Divine

File:Vico La scienza nuova.gifTo divine something is to appeal to the gods for their power of knowing. To use that power to foretell the future is called “divination.” In Giambattista Vico’s classic book New Science, he associates the modern sense of God as divine, meaning “blessed” or “holy,” back to the pre-Christian or pagan sense of having supernatural powers of predicting and knowing.

“By contrast, the pagans embraced an imaginary providence, for they fancied the gods as physical bodies which foretold the future by signs apparent to the senses. But whether true or imaginary, this attribute of providence led the entire human race to call God’s nature ‘divinity’. They all derived this name from one and the same notion, which in Latin was called divinari, to foretell the future.”

Vico sees the similarities between pagan practices in the near east as a direct influence on the later worship and practices of the Abrahamic religions. Overtime, each of the near eastern pantheons developed a hierarchy among the gods. Perhaps this shift of power accounts for the more recent consolidation of the many gods into one.

I sense too that the shift away from polytheism towards monotheism reflects a shift in consciousness to where our animal senses are no longer a unified experience within a tribe. The loss of the unifying power of a tribal consciousness creates a sense of ownership thereby shifting the source of power onto an individual. You might even say that this shift creates the very distinction between individuals and groups.

Portrayals of a bearded and long-haired Jesus began to emerge in the early 4th century, such as in this work from the Catacombs of Marcellinus and Peter. Inspired by depictions of the gods of the Greek and Roman pantheon, the bearded version would become the most commonly recreated adult Jesus. http://ilfattostorico.com/2013/12/25/qual-era-laspetto-di-gesu/

Unlike tribal cultures, city-states are organized through the rites of family and a principle of ownership. Slowly over time, a sense of ownership has permeated every facet of human life, but more importantly, it now shapes our sense of identity. Where in tribal societies the stories came from the gods, our stories now come from a single source, i.e., God, and in the post-Christian west, from each individual subject.

“Long ago, Noah’s three sons renounced their father’s religion, which by its rite of marriage was the only thing that preserved the society of families in that state of nature. There followed a period of brutish wandering or migration, in which first Ham’s tribes, then Japheth’s, and finally Shem’s, were all scattered throughout the earth’s great forest.”

After generations of wandering in the “primeval forest” some of the scattered tribes began to settle and adopt several critical rites which led to the development of what we now call civil laws and civil society.

“These principles are (1) divine providence; (2) solemn matrimony; and (3) the universal belief in the immortality of the soul, which originated with burial rites.”

Vico then states “they were shaken and roused by a terrible fear of Uranus and Jupiter, the gods they had invented and embraced.”

“Through protracted settlement and the burial of their ancestors, they came to found and divide the first dominions of the earth. The lords of these domains were called giants, a Greek word which means ‘sons of the earth’, or descendants of the buried dead.These lords were considered patricians or nobles: for in this first stage of human civilization, nobility was justly ascribed to those who had been humanely engendered in fear of divinity.”

“Engendered in the fear of divinity” or in the gods’ power to know all that humans fervantly wish to know. To be all-knowing is, among other things, a survival skill that moved human civilization from small tribes of hunter-gatherers to agriculturally based nation-states. To cultivate the land requires the knowledge and study of time, including the cycles of weather. The practice of divination is the beginning of what we now call science which continues to influence all aspects of what it means to know something.

To map the heavens, as astrology does, seeks to understand and respect the correlation between the world as it is; time, her seasons and our needs. It’s no wonder that the deities were located in the vastness of the heavens. To look up and outward to a seemingly boundless expanse might itself account for the notion of infinity. To cultivate the people, along with the land, also requires the god’s help:

“These first fathers of the pagan nations possessed all four of the classical virtues: justice, prudence, temperance, and fortitude. They were just in their supposed piety of observing the auspices, which they believed to be Jupiter’s divine commands. (From his Latin name Ious, Jove, derived the ancient word ious, law, which was later contracted to ius, justice. And in every nation, justice is taught together with piety.) They were prudent in making sacrifices in order to ‘procure’ omens, that is, to interpret them properly, and thus to take proper care to act according to Jupiter’s commands. They were temperate by virtue of their marriages. And, as noted here, they also possessed fortitude.”

Vico traces our Judeo-Christian cultural sensibilities directly to pagan antiquity. Although our modern definition of “divine” can mean anything from a brand of chocolate (yum!), to God as the Divine and Holy one, the association of divinity to the primal necessity of knowing, expresses both the value and power that all knowledge has held for us throughout the ages.

But, to lose a cosmology which at one time enabled us to directly experience a correspondence between each other, and the world we inhabit, is to suffer a great alienation and aloneness. We moderns, because our use (and abuse) of power comes through a pronounced sense of individuality, seem to think it’s a matter of our choosing which direction our lives and the future of the planet are headed. I am beginning to question just how true or not that notion is. If predicated on a faulty premise, maybe there’s more to the story. As always, I’d love to hear your thoughts.

“Our present civilization quite obviously lacks any unifying principle. The degree of unity which the vague term ‘modern civilization’ implies is in many ways a ‘unity of disunity’, the peoples involved being given a superficial coherence by the spread of technology and by common acceptance of certain ways of thought whose very nature is to create further disintegration.”
Alan W. Watts, The Supreme Identity

Except as noted, all quotes from Vico, Giambattista (1999-04-29). New Science (Penguin Classics). Penguin Books Ltd. Kindle Edition.

Alchemy Class Notes – Session Twelve

“Enter alchemy – thing-words, image-words, craft-words. The five supposed sources of alchemy are each a technology. Each is a handwork physically grappling with sensate materials: (1) Metallurgy and Jewelry: mining, heating, smelting, forging, annealing; (2) Cloth and Fiber Dyeing: dipping, coloring, drying; (3) Embalming the Dead: dismembering, evacuating, infusing, preserving; (4) Perfumery and Cosmetics: grinding, mixing, distilling, diluting, evaporating; (5) Pharmacy: distinguishing, tincturing, measuring, dissolving, desiccating, pulverizing.”

Although admittedly going off on a tangent here, this post was inspired by Session Twelve of the Jung Platform’s course on James Hillman’s book, Alchemical Psychology. What I’ve recently come to appreciate is that the study of alchemy is as inexhaustible as is its application to my life.

Alchemy is styled and practiced in a number of traditions dating back at least to the 3rd and 4th century BCE. With that in mind, my focus here is to review the general structure of Western alchemy, while staying with Hillman’s emphasis to work one’s perspective by giving substance to soul and soul to substance.

Alchemy is a practice; a work in which a transformation of some kind is initiated through the desire and aim of a goal. In everyday life, it can be applied to cooking, writing, relationships to any person, place or thing, or the learning of a craft, trade or art. You may think of other applications.

Elihu Vedder (1836–1923) Title: Soul in Bondage

Prior to the 18th century, before science divorced herself from the arts, it may have been more readily understood that the work on the materials would simultaneously “work” the practitioner. Alchemy then was a quest for knowledge about the nature of particular substances and processes in the world.

The modern sense of our individuality reflects science’s need to distinguish between subject and object, self and other. These changes bring much freedom to the individual, while also coinciding with a loss of soul, or soul’s substantiality. Not only a sense of one’s personal soul, but the felt sense that the world herself is ensouled, enlivened by all creatures and substances and their varying degrees of autonomy and obeisance.

One might say that the more one feels the divide and separation between themselves and others, the more we might miss, or dismiss the autonomy of other beings and things, leaving no room for acknowledging the invisible, autonomous forces, except where science quantifies them (gravity, electromagnetism, etc.).

Modern ideas of alchemy deeply reflect these changes of self-perception and our place in the cosmos. To speak of a literal alchemy in which base materials are turned into precious metals has lost credibility with all but a few practitioners. As well, the work, if undertaken at all, seems narrowed by an emphasis on personal transformation. But, if alchemy itself is a reflection of an evolving consciousness of universal import, we might see this modern emphasis on self as a necessary stage before the gap between material and non-material existence can dissolve.

Limbourg brothers, Title:Très Riches Heures du duc de Berry English: Anatomical Man.

If alchemy lives on anywhere, as a practice of noting influence and correspondences between the microcosm of one’s human experience and the macrocosm of the hidden nature of the greater cosmos, we have astrologers to thank. For astrologers have never abandoned the idea that human nature and experience is a reflection of the nature, motion and resemblance shared throughout the cosmos, enhanced all the more by our apprehension of it.

With that in mind, we can break alchemy down into three dimensions of the practice: the materials, the operations and the stages of the work.

Materials

In alchemy, as in astrology, the elements are the givens, each of which have mythological, planetary or astrological correspondence. The idea of turning base medals into gold, literally or psychologically, requires coming to know the nature of each material substance. Alchemical psychology and Western astrology, borrowing much from their mythological heritage, see in each planet a corresponding metallic nature.

When alchemists link the planet Saturn to lead, it sees leaden characteristics, knowable by working directly with the substance lead. Alchemy, like astrology, does not stop here, but sees lead’s slow, heavy nature as an influential psychic force corresponding to our nature as well. For example, Saturn’s influence is said to be felt as weighty, depressive, slowing us down in some way in both mind, body and circumstance. As Saturn is associated with the Greek god Kronos, where we get our word for time (chronology), there may also be a need for time or attention to some aspect of our lives.

Hillman says of the alchemists work with metals:

“The metals were imagined to be made of coagulated moist vapors, like a condensed gas whose spirit could be released by the proper operations. Because the metals were inherently moist, that is, embodying phlegm, they had a phlegmatic tendency to be passive or inert, requiring fire. Resistance to change is given with the seeds of our nature and only intense heat can move human nature from its innate inertia.”

When we moderns deprive ourselves of seeing any correspondence between ourselves and the nature and motion of the cosmos, we risk increasing the feeling we may already have of alienation, with both ourselves, others and the world we are literally pieces and parts of.

Saturn = Lead

Jupiter = Tin

Mars = Iron

Sun = Gold

Mercury = Quicksilver (Mercury)

Venus = Copper

Moon = Silver

Operations

The operations used in alchemy for initiating action and reaction upon the materials are primarily salt, sulfur and mercury. Salt as agent for thickening, loosening and resistance to heat, sulphur for heating and combustion, and mercury or quicksilver for fluidity. Hillman warns that there is no purity in substance, operation or stages of alchemical work but a blending and merging of one into the other.

Making Waffles – Alexander Hugo Bakker Korff (1824–1882)

“Whatever is said about salt is always contaminated, and must be so contaminated by the materials, vessels, and operations with which it is in interaction. Psychic materials are always in diffuse interpenetration, with other materials and do not remain singly self-consistent, and so require multiple interpretation. In fact, this very contamination is part of their definition: let us say that alchemy is soft-edged. Lines between its elements cannot be drawn hard and fast because these elements are also elementary living natures.”

Stages

The work both progresses and regresses in stages associated with coloration, usually three or more of the following: Black, Blue, White, Yellow, Red. The colors themselves have astrological and mythological associations. Alchemy in contrast to modern science, is the practice of knowing the nature of anything by the qualities it presents to us. Where modern science reduces things down to size and mathematical relationships, alchemy seeks essence through the quality and nature of relationships within and between things.

Hillman emphasizes the alchemist’s ability to see psychologically through any practice that involves working with the worlds substantive qualities. From this work a truer understanding of ourselves and the nature of the world emerges into the unique expression each of us then presents daily to the world. In coming to know the substances, images, environments and actions/reactions which influence us, we are continually ensouled through our sensual, everyday experience that sees our nature reflected back to us through the nature of the cosmos.

All quotes: Hillman, James (2011-10-10). Alchemical Psychology (Uniform Edition of the Writings of James Hillman). Spring Publications, Inc.. Kindle Edition.

Revolution

Once upon a time, some men believed that the sun revolved around them. Then one day, here and there, some very brave men decided they wanted to know how true we could be. Why would the sun, so precious to life, participating in the very gift of our life, revolve around us? Our big Lion King, regal and alive with powerful star energy is a force to be reckoned with. Who can even see his face?

Imagine the adjustment to be made, when one by one, people everywhere reimagine their place in the world knowing it is they, not the sun, who are doing all the revolving. Who then, is beholden to whom?

Take heart though, for there is still the beautiful face of the moon which is so attracted to us that she faithfully revolves around us every 29.530589 days. She’s just a little off, like we are, revolving as we do around the sun every 365.256363004 days. But in an incomprehensible act of faith she keeps her face turned to us. Is there anyone you have ever known so faithful and true as that? It’s true that the sun, along with our own joy of spinning, do, from time to time, hide the lovely Lady moon’s beauty from us. It’s just as well because we have to get some work of living done now don’t we?

Although many of us have yet to digest the implications, it’s clear to some of us that things are just as they need be, for this particular story to take place. What story? The one we’re in of course.

We’re aligned with opportunity. We spin around an amazingly powerful sun, basking in his rays, fed by his birthing of all sorts of growing things. And the lady of our dreams stays with us, faithfully showing, with just the right amount of solar light reflected back to us, a Holy presence in her, and so, in each one of us. Her faithfulness to the beautiful marbled ball we call Earth, could be our faithfulness. But, just like a woman, she let’s us see exactly what we want to see, passing no judgment. For without her lovely mirror, how else could we ever receive any truth?

Character

“A man’s character is his fate.” Heraclitus (540 BC – 480 BC), On the Universe

“If the final purpose of aging is character, then character finishes life, polishes it into a more lasting image.” James Hillman

Anna Rebecca Smith

If I have felt compelled towards living life closer to the margins, seeking out what is obscure, liminal, or for more deeply understanding the nature of life – I might trace these loose threads back to childhood and the memory of my dear Great, Great Aunt Bunny. The family myth taking root early in my life, often compared my oddness to hers. Maybe another child would not have taken the myth to heart, and some may say a child should be left without a myth or vision handed down by an ancestor, but I remain grateful.

Although long since passed on, her presence fosters in me a love of life’s oddness. Through the legacy of family stories that tell of her adventurous nature, and a sustained presence through reading her letters, postcards and books, I find solace and appreciation for the courage and daring this passionate woman had. She lived a non-ordinary life, and if in some ways her image remains idealized, it has also been a healing fiction.

Aunt Bunny’s distinguishable traits are what James Hillman calls character. Her styling, from the occasional wearing of men’s clothes, living with a female companion, to her exotic collections, stand out with bold acuity in my memories. When I felt misunderstood and misfitted, it was this ancestral connection to Bunny’s oddity that kept me going, encouraging in me a lifelong curiosity to my troubled, youthful attraction to oddness.

So, what is character? How do we account for that which gives us our unique character?

medium[1]James Hillman, in his book titled, The Force of Character and the Lasting Life, suggests that character is a shaping form that is part of our being, not just the psyche but the whole of who we are. Of the word character he says:

“The very word derives from kharassein, Greek for “engrave,”“sketch,” or “inscribe”; kharakter, which is both one who makes sharp incisive marks and the marks made, such as letters in a writing system.”

Hillman refers us back to a time when character was understood less as desirable traits and more as the force that forms, shapes and marks us throughout life and become more striking as we age – as evidenced in the lines of our face and in our personality. As we age we are actualising a unique image we’re born with, marked as much by the cosmology of the world at the time of our birth, as it is by inherited traits and afflictions of family and culture.

We can understand then how it is that astrologers envision the influence of the cosmos upon our nature. Our birth itself is an event compelled by all the prior events of the cosmos. Each birth an expression of the circumstances of both family and tribe and the far-reaching motion of the planets and stars. Modern science, psychology and theology narrows the understanding of birth influence to that of genetics, childhood or original sin, but those explanations can’t account for the full range, motion and depths of character, and our unique drive and expression.

Robert Fludd’s An Astrologer Casting a Horoscope 1617

Character is qualitative and keeps us a little off, never quite normal – just a type or statistic. Just as the earth wobbles, imperfectly round, eccentrically circling the sun in a not quite 360 degree revolution, the force of character compels each of us, as perfectly imperfect.

Character’s inescapable force guarantees no particular moral outcome and is both a blessing and a curse. Hillman stresses the importance of seeing aesthetics before morality; not because morality does not matter, but because it’s not enough. To look only at morality launches us into the duality of assigning values of right and wrong, tempting us to summarily dismiss the ungraspable or misunderstood nature of ourselves. An ethical evaluation of character leaves out the important truth; that all of us have faulty, frail, vulnerable, flawed, shadowy aspects to our character. The compassion that leads to love comes to us primarily through our own inescapable vulnerabilities.

“Character forces me to encounter each event in my peculiar style. It forces me to differ. I walk through life oddly. No one else walks as I do, and this is my courage, my dignity, my integrity, my morality, and my ruin.”

Failings, sufferings, afflictions can then be seen as breakdowns that lead to a loosening of the armor of idealism and perfectionist tendencies we accumulate in youth. It is through aging that character begins to gather in us a lasting expression of our place and time. What lasts and finally moves us into the realm of ancestors is an amalgamated, complex image, layered with a lifetime of becoming, that places us too in the realm of myth for all who would know us and for those who come after.

“The plots that entangle our souls and draw forth our characters are the great myths. That is why we need a sense of myth and knowledge of different myths to gain insight into our epic struggles, our misalliances, and our tragedies. Myths show the imaginative structures inside our messes, and our human characters can locate themselves against the background of the characters of myth.”

“Character cannot be developed in ease and quiet. Only through experience of trial and suffering can the soul be strengthened, ambition inspired, and success achieved.” Helen Keller

All quotes except where noted, Hillman, James (2012-11-07). The Force of Character: And the Lasting Life. Random House Publishing Group. Kindle Edition.

Gem Moon Magic: Explorations of the Gemini Moon

Screen shot 2014-06-08 at 10.58.55 PM

 

“Gem Moon Mandala” by AmandaSeesDreams of http://www.Dreamrly.com

Welcome to the collaborative lunations of Gemini moon pals, LitebeingDreamrly, and yours truly, The Ptero Card. Yesterday marks the Gemini / Sagittarius full moon of 2014, and through our mutual love of art and writing we’re combining our efforts for a few reflections on our experience of lunar Gemini in our natal astrological charts. Each of our contributions was produced independently, without consultation other than assigning the art work to Dreamrly, poetry to Litebeing and intuitive writing to me. We present here the fruits of our work which we hope enhance your own lunations, where ever they may take you.

The basis of astrology, an ancient wisdom practiced by nearly all pre-scientific cultures, comes from the understanding that external cosmological events have a corresponding affect on our interiority, because human disposition is a microcosm of the macrocosm, or, as the ancients say, “as above, so below.” I suspect the exterior and interior worlds, until quite recently, were experienced as a more unified whole, both symbolic, and meaningful. To the ancients, the visible planets were the gods, each personifying a particular disposition and influence on us, according to our chronological birth placement in their world. The disposition of the cosmos at the moment we enter the world drama, is mirrored in our personality, character and fate.

I often wonder if a cultural agreement that suggests nothing can be true without first being scientifically verified, has cut us off from the ease of intuiting meaning, eroding our trust in the value of personal experience, to the point that we are no longer free to, or sometimes capable of, grasping the immediate animal sense of a thing or event. So, bring your own intuitions to this reading and imagine with us the myriad ways we encounter the moon and the Gemini twins.

Compared to other visible planets, the uniqueness of the moon is evident. 235,000 miles away from earth, she has the closest presence to us in the vastly huge, night sky. As the only planet that revolves around us, her presence and power is both seen and felt here on earth, from the mighty ocean’s tidal motion, to her stabilization of earth’s orbit, we need her. A force capable of pulling the oceans closer to our earthly islands, must certainly have some sway over our watery bodies.Unlike the sun, the moon seems exotically present with no perceptible purpose other than delighting our senses and drawing us outward. Her closeness and visual beauty are too hard to ignore and have served so many throughout the ages, from sailors to poets, from lovers to madmen.

Remarkably, the moon’s rotation is synchronized to her revolution around us, so that we only ever see one side, her dark side remaining forever hidden from our earthly view. It’s no surprise that we may be less aware of her influence. The man in the moon is now the man on the moon; us, and without a deep practice of the lunar skills of reflection that she gives, we risk losing her gift of seeing in the dark, and mistaking her imposing reflective moods and feelings as brain chemistry. With no place or time for occasional lunacy, feelings and reflections are unwanted by-products, brain states we seek to be rid of.

Astrologically speaking, in what ways does the moon affect us? I am no astrologer, and there are many resources available from those whose studies of the ancient art offer much wisdom. What I offer here are my intuitions.

Traditionally, the moon influences our emotional life, the coming and going, waxing and waning of cycles that affect us and any creature with a fluid and watery nature. Besides feelings, thoughts and senses are also fluid. In alchemy, the moon is the queen of the heavens who unites with the solar king, forming a marriage in which cooperation, devotion and love are united in service of the Great Work. The moon’s whiteness may also be significant. Alchemically, whitening is the stage that moves the work from the black and blue periods in which the base materials are yet to be purified. Whitening is an initiatory stage in which much knowledge is gained through the art of reflection. The lunar mind helps us go beyond the physical realm for spiritual knowledge and experience.

Moon placement in the natal chart perhaps shows the ways in which lunar influence affects and styles your senses, perceptions, reflections, and therefore your relationships not only to others, but to all that is differentiated from yourself. Lunar pals Litebeing, Dreamrly and I have our natal moon in the sign of Gemini, the twins. Initially, Gemini may be experienced through some form of duality. Perhaps duality manifests in different ways. For me, I think it manifests as a heightened sense of opposition, ambiguity and separation between self and other, driving a need to articulate distinctions and give voice to them through ideas, language and music.

Gemini Gals

Image: Artist Unknown

I find the symbolism of the twins ambiguous. Twins may share an identical nature, and yet in mythology and historically, they are frequently seen battling with each other, as Cain and Abel, or in stories of the evil twin. Opposites we see, can share a likeness, as they appear together and depend on each other as in the Gemini twins, Castor and Pollux. According to Wiki:

“When Castor was killed, Pollux asked Zeus to let him share his own immortality with his twin to keep them together, and they were transformed into the constellation Gemini. The pair was regarded as the patrons of sailors, to whom they appeared as St. Elmo’s fire, and were also associated with horsemanship.”

So twins may look the same, but may be oppositional, and, or complementary. Either way, we have an image of two selves facing each other, or two sides of one coin. Like the moon itself, Gemini is a relational influence with dual aspects, so this placement in a natal chart may heighten some deep, ambiguous feelings about self and other. True for me anyway.

Much of my life’s work has been to make peace with the sense of an ambiguous, often conflicted, sense, of not only myself and others, but also of ideas and feelings, some of which remain slippery, inconclusive, up in the air and unsettled. But each effort to solidify thoughts and ideas about who I am, who you are, or attempts to define this mysterious existence, only brings pain and disappointment. Like Gemini’s ruler, Mercury, or Hermes, traveling, communicating and intellectual movement are vital to me. Perhaps blogging itself, is one more stone-heap left here for all fellow travelers.

— Ptero9

 

Next, a lovely poem from our resident astrologer, Linda of LiteBeingChronicles, shedding light on the lived experience of a Gemini Moon Goddess!

 

Lunar babbles

 

Chatter, breathe, jump, sing,

Laugh, scream, analy-zing

Heart and mind racing together

Yet the split appears forever

 

The smell of paper, words in my hands

Fill me with excitement, freedom from demands

Hand me the keys of a quick, shiny ride

Throw in a CD, sound/motion collide

 

Chatter, breathe, jump, sing,

Laugh, scream, analy-zing

Heart and mind racing together

Yet the split appears forever

 

Quick wit so handy to block my pain

Why not let Mercury have free reign?

Jabber, chuckle, wax poetic

To hide my fear, how pathetic!

 

Chatter, breathe, jump, sing,

Laugh, scream, analy-zing

Heart and mind racing together

Yet the split appears forever

 

Lovin’ the teacher, but nary the lesson

Hermes’s so sly, always guessin’

Take every shortcut, prefer the easy

Inner currents prevail, surface seems breezy

 

Chatter, breathe, jump, sing,

Laugh, scream, analy-zing

Heart and mind racing together

Yet the split appears forever

 

Need to know, compelled to ask

My soul’s calling, a sacred task

Yearn to uncover hidden glory

Encoded within each human story

 

Chatter, breathe, jump, sing,

Laugh, scream, analy-zing

Heart and mind racing together

Yet the split appears forever

poem written by litebeing chronicles © 2014

  

We end our lunations with a few words and images from AmandaSeesDreams of www.dreamrly.com, who came into this world on the night of a full moon, and has long felt a deep connection to moon’s voluptuous power.

 moon.photo.2

Photograph by AmandaSeesDreams of www.dreamrly.com

 

The moon has always owned me in some ways. I have always been entranced by her beauty, by the one side she shows me, by her silent currents ruling my state of mind. I find it impossible to sleep when she is full, the waters of life flow through me with such vigor I am almost forced to admire her. She fills me. Over the years I have taken photographs of her crescent, of her full bare body, of her red eclipse. She even shows up when my inner child comes out to play, painting from the heart, with abandon…

 Screen shot 2014-06-08 at 10.59.38 PM

I paint my dreams of sailing through the unconscious, but not without a purple moon.

 Screen shot 2014-06-08 at 10.59.08 PM

I paint my daytime visions of buffalo medicine, but not without a purple moon.

 Screen shot 2014-06-08 at 10.59.22 PM

I paint my twins, honoring the gemini gift of balancing complex ideas and communicating dual truths – mixing pleasure and pain, fingerpainting bright colors that soothe a conflicted soul. Sweet Gemini Moon, gifting me with giggles and tears, pensive contemplations and wild dances in your light. Dear Moon, I love you, and am faithfully yours, for you chose (little old) me to live inside.

Love, Amanda

 

 

Class Notes – Session Four

In session four of the Jung Platform’s class on James Hillman’s Alchemical Psychology, Pat and Robbie continue the conversation on the nature of the heat and fire in alchemy which can be broken down into four distinct stages. Each stage builds on the previous, increasing both the heat and the ability to withstand the depth and passion that the increase brings. The stages of heat may repeat while we come to understand the nature of both the fire and the substance of the work.

Robbie reminds us that “we are the fantasy by which we do the work.” How we imagine the work, or psychologically, how we pathologize ourselves, others and the world, is the matter of the work. Desire, so necessary for inspiring us to do alchemical work is not enough. We want the work to matter, to see something happen, to find value, but as we start the work, there is only the stone, or what is heavy, dark, cold and seemingly dead. We are both the stone and the fantasy of the stone.

File:Mithras petra genetrix Terme.jpgPat reminds us of the story of Mithras, a Persian god with many mythic parallels to Christianity, and in some versions, born from a rock. Mithraic mysteries themselves include some alchemical elements and were practiced as rites of initiation well into the Christian era, which included seven degrees of initiation as listed by St. Jerome, each corresponding to one of the seven planets.

In the first stage, as discussed in Session Three, the images are of brooding, slowness, restraint, rumination, all of which allow the material to ferment, deepening us into the work by isolating us into a place where we can accumulate the material. The containment of isolation warms the stone and heat begins to build.

“Evidently this fire is generated by brooding, digesting and holding within the lower body, its fermenting bowels and silent womb.”

As the heat builds the second stage is entered as ashes begin to form. Ashes, warm to the touch are what’s left from the initial gathering of heat. It’s not enough heat to change the stone, no birthing here, but as Hillman says, here begins the “roasting of our own base nature.” Ashes, cool enough to touch, allow us to sift through them, mixing memory and desire increasing the intensity; the heat of our passions rising as we recall a past we cannot change or a are stuck by habit and repetition through the inability to change.

“…the fierce heat of fine ashes, unstirred by the breezes of fantasy. Why fierce? Because ash is the ultimate reduction, the bare soul, the last truth, all else dissolved.”

Sifting through the ashes can also purposely reduce the heat when there is too much. Robbie spoke of using ashes as a way to get distance from a present heartache so as not to destroy the work because we’re too heated. In therapy he might move a patient away from a present intense feeling back to a time in the past in which something similar happened.

Again, alchemy is a practice and discipline of cooking the elements, the matter and stuff of our lives, bringing our cold, hard, stoney nature alive for the sake of psyche, soul-making and the Anima Mundi or world soul. Rather than trying to forsake the horror and tumult of all that has gone before we are using the substance of ourselves, mining for gold in our own pathology, and as Hillman says, by “cooking in our own blood.” I am reminded here of the nursery rhyme that says, “ashes, ashes, we all fall down.”

The third stage is one in which the heat is now too hot for touching, “out of your hands,” Hillman says.

“If the first stage was held in the body and the second in memory, this is the heat of desperate determination, an isolating anger that drives the work ever more hotly.”

Pat and Robbie, whom both had close relationships to Hillman, talked a bit about his heated nature, which for some was too much. With both his natal sun, moon and mercury in Aries, Hillman was perhaps, more comfortable with Martian heat, anger and passion. Pat recalls him referring to it as “a tame beast” useful as a tool.

For some, turning up the heat is very uncomfortable and in the public square of work, school and play is very much feared and discouraged. I had a romantic relationship with a man years ago that was both painful and transformative. This man was an expert at arguing and we often engaged in heated discussions that helped me in freeing my own voice, tapping into the deep well of intuition, knowledge and life experience. I needed that fiery relationship even though there were many destructive elements that ultimately led to its demise.

In the fourth and hottest stage of the heat, we reach an intensity that carries with it a potential for destruction, or too much detachment, but also a drying of the excessive moisture of the soul. It is the moistness of the soul that keeps us too attached to our own wounds, too emotional; unable to gain the distance needed for objective insight. The wet soul is still innocent, “soaked in its own feeling and subjectivity,” where suffering is inauthentic, a foamy comfort in which we drown in emotion. The work is not a way to avoid emotions and suffering, but to let wounds and failures inform us, becoming a Master of Arts, authenticating us as elders of family and tribe.

“Besides the obvious association of iron and flame with the smith and the forge, there is a warrior-of-the-spirit implication in the third and fourth degrees. The desert saint, ascetics; “it is death to soul to become moist,” said Heraclitus, for whom Fire was the primal principle. All the soul’s stickiness is up in flames, vanished into thin air, and the smoky, oily, smelly worldliness of sulfuric desires have been purified.”

Calcination, a quality of high heat brings the “reduction of confusion to an essence…a fine powder…the essential realization.”

“Moments in memory or a weave of sensations (odors, tastes) debrided of personal associations, leaving but a calx, an objective correlative of the overdetermined issue. No long-winded account of circumstances, only the hot core. No causality. No context or conditions. The truth of what is because of only what is – unalloyed. Utter reduction through heat. “Your material can be cooked only in its own blood,” say the texts.”

In reduction down to essence, we can now see without emotion, not the why or how of the matter, but what. It may be that an inability to look deeply comes when we slip away from the “what” of the matter to probe causation.

It may be the time to recall that Hillman sees the potential in alchemical work for looking beyond psychological work that focuses strictly on ourselves, but rather, one that moves outward into a world sensed as alive, animated, ensouled, and where we might find our life’s work, however that gets defined. But the work aimed outward does in turn work on us, just as the cook, along with the ingredients, is transformed through the art of cooking.

All quotes from Hillman, James (2011-10-10). Alchemical Psychology (Uniform Edition of the Writings of James Hillman) Spring Publications, Inc.. Kindle Edition.

Alchemical Psychology, Part VIII – Caelum

It has been a wonderful adventure re-reading and sharing here James Hillman’s wonderful book Alchemical Psychology. Every time I read Hillman I am inspired to keep digging the well that continues to give me sustenance, joy and the feeling that life does make sense. The writing of this series is my attempt to pay tribute to Hillman by presenting a smattering of his writing to you, along with a few of my own thoughts. Hillman has had a profound and lasting influence on my life and my intent here is to be true enough to the gift he has given me – keeping alive his spirit by passing along a bit of his writing to you. Links to parts One through Seven of this series of posts can be found on the Index page of the blog.

Hillman begins the last chapter of Alchemical Psychology by referring to Jung’s final work, Mysterium Coniunctionis in which Jung refers to the idea of the Caelum as:

‘ “a Heavenly Spirit that makes its way into the essential forms of things” ;

the “anima mundi in matter,”

“the truth itself,”

“a universal medicine,”

“a window into eternity,”

radiating “a magic power,”

“the unus mundus”

“unio mystica with the potential world, or mundus archetypus”

and the final realization of the alchemical opus.  We are headed to the edge.’

The chapter begins with a reflection about transcendent experience from a poem by Lisel Mueller partly quoted here:

“I will not return to a universe of objects that don’t know each other, as if islands were not the lost children of one great continent. The world is flux, and light becomes what it touches, becomes water, lilies on water, above and below water, becomes lilac and mauve and yellow and white and cerulean lamps, small fists passing sunlight so quickly to one another that it would take long, streaming hair inside my brush to catch it.”

And a story about Gustav Fechner, a 19th century German Philosopher and Experimental Psychologist who lost his sight for a while becoming completely house-bound when upon regaining his sight experienced the things of the world anew, as if now radiating light from within:

“I stepped out for the first time from my darkened chamber and into the garden … It seemed to me like a glimpse beyond the boundary of human experience. Every flower beamed upon me with a peculiar clarity, as though into the outer light it was casting a light of its own.”

About Fechner’s return to the world Hillman says:

“The book on the soul that followed his return to life was subtitled “a walk through the visible world in order to find the invisible.” Fechner now wore blue glasses. To protect his eyes? Or to protect his vision from the materialist perspective that preceded his blindness and which he now called the “night world”, i.e., the nigredo from which he had emerged.”

We don’t need science to point out what the poets and many others have always known to be true.

This last stage is a return to blue, although not the blue of “the Blues,” that we find in an earlier stage of Alchemy discussed in chapter two of Hillman’s book.

This blue is that which connects heaven and earth and is indeed the marriage of spirit and matter.

In 1944 Carl Gustav Jung suffered a heart attack that brought him very close to death in which he experienced what might be called a Near Death experience. What he experienced was a lifting up from earth into the heavens in which he then sees the beautiful blue world below:

“I experienced dreams and visions which must have begun when I hung on the edge of death … I had reached the outermost limit … It seemed to me that I was high up in space. Far below I saw the globe of the earth, bathed in a gloriously blue light. I saw the deep blue sea and the continents … its global shape shone with a silvery gleam through the wonderful blue light. ”

Hillman sees the common thread  running through these blue visions as a move towards the edge, which bring a unifying sense of the matter and spirit in the cosmos.

“Again that theme: cosmos without horizon, without partitions, as if a deeper layer of existence, which is “the foundation of the world of objects,” and is initiated by the blue experience.”

Jung, deeply touched, describes his experience as a rebirth:

“The being which had been reborn in me … with a sudden shudder of happiness … is nourished only by the essences of things … A minute freed from the order of time has recreated in us, to feel it, the man freed from the order of time.” 

Jung would go on to write about this experience in his book, Alchemical Studies and discuss the experience with numerous friends. In a letter to Jung from Wolfgang Pauli, Pauli writes:

I have come to accept the existence of deeper spiritual layers that cannot be adequately defined by the conventional concept of time. The logical consequence of this is that death of the single individual in these layers does not have its usual meaning, for they always go beyond personal life. ”

This idea of going beyond the personal may perhaps need some clarification. Transcending the personal does not mean leaving it behind in favor of a greater and more glorious transcendent world. I do worry that some may read into this that a move beyond the personal is a goal in which we attempt to abandon the personal mundane aspects of our lives. I do not see transcendence as a state to be achieved in which we leave behind the material, personal nature of our lives, but one in which a bridge between the two is built. The physical form of our bodies, our earthly life including the material nature of things, with their height, weight, birth and death are as much intended and necessary as is the spiritual and psychic nature that enliven us.

It also worth keeping in mind that these states are not limited to a chosen few, but available to us all. Many of us not only sense that there is more to this life than our physical, visible world, but that being inclined to favor one over the other is just as unsatisfying as being stuck in the mud of physical existence pining for the freedom of a purely spiritual existence. It’s the marriage of the two worlds that brings joy and ignites the passion of the creative force that delivers the gifts that each of us is to give.

Hillman puts it this way:

“Embodiment: is that not what is meant by macrocosm and microcosm together, a unus mundus? If embodiment is presaged already in the “blues” that sing of sadness and pull the soul down into the body’s longings and mournings, then the caelum expands skyward (Jung’s vision in the hospital, Pauli’s cosmic clock), the senses awakened to the presence of the whole wide world, urged forward as Miles Davis felt, enlivened as Proust says, as Fechner perceiving the dazzling flowers. Blue initiates “the birth of the aesthetic sense.”  ‘

And more:

“As I contemplate the blue of the sky I am not set over against it as an acosmic subject; I do not possess it in thought, or spread out toward it some idea of blue … I abandon myself to it and plunge into this mystery, it ‘thinks itself within me,’ I am the sky itself [my italics] as it is drawn together and unified … my consciousness is saturated with this limitless blue.” 

The point again having more to do with the marriage; an aesthetic sense of our lives which we find in the stories, display, or “things as they are.” Hillman rightly worries that his former profession, Psychology, has dropped the Psyche in favor of the Ology, boxing the soul in with formulas for interpretations rather than letting our stories show us where we are and “which god we have followed home.”

Hillman frequently insists that by sticking to the image, we will see what is there to be seen and that moving away from the image risks replacing them with concepts and formulas that move us away from the phenomena of the world, rather than towards it, in which we can then welcome what is trying to be born.

“Alchemy caught me and taught me with its aesthetics – its colors and minerals, its paraphernalia, freaks, and enigmatic imagistic instructions. It is like a vast collective artwork built through centuries. It offers an aesthetic psychology: a myriad of aperçus, images, sayings, stories, formulae; and all the while engaged with the matters of nature. It tells us to throw away the book of conceptual systems; no need for male and female, typology, stages, opposites, transference, self. Conceptual systems may be useful as a scaffolding for better access to the massa confusa, which alchemy presents to a logocentric mind. Too soon, however, the conceptual scaffold replaces alchemy itself, reducing it to merely providing examples to support the conceptual scaffold. ¡Que lastima!”

There is much more to this book than I could possibly present here, but I will stop here with Hillman’s nod to astrology in which he so beautifully summarizes the Caelum:

“The caelum, then, is an aesthetic condition of mind, on which the entire opus depends. Envision it as a night sky filled with airy bodies of the gods, those astrological images that are at once beasts and geometry  and participate in all things of the world as their imaginal ground. The caelum does not take place in your head, in your mind, but your mind moves in the caelum, touches the constellations. The thick and hairy skull opens to let in more light, their light, making possible a grand new idea of order, a cosmological imagination whose thought speaks for the cosmos in the aesthetic forms of images.”

Hillman, James (2011-10-10). Alchemical Psychology (Uniform Edition of the Writings of James Hillman). Spring Publications, Inc.. Kindle Edition.

Links to all posts in this series:

Colour My World , Alchemical Psychology, Part I – Black http://wp.me/pZ0y1-T7

Alchemical Psychology, Part II – Blue http://wp.me/pZ0y1-TA

Alchemical Psychology, Part III – Silver http://wp.me/pZ0y1-Um

Alchemical Psychology, Part IV – White http://wp.me/pZ0y1-UT

Alchemical Psychology, Part V – Yellow http://wp.me/pZ0y1-WV

Alchemical Psychology, Part VI – Red http://wp.me/pZ0y1-XT

Alchemical Psychology, Part VII – Air http://wp.me/pZ0y1-11b

Alchemical Psychology, Part VIII – Caelum http://wp.me/Z0y1