Saturday, December 1, 2007

The Myth of Eros and Psyche



The story of Psyche and Eros offers a great deal of insight into the archetype of Eros and his significance in the astrological chart. The most recent detailed mythology regarding Eros comes from The Golden Ass, written by Lucius Apuleius in 170 AD and portrays the love story of Psyche and Eros.

This myth is no less relevant for its extensive study, analysis and use as models for relationship, the emergence of consciousness, and the path of erotic love.The story opens with a description of Psyche’s two older sisters. They were extremely beautiful, yet when Psyche grew into womanhood, it was said of her:

“ Yet the singular passing beauty and maidenly majesty of the youngest daughter did so far surmount and excel them two (sisters), as no earthly creature could by any means sufficiently express or set out the same.”

Psyche is a beauty. She enchants her father’s modest kingdom with an unobtainable and virginal loveliness that sets the inhabitants to worshiping. In only a short time, word of Psyche’s beauty has spread throughout the countryside and people swarm to see her. Meanwhile, Aphrodite’s temples are neglected.

Predictably, Aphrodite is insulted by this delinquency and filled with more than a little angst. In a jealous rage, she elicits the help of her son Eros to punish the usurping Psyche and the mortals that adore her. She instructs Eros to pierce Psyche with one of his golden tipped arrows causing her to fall in love with a worthless, wretched and vial being. While Eros and Aphrodite plot her demise, Psyche pines.

Psyche, although exceedingly beautiful, feels lonely and miserable. The known world may worship her, but no real man comes courting. She is like an object of art, a rare painting or precious vase. Apuleius goes on:

“Psyche…lamented her solitary life, and being disquieted both in mind and body, although she pleased all the world, yet hated she in her self her own beauty.”

Concerned by his youngest daughter’s despair, Psyche’s father seeks the advice of the Oracle of Apollo. He is shocked by what he hears for it seems the King’s precious daughter must be sacrificed to a demon god, or terrible ruin would befall the kingdom. Apuleius’ quotes the oracle:

“Let Psyches corps be clad in mourning weed And set on rock of yonder hill aloft: Her husband is no wight of humane seed, But Serpent dire and fierce as might be thought. Who flies with wings above in starry skies, And doth subdue each thing with firie flight. The gods themselves, and powers that seem so wise, With mighty Jove, be subject to his might, The rivers black, and deadly floods of pain, And darkness eke, as thrall to him remain.”

Psyche accepted her fate as the entire kingdom despondently joined the funeral procession to the lonely rock where she is to meet her “death” and marry the “serpent dire”. Psyche then questions her parent’s belated remorse.

“Why torment you your unhappy age with continual dolou? …Now you see the reward of my excellent beauty: now, now you perceive, but too late, the plague of envy. When the people did honor me, and call me the new Venus, then ye should have wept, then you should have sorrowed as though I had been dead: for now I see and perceive that I am come to this misery by the only name of Venus, bring me, and as fortune hath appointed, place me on the top of the rock, I greatly desire to end my marriage, I greatly covet to see my husband. Why doe I delay?

Why should I refuse him that is appointed to destroy all the world.”

No one suspects that Eros, the son of Aphrodite, the golden god of love, has accidentally pricked himself on one of his own arrows and fallen madly in love with the mortal Psyche. None of Psyche’s distraught family members could guess that Eros plans to abduct her for himself. Although at this point, we might examine the oracle of Apollo more closely and ask if it may actually be Eros the augury is referring to.

Eros then sends Zephyrs, god of the North wind, to retrieve Psyche from the rock and bring her to his palace. There Psyche’s wishes are tended by invisible servants who anticipate her every need. She rests, bathes and eats surrounded by gold, ivory and jeweled mosaics that adorn the enchanted home of the god of love.

With unseen musicians playing a heavenly symphony, Eros comes to Psyche by night and makes “perfect consummation” of their marriage. Night after night he keeps her company, stealing away only just before dawn. He has made Psyche promise to never look upon his face and initially she agrees. She is enchanted by the palace, her new husband and the magical servants who cater to her every need. Only the tiniest bit of loneliness befalls her in the day.

However, her loneliness and desire for human contact grows until she passes both the days and nights with tears of distress and longing. Eros, concerned by her condition, finally agrees to allow Psyche’s sisters to visit, but he warns her again not to gaze upon his face. Her curiosity, he said, would bring about the end of their life together and cause the child growing inside her to be mortal, not divine.

The visit from Psyche’s sisters turns out to be as destructive as Eros feared. Feigning joy at their reunion, Psyche’s siblings are actually stricken with fierce jealousy. They suggest her husband is an evil serpent who needs destroying before he devours Psyche and her unborn child whole. They press her to hide a razor and a lamp near the bed. When he falls asleep, she is to light the lamp and cut off his head. Psyche is flooded with anxiety mixed with the fear that they may speak the truth!

Torn between loyalty to her sisters and loyalty to her husband, she eventually gets up, lights the lamp and approaches the bed with the razor. When Psyche discovers that her husband is the stunning and resplendent god Eros, she is overwhelmed by the vision. In rapture she accidentally pricks herself on one of his arrows and adds “love upon love” to what she already feels for him. She covers him with kisses and in doing so a splash of hot oil burns the beautiful god and he jumps up, looks at her with astonishment and bolts. Psyche grabs his leg and holds on as he leaps into the air until she finally drops to the ground in exhaustion. He lands near her saying:

“O simple Psyche, consider with thy self how I, little regarding the commandment of my mother (who willed me that thou shouldst be married to a man of base and miserable condition) did come my self from heaven to love thee, and wounded mine own body with my proper weapons, to have thee to my Spouse: And did I seem a beast unto thee, that thou shouldst go about to cut off my head with a razor, who loved thee so well? Did not I always give thee a charge? Did not I gently will thee to beware? But those cursed adlers and Counselors of thine shalt be sufficiently punished by my absence."

Shocked, overwhelmed, and suffering greatly, Psyche experienced a crucial point in her relationship with Eros. At last, she discovers the inheritance of her unborn child. She also finally understands who it is she has fallen in love with. For Psyche, there is no turning back. She must reunited with Eros or die.

This point in the myth is not suggesting we never look at the face of Eros. or that by never questioning him will guarantee his presence forever. It is more an account of discovering what we really want and the steps necessary to obtain it. Until now, Psyche didn’t know who she loved. This knowledge, however, does not make Psyche any less despairing. As she watches his figure recede into the distance, she throws herself into a river in hopes of drowning.

As chance would have it, the river, being a friend of Eros, places Psyche back safely on the bank. As she looked up from the muddy shore, she saw Pan, instructing, or perhaps seducing, a young woman. He looked upon the disheveled Psyche and said:

“O faire maid, I am a rusticke and rude heardsman, howbeit by reason of my old age expert in many things, for as far as I can learn by conjecture (which according as wise men do term is called divination) I perceive by your uncertain gate, your pale hew, your sobbing sighs, and your watery eyes, that you are greatly in love.”

Pan goes on to suggest to Psyche that she forgo suicide and focus on devoting herself to winning Eros back. It seems his advice is taken to heart.

Psyche’s first action is to confront her jealous sisters. Upon entering her older sister’s city Psyche explains that it was the son of Aphrodite that was her husband but when he saw she had betrayed him, he sent her away and said he’d have her sister instead. Excited by this news, her sister raced to the mountain and beseeched Zephyrs to carry her to Eros, but as she leapt off the rock, no wind lifted her and she crashed to her death in the fall. The same happened to the second sister and thus Psyche was revenged.

Meanwhile, Eros fled to his mother’s house to have his burn tended. Empathetic at first, Aphrodite became enraged when she discovered Eros’s disloyalty in taking Psyche as his own. She admonishes Eros for betraying her wishes and removes his bow and arrows, cuts his hair and clips his wings. She probably slammed the door as she stormed out as well.Aphrodite then solicits the aid of Hera and Ceres to help her find Psyche, but they, fearing Eros’s darts at some point in the future, try to reconcile the mother to her son.


Aphrodite will not be soothed.

By now Psyche realizes her only course of action is to seek out the forgiveness of Aphrodite. She approaches the palace of the goddess of love to pray for redemption although that is not what she receives. Aphrodite humiliates Psyche, has her whipped and beaten and then presents her with a series of impossible tasks.

Psyche’s first task in regaining Eros is to sort an enormous pile of mixed grains. She must separate them by evening. As Aphrodite smugly shuts the door behind her, Psyche goes into a catatonic state of despair. She can not even attempt to sort the grains. The task is that impossible. As she lays crumpled on the ground sobbing, a tiny ant comforts her. Calling to his friends, more and more ants come and by evening the grains are sorted neatly into their individual piles by the tiny insects.

It is important to notice that the help offered to psyche is completely unconscious. She neither actively requests aid or contributes any effort in the sorting of the grains. This image may suggest the myriad mixed feeling and emotions that course through the mind and body of one “stricken with love”. It also may imply the innate ability of the body to sort those feelings out, one by one, although not with the aid of consciousness, but by its acquiescence.

When Aphrodite returns and sees the labor complete, she assigns Psyche a more difficult task. She instructs the girl to go out into a field in the burning sun and collect golden wool from the fleece of man-eating rams.

Psyches gets up, not to do as Aphrodite commanded but to throw herself headlong into the water again to drown. Then a green reed speaks to her saying:

“O Psyches I pray thee not to trouble or pollute my water by the death of thee, and yet beware that thou go not towards the terrible sheep of this coast, until such time as the heat of the sun be past, for when the sun is in his force, then seem they most dreadful and furious, with their sharp horns, their stony foreheads and their gaping throats, wherewith they arm themselves to the destruction of mankind. But until they have refreshed themselves in the river, thou maist hide thy self here by me, under this great plain tree, and as soon as their great fury is past, thou maist go among the thickets and bushes under the wood side and gather the locks their golden Fleeces, which thou shalt find hanging up on the briers.”

It seems the dangerous and passionate rams were unapproachable in their wild state. Direct confrontation would mean certain death, just as anger and hatred, although they can erupt along side of love, can also be love’s death.

Having contained the burning passion of the wild rams, Psyche presents handfuls of golden wool to Aphrodite by morning. Without pause, Psyche immediately receives another labor.
Now she must gather water from the deadly waters of the river Styx. She receives only a crystal bottle to contain the black liquid, the sight of which brings fear even to the hearts’ of the gods.

As Psyche climbed up the path towards the headwaters of Styx, she intended again to end her life. She could glean no hope of ever accomplishing her task. When she arrived at the crest she stopped stone still and gazed at the two giant and bloody necked dragons guarding the precipice which marked, hundreds of feet below, the caustic rive Styx.

Psyche faints again. She felt nothing in her body or her heart, neither could she take action of any kind. At this point, Zeus’s eagle offers to help. (It is not clear whether Zeus sent him or he came of his own accord, yet there is implication that Zeus felt indebted to Eros for the affair with Ganimedes, the young boy made cup bearer to the gods.) The great Eagle spoke to Psyche and offered to take the bottle and collect the deadly black water himself. This he does and Psyche, not of her own accord, completes yet another task.

Unlike the fierce and wild nature of the passionate rams, the waters of the river Styx may represent the cold cruel hatred of frozen feelings. It seems these too must be sought and contained if Eros is to be won back. Like the wool and the sorting of the grain, Psyche must step aside, stand still, or even sleep, allowing the unconscious to complete the task.


Readers who find it frustrating that Psyche never seems to gain any overt courage, resolve or strength from her subsequent tasks probably view this “stepping aside” as weak or degrading. On the contrary, in this case it is the necessary and only way to accomplish the labor. At times, to acquiesce takes more courage than to fight.

Aphrodite then gives Psyche a final task, requiring her to descend into the underworld. She has to borrow some of Persephone’s beauty and place it in a box. She must deliver the box to Aphrodite, unopened and untouched.

Again, psyche’s first and foremost response is suicide. What quicker way to get to Hades than to die? She climbs to the top of a tower and attempts to throw herself off. The tower, however, is inspired, (it is unclear by whom), and speaks to Psyche.


He instructs her on how to enter the underworld without dying, how to avoid the distractions that will play upon her virtue and humanity, how to behave with Persephone and how to get out alive, with the box of beauty intact. Finally, Psyche gets to perform a task herself!

She follows the tower’s instructions to the letter. She ignores the lame man, the floating corpses, and the desperate weaving women. She ignores her ego drives to aid and assist. She allows Charon to extract a coin from her mouth and she tosses honey cakes to the terrifying three headed dog, Cerberus, who guards the gates of Hell. She is careful to accept no nourishment while in the underworld. She humbly procures the box of beauty from Persephone and retraces her steps back past Cerberus, across the river Styx and into the light of day.

It is then, her final task completed with full consciousness, that she causes her own death.
“When Psyches was returned from hell, to the light of the world, she was ravished with great desire, saying, Am not I a fool, that knowing that I carry here the divine beauty, will not take a little thereof to garnish my face, to please my love with all? And by and by she opened the box where she could perceive no beauty nor any thing else, save only an infernal and deadly sleep, which immediately invaded all her members as soon as the box was uncovered, in such sort that she fell down upon the ground, and lay there as a sleeping corpse.”

As Psyche slips into a deadly coma, Eros finally rises from his brooding. He sneaks out of the tower room in his mother’s palace, finds his wings and flies straight to Psyche.
It appears that the labors of Psyche have simultaneously transformed Eros as well.

“Eros, the fiery flighty spirit who came and went secretly and refused to be seen in the light, has acquired at least the substance of a healed wound. The Eros she knows now is…produced by the Soul’s contemplation of the Divine Mind; it is the medium through which she can finally be present to “that other loveliness”. He is the carrier of divine beauty which must, to become united with psyche and soma, be touched by the pain of earthly life.

Eros awakens Psyche with a prick from one of his arrows, returns the beauty to its box and says.

“O wretched captive, behold thou were well-nigh perished again, with the overmuch curiosity: well, go thou, and do thy message to my Mother, and in the mean season, I will provide for all things accordingly."

Obviously, his anger with Psyche has lost its edge. What Eros provided for was Psyche’s immortality, bestowed by Zeus and blessed, finally, by Aphrodite. The banquet on Mt. Olympus was attended by all the gods and goddesses, greater and lesser, demonstrating their universal admiration and acknowledgement of the union.

Not long after, a divine child was born to Psyche and Eros. The name they gave her was Pleasure.

In pursuing (Eros), we pursue our greatest desire. Yet, after all, we live in ignorance of how it will approach. We can only listen, and pray, for the sounds of Eros’ soft, quivering wings.”

Monday, November 26, 2007

The Little Mermaid - Hans Christian Andersen



FAR out in the ocean, where the water is as blue as the prettiest cornflower, and as clear as crystal, it is very, very deep; so deep, indeed, that no cable could fathom it: many church steeples, piled one upon another, would not reach from the ground beneath to the surface of the water above. There dwell the Sea King and his subjects. We must not imagine that there is nothing at the bottom of the sea but bare yellow sand. No, indeed; the most singular flowers and plants grow there; the leaves and stems of which are so pliant, that the slightest agitation of the water causes them to stir as if they had life. Fishes, both large and small, glide between the branches, as birds fly among the trees here upon land. In the deepest spot of all, stands the castle of the Sea King. Its walls are built of coral, and the long, gothic windows are of the clearest amber. The roof is formed of shells, that open and close as the water flows over them. Their appearance is very beautiful, for in each lies a glittering pearl, which would be fit for the diadem of a queen.

The Sea King had been a widower for many years, and his aged mother kept house for him. She was a very wise woman, and exceedingly proud of her high birth; on that account she wore twelve oysters on her tail; while others, also of high rank, were only allowed to wear six. She was, however, deserving of very great praise, especially for her care of the little sea-princesses, her grand-daughters. They were six beautiful children; but the youngest was the prettiest of them all; her skin was as clear and delicate as a rose-leaf, and her eyes as blue as the deepest sea; but, like all the others, she had no feet, and her body ended in a fish’s tail. All day long they played in the great halls of the castle, or among the living flowers that grew out of the walls. The large amber windows were open, and the fish swam in, just as the swallows fly into our houses when we open the windows, excepting that the fishes swam up to the princesses, ate out of their hands, and allowed themselves to be stroked.


Outside the castle there was a beautiful garden, in which grew bright red and dark blue flowers, and blossoms like flames of fire; the fruit glittered like gold, and the leaves and stems waved to and fro continually. The earth itself was the finest sand, but blue as the flame of burning sulphur. Over everything lay a peculiar blue radiance, as if it were surrounded by the air from above, through which the blue sky shone, instead of the dark depths of the sea. In calm weather the sun could be seen, looking like a purple flower, with the light streaming from the calyx. Each of the young princesses had a little plot of ground in the garden, where she might dig and plant as she pleased. One arranged her flower-bed into the form of a whale; another thought it better to make hers like the figure of a little mermaid; but that of the youngest was round like the sun, and contained flowers as red as his rays at sunset. She was a strange child, quiet and thoughtful; and while her sisters would be delighted with the wonderful things which they obtained from the wrecks of vessels, she cared for nothing but her pretty red flowers, like the sun, excepting a beautiful marble statue. It was the representation of a handsome boy, carved out of pure white stone, which had fallen to the bottom of the sea from a wreck. She planted by the statue a rose-colored weeping willow. It grew splendidly, and very soon hung its fresh branches over the statue, almost down to the blue sands. The shadow had a violet tint, and waved to and fro like the branches; it seemed as if the crown of the tree and the root were at play, and trying to kiss each other. Nothing gave her so much pleasure as to hear about the world above the sea. She made her old grandmother tell her all she knew of the ships and of the towns, the people and the animals. To her it seemed most wonderful and beautiful to hear that the flowers of the land should have fragrance, and not those below the sea; that the trees of the forest should be green; and that the fishes among the trees could sing so sweetly, that it was quite a pleasure to hear them. Her grandmother called the little birds fishes, or she would not have understood her; for she had never seen birds.


“When you have reached your fifteenth year,” said the grand-mother, “you will have permission to rise up out of the sea, to sit on the rocks in the moonlight, while the great ships are sailing by; and then you will see both forests and towns.”

In the following year, one of the sisters would be fifteen: but as each was a year younger than the other, the youngest would have to wait five years before her turn came to rise up from the bottom of the ocean, and see the earth as we do. However, each promised to tell the others what she saw on her first visit, and what she thought the most beautiful; for their grandmother could not tell them enough; there were so many things on which they wanted information. None of them longed so much for her turn to come as the youngest, she who had the longest time to wait, and who was so quiet and thoughtful. Many nights she stood by the open window, looking up through the dark blue water, and watching the fish as they splashed about with their fins and tails. She could see the moon and stars shining faintly; but through the water they looked larger than they do to our eyes. When something like a black cloud passed between her and them, she knew that it was either a whale swimming over her head, or a ship full of human beings, who never imagined that a pretty little mermaid was standing beneath them, holding out her white hands towards the keel of their ship.

As soon as the eldest was fifteen, she was allowed to rise to the surface of the ocean. When she came back, she had hundreds of things to talk about; but the most beautiful, she said, was to lie in the moonlight, on a sandbank, in the quiet sea, near the coast, and to gaze on a large town nearby, where the lights were twinkling like hundreds of stars; to listen to the sounds of the music, the noise of carriages, and the voices of human beings, and then to hear the merry bells peal out from the church steeples; and because she could not go near to all those wonderful things, she longed for them more than ever. Oh, did not the youngest sister listen eagerly to all these descriptions? and afterwards, when she stood at the open window looking up through the dark blue water, she thought of the great city, with all its bustle and noise, and even fancied she could hear the sound of the church bells, down in the depths of the sea.

In another year the second sister received permission to rise to the surface of the water, and to swim about where she pleased. She rose just as the sun was setting, and this, she said, was the most beautiful sight of all. The whole sky looked like gold, while violet and rose-colored clouds, which she could not describe, floated over her; and, still more rapidly than the clouds, flew a large flock of wild swans towards the setting sun, looking like a long white veil across the sea. She also swam towards the sun; but it sunk into the waves, and the rosy tints faded from the clouds and from the sea.

The third sister’s turn followed; she was the boldest of them all, and she swam up a broad river that emptied itself into the sea. On the banks she saw green hills covered with beautiful vines; palaces and castles peeped out from amid the proud trees of the forest; she heard the birds singing, and the rays of the sun were so powerful that she was obliged often to dive down under the water to cool her burning face. In a narrow creek she found a whole troop of little human children, quite naked, and sporting about in the water; she wanted to play with them, but they fled in a great fright; and then a little black animal came to the water; it was a dog, but she did not know that, for she had never before seen one. This animal barked at her so terribly that she became frightened, and rushed back to the open sea. But she said she should never forget the beautiful forest, the green hills, and the pretty little children who could swim in the water, although they had not fish’s tails.

The fourth sister was more timid; she remained in the midst of the sea, but she said it was quite as beautiful there as nearer the land. She could see for so many miles around her, and the sky above looked like a bell of glass. She had seen the ships, but at such a great distance that they looked like sea-gulls. The dolphins sported in the waves, and the great whales spouted water from their nostrils till it seemed as if a hundred fountains were playing in every direction.
The fifth sister’s birthday occurred in the winter; so when her turn came, she saw what the others had not seen the first time they went up. The sea looked quite green, and large icebergs were floating about, each like a pearl, she said, but larger and loftier than the churches built by men. They were of the most singular shapes, and glittered like diamonds. She had seated herself upon one of the largest, and let the wind play with her long hair, and she remarked that all the ships sailed by rapidly, and steered as far away as they could from the iceberg, as if they were afraid of it. Towards evening, as the sun went down, dark clouds covered the sky, the thunder rolled and the lightning flashed, and the red light glowed on the icebergs as they rocked and tossed on the heaving sea. On all the ships the sails were reefed with fear and trembling, while she sat calmly on the floating iceberg, watching the blue lightning, as it darted its forked flashes into the sea.

When first the sisters had permission to rise to the surface, they were each delighted with the new and beautiful sights they saw; but now, as grown-up girls, they could go when they pleased, and they had become indifferent about it. They wished themselves back again in the water, and after a month had passed they said it was much more beautiful down below, and pleasanter to be at home. Yet often, in the evening hours, the five sisters would twine their arms round each other, and rise to the surface, in a row. They had more beautiful voices than any human being could have; and before the approach of a storm, and when they expected a ship would be lost, they swam before the vessel, and sang sweetly of the delights to be found in the depths of the sea, and begging the sailors not to fear if they sank to the bottom. But the sailors could not understand the song, they took it for the howling of the storm. And these things were never to be beautiful for them; for if the ship sank, the men were drowned, and their dead bodies alone reached the palace of the Sea King.

When the sisters rose, arm-in-arm, through the water in this way, their youngest sister would stand quite alone, looking after them, ready to cry, only that the mermaids have no tears, and therefore they suffer more. “Oh, were I but fifteen years old,” said she: “I know that I shall love the world up there, and all the people who live in it.”

At last she reached her fifteenth year. “Well, now, you are grown up,” said the old dowager, her grandmother; “so you must let me adorn you like your other sisters;” and she placed a wreath of white lilies in her hair, and every flower leaf was half a pearl. Then the old lady ordered eight great oysters to attach themselves to the tail of the princess to show her high rank.
“But they hurt me so,” said the little mermaid.

“Pride must suffer pain,” replied the old lady. Oh, how gladly she would have shaken off all this grandeur, and laid aside the heavy wreath! The red flowers in her own garden would have suited her much better, but she could not help herself: so she said, “Farewell,” and rose as lightly as a bubble to the surface of the water. The sun had just set as she raised her head above the waves; but the clouds were tinted with crimson and gold, and through the glimmering twilight beamed the evening star in all its beauty. The sea was calm, and the air mild and fresh.


A large ship, with three masts, lay becalmed on the water, with only one sail set; for not a breeze stiffed, and the sailors sat idle on deck or amongst the rigging. There was music and song on board; and, as darkness came on, a hundred colored lanterns were lighted, as if the flags of all nations waved in the air. The little mermaid swam close to the cabin windows; and now and then, as the waves lifted her up, she could look in through clear glass window-panes, and see a number of well-dressed people within. Among them was a young prince, the most beautiful of all, with large black eyes; he was sixteen years of age, and his birthday was being kept with much rejoicing. The sailors were dancing on deck, but when the prince came out of the cabin, more than a hundred rockets rose in the air, making it as bright as day. The little mermaid was so startled that she dived under water; and when she again stretched out her head, it appeared as if all the stars of heaven were falling around her, she had never seen such fireworks before. Great suns spurted fire about, splendid fireflies flew into the blue air, and everything was reflected in the clear, calm sea beneath. The ship itself was so brightly illuminated that all the people, and even the smallest rope, could be distinctly and plainly seen. And how handsome the young prince looked, as he pressed the hands of all present and smiled at them, while the music resounded through the clear night air.

It was very late; yet the little mermaid could not take her eyes from the ship, or from the beautiful prince. The colored lanterns had been extinguished, no more rockets rose in the air, and the cannon had ceased firing; but the sea became restless, and a moaning, grumbling sound could be heard beneath the waves: still the little mermaid remained by the cabin window, rocking up and down on the water, which enabled her to look in. After a while, the sails were quickly unfurled, and the noble ship continued her passage; but soon the waves rose higher, heavy clouds darkened the sky, and lightning appeared in the distance. A dreadful storm was approaching; once more the sails were reefed, and the great ship pursued her flying course over the raging sea. The waves rose mountains high, as if they would have overtopped the mast; but the ship dived like a swan between them, and then rose again on their lofty, foaming crests. To the little mermaid this appeared pleasant sport; not so to the sailors. At length the ship groaned and creaked; the thick planks gave way under the lashing of the sea as it broke over the deck; the mainmast snapped asunder like a reed; the ship lay over on her side; and the water rushed in.


The little mermaid now perceived that the crew were in danger; even she herself was obliged to be careful to avoid the beams and planks of the wreck which lay scattered on the water. At one moment it was so pitch dark that she could not see a single object, but a flash of lightning revealed the whole scene; she could see every one who had been on board excepting the prince; when the ship parted, she had seen him sink into the deep waves, and she was glad, for she thought he would now be with her; and then she remembered that human beings could not live in the water, so that when he got down to her father’s palace he would be quite dead. But he must not die.


So she swam about among the beams and planks which strewed the surface of the sea, forgetting that they could crush her to pieces. Then she dived deeply under the dark waters, rising and falling with the waves, till at length she managed to reach the young prince, who was fast losing the power of swimming in that stormy sea. His limbs were failing him, his beautiful eyes were closed, and he would have died had not the little mermaid come to his assistance. She held his head above the water, and let the waves drift them where they would.

In the morning the storm had ceased; but of the ship not a single fragment could be seen. The sun rose up red and glowing from the water, and its beams brought back the hue of health to the prince’s cheeks; but his eyes remained closed. The mermaid kissed his high, smooth forehead, and stroked back his wet hair; he seemed to her like the marble statue in her little garden, and she kissed him again, and wished that he might live. Presently they came in sight of land; she saw lofty blue mountains, on which the white snow rested as if a flock of swans were lying upon them. Near the coast were beautiful green forests, and close by stood a large building, whether a church or a convent she could not tell. Orange and citron trees grew in the garden, and before the door stood lofty palms. The sea here formed a little bay, in which the water was quite still, but very deep; so she swam with the handsome prince to the beach, which was covered with fine, white sand, and there she laid him in the warm sunshine, taking care to raise his head higher than his body.


Then bells sounded in the large white building, and a number of young girls came into the garden. The little mermaid swam out farther from the shore and placed herself between some high rocks that rose out of the water; then she covered her head and neck with the foam of the sea so that her little face might not be seen, and watched to see what would become of the poor prince. She did not wait long before she saw a young girl approach the spot where he lay. She seemed frightened at first, but only for a moment; then she fetched a number of people, and the mermaid saw that the prince came to life again, and smiled upon those who stood round him. But to her he sent no smile; he knew not that she had saved him. This made her very unhappy, and when he was led away into the great building, she dived down sorrowfully into the water, and returned to her father’s castle.


She had always been silent and thoughtful, and now she was more so than ever. Her sisters asked her what she had seen during her first visit to the surface of the water; but she would tell them nothing. Many an evening and morning did she rise to the place where she had left the prince. She saw the fruits in the garden ripen till they were gathered, the snow on the tops of the mountains melt away; but she never saw the prince, and therefore she returned home, always more sorrowful than before. It was her only comfort to sit in her own little garden, and fling her arm round the beautiful marble statue which was like the prince; but she gave up tending her flowers, and they grew in wild confusion over the paths, twining their long leaves and stems round the branches of the trees, so that the whole place became dark and gloomy. At length she could bear it no longer, and told one of her sisters all about it. Then the others heard the secret, and very soon it became known to two mermaids whose intimate friend happened to know who the prince was. She had also seen the festival on board ship, and she told them where the prince came from, and where his palace stood.


“Come, little sister,” said the other princesses; then they entwined their arms and rose up in a long row to the surface of the water, close by the spot where they knew the prince’s palace stood. It was built of bright yellow shining stone, with long flights of marble steps, one of which reached quite down to the sea. Splendid gilded cupolas rose over the roof, and between the pillars that surrounded the whole building stood life-like statues of marble. Through the clear crystal of the lofty windows could be seen noble rooms, with costly silk curtains and hangings of tapestry; while the walls were covered with beautiful paintings which were a pleasure to look at. In the centre of the largest saloon a fountain threw its sparkling jets high up into the glass cupola of the ceiling, through which the sun shone down upon the water and upon the beautiful plants growing round the basin of the fountain. Now that she knew where he lived, she spent many an evening and many a night on the water near the palace. She would swim much nearer the shore than any of the others ventured to do; indeed once she went quite up the narrow channel under the marble balcony, which threw a broad shadow on the water. Here she would sit and watch the young prince, who thought himself quite alone in the bright moonlight.


She saw him many times of an evening sailing in a pleasant boat, with music playing and flags waving. She peeped out from among the green rushes, and if the wind caught her long silvery-white veil, those who saw it believed it to be a swan, spreading out its wings. On many a night, too, when the fishermen, with their torches, were out at sea, she heard them relate so many good things about the doings of the young prince, that she was glad she had saved his life when he had been tossed about half-dead on the waves. And she remembered that his head had rested on her bosom, and how heartily she had kissed him; but he knew nothing of all this, and could not even dream of her. She grew more and more fond of human beings, and wished more and more to be able to wander about with those whose world seemed to be so much larger than her own. They could fly over the sea in ships, and mount the high hills which were far above the clouds; and the lands they possessed, their woods and their fields, stretched far away beyond the reach of her sight. There was so much that she wished to know, and her sisters were unable to answer all her questions. Then she applied to her old grandmother, who knew all about the upper world, which she very rightly called the lands above the sea.

“If human beings are not drowned,” asked the little mermaid, “can they live forever? do they never die as we do here in the sea?”

“Yes,” replied the old lady, “they must also die, and their term of life is even shorter than ours. We sometimes live to three hundred years, but when we cease to exist here we only become the foam on the surface of the water, and we have not even a grave down here of those we love. We have not immortal souls, we shall never live again; but, like the green sea-weed, when once it has been cut off, we can never flourish more. Human beings, on the contrary, have a soul which lives forever, lives after the body has been turned to dust. It rises up through the clear, pure air beyond the glittering stars. As we rise out of the water, and behold all the land of the earth, so do they rise to unknown and glorious regions which we shall never see.”

“Why have not we an immortal soul?” asked the little mermaid mournfully; “I would give gladly all the hundreds of years that I have to live, to be a human being only for one day, and to have the hope of knowing the happiness of that glorious world above the stars.”

“You must not think of that,” said the old woman; “we feel ourselves to be much happier and much better off than human beings.”
“So I shall die,” said the little mermaid, “and as the foam of the sea I shall be driven about never again to hear the music of the waves, or to see the pretty flowers nor the red sun. Is there anything I can do to win an immortal soul?”

“No,” said the old woman, “unless a man were to love you so much that you were more to him than his father or mother; and if all his thoughts and all his love were fixed upon you, and the priest placed his right hand in yours, and he promised to be true to you here and hereafter, then his soul would glide into your body and you would obtain a share in the future happiness of mankind. He would give a soul to you and retain his own as well; but this can never happen. Your fish’s tail, which amongst us is considered so beautiful, is thought on earth to be quite ugly; they do not know any better, and they think it necessary to have two stout props, which they call legs, in order to be handsome.”

Then the little mermaid sighed, and looked sorrowfully at her fish’s tail. “Let us be happy,” said the old lady, “and dart and spring about during the three hundred years that we have to live, which is really quite long enough; after that we can rest ourselves all the better. This evening we are going to have a court ball.”

It is one of those splendid sights which we can never see on earth. The walls and the ceiling of the large ball-room were of thick, but transparent crystal. May hundreds of colossal shells, some of a deep red, others of a grass green, stood on each side in rows, with blue fire in them, which lighted up the whole saloon, and shone through the walls, so that the sea was also illuminated. Innumerable fishes, great and small, swam past the crystal walls; on some of them the scales glowed with a purple brilliancy, and on others they shone like silver and gold. Through the halls flowed a broad stream, and in it danced the mermen and the mermaids to the music of their own sweet singing. No one on earth has such a lovely voice as theirs. The little mermaid sang more sweetly than them all.


The whole court applauded her with hands and tails; and for a moment her heart felt quite gay, for she knew she had the loveliest voice of any on earth or in the sea. But she soon thought again of the world above her, for she could not forget the charming prince, nor her sorrow that she had not an immortal soul like his; therefore she crept away silently out of her father’s palace, and while everything within was gladness and song, she sat in her own little garden sorrowful and alone.


Then she heard the bugle sounding through the water, and thought—“He is certainly sailing above, he on whom my wishes depend, and in whose hands I should like to place the happiness of my life. I will venture all for him, and to win an immortal soul, while my sisters are dancing in my father’s palace, I will go to the sea witch, of whom I have always been so much afraid, but she can give me counsel and help.”

And then the little mermaid went out from her garden, and took the road to the foaming whirlpools, behind which the sorceress lived. She had never been that way before: neither flowers nor grass grew there; nothing but bare, gray, sandy ground stretched out to the whirlpool, where the water, like foaming mill-wheels, whirled round everything that it seized, and cast it into the fathomless deep. Through the midst of these crushing whirlpools the little mermaid was obliged to pass, to reach the dominions of the sea witch; and also for a long distance the only road lay right across a quantity of warm, bubbling mire, called by the witch her turfmoor. Beyond this stood her house, in the centre of a strange forest, in which all the trees and flowers were polypi, half animals and half plants; they looked like serpents with a hundred heads growing out of the ground. The branches were long slimy arms, with fingers like flexible worms, moving limb after limb from the root to the top. All that could be reached in the sea they seized upon, and held fast, so that it never escaped from their clutches. The little mermaid was so alarmed at what she saw, that she stood still, and her heart beat with fear, and she was very nearly turning back; but she thought of the prince, and of the human soul for which she longed, and her courage returned.


She fastened her long flowing hair round her head, so that the polypi might not seize hold of it. She laid her hands together across her bosom, and then she darted forward as a fish shoots through the water, between the supple arms and fingers of the ugly polypi, which were stretched out on each side of her. She saw that each held in its grasp something it had seized with its numerous little arms, as if they were iron bands. The white skeletons of human beings who had perished at sea, and had sunk down into the deep waters, skeletons of land animals, oars, rudders, and chests of ships were lying tightly grasped by their clinging arms; even a little mermaid, whom they had caught and strangled; and this seemed the most shocking of all to the little princess.

She now came to a space of marshy ground in the wood, where large, fat water-snakes were rolling in the mire, and showing their ugly, drab-colored bodies. In the midst of this spot stood a house, built with the bones of shipwrecked human beings. There sat the sea witch, allowing a toad to eat from her mouth, just as people sometimes feed a canary with a piece of sugar. She called the ugly water-snakes her little chickens, and allowed them to crawl all over her bosom.

“I know what you want,” said the sea witch; “it is very stupid of you, but you shall have your way, and it will bring you to sorrow, my pretty princess. You want to get rid of your fish’s tail, and to have two supports instead of it, like human beings on earth, so that the young prince may fall in love with you, and that you may have an immortal soul.” And then the witch laughed so loud and disgustingly, that the toad and the snakes fell to the ground, and lay there wriggling about. “You are but just in time,” said the witch; “for after sunrise to-morrow I should not be able to help you till the end of another year. I will prepare a draught for you, with which you must swim to land tomorrow before sunrise, and sit down on the shore and drink it. Your tail will then disappear, and shrink up into what mankind calls legs, and you will feel great pain, as if a sword were passing through you. But all who see you will say that you are the prettiest little human being they ever saw.


You will still have the same floating gracefulness of movement, and no dancer will ever tread so lightly; but at every step you take it will feel as if you were treading upon sharp knives, and that the blood must flow. If you will bear all this, I will help you.”

“Yes, I will,” said the little princess in a trembling voice, as she thought of the prince and the immortal soul.

“But think again,” said the witch; “for when once your shape has become like a human being, you can no more be a mermaid. You will never return through the water to your sisters, or to your father’s palace again; and if you do not win the love of the prince, so that he is willing to forget his father and mother for your sake, and to love you with his whole soul, and allow the priest to join your hands that you may be man and wife, then you will never have an immortal soul. The first morning after he marries another your heart will break, and you will become foam on the crest of the waves.”

“I will do it,” said the little mermaid, and she became pale as death.

“But I must be paid also,” said the witch, “and it is not a trifle that I ask. You have the sweetest voice of any who dwell here in the depths of the sea, and you believe that you will be able to charm the prince with it also, but this voice you must give to me; the best thing you possess will I have for the price of my draught. My own blood must be mixed with it, that it may be as sharp as a two-edged sword.”

“But if you take away my voice,” said the little mermaid, “what is left for me?”
“Your beautiful form, your graceful walk, and your expressive eyes; surely with these you can enchain a man’s heart. Well, have you lost your courage? Put out your little tongue that I may cut it off as my payment; then you shall have the powerful draught.”

“It shall be,” said the little mermaid.

Then the witch placed her cauldron on the fire, to prepare the magic draught.
“Cleanliness is a good thing,” said she, scouring the vessel with snakes, which she had tied together in a large knot; then she pricked herself in the breast, and let the black blood drop into it. The steam that rose formed itself into such horrible shapes that no one could look at them without fear. Every moment the witch threw something else into the vessel, and when it began to boil, the sound was like the weeping of a crocodile. When at last the magic draught was ready, it looked like the clearest water.


“There it is for you,” said the witch. Then she cut off the mermaid’s tongue, so that she became dumb, and would never again speak or sing. “If the polypi should seize hold of you as you return through the wood,” said the witch, “throw over them a few drops of the potion, and their fingers will be torn into a thousand pieces.” But the little mermaid had no occasion to do this, for the polypi sprang back in terror when they caught sight of the glittering draught, which shone in her hand like a twinkling star.

So she passed quickly through the wood and the marsh, and between the rushing whirlpools. She saw that in her father’s palace the torches in the ballroom were extinguished, and all within asleep; but she did not venture to go in to them, for now she was dumb and going to leave them forever, she felt as if her heart would break. She stole into the garden, took a flower from the flower-beds of each of her sisters, kissed her hand a thousand times towards the palace, and then rose up through the dark blue waters.


The sun had not risen when she came in sight of the prince’s palace, and approached the beautiful marble steps, but the moon shone clear and bright. Then the little mermaid drank the magic draught, and it seemed as if a two-edged sword went through her delicate body: she fell into a swoon, and lay like one dead. When the sun arose and shone over the sea, she recovered, and felt a sharp pain; but just before her stood the handsome young prince.


He fixed his coal-black eyes upon her so earnestly that she cast down her own, and then became aware that her fish’s tail was gone, and that she had as pretty a pair of white legs and tiny feet as any little maiden could have; but she had no clothes, so she wrapped herself in her long, thick hair. The prince asked her who she was, and where she came from, and she looked at him mildly and sorrowfully with her deep blue eyes; but she could not speak.


Every step she took was as the witch had said it would be, she felt as if treading upon the points of needles or sharp knives; but she bore it willingly, and stepped as lightly by the prince’s side as a soap-bubble, so that he and all who saw her wondered at her graceful-swaying movements.


She was very soon arrayed in costly robes of silk and muslin, and was the most beautiful creature in the palace; but she was dumb, and could neither speak nor sing.

Beautiful female slaves, dressed in silk and gold, stepped forward and sang before the prince and his royal parents: one sang better than all the others, and the prince clapped his hands and smiled at her. This was great sorrow to the little mermaid; she knew how much more sweetly she herself could sing once, and she thought, “Oh if he could only know that! I have given away my voice forever, to be with him.”

The slaves next performed some pretty fairy-like dances, to the sound of beautiful music. Then the little mermaid raised her lovely white arms, stood on the tips of her toes, and glided over the floor, and danced as no one yet had been able to dance. At each moment her beauty became more revealed, and her expressive eyes appealed more directly to the heart than the songs of the slaves. Every one was enchanted, especially the prince, who called her his little foundling; and she danced again quite readily, to please him, though each time her foot touched the floor it seemed as if she trod on sharp knives.

The prince said she should remain with him always, and she received permission to sleep at his door, on a velvet cushion. He had a page’s dress made for her, that she might accompany him on horseback. They rode together through the sweet-scented woods, where the green boughs touched their shoulders, and the little birds sang among the fresh leaves. She climbed with the prince to the tops of high mountains; and although her tender feet bled so that even her steps were marked, she only laughed, and followed him till they could see the clouds beneath them looking like a flock of birds travelling to distant lands. While at the prince’s palace, and when all the household were asleep, she would go and sit on the broad marble steps; for it eased her burning feet to bathe them in the cold sea-water; and then she thought of all those below in the deep.

Once during the night her sisters came up arm-in-arm, singing sorrowfully, as they floated on the water. She beckoned to them, and then they recognized her, and told her how she had grieved them. After that, they came to the same place every night; and once she saw in the distance her old grandmother, who had not been to the surface of the sea for many years, and the old Sea King, her father, with his crown on his head. They stretched out their hands towards her, but they did not venture so near the land as her sisters did.

As the days passed, she loved the prince more fondly, and he loved her as he would love a little child, but it never came into his head to make her his wife; yet, unless he married her, she could not receive an immortal soul; and, on the morning after his marriage with another, she would dissolve into the foam of the sea.

“Do you not love me the best of them all?” the eyes of the little mermaid seemed to say, when he took her in his arms, and kissed her fair forehead.

“Yes, you are dear to me,” said the prince; “for you have the best heart, and you are the most devoted to me; you are like a young maiden whom I once saw, but whom I shall never meet again. I was in a ship that was wrecked, and the waves cast me ashore near a holy temple, where several young maidens performed the service. The youngest of them found me on the shore, and saved my life. I saw her but twice, and she is the only one in the world whom I could love; but you are like her, and you have almost driven her image out of my mind. She belongs to the holy temple, and my good fortune has sent you to me instead of her; and we will never part.”

“Ah, he knows not that it was I who saved his life,” thought the little mermaid. “I carried him over the sea to the wood where the temple stands: I sat beneath the foam, and watched till the human beings came to help him. I saw the pretty maiden that he loves better than he loves me;” and the mermaid sighed deeply, but she could not shed tears. “He says the maiden belongs to the holy temple, therefore she will never return to the world. They will meet no more: while I am by his side, and see him every day. I will take care of him, and love him, and give up my life for his sake.”

Very soon it was said that the prince must marry, and that the beautiful daughter of a neighboring king would be his wife, for a fine ship was being fitted out. Although the prince gave out that he merely intended to pay a visit to the king, it was generally supposed that he really went to see his daughter. A great company were to go with him. The little mermaid smiled, and shook her head. She knew the prince’s thoughts better than any of the others.

“I must travel,” he had said to her; “I must see this beautiful princess; my parents desire it; but they will not oblige me to bring her home as my bride. I cannot love her; she is not like the beautiful maiden in the temple, whom you resemble. If I were forced to choose a bride, I would rather choose you, my dumb foundling, with those expressive eyes.” And then he kissed her rosy mouth, played with her long waving hair, and laid his head on her heart, while she dreamed of human happiness and an immortal soul. “You are not afraid of the sea, my dumb child,” said he, as they stood on the deck of the noble ship which was to carry them to the country of the neighboring king. And then he told her of storm and of calm, of strange fishes in the deep beneath them, and of what the divers had seen there; and she smiled at his descriptions, for she knew better than any one what wonders were at the bottom of the sea.

In the moonlight, when all on board were asleep, excepting the man at the helm, who was steering, she sat on the deck, gazing down through the clear water. She thought she could distinguish her father’s castle, and upon it her aged grandmother, with the silver crown on her head, looking through the rushing tide at the keel of the vessel. Then her sisters came up on the waves, and gazed at her mournfully, wringing their white hands. She beckoned to them, and smiled, and wanted to tell them how happy and well off she was; but the cabin-boy approached, and when her sisters dived down he thought it was only the foam of the sea which he saw.
The next morning the ship sailed into the harbor of a beautiful town belonging to the king whom the prince was going to visit. The church bells were ringing, and from the high towers sounded a flourish of trumpets; and soldiers, with flying colors and glittering bayonets, lined the rocks through which they passed. Every day was a festival; balls and entertainments followed one another.

But the princess had not yet appeared. People said that she was being brought up and educated in a religious house, where she was learning every royal virtue. At last she came. Then the little mermaid, who was very anxious to see whether she was really beautiful, was obliged to acknowledge that she had never seen a more perfect vision of beauty. Her skin was delicately fair, and beneath her long dark eye-lashes her laughing blue eyes shone with truth and purity.
“It was you,” said the prince, “who saved my life when I lay dead on the beach,” and he folded his blushing bride in his arms. “Oh, I am too happy,” said he to the little mermaid; “my fondest hopes are all fulfilled. You will rejoice at my happiness; for your devotion to me is great and sincere.”

The little mermaid kissed his hand, and felt as if her heart were already broken. His wedding morning would bring death to her, and she would change into the foam of the sea. All the church bells rung, and the heralds rode about the town proclaiming the betrothal. Perfumed oil was burning in costly silver lamps on every altar. The priests waved the censers, while the bride and bridegroom joined their hands and received the blessing of the bishop. The little mermaid, dressed in silk and gold, held up the bride’s train; but her ears heard nothing of the festive music, and her eyes saw not the holy ceremony; she thought of the night of death which was coming to her, and of all she had lost in the world.


On the same evening the bride and bridegroom went on board ship; cannons were roaring, flags waving, and in the centre of the ship a costly tent of purple and gold had been erected. It contained elegant couches, for the reception of the bridal pair during the night. The ship, with swelling sails and a favorable wind, glided away smoothly and lightly over the calm sea. When it grew dark a number of colored lamps were lit, and the sailors danced merrily on the deck.


The little mermaid could not help thinking of her first rising out of the sea, when she had seen similar festivities and joys; and she joined in the dance, poised herself in the air as a swallow when he pursues his prey, and all present cheered her with wonder. She had never danced so elegantly before. Her tender feet felt as if cut with sharp knives, but she cared not for it; a sharper pang had pierced through her heart. She knew this was the last evening she should ever see the prince, for whom she had forsaken her kindred and her home; she had given up her beautiful voice, and suffered unheard-of pain daily for him, while he knew nothing of it.


This was the last evening that she would breathe the same air with him, or gaze on the starry sky and the deep sea; an eternal night, without a thought or a dream, awaited her: she had no soul and now she could never win one. All was joy and gayety on board ship till long after midnight; she laughed and danced with the rest, while the thoughts of death were in her heart. The prince kissed his beautiful bride, while she played with his raven hair, till they went arm-in-arm to rest in the splendid tent. Then all became still on board the ship; the helmsman, alone awake, stood at the helm. The little mermaid leaned her white arms on the edge of the vessel, and looked towards the east for the first blush of morning, for that first ray of dawn that would bring her death. She saw her sisters rising out of the flood: they were as pale as herself; but their long beautiful hair waved no more in the wind, and had been cut off.

“We have given our hair to the witch,” said they, “to obtain help for you, that you may not die to-night. She has given us a knife: here it is, see it is very sharp. Before the sun rises you must plunge it into the heart of the prince; when the warm blood falls upon your feet they will grow together again, and form into a fish’s tail, and you will be once more a mermaid, and return to us to live out your three hundred years before you die and change into the salt sea foam. Haste, then; he or you must die before sunrise. Our old grandmother moans so for you, that her white hair is falling off from sorrow, as ours fell under the witch’s scissors. Kill the prince and come back; hasten: do you not see the first red streaks in the sky? In a few minutes the sun will rise, and you must die.” And then they sighed deeply and mournfully, and sank down beneath the waves.

The little mermaid drew back the crimson curtain of the tent, and beheld the fair bride with her head resting on the prince’s breast. She bent down and kissed his fair brow, then looked at the sky on which the rosy dawn grew brighter and brighter; then she glanced at the sharp knife, and again fixed her eyes on the prince, who whispered the name of his bride in his dreams. She was in his thoughts, and the knife trembled in the hand of the little mermaid: then she flung it far away from her into the waves; the water turned red where it fell, and the drops that spurted up looked like blood.


She cast one more lingering, half-fainting glance at the prince, and then threw herself from the ship into the sea, and thought her body was dissolving into foam. The sun rose above the waves, and his warm rays fell on the cold foam of the little mermaid, who did not feel as if she were dying.


She saw the bright sun, and all around her floated hundreds of transparent beautiful beings; she could see through them the white sails of the ship, and the red clouds in the sky; their speech was melodious, but too ethereal to be heard by mortal ears, as they were also unseen by mortal eyes. The little mermaid perceived that she had a body like theirs, and that she continued to rise higher and higher out of the foam.


“Where am I?” asked she, and her voice sounded ethereal, as the voice of those who were with her; no earthly music could imitate it.

“Among the daughters of the air,” answered one of them. “A mermaid has not an immortal soul, nor can she obtain one unless she wins the love of a human being. On the power of another hangs her eternal destiny. But the daughters of the air, although they do not possess an immortal soul, can, by their good deeds, procure one for themselves.


We fly to warm countries, and cool the sultry air that destroys mankind with the pestilence. We carry the perfume of the flowers to spread health and restoration. After we have striven for three hundred years to all the good in our power, we receive an immortal soul and take part in the happiness of mankind. You, poor little mermaid, have tried with your whole heart to do as we are doing; you have suffered and endured and raised yourself to the spirit-world by your good deeds; and now, by striving for three hundred years in the same way, you may obtain an immortal soul.”

The little mermaid lifted her glorified eyes towards the sun, and felt them, for the first time, filling with tears. On the ship, in which she had left the prince, there were life and noise; she saw him and his beautiful bride searching for her; sorrowfully they gazed at the pearly foam, as if they knew she had thrown herself into the waves. Unseen she kissed the forehead of her bride, and fanned the prince, and then mounted with the other children of the air to a rosy cloud that floated through the aether.

“After three hundred years, thus shall we float into the kingdom of heaven,” said she. “And we may even get there sooner,” whispered one of her companions. “Unseen we can enter the houses of men, where there are children, and for every day on which we find a good child, who is the joy of his parents and deserves their love, our time of probation is shortened. The child does not know, when we fly through the room, that we smile with joy at his good conduct, for we can count one year less of our three hundred years. But when we see a naughty or a wicked child, we shed tears of sorrow, and for every tear a day is added to our time of trial!”

Saturday, November 10, 2007

Longing





Come to me in my dreams,

and then

By day I shall be well again!

For so the night will more than pay

The hopeless longing of the day

.Come, as thou cam'st a thousand times,

A messenger from radiant climes,

And smile on thy new world,

and be As kind to others as to me!

Or, as thou never cam'st in sooth,

Come now, and let me dream it truth,

And part my hair, and kiss my brow,

And say,

My love why sufferest thou?

Come to me in my dreams,

and then By day I shall be well again!

For so the night will more than pay

The hopeless longing of the day.


Matthew Arnold

Saturday, November 3, 2007

Samhain


The Fire Festivals


The four fire festivals marked the turning of the seasons. Two of the fire festivals, Samhain and Beltane, were considered to be male, and Imbolc and Lughnasadh were female. Each was celebrated for three days - before, during and after the official day of observance.

Samhain

Our modern celebration of Halloween is a descendent of the ancient Celtic festival called "Samhain;" meaning Summer's End. Samhain was the first day of winter, and the end of one pastoral year. It was the time when the night became longer than the day, the last apples were picked, and the year began again with its dark winter half. Also called Samhiunn or Hallowe'en, this festival is sometimes called Trinoux Samonia or "Three Nights of the End of Summer."
Originally a Druidic festival, it was celebrated on the eve of November 1 (October 31 - technically, either date is appropriate as the Celts measured the day from sunset to sunset.) It is balanced by Beltane (or Bealtaine, Beltaine) which signals the start of summer, 6 months later. The ancient Celts probably held them exactly mid-way between an equinox (when day and night were equal) and the following solstice (when the nighttime was shortest or longest).

In ancient times all of the fires of Ireland were extinguished and relighted from the one great fire kindled by the King's chief Druid, on the hill of Tlachtga. Members of each family would light torches to carry back and rekindle their own hearth-fires, which were then kept burning the rest of the year. The assemblies of the five Irish provinces at Tara Hill, the seat of the Irish king, took place at Samhain. These gatherings were celebrated with horse races, fairs, markets, assembly rites, political discussions, and ritual mourning for the passage of summer.

Samhain is a time when the veil between this world and the Otherworld (or the Sídh,) was very thin, and divine beings, the spirits of the dead, and mortals can move freely between one world and the next. In some Celtic traditions, most notably the Scottish Highlands, young men would run the boundaries of their farms after sunset with blazing torches to protect the family from the Faeries and malevolent forces that were free to walk the land at night, causing mischief. Samhain was seen as a time when the future could most easily be predicted, and was a favored time among Druids for ritual fortune-telling.

As in other major Celtic Festivals, Samhain was a gateway, a celebration of the transition from one season and another. In Celtic mythology, at the heart of every gateway is a paradox. The threshold is literally between two worlds but is, in itself, in neither and in both at the same time. Thus Samhain belonged to both Summer and Winter...and to neither. It was the gateway to the winter, and a magical time of passage between the seasons.

As in many pastoral societies, winter was regarded with a mixture of anticipation and dread. Samhain was the last gasp of summer... a time of uninhibited feasting, dancing and celebration. It was a time of release; a time to let go of all unwanted baggage, fears and attitudes, just as the trees let go of their leaves. So the lives of men parallel the sacred cycles of nature.

Tuesday, October 30, 2007

Twickehanham Garden -John Donne




BLASTED with sighs, and surrounded with tears,

Hither I come to seek the spring,

And at mine eyes, and at mine ears,

Receive such balms as else cure every thing.

But O ! self-traitor, I do bring

The spider Love, which transubstantiates all,

And can convert manna to gall ;

And that this place may thoroughly be thought

True paradise, I have the serpent brought.

'Twere wholesomer for me that winter did

Benight the glory of this place,

And that a grave frost did forbid

These trees to laugh and mock me to my face ;

But that I may not this disgrace

Endure,

nor yet leave loving,

Love, let meSome senseless piece of this place be ;

Make me a mandrake,

so I may grow here,

Or a stone fountain weeping out my year.

Hither with crystal phials, lovers, come,

And take my tears, which are love's wine,

And try your mistress' tears at home,

For all are false, that taste not just like mine.

Alas ! hearts do not in eyes shine,

Nor can you more judge women's thoughts by tears,

Than by her shadow what she wears.

O perverse sex, where none is true but she,

Who's therefore true, because her truth kills me.

Monday, October 29, 2007

The Seraphim



Single droplets from the stream divine

divided from the one yet the one in all

We levitate on wings of blissfull ecstasy

Round and round in perfect harmony

Circling the throne of the primum mobile

singing praiseful songs for eternity

six pairs of wings and mutiple eyes

Round and round in perfect harmony

We dance to the universal music of the spheres

our hearts the eternal purifying flame

Argent bodies forming a spiralling white rose

Round and round in perfect harmony

First glimpsed by Dante, inspired by his muse

Sometimes we bow down to the world below

And touch the hearts of angels fallen to flesh

round and round in perfect harmony

To ignite in their hearts a hunger for truth

to let their shackles and chains fall to rust

and their eyes open to God's love at the last
-Sybille

Monday, October 15, 2007

The Descent of Inanna


Interpretation of Inanna’s Descent Myth

“From the Great Above Inanna opened her ear to the Great Below.”

In Sumerian, the word for ear and wisdom are the same. For example, Enki, the God of Wisdom, is said to have his ear “wide open” -- an unfiltered receptivity! This implies that Inanna's primary reason for “going to hell” was to seek wisdom and understanding. But in order to make such a spiritual journey, she first had to give up her earthly powers and possessions. They don’t allow a lot of luggage on the road to hell.

Preparing for the Descent into the Underworld

In the myth, she abandoned heaven and earth to descend to the underworld, her office of holy priestess, her temples in the seven principal cities where she was worshipped. She gave up her earthly powers and possessions -- an essential willingness required of any soul undertaking such a journey, of any soul following such a path of initiation.

Inanna also recognized the need to protect herself. She gathered together seven of The Me, attributes of civilization which she transformed into such feminine allure as crown, jewelry, and a royal robe. These were intended serve as her protections. They included her crown, earrings of small lapis beads, a double strand of beads about her neck, her breastplate called “Come, man, come”, her golden hip girdle, the lapis measuring rod and line, and her royal breechcloth.

Each of these adornments were worn at the level of each Kundalini chakra!
Finally, she instructed her faithful servant, Ninshubur, what to do in case she did not return -- to lament her loss, beat the drum for her, and go to the cities -- to the temples where Enlil (her father’s father), Nanna (her father) and Enki (her mother’s father) were, and ask for their help.

Ninshubur

Ninshubur’s name means “Queen of the East” -- she was handmaid or vizier to Inanna. Other myths, such as “Inanna and the God of Wisdom” (Enki), also describe Ninshubur as she comes to the rescue of Inanna, warding off the fierce emissaries sent by Enki. There Inanna describes Ninshubur as: Once Queen of the East, now faithful servant of the holy shrine of Uruk, “Water has not touched your hand, water has not touched your foot. My sukkal who gives me wise advice, My warrior who fights by my side.”

As Inanna's “faithful servant”, “she seems to embody that small part of us that stays above ground while the soul descends, the still conscious and functioning aspect of the psyche which can witness the events below and above and feel concern for the fate of the soul.” Ninshubur may be a “model of woman's deepest reflective-of-the-Self, priestess function, one which operates as simple executrix of the Self's commands, often when the soul is most threatened.”


[1] Ninshubur seems to have no life of her own, no specificity beyond her capacity to serve. No ego, she simply carries out precisely and competently whatever Inanna asks of her. And yet it is Ninshubur who saves Inanna’s life. Ultimately, initiation and/or descending into the underworld is not something to be undertaken without divine guidance and support.
Ereshkigal’s reaction to Inanna's intended visit

When Neti described Inanna at the outer gate -- in all her glory and wearing the garments of her power, light, and movement -- as well as her wish to enter the underworld, Ereshkigal is not at all pleased. Inasmuch as Inanna’s light, glory, and movement had been, to some extent, achieved at Ereshkigal’s expense, the Queen on the Underworld is enraged at Inanna’s appearance.

The Queen of the Underworld can be thought of as the neglected side of Inanna, that part of Inanna that was unloving, unloved, abandoned, instinctual, and full of rage, greed, and desperate loneliness. Ereshkigal’s one great craving was for her own sexual satisfaction, and which was not being fulfilled.

Ereshkigal “is paradoxical: both the vessel and the stake. She is the [kundalini] root of all, where energy is inert and consciousness coiled asleep. She is the place where potential life lies motionless -- but in the pangs of birth; beneath all language and its distinction, yet judging and acting.” [1]

In the Descent myth, “Ereshkigal is described first as enraged, due to Inanna’s invasion of her realm; secondly, as actively destructive; third, as suffering; and finally as grateful and generous.” “There is a quality of primal rage about her. She is full of fury, greed, the fear of loss, and even of self spite.” “And she sends her gatekeeper to deal with the intruder, a male to defend her.” “These images suggest that chaotic defensive furies, such as rage, greed, and even the unleashing of the animus, are inevitable aspects of the archetypal underworld. They are the ways the unconscious reacts to unwelcome visitation.” [1]

Ereshkigal, in some respects, is Lilith. “She ruthlessly destroys all that is not our true individuality or appropriate life path. She will not lead us to our goal by revealing what it is but rather by eliminating everything that it is not. The black aspect of Lilith closes all the wrong doors that face us.” “The black Lilith in us will accept nothing less than our true individuality, not in the sense of separateness, but in the sense of who we intrinsically are. When we are secure in acknowledging and expressing our true self, we don’t falsify ourselves in order to be accepted by others.” [2]

Ereshkigal'‘ instructions to Neti represent the fact that she wants Inanna to experience what it is to be rejected, to enter the royal chamber “bowed low”.

Seven stages of the Descent

The removal of Inanna’s crown, the first of her protective Me -- symbolically deprives her of her godhood, her connection with heaven. The small lapis beads from her ears -- her sense of magic and ability to manifest. The double strand of beads about her neck -- her rapture of illumination. Her golden breastplate called “Come, man, come!” -- her emotional heart. Her ringed hip girdle -- her ego. From her hand the lapis measuring rod and line -- her will. Her garment of ladyship (breechcloth) -- her sex role. Each represents, in order, the Kundalini chakras. Inanna is thus forced to give up her earthly attributes, her roles as queen, holy priestess, and woman. Her royal power, her priestly office, her sexual powers are of no avail in the underworld.

Naked and bowed low, Innana entered the throne room.

The Annuna, the judges of the underworld, surround her and pass judgment against her, the judgment of the external against each of us. Ereshkigal then fastens on Inanna the eye of death, speaks against her the word of wrath, and utters against her the cry of guilt. She strikes her. “Inanna was turned into a corpse, a piece of rotting meat, and was hung from a hook on the wall.” Obviously, on our own, even with preparations, we’re dead meat!

Ninshubur seeks help.

Ninshubur waits three days. Inanna was considered to be daughter of the moon -- thus these three days may be the “Dark of the Moon”. Ninshubur set up a public lament, beating the drum, circling the temples, tearing at her eyes, mouth and thighs, and dressing in sackcloth. Grief expressed! She pleads before Inanna’s paternal grandfather, Enlil, and Inanna’s father, Nanna. She cries that they not let their bright silver be covered with dust, their precious lapis broken into stone, and their fragrant boxwood cut into wood.

They reply angrily, that Inanna “got what she deserved!” And that she could not return, that the rules of the underworld could not be broken. Both are angry their daughter should pursue a different direction from theirs. Each in turn, refused to help.

But in pleading before Enki, Inanna’s mother’s father and the God of Wisdom, there is a different response. Enki has compassion for his daughter who is in difficulty. Not only does the God of Wisdom value the journey Inanna has undertaken, but he does not forget that his grand daughter’s existence is vital to humankind. In reacting to what has happened, Enki moves with feeling. He improvises to create what the moment needs. He empathizes with Inanna.

Enki’s plan

Enki knows the nature of the underworld and its rule by a jealous, anguished Ereshkigal. He also has the power to create and facilitate. He creates from the dirt under his fingernails the kurgarra and galatur -- instinctual, asexual creatures who Enki endows with the artistic and empathetic talent of being professional mourners, capable of mirroring the lonely queen’s emotions. “They are humble, nonheroic creatures, without definition or even the need to be separately defined, without any sense of what we would call ego-needs. These little asexual creatures represent the attitude necessary to draw a blessing from the dark goddess.” [1]

Enki also instructs his creations on how to enter the underworld and how to deal with Ereshkigal. He tells them how to recover Inanna from death.

The Rescue

When the kurgarra and galatur arrive, Ereshkigal is moaning “with the cries of a woman about to give birth.” She complains both for her “inside” and her “outside”. Having willed Inanna’s death, she can scarcely bear it, for Inanna is the other side of herself. Ereshkigal was also needing rebirth from the night time aspects of the feminine -- the powerful, raging sexuality and the deep wounds accumulated from life’s rejections -- and which sought solace in physical union only.

The kurgarra and galatur moan with Ereshkigal, appeasing her anguish by the echo of their concern. “They affirm her in her suffering. They have been taught by Enki to trust the life force even when it sounds its misery. Complaining is one voice of the dark goddess. It is a way of expressing life, valid and deep in the feminine soul. It does not, first and foremost, seek alleviation, but simply to state the existence of things as they are felt to be to a sensitive and vulnerable being. It is one of the bases of the feeling function, not to be seen and judged from the stoic-heroic superego perspective as foolish and passive whining, but just as autonomous fact -- ‘that’s the way it is.’ Enki’s wisdom teaches us that suffering is part of reverencing.” [1]

Ereshkigal is so touched by the attention they offer to her in her pain that she extends herself and offers gifts of fertility and growth. Following Enki’s instructions, however, the creatures refuse these gifts and ultimately ask for Ereshkigal most wants to give and that which is most difficult for her to give. They ask her to release part of her personal anguish, her despair and anger, which is embodied in the glorious Goddess of Love. They ask for the rotting body of Inanna.

When Ereshkigal agrees to release her nemesis, and thus part of her pain, the kurgarra and galatur sprinkle the food and water of life on Inanna’s corpse. And Inanna arose.

Ascending from the Underworld

The Annuna must maintain the rules of the underworld, but they must also deal with the fact that Inanna has been reborn in the underworld. Their tactic is to tell Inanna that she must provide someone in her place. In essence, Inanna cannot be allowed to again forget her neglected, abandoned “sister” -- that part of herself that is Ereshkigal. A passageway has been created from the Great Above, the conscious, to the Great Below, the unconscious, and it must be kept open. Thus the galla, the demons of the underworld, those who cannot be bribed, are assigned to accompany Inanna as she leaves.

The Replacement

Inanna is resorted to active life, but returns demonic, surrounded by the galla. “She has met Ereshkigal and knows the abysmal reality: that all changes and life demand sacrifice.” This is knowledge that few would not flee from. “Inanna comes up loathsome and claiming her right to survive.” The same fearsome characteristic of any woman coming out of hiding and ready to stand her ground. [1]

Meanwhile, Ninshubur and Inanna’s sons, Shara and Lulal, had abandoned the routine of their daily lives and gone into mourning for Inanna. When Inanna returns from the underworld and meets each of them in turn, the galla are ready and willing to take them in Inanna’s place. But Inanna knows that each cared deeply for her and had mourned her death. She does not choose them.

However, Dumuzi, Inanna’s consort and the shepherd she had installed as King of Sumer, has gone on with life as if nothing had happened. He had grown so attached to and identified with his high position that he had neither wept for his lost wife, nor ran to greet her when she returned. While Inanna had ventured into the unknown, Dumuzi had turned his attentions to earthly achievement. But Dumuzi is the logical candidate, as well, in that only her best beloved consort is equal to Inanna. Furthermore, Dumuzi had dared intimacy with the goddess and that entails a price, the price of initiation.

“Inanna challenges her equal to make the same descent she endured -- perhaps to claim the same strength and wisdom.” [1] Dumuzi’s attempts at scapegoating or taking flight betray “his need to descend into the underworld himself, his need to find a relationship to an inner feminine whom he can accept nondefensively and revere as equal.” Thus is the stage set when Inanna tells her consort to go to hell and makes it stick!

The galla seized him and beat him, until Dumuzi preys to Utu, the God of Justice and brother to Inanna. Utu mercifully turned Dumuzi into a snake, so that he could escape the galla. At the same time Dumuzi gains the serpent wisdom: that nothing in the Great Round dies, that life’s forms are not lost but renewed. “Utu, the sun god, is the balance of Ereshkigal. He -- like Enki -- is outside the patriarchal Logos modes, not adversary but complement of the feminine. The solar god and the dark goddess are the pillars of the esoteric temple with its wisdom of change. There is no lysis that we would find stable in this myth, no resolution except that profound wisdom.” [1]

The Dream of Dumuzi

Dumuzi had been king, but the qualities of understanding, compassion, devotion, and belonging to others, he had lacked. He had turned to the feminine wisdom of his younger sister But even in the dream, there was a portent of hope -- for just as Ninshubur, at Inanna’s request, had wept for Inanna and saved her life, so it was to be that Geshtianna would take up Dumuzi’s spirit and not let it die. Dumuzi’s friend betrays him for material profit, but his sister is true to the end. And even with Dumuzi being transformed into a snake and then a gazelle, he is still unable to escape the galla.

The Return

With the dye cast, the realization that Dumuzi is no longer welcome on earth, Inanna, Dumuzi’s mother and sister begin to weep for his fate. Inanna has been denied her beloved consort, even if by her own willful act. But the “very nature of earth’s life, and of the goddess herself, prevents the possibility of her having an undying, single partner.” [1] Geshtinanna, who is also mortal, is even more grief stricken.

Being very close to Dumuzi, Geshtianna offers to take his place in the underworld. This is not the grand gesture of a Christ on the cross, but much more personal and deeply feminine. “He gave his life for all men, a grand gesture. She offers herself, courageously accepting her own destiny, for one man she cares for, her brother.” “Her motivation is human passion -- love and grief.” [1]

Geshtianna, whose name means “vine of heaven”, is thought of in the myths as a “wise woman”. In service to the human dimension, she does what she can to redeem the one lost to the underworld. “She acquiesces to her own cutting down.” “She does not flee from her fate, nor does she denigrate the goddess of fate as do Gilgamesh and the patriarchy. She volunteers. And in this courageous, conscious acquiescing, she ends the pattern of scapegoating by choosing to confront the underworld herself.” [1]

Geshtianna “is the result of, and an embodiment of, the whole initiation process.” “She feels personally and can be lovingly related as partner of the masculine. She is also willing to serve both the light and dark aspects of her own depths and of the goddess.” [1] She has not yet made the descent, but there is no struggle “between her instincts to relate to her beloved, and her instinct to stand alone and for her own depths.”

Geshtianna’s offer moves Inanna as the two sides of the feminine meet -- passion and compassion, willfulness and feeling. It is the presence of her earthly sister, Geshtianna, that completes Inanna’s journey on earth, and reconnects her to Dumuzi, an other, and so to all of life.

Inanna decrees that each will spend half the year in the underworld. At Arali, a stopping place on the way to the Great Below, Inanna blesses the brother and sister with both eternal life and death. Dumuzi is thus married to the composite goddess Inanna-Ereshkigal, and as such is to experience all of the woman. Not only is he to know the love goddess, but the goddess of death as well.

In the end, Ereshkigal is praised.

Inanna’s reasons for making the descent

“She turned her ear to the Great Below"“-- (1) Seeking wisdom and understanding.
When Inanna approached the outer gate of the underworld and announced herself, she said she was on her way to the East. This phrase survives into modern day Freemasonry, where a candidate for initiation is warned that he will never return from his quest -- and then passes inward to the Ordeal which is the real initiation.

“It is a story of an initiation process into the mysteries.” “Inanna shows us the way, and she is the first to sacrifice herself for a deep feminine wisdom and for atonement. She descends, submits and dies. This openness to being acted upon is the essence of the experience of the human soul faced with the transpersonal. It is not based upon passivity, but upon an active willingness to receive.” [1] A feminine, boundary penetration quality, letting another exert influence upon itself, “analogous to the soul’s penetration by the divine.”

2) Because of my older sister, Ereshkigal -- Perhaps she heard the pain and anguish of Ereshkigal, her denied and dark side, and wanted to meet and acknowledge all of her denied feelings: abandonment, guilt, etc. Inanna was facing her dark side!

It is also approaching the dark forces of earthly reality and the unconscious; slowly peeling away defenses and ego-identifications -- particularly after “the conscious ideal of the personality has been wounded by being cut off from its roots by the devaluation of matter and the feminine.” [1]

Ereshkigal was moaning for both her “inside” and “outside” -- as if she had gone into labor, needing to be reborn -- It was this labor or call that Inanna had heard in the Great Above and to which she responded.

In an earlier myth, Inanna, as an adolescent, had been frightened by Lilith, the neglected side of Inanna -- the powerful, raging sexuality and the deep wounds accumulated from life’s rejections. The powerful Lilith had to be sent away so Inanna’s life-exploring talents could be developed. But now she deals with them.

“Inanna’s suffering, disrobing, humiliation, flagellation and death, the stations of her descent, her crucifixion on the underworld peg, and her resurrection, all prefigure Christ's passion and represent perhaps the first known archetypal image of the dying divinity whose sacrifice redeems the wasteland earth. Not for humankind’s sins did Inanna sacrifice herself, but for earth’s need for life and renewal. She is concerned more with life than with good and evil.” [1]

(3) To observe the funeral rites of Gugalanna, the Bull of Heaven -- to gain power and knowledge from observing such rites, particularly since Gugalanna was as impetuous and emotionally aggressive as Inanna

The Descent into Hades as a Psychological Tool

All descents provide entry into different levels of consciousness and can enhance life creatively. All of them imply suffering. All of them can serve as initiations. Meditation and dreaming and active imaginations are modes of descent. So too are depressions, anxiety attacks, and experiences with hallucinogenic drugs.” [1]

Letting go of illusions and old outworn patterns -- “Ereshkigal is like Kali, who through time and suffering pitilessly grinds down... all distinctions... in her undiscriminating fires -- and yet heaves forth new life.” [1] It is an adherence to a pre-ethical natural law! It is an acknowledgment that life is inconstant, that there are cycles. It is not pathological to wrap the partner in an active loving and caring embrace (Inanna), and then back down, being disinterested, alone and even cold (Ereshkigal).

(4) Finding pure gold and enlightenment. Hades as the “Bringer of all Good Things”. Demeter’s Eleusian Mysteries -- “Beautiful indeed is the Mystery given us by the blessed gods: death is for mortals no longer an evil, but a blessing.” -- Inscription at Eleusis. [2]

“Not caring first and foremost about relatedness to an outer other, nor to a collective gestalt or imperative. Seeing this way -- which is initially so frightening because it cannot be validated by the collective -- can provide what Logos consciousness fears as mere chaos, with the possibilities of a totally fresh perception, a new pattern, a creative perspective, a never ending exploration.


Such seeing is radical and dangerously innovative, but not necessarily evil.” It may feel monstrous or ugly, “for it shears us of our defenses and entails a sacrifice of easy collective understandings and of the hopes and expectations of looking good and safely belonging.” “This knowledge implies that destruction and transformation into something even radically new are part of the cycle of reality. Such knowledge is hard to endure. But knowing this basic reality permits a woman to give up trying to be agreeable to parental and animus imperatives and ideals. It is like hitting rock bottom, from where they are irrelevant.” [1]

“The major difference in masculine development is that until recently -- and then only in the second half of life -- most men have not needed to go down into the repressed depths once they have initially freed themselves from their childhood and identified with the ideals of the culture, for they have been supported by the outside world without inner dissonance. Increasingly, as there is no adequate masculine wholeness pattern that is collectively sanctioned to form a model of masculine ego development, and as the heroic ego ideal is also found inadequate, more and more are men forced to relate differently to their own depths, and to dare the individual descents that permit them to reclaim repressed instinct and image patterns.” [1]

“Men who have not made peace with Medusa in themselves will see feminine sexuality as something that fascinates them, but also as the source of their self-undoing. As they try to protect themselves against its frightening power by destroying the monster, they will unconsciously incite the Medusa woman in their lives to retaliate by castrating them physically and psychologically. A man who desires a positive relationship to women’s dark moon sexuality must make the descent into his unconscious, listen to the wailing agony of his decapitated Medusa, reach out in sympathy to her pain, heal the wounds of her rejection, and return whole-within-himself to the upper world. After the hero has proved his separation from his mother, he must reestablish a loving relationship to his inner dark feminine. Until he can do this he will remain trapped in a web of destructive sexual relationships.” [2]

Differences from Later Patriarchal Myths

Original Earth Goddess as the predecessor of Inanna. Fertility and ample bodies versus Inanna’s beauty and Goddess of Love status. Inanna, as goddess, living within the domain of masculine power. Inanna’s myths are not purely matriarchal, but reflect growing male power

Inanna’s myths as a process of growth. Initially, to have her throne and bed -- her sovereignty and sexuality. Then to be Queen in deed as well as pomp -- bring home The Me. Then to have a consort, who can then be King. To be wife and mother. Then to become whole by accepting her darker half!

In terms of the Dance of the Seven Veils:

1. Inanna “has met Ereshkigal and knows the abysmal reality: that all changes and life demand sacrifice. That is exactly the knowledge that patriarchal morality and the fathers’ eternally maiden daughters have fled from, wanting to do things right in order to avoid the pain of bearing their own renewal, their own separate being and uniqueness. Inanna comes up loathsome and claiming her right to survive. She is not a beautiful maid, daughter of the fathers, but ugly, selfish, ruthless, willing to be very negative, willing not to care. We know this demonic return of the repressed power shadow. Although it stands ultimately for life, it often erupts in birth and takes a lot of taming. It may be a ‘rough beast’, or it may, indeed, merely feel fearsome when a woman comes out of hiding to stand her ground -- to herself and/or to those around her. We see this demonic form of the returning goddess in much of the early women’s liberation fury. For the most part that stage in the movement has passed, but each individual woman initiate may have to go through it.” [1]

2. Dumuzi “embodies the life-death bipolarity of the eternal process of change. That frightens and disgusts the side of us that, like Gilgamesh, wants eternity and stasis. But as the goddess is also matter, there is no stasis and no eternity of form possible for material life. We must gain our eternity in another way, not by clinging to the embodied identities we call heroic ideals. We must go beyond Gilgamesh’s and the patriarchal ego’s denigration of the goddess as fickle and learn to serve her rather as inconstant. This is the primary psychological task to which our age is called.” [1] The price is willing acceptance.

3. The “self-experience of soul through subjective and personal feeling and intuiting in relation to the concrete here and now. What is valued is the feel of this moment in joy and pain, not the abstract ideas or remote heavens of unending, peaceful perfection to which the patriarchy was wont to aspire. Patriarchy repressed the magical stratum, the fairy-world. In this global awareness, life and death were the peak and valley of one wave. Emotional oneness was experienced with group, clan, nature, and blood. Life was known through instinctual tides and rhythms, ESP communication, and yielding openness to whatever came along.” “The new femininity is to establish the value of inwardness, and of affirmation (but also conscious clarification and differentiation) of whatever is. It is open to -- and able to integrate -- woundedness, pain, and ugliness, as well as joy and beauty. The sensuous is to be valued no less than the spiritual; the intangible no less than the concrete.” “The archetypal role of the new femininity is to stand as a priestess of the fullness of life as it is, with its unpredictable pitfalls and unfathomable depths, richness and deprivation, risks and errors, joys and pains. She insists on personal experiencing and personal response to the needs of the human situation.” The idea is to transform the chaotic power of the abysmal Yin, the Medusa, into the play of life, to mediate the terrifying face of the Gorgon into the helpful one of Athena. “Life is to be lived and savored for its own sake, in sensitive interplay with earth and cosmos as living organisms, rather than as dead objects of exploitation for the sake of economic or technological ‘progress’.” There is needed the awareness that hurts can heal us, “receiving into consciousness and clarifying feelings, fantasies, and desires regardless of their moral or esthetic implications. It also means separating emotion and motivation from action.” The challenge is “to think and feel through everything that may present itself, and wait for its hidden symbolic message, rather than to act out or sweep things under the rugs and let sleeping dogs lie. The new woman (or the anima in a man) will have to champion and protect the need to live through and experience everything that (lest it threaten established order with chaos) has been repressed by the patriarchy.” The key is to avoid the temptation to deny, repress the experience, and do something instead! The idea is to be.

4. Pain is “a valid part of life’s process -- no one’s fault, just a fact of existence. This takes it out of the patriarchal-adversary-scapegoating perspective that blames someone or something and wants it removed, wants something actively done with it.” Instead, we must trust “the participation mystique of the deepest levels of consciousness as a process of the goddess, sometimes even when it feels painful and seems to aim towards death and depression, and makes us feel keenly our own inadequacy to bring about change. There we wait with patience, going deeper and waiting together until the goddess as Time is ready to ‘decree a kind fate’. [1]

5. The neofeminism consciousness “is like instinct, in being unified, direct, immediate, full of feeling, sympathetic, and vital. But it is also like the intelligence, or masculinism, in being alert to distinction, capable of discursive and indirect reasoning, disinterested, and controlled. And it has a new quality of its own in its penetrating vision, the holistic insight that comprehends many experiences in one meaning.” “It is a reunion in dynamic harmony of our own multiplicity and unity.” It is ego death -- a shift toward a consciousness of the interconnectedness of life; a shift from the individual, analytic consciousness to a holistic mode, brought about by training the intuitive side of ourselves. (B. Bruteau)

6. “The implication for modern women is that only after the full, even demonic, range of affects and objectivity of the dark feminine is felt and claimed can a true, soul-met, passionate and individual comradeship be possible between woman and man as equals. Inanna is joined to and separated from her dark ancestress-sister, the repressed feminine. And that, with Ninshubur’s and Enki’s and Dumuzi’s help, brings forth Geshtinanna -- a model of one who can take her stand, hold her own value, and be lovingly related to the masculine as well as directly to her own depths; a model of one who is willing to suffer humanly, personally, the full spectrum that is the goddess.” [1]

7. “To the goddess it is no shame for a woman to be submissive. But as von Franz has pointed out, such willing service is not always the way to gain what is necessary from the goddess of nature. Sometimes she must be approached with active, heroic courage rather than heroic submission. Gretel had to push the dark goddess into the oven of transformation. Sometimes she must be endured or avoided or cleverly fled from. It seems to depend on the conscious personality of the visitor and what qualities are to be gained from the dark side of the instinct and image pattern. For the high goddess Inanna, proud and passionate and active, submissive sacrifice, humility, and passive mirroring are the compensatory ways to set her free.” [1]