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| SPINBUSTERS |
| Part three of seven |
| Herod is a textbook case of a Toxic King. He incarnates the inauthentic masculine, occultly ruled by the feminine. Jesus called Herod a �fox,� a furtive, crafty little creature, ever pursued by the hounds. Torah scholars indicate that �fox� in the Hebrew of that time was equivalent to �inferior man� � a lesser male, a Delta Dog. Superior men were known as �lions,� as when a Torah scholar is rebuked for seeking truth from the wrong sources: �There are lions before you, and you ask foxes?� One of mankind�s curses from Isaiah 3: 1-7 confirms that �Infants shall rule over them.� The Babylonian Talmud indicates that �infants� are equivalent to �foxes, and to the sons of foxes,� meaning �worthless, degenerate rulers who are the descendants of worthless, degenerate rulers.� Burning Bushes, anyone? Thus Jesus � and Baptist John before him � was telling Herod that he was a false ruler, a counterfeit representative of masculine leadership. I struck a match, lit a candle, and placed it inside old John�s skull. His eyes shone out at me and said: Stop Foozling around and get back to work. Sheesh, awful grouchy for a dead dude. At his prompting, we now turn from de-fanging the Toxic King, the inferior masculine, to the Empowered Witch, the inferior feminine. In the sad saga of John, the Witch is represented outwardly by two of her three aspects, the Nymph (Kore in Hellenism) and the Matron (Demeter in Hellenism). For poor John, she was Salome and her mother, Herodias. The libido of exceptional masculiniy is always enormous, often verging on the uncontrollable. Libido and genius are twins in the extraordinary male, and cannot be separated. Likewise, elite masculinity and the Nymph are partnered in many ways -- a matter for a future essay. The most dangerous tool of the Powers is the Nymph, the seductive girl, employed down the generations as the irresistible poison that corrodes and destroys all but the strongest heroes. This primal betrayal, this vampirism of libido, is the bloody glue which cemented civilization, and fastens it still. Much of the Nymph's menace derives from the primary unconsciousness of her character, which is highly charged by sexuality and prone to collective, ecstatic states. One recognizes the exact same look of transfixed, eroticised rapture on the faces of adolescent girls rushing the platforms of both the Beatles and the Fuhrer. It's a chthonic dynamo of libidic energy, in modern cultures invariably unconscious of its own power, suggestibility, sexuality and motives. The Host fell for the �daughters of men.� Merlin fell victim to the Nymph Nimue, who is also Morgan le Fay, Rhiannon. She is also Salome, daughter of Herodias. The Kore, or Nymph-Witch, is the youngest aspect of the Triple Goddess. The Matron and Crone comprise the other two-thirds of the feminine trinity, the Weird Sisters, upon which Catholicism modeled its own male trinity. The Nymph is the most potent and time-tested weapon of collective feminine power. She is employed when other methods fail, whether to inspire Islamic warriors or remove offending heads. The Nymph-goddess Calypso imprisons Odysseus in invisible chains for seven years on her island, Ogygia. Calypso is the siren goddess of sexuality, and her Nymphs are tools for her purposes. These are the same beings identified by Porphyry as inhabitants of the �Cave of the Nymphs.� For Odysseus, representing elite masculinity � a �lion� in ancient Hebraic terms -- the Cave is an entrapment, a station of the cross on his journey home to Ithaca. For the masculine � individual or collective -- the Cave is the matrix of destruction and regeneration, the home of the devil's daughter, where the applicant is tested against the most primal, sexual powers of the planet. The Cave is an irresistable magnet, pulling the hero back into unconscious, chthonic realms of corporeality, sensuality and archetypal power. The Cave is the final, most difficult obstacle on the hero�s journey. It�s the only way into hell, and it�s the only way out. Ogygia, the home of Calypso and her Nymphs, is described in paradisical terms. Western rationalism assumes it's a mythic fantasyland, a fiction of "primitive" imaginings. In fact, Ogygia is as real as your backyard. It is your backyard. The Odyssey describes it as that land "where the birds with their long wings went to sleep." It is sensual, delicious Earth, the materia into which the angels fell. In the Bible they "fell for the daughters of men" -- that is, the sexual congress between the Nymphs and the angels begat modern human generation. Their mutual love and lust is at the heart of the Christian conception of sin -- which is to say, the occult Chrisitan and Western strategy for corralling and utilizing masculine libidic energy. Likewise in Judaism, those superior male spirits who "came into the daughters of men" became the collective scapegoat of the nation, and were cast into Earth's lowest pit, buried under mountains of stone at Dudael, where they reside still. Azazel is their captain, who is Satan in Christianity. In Gnosticism, the Nymph-Angel tryst is the personification of the fall of spirit, of the lumen naturae, into matter, where it awaits release on Jubilee Sunday. |
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| The Cave of the Nymphs |