THE PRINCESS, THE TOWER AND THE DRAGON

There are those who love romantically and there are those who love realistically. Romantic love, which we believe is a performance about conquest(s) within our times, is actually consistent with a literary movement that began in Europe in the XNUMXth century, and which, in addition to literature, also brings with it a philosophical movement. and artistic that opposes the previous period and all its basis in rational perspectives, known as the “century of philosophy” and all its scientific emphasis. In short, romanticism portrays the human drama that is based on the vision of oneself as the center and utopian ideals based on “tragedies” about desires and escapism, that is, me and my emotions.

This happened in the construction of an imaginary about a “fairy tale” love, bringing in its narrative a conception of gender and its roles already assigned and resigned to such pre-established performances. However, my main objective here, subject to misunderstandings and mistakes, is to draw a free thought in parallel with the deconstruction of this “fragile” feminine in search of salvation and deliverance from the evil that plagues her reality and her vulnerability to the detriment of an “external savior”, whatever it is.

The performance of the princess archetype, still very present in the collective unconscious, brings dependency and fragility as qualities. Aspects that hinder our personal power and even our experience of a world based on our actions and choices in possible and diverse realities. This fragility embedded in this archetype shapes our trajectory to the detriment of the other, from their choices to their manifestations/maintenance of desires/needs.

This character imprisoned in a tower at its highest point, which not by coincidence, in my view, draws a parallel to the chakra system itself, our energy centers from the base, located in the perineum – Muladhara – which connects us with our center from earthly manifestations, to the top of our head – Sahasrara – represented by a crown on our physical body. And it is here, on this last level, that our hitherto victim of circumstances finds himself, vulnerable, fragile and surrounded by external dangers, represented by the figure of the dragon, and by the very tower to which his presence is predisposed in prison.

Adept at occultism and figures of speech that I am, whenever I visualize the figure of a Tower, I bring embedded in this reference a great esoteric scholar called Oswald Wirth, creator of the Tarot and its 22 main arcana, each with a symbolism in itself and each with a series of elements and their meanings. Card number 16 is the one with the image of the Tower, better known as the House of God. In this letter, the image presents external forces acting and acting on the inertia of the human posture/position, forcing the characters to abandon, by force majeure, that posture in which they find themselves, also represented by dual realities, after all, two men succumb to fall.

This divine “law” transposes human desire causing the tower to collapse, and, in the face of this fall, the human fragility placed on the ground on which it is based, having a new beginning, so to speak, abandoning everything that adorns the position to which the men represented in the figure are: the highest level of visualization and perhaps status.

This tower, which shelters our character waiting for her beloved and fearless savior. However, we have one more element that makes up this scenario, represented by the imposing figure of the Dragon in its imprisoning potential. In Chinese culture, which brings greater spraying and reference to this popular figure that is the Dragon, it represents aspects of perversity, inhumanity, terror, and also brings in itself aspects and representations of opposing forces, being the holder of divine forces and protector of the greatest and most valuable treasures, to which the initiate who is willing to fight a battle with this figure, awakens in himself the qualities of initiation and evolution through the ordeal in this experience.

Finally, we arrive at the bridge that we will cross together to understand the parallel between knowledge and consciousness, which is precisely the point of differentiation that I draw between experiencing Tantra and experiencing Tantra.

Bearing in mind all the symbologies already referenced above, and all the elements that make up this timeless chemistry of our princess and her hitherto visible or apparent reality, which transposes her qualities as an “awakened woman”, we become aware of the archetypes and behavioral relationships that they configure, given what can imprison us in certain places of ourselves, being able to then resume the path of power with conscience. We are at the top of this tower, a place of privilege, which points to a grandiose view of the physical setting, a dazzle that it is not possible to conceive from the ground.

Our great Dragon, fed until then by the artifice of a pseudo protection, is nothing more than a representation of our own shadows projected outside our circle of vision, after all, our physical eyes always point outwards, to the dazzle of this landscape that it also projects our own references of reality and the world we live in. Knowing that our projections are the result of a level of experience created by ourselves, we start here from a concept of experience or knowledge of our realities or of what we learn to distinguish as our reality, to the awareness of our own projections and/or decision-making. decision based on this “reality”.

Everything that is knowledge is consumed from the outside in, like a course, learning a new language or technique, the “perception” of our experiences (yes, we generally learn about the world before feeling and knowing the world itself), all of this is a mental activity, to which we appropriate a certain universe that surrounds us. Consciousness, on the other hand, brings with it reflection, beyond the observer and the observed object, as happens in knowledge. It embraces the elaboration of the self beyond the act and the circumstances, transforms the action of simply looking at what happens, and takes us to a deeper internal perception of what happens, it comes from the inside out.

This is the key to whether or not you stay where you are, the difference between the external enemy and the parts that you still need to line up to cross a “pre-determination” about your condition, primarily related to gender. The Tower becomes a place of privilege, its highest point of view beyond the eyes and mind, moving towards self-awareness and the place it occupies. The Dragon becomes an important ally in your trajectory, after all, it represents your most dangerous emotions, a vehicle that grants you wings on an overflowing flight of liberation beyond the structural conditions of shadows that cause pain and wounds, but opportunities for growth and glimpse of different realities.

Finally, an archetype composed of weaknesses becomes the awareness of the totality of a feminine full of power that goes beyond role assignments, transposed into manifestos endowed with strength in maintaining reality itself. And that, dear witches, is Tantra and all its alchemical representation: transforming lead into gold, the mind into conscience, fragility into potency, vulnerability into power, reaction into proaction, romanticism into realism, and every illusion into love . Alchemy worthy of Goddesses, wombs of creation and not of projection. Knowledge of oneself transforming into awareness of being, from the inside out, never the opposite. Happy tantric travels, and don't forget to feed/align your Dragons well.