fuller, a physiological
psychologist, leads her to believe that the story engram underlies
our scientific and cultural world views. The story can awake
individual minds from dormancy and call them to action. Educator
Neil Postman has also written about the importance of the story in
education. He states that now the two main world myths, Marx's
communism and Jefferson's democracy have lost their meanings in our
lives. Neither do people believe the myth that technological
developments will eventually lead us to paradise or that
consumerism will lead us to meaningful activity. Postman believes
that the educational issue of the era is to create a new "coherent
story for our times," a story which can give us "direction by
providing a kind of theory about how the world works--and how it
needs to work if we are to survive." To create a new ecological
story of how we can live peacefully together is the reason for Dr.
Neutopia's formulation of the myth of the Gaia Messiah. In his
essay "Primordial Time and Final Time," G. van der Leeuu writes,
"Myth is true history because it is sacred history: by virtue not
only of its content, but also of the concrete sacral forces that it
sets in motion" (Bollingen Series 1957, 330).
The Gaia Messiah theory incarnates a liberated version of Carl
Jung's animus/anima theory of female/male relationships. In
Rosemary Ruether's book _Sexism and God-Talk_ she writes,
Humanity images the divine, and because it was created in the
dual order of male and female it cannot be redeemed by a male
savior alone. The messiah must appear in female form as well.
The messianic community also must reflect this partite of male
and female in its organization structure (Ruether 1983).
In Mary's Daly's book, _Beyond God the Father_, she also
understands the messianic role of feminism. She says that the role
of the Antichrist and the Second Coming of Woman are synonymous.
She writes, "This Second Coming is not a return of Christ but a new
arrival of female presence, one strong and powerful, but enchained
since the dawn of patriarchy." The Second Coming is, therefore,
"the prophetic dimension in the symbol of the Great Goddess" (96).
Daly believes that symbolically the Virgin must free and "save" the
son. But Doctress Neutopia realizes it is the Goddess Medusa, not
the Virgin, who holds the key to unlock the chains.
In agreement with the above feminist thinkers, cultural
historian, William Irwin Thompson, sees Eros as the mover behind
the next great world epoch. He says the last one crucified Christ,
nailing "consciousness down into matter." His death made Thanatoes
into a sacrament. Now what is required is the physical union of
Aphrodite and Eros to give birth to the eternal on the physical
plane liberating an epoch of love from the Christian death-trip.
Thompson calls their embrace the touch of matter and antimatter
(Thompson 1981, 252). Therefore, the Gaia Messiah theory
delineates a feminist partnership, the emancipator of the wo/man
mind through their erotic mystical union.
Feminist scholars in disagreement with Jung's archetypal
theory charge him with putting women in an inferior social position
to men. Jung's theory states that every man has a female side to
his unconscious psyche which he calls anima, while women have a
male counterpart within their unconscious psyches which he calls
animus.
According to Jung, there are four different developmental
stages of the female animus. The lower stage is that of the
personification of physical power, for example, seeing the athlete
as hero. At the next stage of animus, he possesses the ability for
planned action and social reform. The third phase is the Logos
stage where he becomes the clergyman or professor who controls the
word. Finally, the last stage of development he becomes a
religious experience incarnating a new meaning of life. M. L. von
Franz writes in _Man and his Symbols_,
The animus in his most developed form sometimes connects the
woman's mind with the spiritual evolution of her age, and
can thereby make her even more receptive than man to new
creative ideas. It is for this reason that in earlier times
women were used by many nations as diviners and seers.
The creative boldness of their positive animus at times
expresses thoughts and ideas that stimulate men to new enter-
prises (Jung 1964, 194-195).
Jung's male anima also has four stages of development. The
first being the biological, represented by Eve. The second is the
romantic and aesthetic level still characterized by sexual
involvements exemplified by Faust's Helen. The third stage, Eros,
is raised to a spiritual devotion as worshipped in the Virgin Mary.
The fourth is represented by Sapientia, a wise woman transcending
the most pure and holy women, represented by Athena and the Mona
Lisa. (Certainly we have seen how Athena is not a symbol of wisdom
or justice, but one of male manipulation.)
Von Franz points out that modern man has rarely reach this
final level of individualization. A man's anima helps him to find
the hidden facts of his unconsciousness about himself and guides
him to find his ideal mate. His anima helps him to open up to more
profound inner depths of his character by becoming aware of his
inner values. She conveys the vital messages of the great man
inside himself. So why has it been so difficult for modern man to
reach this final stage of development?
Looking at Jung's theory, we see his sexist bias against
erotic enlightenment in his last two stages of anima development
which, I believe, accounts for why modern man has not been able to
fully individuate. Jung thinks male rebirth occurs through a
spiritual rebirth from within the virgin mother. Also, Joseph
Campbell states that the hero is born through the virgin mother to
represent his spiritual motivation into compassion which transcends
his self-preservation and sexual motivations (Campbell 1988, 176).
Curtis D. Smith writes in _Jung's Quest for Wholeness_,
"Psychologically, Jung views "incest" as an appropriate symbol of
the individuation process and the union of opposites. Incest
symbolizes union with one's own being, it means individuation or
becoming a self...Incest is simply the union of like with like"
(105).
It is at the virgin mother stage where Jung thinks the anima
has developed beyond the desire for erotic and aesthetics
qualities. Then we notice at the final stage, Eros is completely
out of the picture as man searches for some transcendental Goddess
who he will never find because the wisdom of the Goddess is
immanence...the romantic, biological power of love. Romance is the
supreme religious experience, the only phenomenon which will
consummate a new meaning of life. The true test of the romantic
story is its aesthetic qualities. Therefore, romantic love _is_
the Wisdom of the Ages.
Jung describes man's anima in terms of Eros and a woman's
animus in terms of Logos. This means that men's conscious strength,
his governing principle is contained in the Logos, meaning the word
and analytic thought. Jung felt by the nature of his sex, men were
more assertive, courageous, objective, and spiritually-wise than
women (Jung 1964, 194). Woman was naturally stronger in matters of
love and relationships. She was passive, soft, gentle, and less
capable of objective thinking and independent action. In other
words, women have cultivated Eros and uncultivated Logos, while men
have cultivated Logos and uncultivated Eros. He believed the two
different components of the psyche were equally important,
complementary, although contrasting.
However, Naomi Goldenberg points out Jung's writings reveal
his prejudice against the female Logos. He writes,
The animus corresponds to the paternal Logos just as the anima
corresponds to the natural Eros. In men, Eros, the function of
relationship, is usually less developed than Logos. In women,
on the other hand, Eros is an expression of true nature, while
their Logos is often only a regrettable accident (Goldenburg
1981, 67).
Further evidence of his bias against women's intellectual
abilities, can be seen in his essay "Women in Europe". He writes,
"No one can get around the fact that by taking up a masculine
profession, studying and working like a man, woman is doing
something not wholly in accord with, if not directly injurious to,
her feminine nature" (68). Jung goes on to call certain
universities in the United States as "animus incubators" that
produce opinionated women who are possessed by their animus. He
called these women inferior men who could not be as successful as
men at doing such Logos work as writing books since their conscious
strength was determined by Eros.
Why couldn't Jung see that the driving force behind Logos was
Eros? It was Eros, not Apollo, who inspired the great works of
literature. In order for a woman or a man to write authentic poetry
they have to connect with their muse...either Aphrodite or
Eros...to make their works have a biological function for the
survival of the human race. We write to attract our metaphysical
mates who give us the union of opposities, enacting a new/old
erotic world vision. Our salvation lies through connecting with
the Goddess and God of Love and Beauty who are the muse of all the
arts and sciences. Only when sexual unions have a survival reason
for the future of the planet can the relationship bring happiness
and fulfillment.
A clue to the reason why Jung was not able to find the
achemical union necessary for the foundation of a new religion is
seen in his own relationships with women which is explained in
Demaris S. Wehr's book, _Jung and Feminism: Liberating
Archetypes_. Jung writes about having a dual perception of his
mother which he called her "daytime" and "nighttime personality."
Her daytime personality had an "animal warmth," was maternal and
reassuring, whereas her nighttime personality was ghostly and
spiritual, which was both fascinating and frightening to the young
Jung. He writes in his _Memories, Dreams, Reflections_,
By day she was a living mother, but at night she seemed
uncanny. Then she was like one of those seers who is at the
same time a strange animal, like a priestess in a bear's cave.
Archaic and ruthless; ruthless as truth and nature. At such
moments she was the embodiment of what I have called the
"natural mind" (Jung 1961, 50).
The spiritual part of her personality he called the
nonrational and the maternal part he called rational. He said that
when the spiritual voice talked "that meant something." The light
side was concerned with facts, was ambitious, proud, and enjoyed
itself. He called it the "outside world." The dark side was
hungry for meaning. It would embarrass his rational side when it
became too irrational by its lack of relating to the "outside
world." Her light side was concerned with the practical matters of
daily life where as her dark side was fed with Goethe's _Faust_ and
Nietzsche's _Zarathusra_.
This division of the female anima carried on in his
relationships with the other two signifant females of his life, his
wife Emma and his mistress and collaborator, Toni Wolff. Wehr
writes,
Jung had a "split anima" (a split image of the feminine
operating within his own psyche), which was expressed in his
divided loyalty between the two women. One of the women, Emma,
respresented for him a "motherly container," and the other
more of a "soul mate." Jung's split in images and experience--
between the wife/mother and the sexual companion--represents
a polarity not uncommon in the lives of Western man (Wehr
1987, 31-32).
In Toni Wolff's interpretation of the anima\animus theory she
reflects this division by saying that in the feminine archetypes
the "Hetaira" who she called man's lover, soul-sister and sexual
companion are opposed to the "Mother." Jung described the
opposition between the two as the dark side regarding the light
side as his "thankless moral task." He believes conflict between
the two is resolved by being "true to both sides of the conflict,
allowing the resolution to emerge from the unconscious (Wehr 1987,
43). In his personal life, this resulted in trying to intergrate
Toni into his family. However, Wehr points out in one of Jung's
correspondences that he said, "Ultimately, we all get stuck
somewhere, for we are all mortal and remain but a part of what we
are as a whole. The wholeness we can reach is very relative."
In Jung's own life, he was unable to bring the two together in
order to free himself for the duality of darkness and light, to put
an end to the conflict between the "Mother" and the "Hetaira."
Unable to create the fusion he was unable to find the alchemical
formula, the bliss of the two becoming one.
Jung's lopsided theory undermined women's ability to express
themselves in words and to, therefore, influence the social order.
This is the same suppression we have found in ancient Greek
mythology. For instance, the myth of Perseus who steals the winged
horse, Pegasus. The horse was born from Medusa's dead body and,
from her blood, poetry and the healing arts came into the world.
Since in Jungian schema men have the superior power of language,
the cultural roles between the sexes are not equally defined
resulting in women's lack of publishing power and social respect.
The same is true in the visual arts. Men were in charge of
the way women "were seen and how they acted in the art world"
(Borzello and Ledwidge 1986). They provided the supper, sex, and
were his muse, model, and subject matter. She was around to prove
he was a man, to make him feel like he was a god-like hero. When
women were finally given entry in the art world, since they had no
tradition of their own, they compared themselves with men. They
became second-class citizens relegated to the less prestigious
areas of art like teaching in schools and designing decorative
arts. However, men were taught the skills for doing the historical
and biblical paintings which were considered the most important
work. They were allowed to paint the female nude, but women were
not given this right. Without the skills to produce a narrative
work, she could not penetrate into the sexist mythology destroying
the world.
Margaret Mead and other cultural anthropologist have proven
that gender roles are socially constructed. In Mead's research of
the people of the highlands of New Guinea she observed that in the
Mudugumor tribe both sexes were aggressive and warlike; their
neighbors the Arapesh, men and women were both nurturing and
non-aggressive. The third tribe in her study the Tschambulie,
women were assertive, practical, and competent while the men spent
time gossiping, adorning themselves, and strolling about.
The mythology of the culture determines the harmony between
the two sexes. It determines whether or not the culture is
peaceful or warlike. Consequently, Jung's anima/animus theory
reinforces the status quo, stereotyping women as the good intro-
verted housewives of the heroic men and the mistress as his private
soul-mate companion. Unable to evolve out of the devotion-phase of
the Madonna, and having the "magic authority" of the word, deed,
and image denied to her, she is unable to revolutionize the
ubiguitous and deadly misogyny instituted by the patriarchal system
to ensure male dominance.
Since Jung's theory splits mind from body men are consciously
associated with mind (Logos), and women with nature or body (Eros),
her animus becomes an extension of his imagination, establishing a
parasitical co-dependency which sufficates both. He projects his
anima onto her powerless being. Unable to publish her own script,
she is captivated by his projections of fear, pornography, dread,
hatred, seeing her as both the virgin and the whore, the devouring
mother who turns into the nagging wife or spinster "hag" or the
discarded crone.
In _The Encyclopedia of Religion_, Jeffrey Burton Russell
predicts, "The witch, melding the two archetypes of human hag and
evil demon, is a powerful metaphor whose power may be diminished
from time to time but is unlikely to disappear" (423). When Jung's
archetypal theory is seen as frozen without the possibility
of change, this dualistic, neurotic relationship between women and
men becomes the stumbling block to our further evolution. Women
are paralyzed by not being able to influence the conscious thought
of the culture, while men cannot find the female sages they need in
order to develop their anima to the most advanced level of wisdom.
This prevents creative partnerships so necessary for the
manifestation of a new meaning of life to come into existence. It
inhibits bringing the romantic metaphor into its primal position as
evolutionary herald.
In her essay "From Muse to Heroine," Anne Griswold Tyng
writes, "When a woman reclaims her own animus or is aware that she
has projected it onto someone herself, when a man assimilates his
own anima or becomes similarly aware of his projection, both become
more complete and more creative" (Berkeley 1989, 184). In
opposition to her husband, Emma Jung in her book _Animus and Anima_
also believed that what women needed was not less animus but more;
that is, more logos, power, and meaning. She showed how
there are two sides to animus projections: a positive side, and a
shadow side. Examples of the later two stages are the animus of
the word whose positive side would be that of a poet. On the
negative side of the word would be the fire and brimstone preacher.
The animus of meaning is exemplified by the prophet or philosopher,
while the negative side would be the dogmatist. She further
observed that women who seemed to have overbearing personalities
were the ones who projected negative sides of the animus which
sadly enough the patriarchal social system rewards.
How apparent it is that Society rewards these negative
projections of men because we live in a warrior, money worshipping
culture which has divided Logos from Eros, marriage from love, sex
from meaning, and art from life. If an epic poetess is unable to
have her wisdom heard and her vision enacted by radically
transforming the male anima through the magic of the Gaia Messiah,
our barbaric culture will not be able to develop into a civilized
state. We will continue to have to witness the devolution of our
ailing species.
THE RUSSIAN REVOLUTION
Thomas Carlyle believed the natural inequalities among people,
created from our different levels of animus/anima development,
allow for the conditions out of which the great wo/man could arise.
However, Bernard Shaw points out in _The Intelligent
Woman's Guide to Socialism and Capitalism_,
Between persons of equal income there can be no eminence
except that of personal merit. Hence, the naturally eminent
are the chief preachers of equality, and are always bitterly
opposed by the naturally ordinary or inferior people who have
the larger shares of the national income (xx).
In order to create a global meritocracy/democracy form of
governance/education based on an equal credit system for personal
needs which can be found in Doctress Neutopia's yet-to-be-published
essay, "Education With A Corrupt Mission?" we must visualize a new
architectural foundation. Some of these utopian ideas were
discussed at the beginning of the Russian Revolution, but were
suppressed because they threatened to destroy the bourgeois
nuclear-family structure by creating a new cities reflecting back
to the ancient matrilineal tradition of communal ownership of land
and the means of production. The avant-garde architects of the
nineteen-twenties knew that in order to have a complete revolution
a new physical architecture was require, for how could there be the
new woman and men while surrounded by the old capitalistic cities?
Architects took it upon themselves to be the "new social
condensers," building "both the framework of the society and that
society itself" (Kopp 1970, 240). They were the instruments who
transformed the capitalist chaos into a new humane, social order.
They sought to build the cities of the future in which individual
lives could be dedicated to the good of the whole.
An extremely radical, important, and lively debate sprang from
the questions of how the new Socialist City was composed and were
the old capitalist cities worth reforming. Two opposing groups
arose from the debate. One called The Urbanist planned to
radically alter the traditional family structure by building
communal housing complexes with a socialized way of life.
Marriage would be a free association based on mutual esteem which
could be easily dissolved should harmony cease to exist. Domestic
work would be communalized so that women would be able to join the
labor force. Lenin writes, "We will create model institutions,
canteens, daycare centers, nursery schools, that will relieve
women of domestic cares..." (Kopp 1970, 103). It was thought that
once the ideal communist city was built and production was fully
automatized, everyone would have four hour work days or less to do
the required common tasks. The other hours could be spent in
self-selected creative work, activity, and study, or at the workers
clubs which allow workers a place for relaxation and the renewal of
energy after the working day. The purpose of the clubs was to
liberate people from the former oppression of the church and state
by creating a community of decentralized power. The neighborhood
clubs were places were theater and democratic, grass roots activity
could occur. The authors of _The Ideal Communist City_ foresaw a
time when "the use of laminated, transparent plastics may lead to
the creation of fantastic cities under transparent domes"
(co-authored Gutnov 1968, 116).
The second group was called The De-urbanists. They embraced
British Ebenezer Howard's garden city and garden suburb approach to
city planning where clusters of individual housing would be built
along with buildings to satisify public needs throughout the
Russian countryside. Through the energy grid and mass com-
munication networks, industrial cities could be built anywhere. The
automobile errased the former inequalities between the town
and country which was used to suppress the peasantry for so long to
be ended, as suburbia "decentralized" the landscape.
This great debate was ended in 1931 by the Communist Party
when they decreed that all cities were Socialists cities by the
fact that they were part of the Soviet Socialist Republics. When
the party called for an international competition to reconstruct
the New Soviet Capital, the possibility for building an entirely
new kind of city from scratch was ruled out. Censor-approved
socialist realist literature portrayed the new Soviet hero as a
career-minded, dedicated manager who aspire to own his own house
and car while the underprivileged live in overcrowded tenements in
slums. Last year, while I was boating along the Volga River
towards the Caspian Sea (1990), The De-urbanist's vision could be
seen bulldozing the land throughout the grassy countryside. But,
the ideal communistic city was nowhere to be visited except for in
one's heart and mind.
The Urbanists architects did not have the technological
know-how or the economic support to build the cities that they
imagined. Plus, the people were still caught up in the standards of
taste and ambitions of the former ruling class. They were unable to
appreciate the ideas of the supercollectivists' plans which were
still not clearly formed. Lenin was not sensitive enough to
understand modern art and Surrealist movement, calling it a self-
serving art of the avant-garde. He thought that neither could the
workers relate to its abstract meaning. John E. Bowlt in his
essay,"The Failed Utopia: Russian Art 1917-32," says that Lenin
was always on the side of preservation. He thought the proletarian
culture must be founded on the best traditions of the feudal and
capitalist past. Lenin writes,
Why do we have to turn away from the truly beautiful, reject
it as a starting point for future development merely on the
basis that it is "old"? Why do we have to worship the new,
like a "god" whom we have to submit to simply because "it is
new?"...I just cannot consider the works of Expressionism,
Futurism, Cubism, and other "isms" as the highest manifesta
tion of artistic genius. I do not understand them. I do not
experience any pleasure from them (Bowlt 1971, 45-46).
Lenin proceeded to make Classicism the _official_ form of Soviet
expression which one might say ended the Russian Revolution because
art is the expression of the future that opens up the mind to new
ideas.
British spokesman for the Surrealism movement, Herbert Read,
asked, "You do not reject the philosophy of Marx because it is
impossible for every workman to understand. Why, then, should you
reject a revolutionary art because, for the moment, it is difficult
to understand?" But there was never a communistic campaign to try
to educated the Soviet people to the philosophies of modern art.
The Surrealists were one of the first Leftists groups to
reacted to the fascist threat calling for an Appel a la lutte (call
to Struggle). Signed by the leading intellectuals, it called for a
general strike. However, the Soviet Writer's Congress disapproved
of Surrealism because "socialist realism is the enemy of everything
supernatural and mystic, all other-worldly ideals" (126). Since
Socialist Realism had to be realistic in form and social in
content, the policy of 1934 Congress was in direct conflict with
the freedom of mind principles of Surrealism. Surrealists were
finally expelled from the party. Nevertheless, they continued to
speak out against the policies of the Soviet East and the
capitalist West, refusing to side with the right wing as many
intellectuals did after being disillusioned by the Communists.
The Congress was blind to the fact that Surrealism explanded
the revolution into the unconscious realms of life. The Surrealist
believed "with the increase of leisure and education of a liberated
proletariat, poetry would no longer be the province of a privileged
few" (Lewis 1988, 134). They thought everyone could be taught to
access their unconscious energy for creative purposes. Claude
Cahum, a left wing writer called Surrealism,
the most revolutionary poetic experience of any capitalist
regime...The Dadaist-Surrealist experiment...has tended to
destroy all the myths about art that for centuries have
permitted the ideological as well as economic exploitation of
painting, sculpture, literature, ect. [sic]...This experiment
can and should serve the cause of the liberation of the
proletariat (Lewis 1988, 134).
However, the Communist bureaucrates thought the Surrealist
attempt to connect the awake world with the dream world was
counter-revolutionary. Surrealist not only thought art was to
serve the revolution in immediate ways, but it worked to create
internal revolution within the soul of people. Alquie in _The
Philosophy of Surrealism_, wrote the "greatest contribution of
Surrealism was to have linked together the spiritual emancipation
of the individual with the social liberation of man, seeing both
has nessessary to the revolution" (170). Their goal was to
liberate the "creative power of the unconscious from the prison of
logical thought" (175).
Trosky was interested in the Surrealism movement. He wrote,
"If society does not succeed in reconstructing itself, art will
inevitably perish. Hence, the function of art in our era is
determined by its relation to the Revolution" (145). He called the
art of the Stalinist era as the expression the decline of the
proletarian revolution. Trosky wrote,
a genuinely revolutionary party cannot and will not wish to
"guide" art, let alone command it. Only an ignorant and
insolent bureaucracy run amok with arbitrary power could
conceive such an ambition... Art can be the Revolutions' great
ally only insofar as it remains true to itself (146).
While Trosky was in exiled in Mexico the founding philosopher
of Surrealism, Andre Breton, paid Trosky a visit which resulted in
their joint authorship of "Pour un art revolutionaire independant,"
an art manifesto. The manifesto was an appeal for revolutionary
writers and artists to find a common ground in order to struggle
against the reactionary forces of Social Realism. However, they
never stated how reactionary artists should be treated. The authors
were very conscious of the possible abuses and misinterpretations
in putting a clause in about the censorship of reactionary art.
The manifesto called from a new role for artists, different
than their roles within the bourgeois democracies, fascist
dictatorships, and Stalinist Russia. They wanted to create a
geniune culture of world peace, denoucing all form of nationalism.
Unfortunately, Breton and Trosky were unable to solve the problem
of how revolutionary artists were going to be able to function as
such.
To conclude, the revolutionary architects and artists were
offering long-term solutions to problems when the people were
demanding simple answers and immediate improvements. The Soviet
government was more concerned with building an industrial nation
which could compete with the "West" than with building cities
socially liberating. Lenin was certainly not the feminist
philosopher-king which was the factor missing from the Russian
Revolution! As we approach the 21St Century, the possibility of
creating biospheric arcologies on Earth and in Outer Space gives us
this new foundation to finally create Gaia's kingdom.
Certainly there must be a better word than kingdom. What is
the word which best reflects this messiahship of the Juno and the
Genius? [Juno was the word meaning the Three-in-One deity of the
Goddess which patriarchs dropped from the vocabularies to deprive
women of their souls. It corresponded with the male word genius. It
is no wonder why there have been so few women Junos!] Or does
Kingdom of Gaia suffice? Isn't it apparent why other types of
thinkers need to become involved in this apotheosis? And how
terribly frustrating and extremely painful it is for me that other
gaian philosophers have not yet appeared to respond to these ideas?
Even my own husband is totally uninterested in discussing Neutopian
Thought and the Future Studies Program at the University of
Massachusetts was one of the first meaning programs wiped out by
budget cuts leaving Doctress Neutopia seemingly with no one at on
Earth, except for Venus, with whom to exchange ideas. Somedays, I
am made to feel as if I will go insane or commit suicide as a
result of this intellectual and emotional isolation. I wonder if
anybody would even bothered to read this far through the letter.
How do other people cope with the terrorizing emptiness? So I look
to love to help me bear all sorrow, pain, and rejection, so I can
live on despite this excruciating heartache to see the wave of
Lovolution.
