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The Fallen Goddess Scenario

Writings attributed to ancient seers known as Gnostics describe an outpouring of
energy from the center of our galaxy that eventually forms the planet earth. This
event and its consequences are recounted in the narrative of the fallen goddess
Sophia, whose name means "wisdom." My summary of this.
Galactic Dynamics
"creation myth" uses a transposition of it mythic features into terms consistent with
modern cosmology Framed in mythological language, the core of our home galaxy
as a vortex of infinite potential (Pleroma: fullness, plenum) consisting of massive
serpent like entities or torrents. The gods and goddesses of the Pleroma are called
Aeons. The Aeons are divine: that is, luminous, radiant, emanating light. They are
also alive and intelligent and capable of feeling, perception, and desire, but on the
level of cosmic consciousness. Aeon: (AY-on) (Greek, “god,” “divinity,” “process,”
“emanation,” “time cycle”) Gnostic term for a cosmically pervasive process, aware,
animated, and animating. Aeons manifest sensory worlds by dreaming, rather than
by the artisanlike act of creation attributed to the biblical father god.
The extent of the rotating arms is vast, but the arms themselvs are thin, so the
entire galaxy has the shape of a pancake with a central bulge. The dynamics of the
core, the Pleroma, differ from the dynamics operating in the spiral arms, called the
Kenoma, "deficiency, incompletion." This is the difference between infinite and finite
potential. The core is like a fountain head perpetually erupting with boundless,
undefined potential. In the spiral arms, this cosmic potential scales down into the
relatively limited, but still immense, potentiality of celestial events, including
planetary systems where experiments in life can unfold.
The galactic core or hub consists of a concentrated mass of high-energy currents,
the cosmic gods. Form arises in the Kenoma, the realm of finite potential. The
composition of the outspreading galactic arms is not pure stellar luminosity but
residue, the granular elements of past worlds. The entire galaxy is a vast glittering
pinwheel that acts like a mill, grinding out future worlds from the residue of former
ones. Hence, suns may be born and planetary systems formed, but for sentient life
capable of self-awareness to appear in those worlds there must be a "input" from
the galactic core.
. To produce experiments in worlds arising in the galactic limbs, Aeons project their
power of intention (ennoia) outward while remaining where they are.
allow for free play of boundless potential, trial and error, novelty and innovation.The
divine powers do not interfere with an experiment in progress. But there can be
exceptions in the cosmic order, and Sophia's plunge is one of them.

Sophia does not make this world of ours. In Sophia's dreaming. with many divisions of the celestial and terrestrial elements. she makes herself into it. this habitable world of ours has not been created as an artifact. a creation myth like the Biblical account of creation in Genesis. The dilemma faced by the goddess is the crucial plot factor of the fallen goddess scenario.e. called apporia . permeating it. is not. placing the generative force of divinity with and in the world. The analogy to dreaming is a metaphor. to go interactive with the subjects and conditions of the experiment. emanation is a paradigm of immanence. Rather. the oneiric paradigm. as it were. technically speaking. forced by her own compulsion. Sophia does not create the earth at all: she becomes the earth. as it may be called. The characters in a dream exist and act as long as the dreaming continues.. Sophia actually morphed into the planet earth. The oneiric paradigm describes a dynamic process in which life on earth is sustained in the way a dream is sustained by the dreamer. but is continually being emanated by the Aeon who dreams it. In short. . It shows the continuity from an extraterrestrial Pleromic realm (cloud with Hebrew lettering and extended hand) to the Divine Sophia to the rational mind of humanity (squatting monkey). terrestrial life persists as the dream activity concurrent with it unfolds. Sophias's becomes enmeshed with the experiment she has projected. like a pot made by a potter. Well-known image of the Anima Mundi from an alchemical text. it is an emanation myth consistent with the Aboriginal paradigm of the Dreamtime and the Hindu mytheme of "Vishnu dreaming. The Sophia Mythos.Sophia commits a misstep or overstepping of cosmic boundaries and a mistake arises as a consequence of her audacity. Her mass of living luminosity of Organic Light turns into the planet we inhabit by a process of condensation and densification. She create the animal species by dreams them empathically." i..

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But this was not how Oscar Wilde. a flower was born. At the spot where he fell. which had been fresh water. he fell into the lake and drowned. . a youth who knelt daily beside a lake to contemplate his own beauty. Paulo Coelho.NARCISSUS The following is an extract from "The Alchemist" by world renowned author. He said that when Narcissus died. transformed into a lake of salty tears. ended the story. "The alchemist picked up a book that someone in the caravan had brought. he found a story about Narcissus. Leafing through the pages. the goddesses of the forest appeared and found the lake. one morning. The alchemist knew the legend of Narcissus. the author of the book. which was called the narcissus. He was so fascinated by himself that.

a comfort that each found in the other. Finally. it said: “I weep for Narcissus. It is for this reason that the Alchemist declares this version of the myth "a lovely story. an invisible understanding. in Narcissus's eyes its own beauty that it failed to see in anyone else's eyes. it is no surprise that you weep for Narcissus. “Who better than you to know that?” the goddesses said in wonder. the lake begins to weep because it sees itself in Narcissus' eyes." When Narcissus bent down at the river he saw his own reflection and fell in love with it.love and represents self. the lake sees in Narcissus' reflection.” “What a lovely story. but I never noticed that Narcissus was beautiful. The same beauty that Narcissus sees. falls into the lake. Even the lake saw. beauty is everywhere. and the river did the same thing as well. “I weep because. the alchemist is reading a different version of the myth. and drowns.” the alchemist thought. beauty becomes self. Narcissus falls in love with his reflection.” “But…was Narcissus beautiful?” the lake asked. nature is a mirror and we reflect the beauty in it. There is a transformation from the bleak and painful version of the myth to something more beautiful and redemptive. The more beauty we seek to inject into the world. or rather. in the depths of his eyes. it was by your banks that he knelt each day to contemplate himself!” The lake was silent for some time. In the version that the alchemist is reading. my own beauty reflected. “for though we always pursued him in the forest. the notion of transformation is evident. In the version that the Alchemist reads.“Why do you weep?” the goddesses asked.” they said. However." Coelho starts off with this modified version of the myth to establish that the essence of consciousness as being transformational. The other purpose in starting off with this myth is to . In this version. Maybe there was. Originally told in its Greek form. Essentially. “I weep for Narcissus.” the lake replied. “Ah. to see what is and transform it into what can be.destruction. “After all. essentially. the more beauty there is to see. As the Alchemist is reading the Myth of Narcissus. transformation is evident. you alone could contemplate his beauty close at hand. the Narcissus myth is extremely sad and depressing. In the Alechmist's version of the myth. each time he knelt beside my banks. I could see.

The myth of Narcissus usually ends when Narcissus becomes so thoroughly entranced by his own reflection that he falls in the lake and drowns. For the very name of Narcissus means “sleeper” by its close association with “narcotic”. even if it was earlier called by another name — idolatry. of what is human. if we assume a “meta-narrative” to the myth that involves an ironic self-judgement of the mythological consciousness upon itself in the very act of telling the story — that the gods themselves are only images. This can only be true. This version of the myth presents a more complicated picture of vanity than the original. This is something that Santiago takes to heart in his quest for his Personal Legend. In this way. however. and is a problem that must be worked through. for instance. Like the introductory Narcissus story. But through disregarding everything but his own dream. and that Narcissus is actually Mr. vanity appears to be an entirely natural characteristic. Santiago realizes his true potential. we learn that the lake felt upset because Narcissus died. the inevitable fate of creatures that develop ego-awareness. and they remain so today. perhaps. Only through single-mindedly pursuing his own Personal Legend does Santiago learn the secrets of the Soul of the World. as when he chooses to be a shepherd rather than a priest and when he leaves the oasis to continue on his journey. The Alchemist itself has a message that focusing on oneself can connect a person to nature and the spiritual world. he penetrates to the Soul of the World. As opposed to being an undesirable trait that leads to death.establish the idea of beauty in the world and the courage to look for it wherever it might exist. since it enjoyed looking at its own reflection in Narcissus’s eyes. Throughout the book. It is a story of being trapped by and in one’s projections. and decided it was a myth about the awakening of the soul. The universal religions arose in the form they did because of narcissism. . even if today they are now called “ideals” rather than “idols”. projections or exteriorisations. Only if we assume this “meta-narrative” does the story of Narcissus and Echo remotely suggest the soul’s awakening to itself. The cultural historian Jean Gebser devoted a few paragraphs in his Ever-Present Origin to interpreting the myth of Narcissus and Echo. however. especially in the projection called “self-image”. The reflecting pool is the mirror of the world. The Myth of Narcissus: Reflections on Narcissism and Self-Destruction It is. idols. and echoes. since the name Narcissus is related to the words for sleep (narcosis) and also remotely to water. In the novel’s version of the myth. For the idols were traps for consciousness. which is frequently an image or symbol of the soul. Santiago must put his own interests first repeatedly. It is not a story of self-love but of idolatry. so much so that the lake displays it. Everyman.

What is the self-image? It is usually what your parents and your society tell you it is. it also symbolically projects the innermost repressed urges of the Lover’s unconscious onto the objects and archetypes in the garden. Nietzsche called this our “flowing out into a god”. Almost invariably. and thus of narcissism. that internal voice that tells us who we are and what our world is like may not even be our own voice. is that it is a state of sleep. a trance-like state. It is the real “vampire”. Traditionally scholars have interpreted the mirror in the Roman de la Rose as a symbol of the cultivation of beauty or of lust relating to the Garden of Pleasure (Blamires & Holian. the self-image consumes the life resources of the authentic self just as the ancients sacrificed. the mirror . we would call this a bubble of perception. However. The self-image. the mirror serves as the medium that gives the Lover access to his unconscious through his dream. or self with self-image. functioning as a vehicle that offers the Lover increasing access into the layers of his unconscious mind. the mirror not only projects the Lover’s physical traits. it’s not. and it is very closely akin to the problem of the divorce that has occurred between “the virtual economy” and “the real economy”.com/article/show/todey- self_psyche_and_symbolism_in_the_roman_d The Mirror The prevalence of the search for the self in the Roman de la Rose manifests the symbolic representation of the mirror as the central theme of the work. setting the mirror within a larger psychodynamic context of the poem casts light on a deeper. to their idols. In Jung’s (2001) view. And like Echo in the myth also. And the self-image is only a simulacrum of the authentic self. We go to bed at night telling ourselves who we are and what our world is like. even their first-born. And so we keep ourselves within the circle of trance and under its spell. and we arise in the mornings telling ourselves who we are and what our world is like. The simulacra. The mirror symbol appears many times in the Roman de la Rose. http://psyartjournal. in all sorts of subtle and tricksy ways. consumes far too much psychic energy. a dark enchantment cast over the mind. Like Echo in the myth. as in the Roman de la Rose. It is sustained and maintained by our internal monologues — the stories we tell ourselves incessantly. too. unconscious significance.What the myth states is what every subsequently arising universal religion promising “enlightenment” also states: man has fallen into a stupor by confusing soul with ego. In this way. The mirror has projective qualities that make it possible to simulate the image of the human face and displace it onto inanimate material. Today. 2002). as well as much else besides. which is only a conceit and a nothing. In the Roman de la Rose. The critical thing to observe about the myth of Narcissus.

magix. if he were to immerse himself in it (as on occasion he did. on the other hand. the face we never show to the world because we cover it with the persona. it faithfully shows whatever looks into it. Whoever goes to himself risks a confrontation with himself. Jung's horror of Hegelian idealism is his conviction that. he argues.umd." is the difference between alchemy as ideally conceived as Giegerich's notion of the logos as the "soul's logical life" (which is. as a Kantian.html Blake's distinction between inspiration and memory is the distinction between presence and the fading echo of it. Jung's psychology remained empirically bound. True. an identification in which the essential distinction between soul and spirit is dissolved. he would drown. namely.net/archetypes. or nearly did). the Lover’s access to his unconscious self through the mirror https://www. that he had to wear a diver's suit if he hoped to survive his exploration of the depths of the psyche.htm . http://mlwi. Narcissus dissolving into the memory of himself as a siren confrontation with nothingness.rc. whoever looks into the mirror of the water will see first of all his own face. For Jung. Giegerich's notion of psychology is subject to a delusion in which the human mind is fatally identified with the archetype of the mind of God. The mirror does not flatter. the mask of the actor. in that both possess reflective properties and signify the discovery of the unconscious. and alchemy as the echo or fading image of itself to which.edu/praxis/psychoanalysis/woodman/woodman. for him. In the Roman de la Rose. as distinct from a conscious union with himself as the "I Am that I Am. what in itself psychology really is).symbol is inextricably linked with the symbol of water. He knew. But the mirror lies behind the mask and shows the true face (316).

If he is happy. once compared it to sex: ‘It is there but we don’t talk about it. are starting to point to new kinds of space. certain places can and do bring us to life in certain ways. .that certain spaces are somehow more ‘human’ than others." It will have the right shape. And if we do. PLACE SPACE. and Fran oise Minkowska in particular have studied the drawings of houses made by children. in the process. soft smoke rises in gay rings above the roof. there is a fire bum· ing. such a big fire.Space: The Fundamental Stuff of Human Geography anthropologist. to open up little spaces in which they can assert themselves. what is clear is that these acts of imagination are all profoundly political acts. Asking a child to draw his house is asking him to reveal the deepest dream shelter he has found for his happiness. closed houses. cold. One child. continued to draw narrow. as we shall see. Edward Hall. we certainly are not expected to get technical or serious about it’…. But by testing the limits of ‘human’ and ‘being’ through experiment and." When the house is happy. THE POETICS OF SPACE Psychologists generally. Place (understood as a part of this complex process of embodiment) is a crucial actor in producing affects because. If the child is unhappy. So to start to get a grip on the grip that space exerts on all our lives – and. that it can be seen coming out of the chimney. it can change the composition of an encounter by changing the affective connections that are made. Polish and ]ewish children who had suffered the cruelties of the German occupation during the last war. Often they will use phrases like‘everyday life’ to indicate the way that people.. without space we would not be here. and transforming how we think those conceptions means transforming ‘ourselves’. in particular. It is difficult to think of places outside the body. these are the places where bodies can more easily live out an idea of what human being should be being. agreed is that place is involved with embodiment. as we all know. space is seen as a co-product of those proceedings. place consists of particular rhythms of being that confirm and naturalize the existence of certain spaces. who had been hidden in a closet every time there was an alert. the ways that we can alter that grip in order to make new spaces were space being viewed as a container within which the world proceeds. It is this expressive quality of place New thinking about unblocking space involves the difficult task of redescribing the world as flow and continuous transformation. the house bears traces of his distress. Thus. and nearly always there will be some indication of its inner strength. are so many different rhythms of not just routines but also all kinds of creative improvisations. through following daily rhythms of being. protected house which is well built on deeply-rooted foundc1tions. what we often think of as ‘abstract’ conceptions of space are a part of the fabric of our being. he will succeed in drawing a snug. whereas others do the opposite. however. in fact.

A house that is as dynamic as this allows the painter to inhabit the universe. possesses certain kinesthetic features. its anthropocosmic ties have become so slack." as claimed by certain hasty meta physics." The image is no longer descriptive." that. In this dynamic rivalry between house and universe. Consciousness becomes "uplifted" in contact with an image that. and night or darkness reduces the exterior world to nothing. celestial world.. ordinarily. man is laid in the cradle of the house. that we do not feel their first attachment in the universe of the house. the universe comes to inhabit her house. free us from our utilitarian geo metrical notions. really is an instrument of topo- analysis. is " a state of rest. It is the human being's first world. Before he is "cast into the world. Inhabited space transcends geometrical space With the house that has been experienced by a painter. He comes to realize that the cosmos molds mankind. then." Our soul is an house. For our house is our corner of the world. The dialectics of the house and the universe are too simple. Erich Neumann shows that all strongly terrestrial beings-and a house is strongly terrestrial-are nevertheless subject to the attractions of an aereal. particularly. sleep. that it can transform a man of the hills into a man of islands and rivers. in our daydreams. And by remembering "houses" and "rooms. it is our first universe. to put it dif ferently. Now everything becomes clear. to serve as host for the dreams. Thus. but inspirational. an immense cosmic house is a potential of every dream of houses. A house that has been experienced is not an inert box. Symmetry abolished. or tranquillity. we are far removed from any reference to simple geometrical forms. it integrates the movements.. the house images move in both directions: they are in us as much as we are in them. but the things we have forgotten are "housed. It gives a single color to the entire universe. And always. As has often been said. The house. and that the house remodels man. Or. a real cosmos in every sense of the word. TOPOANALYSIS . maternal features of the house. the house is a large cradle.that a live house is not really "motionless. Space that has been seized upon by the imagination HOUSE AS A UNIVERSE Not only our memories." we learn to "abide" within ourselves. we come to a delicate point in anthropo-cosmology. our adult life is so dispossessed of the essential bene fits. simple images of eulogized space. so frequently forgotten in the drawings of "tense" children imagination is a most secret power that is as much of a cosmic force as of a psychological faculty.

then. the house is one of the greatest powers of integration for the thoughts. faced with these periods of solitude. does not lose all its "objectivity. space that is supposed to condense and defend intimacy. He experiences the house in its reality and in its virtuality." or "read a room. "This peace had a body. localization in the spaces of our intimacy is more urgent topo-analysis. stimulating one another. the house allows one to dream in peace. made of night. at times opposing. A geometrical object of this kind ought to resist metaphors that welcome the human body and the human soul. the immensity of these silent stretches of space! "There is nothing like silence to suggest a sense of unlimited space." since both room and house are psychological diagrams that guide writers and poets in their analysis of intimacy. when it starts to live humanly. by means of thought and dreams. it is interesting to note that the w01·d house does not appear in the very well-compiled index to the new edition of C. It took complete hold of me and. A real. G. did the human being achieve silence? How did he enjoy the very special silence of the various retreats of solitary dreaming? With what art. the dream world beckons. I was overwhelmed by the grandeur of this shadowy peace. It is dominated by straight lines. places iden tified with our solitude. at others. they both constitute a community of memory and image. give the house different dynamisms. the house protects the dreamer. each one working for their mutual deepening. "read a house. It was caught up in the night.a house is first and foremost a geometrical object. Topoanalysis. in these fragments of space. made of well hewn solids and well fitted framework. the topoanalyst starts to ask questions: Was the room a dark one? How was it lighted? How. But the complex of reality and dream is never definitively resolved. a motionless body. the house shelters dreaming. too. he achieves absolute silence." We shall therefore have to examine more closely how houses appear in dream geometry… (In fact. Jungs Metamorphosis of the Soul and its Symbols). Its prime reality is visible and tangible. But transposition to the human plane takes place immediately whenever a house is considered as space for cheer and in timacy. But absence of sound leaves it quite pure and. And so. to begin with. for several moments.the house image would appear to have become the topography of our intimate being With the house image we are in possession of a veritable principle of psychological integration. memories and dreams of mankind. would be the systematic psychological study of the sites of our intimate lives. Sounds lend color to space. In the order of values. one which we are tempted to analyze rationally. in the silence. memory and imagination remain associated. For a knowledge of intimacy. there is ground for taking the house as a tool for analysis of the human soul. Independent of all rationality. and confer a sort of sound body upon it." OPENING AND CLOSING . which often interfere. we are seized with the sensation of something vast and deep and boundless. The house itself.

we need both. by descending from the great rhythms forced upon us by the universe to the finer rhythms that play upon man's most exquisite sensibilities. . For here we experience a rhythmanalysis of the function of inhabiting. To sleep well we do not need to sleep in a large room. and to work well we do not have to work in a den. chrysalis and garment only constitute one moment of a dwelling place. But to dream of a poem. imagination.It is a strange situation. with the help of the functions of the real and the unreal. Thus. the house of wind and voice is a value that hovers on the frontier between reality and unreality is a sort of geometry of echoes by examining the rhythms of life in detail. take into account our need for retreat and expansion. It is the creative psyche that benefits from rhythmanalysis. we hover between awareness of being and loss of being. The image is created through co-opera tion between real and unreal. the more the being that emerges from it is a being from elsewhere. The more concentrated the repose. It is as though something fluid had collected our memories and we our selves were dissolved in this fluid. . . my hands draw a cloud A heaven-bound ship above the forests Mist that scatters and disappears As in the play of images. it would be possible to work out a rhythmanalysis that would tend to reconcile and lighten the ambivalences that psycho analysts find in the disturbed psyche. for simplicity and magnificence. When we have been made aware of a rhythmanalysis by moving from a concentrated to an expanded house. and on different planes of dream and memory. before the era of our own time. on the threshold of our space. memory and perception exchange functions. the greater is his expansion. into other times. Le domaine public (p. The space we love is unwilling to remain permanently enclosed. the oscillations reverberate and grow louder.) Like the house of breath. both time and place are impregnated with a sense of unreality. nest. It deploys and appears to move elsewhere without difficulty. then write it. 70) Pierre Seghers writes (A house where I go alone calling A name that silence and the walls give back to me A strange house contained in my voice Inhabited by the wind I invent it. the more hermetic the chrysalis.

resounds deeply with echoes. that is. nor is it subject to the pressures of the unconscious. making it reverberate. of any physical properties. in reverberation. REVERBERATION One must be receptive to the image at the moment it appears: It has an importance on the surface of the psyche. . a new property of the universe: reverbera tion (retentir). at times very unusual. a producer of lights constitutes a psychic condi tion that is too frequently confused with dream "An artist does not create the way he lives. soul and being of man. made the tiniest leaf." the dynamic expressions of space. through contact with these waves. No doubt there are many facile claims to the ex pressions "inner vision" and "inner light. having fixed the original form in our mind's eye. Very often. By this should be understood a study of the phenomenon of the poetic image when it emerges into the consciousness as a direct product of the heart. ex· cerpt from Minkowski's Vers une Cosmologie might be helpful: "If. the world come alive independent of any instrument. The image is no longer under the domination of things.withdrawing into herself. The reverberations bring about a change of being. it is as though the sound of a hunt ing hom. immense. where she could contemplate to her heart's content the supernatural images that dwelt there. It floats and soars. movement. in the free atmosphere of a great poem. and image has an entity and a dynamism of its own. fill up with penetrating deep waves which are at once sonorous and silent and which will reverber ate to the most profound depths of its being. reverberating everywhere through its echo. filling it to its limits. We should then have to collect documentation on the subject of the dreaming consciousness? participate in an inner light which is not a reflection of a light from the outside world. the tiniest wisp of moss shudder in a common movement and transformed the whole forest. figures from this land appeared to her familiarly. expression creates being how can an image. it is in the opposite of causality."' but a feeling of participation in a flowing onward. An image. we ask our selves how that form comes alive and fills with life. the essence of life is not "a feeling of being. appear to be a concentration of the entire psyche is a phenomenology of the soul. sonorous world. apprehended in his actuality. into a vibrating. Indeed." But here it is a painter speaking. breathing into it its own life. then. they are not made into recipes. they are not applied. The painter speaks on the threshold of being. necessarily expressed in terms of time. we discover a new dynamic and vital category. and secondarily expressed in terms of space. of existence. he lives the way he creates. for Minkowski.

If we cannot imagine. a sort of pure beginning. it faces the future. . Knowing must therefore be accompanied by forget knowing. By the swiftness of its actions. a difficult transcendence of knowledge. . we cannot foresee .. the imagination separatesus from the past as well as from reality. which makes its creation an exercise in freedom.