Inscendence as a complementary word to the transcendence brings you contemplations on various topics from the perspective of the reflective, associative and internal intelligence. A journey into depths to find, like Rumi said, the “Messiah, in my heart, I bear.” (مسيحا در دلم پيدا و من بيمار می گردم).
Enjoy the articles. Take them in. More than philosophical discussions or my attempts to convince you of anything, take them as gentle meditations and let them reveal that which your own Inner Heart knows.
[The articles from the old website, Orphic Inscendence, are here too.]
The Lady of the Underworld
Ereshkigal's own desires and ambitions are unclear to her and she fears to seize any part of her that desires authority. Fearing to pursue anything of her own, she as a mother may often be the one who subconsciously lives her ambitions through her son and as a consequence creates a mother complex in him. If she is no mother, she may try to live out her ambition through her husband, in one way or another, directing him to pursue the things she wished she pursued herself. She is always the acted upon, never an actor, a side character in her own life.
The Matter and the Feminine
She is the lotus that grows out of mud and purifies everything it takes in. Nothing is impure, because the essence of everything is her essence, unchangeable and holy. She purifies herself from herself. She transforms matter into source of beatific vision.
Woman to Woman
Nin, in the excerpts above, imagines June as a sort of goddess - she is out of reach, she provokes devotion and admiration. It is almost as if Nin's affair with Henry himself, was an attempt to get to know June - to learn something about her through the man June was with. This blonde, selfish, towering goddess has a dominant presence, unlike Anaïs, who tends to be sensitive and receptive. Yet, like she says, it is not exactly the same feeling that Anaïs would get from a man — she feels that even though June carries a dominant energy, she is still very much a woman and very feminine.
The Great Devouress
How we relate to the irrational, to the non-linear, to the intuitive rather than logical, often reveals, how we relate to this Great Goddess, both as a metaphysical principle and as a psychological principle, within each individual. The urge to constantly define, measure and put everything under a microscope, while useful, can make us mechanical beings who do not see themselves having anything else but cognitive functions — it marks an inability to see, with, what Sufis call "the eye of the heart" and dharmic religions describe as the third eye.
The Seductress and the Eros
Giuditta and Carmen are both dancers, and they both captivate with their dance. Unlike the more pornographic, dances, they, like Salome, leave something "behind the seven veils", they show and invite without overdoing, they incite curiosity, the desire for the unfolding of the story and not the quick release.
The Heroine’s Journey
In another Greek myth, that of Psyche, the mother is not mentioned, but Psyche also does not have a voice in her own life. Her father is worried about her remaining unmarried, Apollo gives his oracle, and Eros, hiding his true identity behind the mask of the monster takes her to his mansion. In the fairy tale of Rumpelstiltskin, the heroine is put in the situation after her father lies to the king about her alchemical powers of turning spin straw into gold.
The Ethics of Logos and Eros
Eros brings, at least, for a moment, freedom from our mental abstraction and allows us to experience the pure joy of being and of transcending our limited “I” identity. It belongs to the night and the interior and that is where the true freedom is found.