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16 Isolde-Maya: dance of illusion. WE: Deep Aspects of Romantic Love

16

Isolde-Maya: Dance of Illusion

The best thing that romantic love brings us is the higher meaning of a double revelation: for a while we leave the pragmatism and practicality of Western thinking and turn our faces to a symbolic reality that allows us to recognize the essence of earthly love. The worst thing we inevitably encounter is that romantic love turns into a series of illusions that devastate life and distort love instead of supporting it. nine0026

These two opposite facets of romantic love, which contribute to our development if we "correctly" experience the novel, and destroy our personality if we do not, are a reflection of the two hypostases of the anima. We can see in her Isolde, the queen of the inner world, calling to the deep layers of the unconscious; but she may also be Maya, the goddess of illusion. Acting in one role, she serves life, giving it meaning, but her other face is terrible: tearing the fabric of earthly life to shreds, she takes us away from reality and turns the desire for love into an endless dance of illusions. We watched Tristan and Isolde in this anima dance, in which we understand everything to the subtleties. nine0026

It's time to remember Jung's words about the two hypostases of Isolde:

The elimination of projections turns the anima into what it really is - into an archetypal image, which, being in the appropriate place, serves for the good. Being between the Ego and the external world, she acts as a Shakti that changes everything and everything, weaving the veil of Maya in the dance of the illusion of being. But, being placed between the Ego and the unconscious, the anima becomes the abode of divine and semi-divine images - from pagan goddesses to the Blessed Virgin Mary, from man , busy searching for the Grail, to the saint. nine0026

Being between the ego and the unconscious, the soul opens the way to God, creating opportunities for spiritual life. Interfering with the personal relationships of people, she turns them into an illusion, casting a spell of Maya.

In the Hindi myth, Maya is a goddess who performs the dance of illusion, weaving a thin veil between a person and the outside world, distorting the perception of reality. It is believed that the practical purpose of yoga is to "see through the web of Maya".

In the process of approaching the end of the myth, such a veil falls over Tristan's eyes. Maya casts a spell on him. From that moment on, it is not Isolde who inspires him, but Maya holds him in the arms of eternal sleep. Tristan's feet lose touch with the ground; he sighs, languishes and rushes about between Caret and Cornwalls in a semi-delirious state of temporary insanity. Nothing touches him, he is not interested, with the exception of the image of Isolde that exists in his imagination. Her image has taken possession of him, but it no longer serves vital interests and leads nowhere. Tristan became entangled in his fantasy, which did not bring him into the inner world, but cut him off from the outside world, as well as from his friends and earthly life. In his last days, deaf to everything that happens, he plunges into the dreams of Maya, dancing to the destructive music that only he hears, in a space that opens only to him. nine0026

Maya is an illusion, a distortion of reality and even its loss. The legend of Tristan and Isolde is the story of how romantic love perished in an illusion. Waking up from an illusion that once possessed him, a man suddenly realizes that the woman he loved cannot and will not solve his problems and make him happy without effort on his part. In turn, his wife wakes up from her own illusion, seeing in front of her a man who does not at all look like the one she married. Worse, he is just as insensitive and insane as other men. She saw not a man, but only her illusion. But where did this illusion come from? nine0026

Many Hindus, like some Christians, believe in the illusory nature of the physical world around us and in the true reality of the spiritual world. Many Westerners, on the contrary, believe in the illusory nature of the inner world and in the reality of the physical world. However, neither the inner world of the psyche nor the outer material world are illusory. Illusion is a distorted relationship between the inner and outer world. We create an illusion by superimposing an inner world of images - a constant stream of fantasies - over physical reality and the people that exist within it. We see the material world through a veil of inner images, colored and distorted. The apostle Paul said, "We see dimly, as if we were looking through glass." nine0026

The material world is true and real; inner world too. Only when they are mixed, in the absence of the opportunity to live in a symbolic inner world and the desire to see symbols in specific people, does a world of illusions arise. The illusory world is a realm of projections that distort the inner and outer world in such a way that we cannot perceive them objectively.

Experiencing the fantasy of peace and wholeness, a man seeks to affirm this fantasy as his own success in organizing the inner world. But, as a rule, he projects an image of paradise onto a woman, unconsciously wanting her to respond to this image, embodying it in everyday activities, and to do so solely for the sake of it. At this time, an illusion is born in him. He looks "through a cloudy glass" and no longer sees real life as it is, taking his inner experience for the existing reality. At the same time, both worlds are distorted and depreciated. nine0026

Anima turns into Maya not because something is wrong with her, but as a result of human activity. Recall that we called the anima the soul of a man. My soul is not an amorphous, sentimental substance, suitable only for writing love letters. My soul is my perfect part, which has a unique feature: it is a psychic organ that gives birth to life within a strange and beautiful combination of mental and physical components of the human personality. nine0026

The human soul is arranged in such a way that it allows you to see and feel the other side of the cosmos, to live in its multidimensionality and diversity. The soul can only do what is predetermined for it in accordance with its inner nature: it can only carry us further and further into infinity. By imposing restrictions on the world of the soul, we will not achieve anything: it will still drag us into infinity. We involve the soul in personal relationships, and it continues to pull us towards the impersonal and transpersonal. Thus, Isolde turns into Maya, not because there are flaws in the soul, but because the soul is so beautiful and so persistently draws us into its area of ​​​​life, which has something in common with infinity. nine0026

When a person puts the soul into personal relationships, it continues to behave *as one would expect - drawing personal relationships to the archetypal ones. She transforms a finite situation into an infinite one, finding in it an allegory of great archetypal themes, eternal questions, holy prophecies and crusades. We are witnessing how a man puts his soul into a variety of specific situations and relationships. Then we say that he "gives too much importance to something", or "makes an elephant out of a fly", or "turns a trifle into a universal event." This is how ordinary and mundane we talk about "inflation", that is, about giving too much meaning to a particular situation. This happens because a man puts his soul into her, and he, in accordance with his nature, makes this situation illusory. So Isolde turns into Maya, and the anima becomes an unwitting creator of illusions. nine0026

The essence of the anima is manifested in the creation of the illusion of life. When this illusion is experienced consciously on a symbolic level, it recreates a world of splendor and beauty, revealing a new vision of the modern universe, elevating us beyond the limitations of personal life and joining us to the one and eternal. We begin to see ourselves and our lives from a different perspective, feel our movement in the flow of time and imagine our life as an individual manifestation of the eternal, which has always been, is and will be. nine0026

The soul is our part, which is constantly striving to renew our consciousness, to make it universal, to bring into it the great motives of life that exist beyond the boundaries of the personal, transcendent to any individuality and, at the same time, common to all. The soul of each of us is turned to God, like a sunflower flower, which constantly turns towards the rays of the sun. She communicates only with the archetypes, the gods of the inner world, recognizing the great leitmotifs of individual experiences. For this reason, anima puts a lot of strain on one's personal life. The anima is not interested in the idiosyncrasies of everyday personal life: a current bank account, relationships with others, whether the grass is mowed on the lawn near the house. Her gaze is directed to the cosmic perspective, focused and focused on the scale of the universe, where the only point of reference is the inner integrity. Anima values ​​are not human, but cosmic. Its only interest lies in whether a person is alive, whether he experiences every great theme of human existence, which is potentially contained within his human essence. nine0026

The soul of any person requires him to exist, to live in every great role contained in the collective unconscious: traitor and betrayed, lover and loved, aggressor and victim, noble and vile, conqueror and vanquished, warrior and pastor, suffering person and human resurgent.

If a man tries to solve the problem of the soul in the conditions of marriage, his soul spreads everywhere, distorting his idea of ​​family and marriage. His soul will carry away his relationship with a woman to infinity, turning them into an allegory of love, death and lost paradise, turning marriage into an archetypal drama with complete confusion of feelings. One way or another, this drama is constantly played out inside him, but in the latter case - at the level of fantasies. If he learns to experience it on the same level, that is, symbolically, he will be able to live in harmony with his soul. He will be able to strive for the soul into infinity, while maintaining the framework of earthly relations with his wife. nine0026

Working with dreams, with an active imagination and meditating, a man will follow the soul to the time of Camelot and take part in jousting. He will go in search of the Grail, fight dragons and Morolds, defend the honor of beautiful ladies, heal ailments and heal his wounds. He will betray, and he will be betrayed, he will sin, repent and take revenge. He will live the life of all the archetypes of the collective unconscious, but he will do it in a symbolic form. It will retain the meaning contained in the symbol, for the symbol is the only vessel that can exist without cracking and destroying privacy. nine0026

As a result of a symbolic journey to infinity, following his soul in a dream or active imagination, a man can see his way back to a specific earthly world, where he will find his home, wife and relationships with others safe and sound. Here he can focus on addressing specific issues related to the limitations of everyday life. He can learn not to quarrel with his wife, because his anger is connected with something inside him or is caused by the desire of the soul to fight with internal enemies. He learns how to recognize in his fantasy the influence of the inner world and experience it accordingly. nine0026

The man who allows the anima into marriage actually instills a fantasy in him, reproducing it in a series of archetypal scenes and turning it into a scene for the impersonal forces of the unconscious. If the wife has not joined his fantasies, she gradually begins to realize that she is not so much a wife as an auxiliary scenery in the production of a gigantic drama that is constantly played out in the husband's inner world.

As a function that determines the nature of relationships, the anima is far from serving as an objective indicator of their purity. It is very doubtful that the anima will ever be useful in establishing and developing relationships between people. In any classical form, it is a non-human or semi-human creation, so its influence and impact takes a person away from a particular life situation. It creates moods, distortions, illusions that affect relationships between people only where they are ready to share the corresponding mood or fantasy. If we want a real "relationship", we need to eliminate the anime! Nothing can more interfere with the true, adequate feeling that arises in a person than the anima ...

The relationship between George and Mary depends on the personality of George and Mary. Their relationship reflects their sensory life and is unique to them. If these relationships are influenced by the anima, they reflect not so much the characteristics of their personality as the play of the archetypal fantasies living in them. People turn into actors playing collective roles in unconscious fantasies, including the roles of lovers, brawlers, warriors... ...The anima does not introduce a person into the space of feelings, but, on the contrary, takes them out of it. Performing the function of connecting consciousness with the unconscious, it prevents the awareness of feelings, forcing it into the unconscious and turning the human into impersonal. It brings into consciousness other images and judgments that have nothing to do with the world in which people live (NShtap, Atta, pp. 111-112). nine0026

When a person "falls in love", he leaves the space of love in a thirst to worship his woman-soul. The anima immediately proceeds to push earthly relations out of the human dimension. Love is no longer just love, but divine ecstasy. The presence of a loved one does not bring peace and happiness, but unearthly bliss. But, as soon as the soul rushes to the other, negative side of the archetype, a bad mood becomes the cause of a quarrel or break, lack of attention turns into betrayal, and any look at another man or woman turns out to be the most suitable reason for an explosion of jealousy. Every ordinary event inevitably turns into a part of the drama. Anima can only distract a person from everyday life, turning him into a participant in the universal drama. nine0026

It is surprising that at this moment a man feels his uniqueness and individuality with particular acuteness, despite the fact that nothing happens to the people around him, with the exception of his beloved. In fact, it is then that he gives up his individuality. The lovers lose their identity, turning into Tristan and Isolde or Romeo and Juliet, that is, into the actors of a collective performance, the script of which has long been predetermined, and all the scenes are known in advance. This is the absolute truth, because a person ceases to be himself and becomes the protagonist of the world drama, where he experiences such a intensity of feelings, which is so different from everyday sensations that ecstasy sets in at the first moment. nine0026

But, like Semele, who insisted that Zeus appear before her in divine form, human relationships simply burn out, exposed to the impersonal divine energy concentrated in the projections of the anima and animus. It is often said that feelings are "burnt out". This is the complete truth. People are so exhausted by the sizzling heat of romantic love, trying to live among its inherent delights, battles, partings and meetings, that in the end they have absolutely nothing to lose, because there is no vitality, no goodwill, no emotional connection - nothing that characteristic of love and devotion in ordinary human life. nine0026

It is not surprising that many of us feel bitter when we are caught up in the dance of illusion. Then they accuse romantic love of monotony, considering it a meaningless simulation, and generally refuse love. However, there is another, more favorable way out of this dance. A person has a need to finish the dance, having learned the truth hidden behind the illusion. If we look well for the hidden truth, then, having closed the circle, we will again find ourselves on the ship along with Tristan, Isolde and the love potion. And again we ask ourselves: why did divine illumination come to us not in a religious experience, but through love, projections and illusions? The answer surprises us. This happened due to the absence of religious life, and the space of the spirit attracts and captures us wherever it is necessary. We have churches, beliefs, dogmas, we have the right to our own opinion and a lot of opportunities for meetings and communication. At the same time, we do not have a religious life, because we pay too little attention to the soul, that is, to the inner world. nine0026

Tristan gives us the opportunity to look at ourselves from the outside, because he never consciously seeks the Beautiful Iseult in order to live a spiritual life with her. It never occurs to him to pay more attention to the soul. But the soul takes possession of him against his will, in the dope of a love potion, and then in the dance of illusion. Like Tristan, we ignore our soul. We never seek it and our gods consciously and voluntarily, but the soul finds us and takes possession of us through projections and illusions. The man who drank the potion and looks at Isolde sees not Isolde, but Maya, without feeling or understanding the difference, and then his legs begin to move, and he joins the dance. nine0026

To separate and purify love from illusion, a man just needs to make an effort of will. One heroic decision to get rid of projections is not enough. A man can get rid of the influence of the anima on marriage, on relationships with others and personal life, only by freeing up a suitable place for it on a different level of being.

Western man feels the need to assert his religious attitude. To achieve this, one must first of all take seriously the fact that the images and feelings in his dreams, fantasies and imagination are divine images that exist separately from the realities of earthly life, but, despite this, they never lose either their truth or their importance. He should take them as seriously as possible and even get used to them for a while. Then he can recognize in them the carriers of enormous energy, the inhabitants of the spiritual world, who make themselves known to the human soul through certain symbols. nine0026

This can be achieved through traditional religious rituals, through contemplative yoga meditation, fantasy and dream work, or through Jung's method of working with active imagination. But this requires a certain experience of inner work and spiritual life, which, in essence, is achieved by daily practice.

By doing this, one gradually begins to distinguish the inner from the outer, symbolic experiences from material life. He projects, but at the same time he learns the right attitude towards his projections. He suffers, but his suffering leads to certain results - to evolution and change, and not to the endless repetition of the same dance. His soul, which he will finally allow to live and strive for infinity in its natural element - a symbol, will less and less interfere with his earthly life. She will no longer have any need to bring him into a state of obsession, devastating his earthly love, relationships with people and marriage. nine0026

This ability to see differences, this development and understanding is achieved by a person who has paid a high price. Gradually, his dance slows down, turning into a symbolic reality. Maya lifts her veil and the man sees. He will learn what it means to be mortal and yet possess an immortal soul.

This text is an introductory fragment.

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