Sacred Order and Restless Saturn

“The problem with introspection is that it has no end.”
― Philip K. Dick

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Cosmos

Although we easily recognize that life on planet Earth, and perhaps elsewhere, is possible because of the regularity witnessed within the solar system and beyond, dare we call fate that which influences the individual by a similar ordering principle? If not, then why?

cos·mos1
/ˈkäzməs,ˈkäzˌmōs,ˈkäzˌmäs/
noun

It may be easy to intellectually separate the idea that life depends on order to sustain the planet and every living being, from the idea that our lives are also ordered, and therefore, to a certain extent, fated, but in what way does fate provide order?

We pride ourselves on the ability to make conscious choices as we become more aware and responsive to the constraints that bind us, and because the more we can make choices, the less fated and more free the act of choosing makes us feel. But, how do we distinguish between a free choice and a fated one? There must be something in which we measure and compare possible outcomes against in order to categorize our actions as free or fated.

Neoplatonic-Sun

In the study of astrology, these questions of power, forces of fate and will, naturally arise. And so they should if we are to afford ourselves an opportunity to wrestle with their distinctions and correspondence within our practice and understanding astrology’s purpose.

Where the ancients found the ideas of fate and fortune usefully aligned to the constraints more naturally severe and apparent, and where choices that were contrary to the order of the state or tribe were often punished either by human or natural law, modernity, with its technological advances, allows us the luxury of seemingly going it alone through choices that may not always benefit the tribe. We are much less dependent on the tribe for our survival. We are also much more distanced from exactly what it is that we are dependent upon. To the ancients, many of our choices would seem frivolous, extravagant and self-destructive as we increasingly lose sight of the importance of our choices and the victims of their consequences.

Qualities of Time

Scholars of the myth contrast two kinds of time, secular and sacred, rational and mystical, forward-moving time and timeless circularity.

Hillman, James. The Force of Character: And the Lasting Life. Random House Publishing Group. Kindle Edition.

The idea of eternal time also carries with it the sense infinitude, that reality, the cosmos, even with its orderliness, has no bounds, no separations, no limits, no beginning and no end. Does this idea of the eternal contradict the notion of a cosmic order? Are order and chaos then, secret allies? It’s fascinating to both imagine and come to a fuller acceptance that from the seemingly finite state of human existence, it’s only through the mind and the nature of our experiences that we can envision eternity and finite qualities of time.

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Perhaps it is the emphasis on secular time, the 9-5 habits where attention of the things of the world seduce and enslave us, that have left us with less and less capacity for the experience of eternal time. The more distant these time qualities become, the more the impulse to choose the fast-food of technology keeps the clock-a-ticking, cutting us off from any experience of the eternal. Precious and few are those timeless states granted to us.

“The notion of a separate organism is clearly an abstraction, as is also its boundary. Underlying all this is unbroken wholeness even though our civilization has developed in such a way as to strongly emphasize the separation into parts.”
― David Bohm, The Undivided Universe: An Ontological Interpretation of Quantum Theory

Everyday experience is bound by the limits of our senses, language, thought, culture and the limits of our place within the cosmos, all of which do more to suggest a real separation of experience into discrete parts known as days, hours and moments. We can however, accept that this form of orderliness, through the constancy of the seasons, planetary and stellar motions, and observed through the delicacy of their finely tuned parameters are necessary to sustain life as we know it. Our linear observations about the cosmos, are perhaps, through the very suggestion of limits and boundaries, the very thing, that ironically, give way to the idea of the eternal.

“I’m so tired… I was up all night trying to round off infinity.”
― Steven Wright

How then, do we get at the idea of the eternal, let alone an experience of something both sacred and eternal?

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Within the seeming limits of human experience, there are for each of us, moments of discovery, insights, and understanding that bring coherence along with a sense of an expanding wholeness that we participate in; something transcendent, bigger and beyond the narrow confines of “me” and “you.” The more expansive one’s experience becomes, the less it seems to be only inside me, and the more it seems that we are all participants in something much, much grander than previously imagined.

My little ego, even if only now and then, may burst open, giving way to an expanded sense of self and other, transcending the time-bound constraints and acknowledge its smallness in comparison to a greater unbound whole. To the ancients, this feeling, or realization of a greater intelligence has been referred to by many names: One, Anima Mundi, Infinite, God, Cosmos, Eternal, Self, Divine. No matter how imagined, or expressed, this unbounded sensation is perhaps one of the most mysterious experiences of all, and yet impossible to share, and especially, to define. Language, we see, remains the map, not the territory.

How then, throughout the long trail of human existence, does this idea of the eternal persist, especially as it seems so fleeting?

“Cosmos” indicates a world formed by aesthetics. “Cosmetics,” derived from kosmos, gives the clue to the early meanings of the Greek word, when it was linked with the dress of women, with decoration and embellishment, with all things fitting, in order, furnished, and arranged, and with ethical implications of appropriateness, decency, honor. The aesthetic imagination is the primary mode of knowing the cosmos, and aesthetic language the most fitting way to formulate the world.

Hillman, James. The Force of Character: And the Lasting Life. Random House Publishing Group. Kindle Edition.

The aesthetic imagination, rather than seeking to quantify the cosmos, mapping it, saving it for later, for time, permits the immediacy of its ordering and thereby participates through a knowing of the senses that also permits the transcending of time and orderliness, all the while accepting the imposition of limits on all creation, human and otherwise. It is then, the persistence, the constancy of our experience that gives us faith that the sun will rise again, but also that I will one day cease to exist. The coming and going is indeed a fated participation of the cosmos; the ordering ways of the universe. Cosmic ordering itself provides the necessary ground of our being; as a place for transcendence into eternal time. 

(To be continued…)

Zeus and Hera: Images of a Divine Syzygy

Zeus

“He was a sky god, associated with wind, rain, thunder, and lightning, and was the master of spiritual phenomena, since it was the spirit realm that was signified by the sky and the manifestations of the weather. He was a carrier of justice and judgment, an embodiment of law and the punisher of transgression of the law, accomplished by the hurling of the thunderbolt. He was the personification of creative energy, which constantly spilled out and had an unceasing urge to impregnate, hence his perpetual love affairs.” Edward Edinger, The Eternal Drama: The Inner Meaning of Greek Mythology

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In Edinger’s description of Zeus, we see the image of a powerful masculine ruler of the heavens. Although Zeus is still one of many gods, he is both leader and creator of the pantheon. And just as importantly, we see Zeus’ engagements with his wife, Hera, not as his compliment, but as a shadowy cohort. And although Zeus and Hera are said to be married, the relationship seems less relational and more pro-generative. Zeus is much less interested in a relationship with Hera, but rather a preoccupation with the power to endlessly create through the continual love affairs outside of his marriage. In the realm of the gods, we may see these creative urges as saying less about the familial, and more about the archetypal urge towards expansion through creative reproduction, or differentiating and articulating the One through the diversity of the Many.

Edinger’s own words, in which he declares Zeus as he who “…comes closest of all the members of the Pantheon to embodying the whole Self,” we see an obvious bias, still with us today, towards a preference for a more masculine style of consciousness. Hera, on the other hand, as the feminine divine, is somehow a necessary accomplice and more of a saturnine threat of imprisonment that spurs on Zeus’ impulse for freedom. If the stories of the gods are expressions of particular styles of consciousness, we are glimpsing the ways in which Western civilization values the initiatory force of masculine power, while reducing the value of the feminine, as that which induces fear in the masculine, of time-bound constraint, and the threat of limitation. Is then, the masculine impulse a prerequisite for creative action that requires an abandoned shadowy feminine? If so, is this dynamic the springboard from which Western Civilization arose?

We might pause here to remind ourselves when considering ideas about mythology to see them not so much as literal figures representing male and female, or even as ways to understand male and femaleness, but as powers of the psyche whose dynamics take hold of the cultural imagination and live through us, sanctified, although sometimes shadowy collective influences. As dynamics, these traits persist, even where individuals themselves may more or less incorporate them within a particular lifetime.

“There are long lists of the lovers of Zeus, and by and large they had an unhappy time of it. Hera, personifying the feminine embodiment of the Self, was fiercely opposed to these dalliances, and would often punish Zeus’ lovers. For example, Zeus fell in love with the beautiful Io and then turned her into a white cow so that she could escape Hera’s detection. This ruse failed and Hera set gadflies after her which, stinging, pursued her around the world.”

Edinger, Edward F.. The Eternal Drama: The Inner Meaning of Greek Mythology

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Rather than the separate dynamics of masculine and feminine, aren’t we though, seeing a syzygy  within the relationship between Zeus and Hera? And, in what ways do these dynamics reassemble within our own modes of modern day consciousness? Although there’s no denying that the archetypes play out between actual men and women, and that men and women are afforded different degrees of power by virtue of their physical nature and social-political norms, can we also see the ways in which all of us have inherited a portion of Zeus’ quest for power, and Hera’s jealous ploys to address or balance the excess? For if as Jung states, the gods have become diseases, surely this syzygy is one of them! The more a Zeus-like excess threatens to destroy the world as we know it, the more outrageous the response of Hera’s house-holding economics becomes.

Where Edinger sees Zeus as the bold exhort of creativity, bringing the endless gifts of light and expanding consciousness, perhaps through the shadowy side of that light we see an insatiable desire for power accompanied by a complete disregard for consequences, desperately in need of Hera’s restraint. Does he then, not attempt to appease her with the riches of the household and all the distraction and substitution for feminine creativity it might contain?

Hera

“There are long lists of the lovers of Zeus, and by and large they had an unhappy time of it. Hera, personifying the feminine embodiment of the Self, was fiercely opposed to these dalliances, and would often punish Zeus’ lovers.” Edward Edinger

Within the syzygy, isn’t this just a little too lopsided a view of Hera’s role? While she remains that which shadows Zeus, the syzygy is deprived of the feminine aspect of creative urges. Perhaps we see in Hera the opportunity to imagine the qualities of a divine feminine as that embodiment of containment and restriction necessary for the creative powers of Zeus to be of actual service. But as the keeper of the household, amassing possessions to appease her, we see only opportunity missed.

Jupiter and Io, espied by Juno by Italian SchoolIt bears noting that if we are in the midst of an era of a lopsided patriarchal power, and that power has become the exploitative grandiosity of “too much of a good thing” that underlies so much of what is going wrong, the story of Zeus and Hera might help us to see in what ways Hera’s feminine resistance is not only missing, but could be a necessary correction. And how interesting it might be to see Hera’s plea as the desire for a more relational mode of being. It might help us too, to train the eyes for images of the masculine and feminine in syzygy that do appear in a relational dynamic in which excess and constraint are bound together, reflecting the necessity for each other.

In James Hillman’s, Mythic Figures, he echoes Edinger’s idea of the necessity for Zeus to go off on his heroic quest of never-ending expansion. Although Hillman is looking the phenomenon straight in the eye, he doesn’t apply the myth to our current cultural mess.

If we don’t know the myths, we don’t understand what fantasies we have when we go into a union. When we go into the bedroom we don’t know which myth we are enacting. He goes into the cave with the fantasy of a child of Venus. For him this is a pleasurable, delightful experience. But she is under the guidance of Juno. She goes in with the marriage fantasy of deep coupling. Soon after he gets a message from Hermes that he must get on with his job which is to go found Rome, and so he sets sail. She’s absolutely destroyed. Desertion, betrayal. For him it’s not a betrayal because he came with a different fantasy. For her, it is a radical violation of the laws of the universe, the very Queen of Heaven. And she never forgives him, because she appears in the Underworld still enraged, embittered forever.

Hillman, James. Mythic Figures. Spring Publications, Inc.. Kindle Edition.

He does goes on to imply that Hera might find consolation through domestication in the care and maintenance of the household which has become her domain; a place where she can invest her powers as an “upholder of civilization,” but where her creative impulse remains outwardly directed inside the house.

Society is intimately connected in Hera to the psyche and to biological laws. In that way she is the upholder of civilization, of providing the homestead, the economy, the household, the domestication, the husbandry of civilization, so that marriage becomes something dedicated to service to principles higher than personal happiness. The house stands for both civil society and my personal property.

Hillman, James. Mythic Figures. Spring Publications, Inc.. Kindle Edition.

Where Zeus and Hera provide an archetypal background for both marriage and economy as the primary structures that uphold Western Civilization, we can perhaps begin to recognize the correlative loss of the riches once known through pagan and tribal cultures, where, although the creative impulse may never have given us the bounty that the West provided, but provided a more direct experience of the divine in its rituals and recognition of the value of the collective. Through Zeus, Hera and much of the mythology of the Greek pantheon, we get a glimpse of what truly distinguishes us, but also of what ultimately keeps us heroically driven, outwardly expanding, inwardly impoverished, all in response to the creative impulse gone wildly independent and outside of relationship. Perhaps there is a middle way that could flourish if we survive the current tests of our time.