VERTICALITY’S SPACE & THE QUEST: Once A Golden #Ripple Flew #poetheme #mpy
1. Helle = light
Helle + Phryxos = lightening bolt
the hooves of KRIOS KHRYSOMALLOS= thunder
“where Helle fell” = “let her rip”
X = the spot or space where something
old repeats but something new can be retrieved
This is where a rippling effect grew or “ripped” slashing the sea to reveal what
desire lay underneath it
in the human heart (not to mention what men and women are willing to do/sacrifice
to achieve a "falling" not falling under the grip of the darker aspect [i.e. vengeful heart] in this rippling
effect ) X marks the spot where soul retrieval can be had and the story can
be made new or otherwise. This making would be an example of mythopoesis. Where this making happens, [where Helle fell "here"] says it is not happening to ego. Ego is responding to the rippling effect of its absence presence and how one turns this psyche-making having recognized it in one's own heart.
2. Ripple, perhaps from Proto-Germanic *rupjan-, from PIE root *reup-, *reub-
"to snatch." Rip, meaning
"to slash open" is from 1570s. “Let her rip” (from 1798 and on) means
something like "to move with slashing force." But, also “rip” is said
of seas (1775 on). (And so, likewise in antiquity this could be said of nereids
like Nephele and her daughter Helle as well as the wrath of Ino); when there is
a rip in the sea, ripples get rippling. Said of seas, a ripped sea marks the adventure ahead and maybe how desire operates
just underneath in the hearts of every quest adventurer.
3. Nephele (nebula or cloud goddess), the mother of Helle & her twin
brother, Phrixus, from Phryxos,
(Greek) meaning "thrilling or causing shivers”, derived from ripple, sends the ram with the golden
fleece, KRIOS KHRYSOMALLOS, a gift to her twin
off-spring to save them from the wrath of Ino. (Something to think about is
Helle as a shiver or ripple’s missing eros.)
4. Ino, once a mortal queen of Thebes took shape in the human imagination as an
image doubling for the goddess Amphitrite. Amphitrite and the Nereids govern the realm
of the titanic, aged sea and its “mermaid singing” as late as the Iliad of
Homer and long before she is made wife to Poseidon. (Something to think about
are how tears as “mermaid singing” unite and maintain separation between Helle,
missing eros & Phryxos)
5. The Myth of The Birth of KRIOS KHRYSOMALLOS (golden fleeced, Aries) is told
by the Roman mythographer, Pseudo-Hyginus (C2A.D.) in his wonder-tale, Fabulae. ( see Fabulae 188 trans. Grant) In the Fabulae, one encounters Theophane.
6. Theophane means something like divine incarnation. In her story she is
sought after like Homer’s Penelope by far too many greedy suitors not particularly interested in her but in possessing
her wealth. Winning Theophane is a laying claim by divine right to a divine right,
a kind of land-naming and/or land claiming belonging to another realm of
insight. Inherent here is a kind of distinct, cold misogyny, too. "Here", the medium of the wondertale, may be the message, a using
of the wondertale at the same time disqualifying the source of its wisdom as
Theophane becomes a divine possession up for grabs by somebody else and not a
divine nature (mermaid singing) with outright equality individually held or
possessed and necessary to the psychic life of the anima mundi. There
is a spiritual idea, land nam but
also a spiritual war and the spoils of warring factions up for grabs inherited
in the story. There is also the notion of a god's revenge for destroying what belongs to no one else ( aka the anima mundi.) The story will tell of that moment, how people acting out of their baser animal natures, invite those seeking revenge to become wolves.
Pseudo-Hyginus tells us how Theophane (of the realm of mermaid singing before
the sea is made “wife”) is turned by
Poseidon into a ewe (apparently she had no say in the matter so it seems to be against her will) and then, as part of
the deception lay with her to produce “the golden-fleeced”, Aries (sic) while
at the same time turned the people of the land into cattle. The suitors sail off to retrieve Theophane a
little like Homer earlier tells of Menelaus sailing off to retrieve Helen whom
Paris had taken back to Troy. The
suitors, finding no people to fight but merely animals to slaughter, begin
slaughtering cattle. Poseidon turns suitors
into wolves. Thusly, is told how
Poseidon’s revenge is actually the description of a ripple effect. It is a story revealing how everything human
mightfall into animal form
acting out a terrifyingly cold “shiver” as it conforms to the archetypal grip
of an inherited complex at work in the ancestral soul.
Theophane, a most beautiful maiden, was the
daughter of Bisaltes. When many suitors sought her from her father, Neptunus
[Poseidon] carried her off and took her to the island of Crumissa. When the suitors
knew she was staying there, they secured a ship and hastened to Crumissa. To
deceive them, Neptunus changed Theophane into a very beautiful ewe, himself
into a ram, and the citizens of Curmissa into cattle. When the suitors came
there and found no human beings, they began to slaughter the herds and use them
for food. Neptunus saw that the men who had been changed to cattle were being
destroyed, and changed the suitors into wolves. He himself, in ram form, lay
with Theophane, and from this union was born the Aries Chrysomallus
(Golden-fleeced Ram) which carried Phrixus to Colchis, and whose fleece, hung
in the grove of Mars [Ares], Jason took away.
Mythopoetics In Culture is a written collection of poems, essays and excerpts from essays by mythopoet, Stephanie Pope published to mythopoetry.com beginning in 2001 to the present. In 2017 mythopoetry.com brings guest blogging to its cultural mythology blog expanding its format to include poems and essays by the cultural mythologists of today.
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Teacher, essayist, poet and cultural mythologer, Stephanie has a BA in education from Walsh University and a master's degree in mythological studies from Pacifica Graduate Institute. She teaches Myth & Poetics In Personal Writing, DreamWork & Musing Life on line through mythopoetry.com. Between 2010-2012 she is editing, producing and publishing Mythopoetry Scholar Ezine vol 1-3.
Stephanie works mythopoetics on line @mythopoetry.com where she explores, traces and reveals dominant mythic images and mythemes in psyche-making at work between cosmos and culture today.
Published in numerous poetry journals including the premier issues of Literary House and A Hudson View International Stephanie's poetry receives Pushcart nominations between 2007-2010. Her first poetry volume, Like A Woman Falling, now out of print, published in 2004. Currently in the works is a book of essays and a second poetry volume, Monsters & Bugs.