https://youtubetranscript.com/?v=CAmKble0JTM
I have a novel that I’ve been working on for a while and one of the primordial archetypes in it because the novel operates on all these different narrative levels and you get really deep and then you get really into the modern and then you get into the postmodern kind of way of making sense. Hyperintelligence and interpretation based storytelling. But there’s this one primordial entity that kind of runs through all of time. She kind of precedes Adam and then she’s at the end where Adam’s done and she kind of helps him, helps carry his body along with Father Time. But she keeps on challenging the masculine narrative of understanding and intelligence, specifically Will. She’s constantly countering Will and what she is, she kind of seems like imagination but she’s curiosity even deeper and she challenges the notion of an all-knowing being by saying maybe God is curious, maybe God created ignorance in order to discover things because of the joy that’s unleashed in discovery. So it’s just the question of is it possible that God doesn’t know everything or even tricks himself into not knowing something so that there’s the possibility of discovery and curiosity and there’s some language in the Bible or at least in Christianity about God wanting to know us and God wanting to be in this creative relationship of discovery of us. Big ideas but I’m just wondering about like curiosity. Yeah, no for sure. I think the idea of a feminine character as curiosity is perfect. That’s what Earth is in a way. It’s like a question. That’s what darkness is. Darkness is a question, right? It’s like what’s here? What is it? And so I think that that’s a perfect way of, it’s a perfect frame for a feminine character and you could understand that to a certain extent there could be a challenge between heaven and Earth. So Earth challenges Heaven and that’s also like the challenges in a way, seduction, right? That’s what people find is struggling to understand that it’s like availing and unveiling, right? It’s like a puzzle. A puzzle and seduction are related together. There’s a sense in which hiding and revealing, right? That’s how the feminine kind of interacts with the male but it can appear as a mix between an attraction and a challenge, right? So the idea of also even the idea of the maiden who wants the knight to prove himself, there are different types of these challenges. They don’t have to always have the same frame, the same structure but the Queen of Sheba comes to Solomon and in some of the traditions it says that she came with puzzles, like she came with questions and she came with challenges basically. So I think it’s perfect. So the idea is that in God or at least in the origin, first the kind of creation you have God, you have Heaven and Earth. So you have three terms. So Heaven would be all the masculine patterning, light, logos, all this type of identities and then the darkness would be question, absence, emptiness, potential also, right? And so it’s a sexual relationship between Heaven and Earth really. That’s the way to understand it. And then man is the union of the two. And so God is both outside and contains both in him. And so in God, in the traditional way, there’s a manner in which we have two ways of talking about God, right? We have the cataphatic and the apophatic. So cataphatic means all the positive qualities of God. And that tends to appear as wisdom, compassion, more masculine imagery because like omnipotence and all these characteristics that God has. But then there’s also an apophatic way of talking about God, which is that God is unknowing and God has always transcending all categories and therefore remaining veiled. A dark cloud is the imagery. And so there’s a sense in which God contains both. St. Ephraim the Syrian talks about the divine womb, the idea that the divine womb of which we should not speak about, that we shouldn’t talk about it because it actually, as soon as you talk about it, you betray it somehow. You inseminate it with your grubby little fingers. But that’s also the difficulty of talking about feminine archetypes is that one of the tropes of the modern world has been wanting to expose the feminine, like to bring it out. But it’s like there’s something about even that gesture, which becomes the denial of the power of the hidden and the secret and the mystery, which the feminine has often represented. And so it’s tricky because people are saying things like they want stories with central feminine characters that are super powerful and they’re all this. But it’s like, okay, I get it. But there’s also an important role in the world for the secret influence and the things that happen outside of the story that motivate the story, the reason for the story. And so often when people think of the idea of like the princess that’s taken prisoner by a dragon and they think, oh, it’s just a victim, but you also, people are just too politicized. You have to understand that the feminine appears as the reason for the quest, the secret reason, the hidden puzzle that the knight has to solve. And so, yes, it can be saving her from a dragon, but there are other forms of that that can appear in storytelling as well, which manifests this kind of secret influence.