The spiritual journey is becoming
much more complicated. In previous times, the religious tradition of the
family would dictate an average person’s spiritual beliefs. The tradition would
also dictate the amount of questioning those beliefs tolerated. In much of
today’s Western world, however, a curious mind often has both the resources and
the freedom to investigate foundational questions. But what can result is a
multitude of dogmas, disciplines, and directions leaving no concise guidance of
the best course for the individual to pursue. Trying to decipher storylines may
appear to make the journey’s course even more complicated. Yet an individual
may learn the direction of their life’s journey by taking clues from centuries
of storytelling.
From Adam to Judas, from Martha to
Juliet, characters’ names supply one of the richest veins for readers trying to
unearth esoteric messages within a story. Studying names in depth brings forth
surprising aspects of even our most familiar characters. Do we really know all
there is to know about Tom Sawyer from the details provided by Mark Twain? Can
Iago’s deceptive motives be fully understood by the words Shakespeare gave him?
And while the names given secondary personages in the Bible may seem
noteworthy, even the most superficial of comic book characters take on added
dimensions through the meaning of their names.
When L. Frank Baum wrote his initial
Oz book he gave his heroine a common name – the same for her aunt and uncle. In
naming Dorothy’s dog, however, Baum broke rank and shied away from the
familiar. And of all the drought-ridden states in middle America during the
last decade of the 19th century, Baum did not choose his former home
of South Dakota for his farm-setting. But Baum gave no further import to
Dorothy’s early surroundings using the ‘grey’ Kansas-farm as only the sparest
of backdrop.
The movie’s creators, however,
developed Dorothy’s Kansas in much more detail. Each of the newly-introduced
Kansas characters is given short yet revealing dialogue. In naming these
additions, screen writers chose the oddest variety of nicknames and surnames
alike. And yet it can be argued that each character grows into their
respective name. The film’s creators expand, with their new characters, on
Baum’s initial development of his heroine from immature prototype into a
successful journeyer. With such a rich chronicling of this development, viewers
of this classic film come away with many hints of how they may also grow into
their own name.
Dorothy’s story is about
expansion--expanding the body, the psyche and the spirit. If the characters in
Dorothy’s Kansas initially presented developed traits of their names, viewers
would be deprived of witnessing an important process. We would gain no insight
as to how we can develop and mature. We need to see them at their developmental
infancy. And we need to watch them grow and expand.
Nearly each celluloid Kansas
character fails, initially, to live up to their name and Uncle Henry is no
exception. Baum describes Dorothy’s Uncle Henry as gray in clothing and
hair color. A man who “never laughed,” he also spoke few words. The film’s
creators, however, depict their Uncle Henry as quick-witted and mischievous as
he takes on Miss Gulch, the concern of Dorothy’s worry. An angry Miss Gulch
arrives at the Kansas farm full of damning accusations re: Toto’s misbehavior.
Yet in their initial encounter, Miss Gulch loses in an adroitly-played word
game and Uncle Henry looks anything but gray.
Despite his verbal mastery while
outside his farmhouse, once inside the confines of his home Uncle Henry comes
nowhere near living up to his name’s meaning – ruler of the house. As the scene
shifts to the house parlor, playful Uncle Henry becomes a hapless bystander,
forced to backpedal on a promise to protect Dorothy’s precious Toto from harm.
And in the presence of emotion-driven females, Henry is directed to take action
and place Toto in an imprisoning basket.
That the creators of this classic
film should make all three females scripted with angry words is simply keeping
in accordance with millennia of foundational Western philosophy. Through early
scientific observation, Aristotle noted dominant behavioral traits found in
humans. In an attempt to classify and give order, Aristotle designated the
rational trait found in humans as belonging to the male of the species. The
trait of emotionality he noted to be dominant in the behavior of the female.
Until recently, the foundational
accordance and delineation of human traits between the two genders has been
unquestionably accepted. Even in today’s western world such accordance is found
not only in scientific journals but also in applying metaphorical meaning
within millennia of story-telling. But the successful hero or heroine does not
succumb to allowing their initial dominant trait to flourish. Instead, the
secondary trait gains strength as the story progresses. Would Hansel have been
saved if his sister had simply given in to an agitated state of emotion? And
what ending would have taken place if Odysseus had remained simply ‘a man of
wit’? But Gretel’s cunning move and Odysseus’ emotion-driven actions come at
the end of their stories. We are at the beginning of Dorothy’s story and
behavioral lines must be drawn.
The same strong delineation is
depicted in the early Rosarium images. Before the masculine and feminine traits
found within each of us can begin their integration process, it helps to have
the traits defined. In the 16th century Rosarium series, the figures
addressed the male alchemist. In accordance, the images’ initial male figure
depict primary status while female figures occupy the minor or secondary
position, especially in the third woodcut. The third image depicts the
proffering of flowers from the female done with the left, or secondary, hand.
And with bannered speech the female figure declares her submission. McLean
designates these nude figures as “King and Queen of these solar and lunar
forms.” [1] The while the King’s banner
reads, “O Luna, let me be thy husband,” the Queen responds, “O Sol, I must
submit to thee.”
In classic designation, such
submission would indicate that the emotional tendencies of the alchemist should
take a backseat to his rational side thereby equating emotions with
irrationality. A simple example of how this rational/irrational evolution
unfolds in the fairy-tale Jack and the Beanstalk. Young Jack is entrusted with
money to buy wisely at the market. However, Jack returns not with the desired
item but instead spent the money on ‘magic beans’. Yet the beans do indeed grow
to reach great heights and Jack is able to experience a new realm as he climbs
the giant stalk. He has traded in on the rational realm of cause and effect and
put his faith in the irrational.
A 21st century
rendering of this story may have a domineering father, settled quite nicely in
Stage 3, telling his son to buy antacids that he’s seen advertised so often on
TV – the ones ‘endorsed by 9 out of 10 doctors’. The modern day Jack uses the
money to feed his own curiosity and spends it on an introductory yoga class
instead. He returns home and excitedly tells his father that if he would simply
start taking deep and regular breaths his health would improve. This news, of
course, is met with his father’s rage that the son would believe such nonsense
when the authorities in the medical field have not made any mention on TV of
such a cure.
Traditionally, it is considered a
masculine tendency to lean heavily on the surrounding evidence of direct cause
and effect and this tendency dominates the early stages of a hero’s journey.
But a female’s, or heroine’s, journey begins with different dominant
characteristics. Instead of linear cause and effect evidence being an
authority, a heroine’s journey begins with justified emotions as dominant.
Think of Cinderella’s stepmother and
step-sisters as examples. Full of jealousy and spite, the three
initially-dominant women in that influential fairy-tale displayed little
rationality. Only the calm, submissive Cinderella emerges, however, as the
story’s victor. Certainly there are stories depicting the contrary. But in
staying true to the Rosarium journey of consciousness, a highly-influential
fairy tale often depicts the initial-dominating female as emotion-driven. As
this story progresses a masculine element, Prince Charming, is introduced and
is highly desired by social-climbing females. But the prince has already
started his own integration process, a fact evidenced by his rejection of
match-making through the halls of wealth or station, and instead relies on a
glass slipper to indicate his true life partner. HIs union with humble
Cinderella could easily be seen as symbolizing the necessary integration of the
masculine/feminine aspects found in every human psyche should the seeker’s
journey be successful.
And so it is in Dorothy’s tale. In
these initial three scenes Dorothy has been in a fever-pitch, displaying great
worry and trying to explain why she is correct in her concern. Now the primary
cause for her concern arrives and an angry yet powerful Miss Gulch presents a
law-endorsed edict to take Toto away. Realizing the futility of going against
such authority, Dorothy’s domineering Auntie Em also succumbs to emotion.
Yet we have only seen the first few minutes of Dorothy’s story and it is
necessary to depict these dominant women as emotional to stay true to
tradition. Much more unfolds in the development of not only Dorothy’s character
but also in the stations of the other women. Such unfolding is also necessary
for this to be a successful-integration journey.
A resigned Auntie Em directs
her husband to place Toto in the restraining basket Miss Gulch has brought
specifically for that purpose. Uncle Henry’s acquiescence to his wife’s request
is further evidence that he is nowhere close to living up to being the ‘ruler
of the house’. But in these early stages of conscious evolution the female
seeker is hardly aware of the presence, much less the power, of her secondary
realm.
In the Rosarium images a
female figure represents the secondary traits. This is in keeping with the fact
that most alchemists were men. But in relating the Rosarium imagery to
Dorothy’s story, an important reversal must be made. Although traditional
feminine traits are dominant at this point in Dorothy’s story, these dominant
behaviors are represented by the male figure in the Rosarium woodcut series.
Correspondingly, the male figure in the third Roarium image symbolizes the
dominant characters of Auntie Em and Miss Gulch even though the genders are
reversed.
The male characters in Dorothy’s
story, the farm-hands and Uncle Henry, are symbolized in the Rosarium series as
the submissive, or secondary, female figure. In the second Rosarium woodcut
this point did not need clarification as the male and female figures mirrored
each other. In this third woodcut, however, the two figures use contradictory
hands to proffer long-stemmed flowers. While Sol offers his flower with the
right hand, Luna uses her left hand to offer her flower. Use of the left hand
traditionally indicates a secondary standing often perceived as disturbing,
possibly evil, as the Latin for ‘left’ is sinistra. Little wonder
remains why at this early stage of conscious development the non-trustworthy
secondary aspect of our behaviors is presumed to deserve no power while the
dominant realm rightly calls all the shots.
Representing Dorothy’s dominant
realm, Miss Gulch accuses Toto of being “a menace to the community,”[2] and Uncle Henry does as directed and
puts the small dog into an imprisoning basket. The use of a basket by the
filmmakers can be seen as another tip of the hat to Baum and his Theosophical
leanings toward Buddhism. As the film’s creators earlier used the Buddhist
symbol of ignorance, the pig, so may the same creators turn toward Theravada
Buddhism. This strain of Buddhism uses baskets to represent the three major
paths of its strict Buddhist law.[3] In the Pali Canon, the most
difficult of these pathways, or baskets, demands the understanding and
experiencing of the psychology, philosophy and metaphysics of Buddhism. A
second basket symbolizes the full memorization of the Buddha’s discourses. But
the first set of basket-law demands Buddhist monks and nuns learn and follow
rules focusing on the well-being of the sangha, or community.
Community-menacing Toto seems to
denote the movie creators’ wish that this first introduction of a basket
represent the laws of society, whether they are sangha rules, civil laws or
commandments set down in other religions. The first mention of religion
also comes at this point in Auntie Em’s parting words to the domineering Miss
Gulch. Recognizing Gulch’s backing from the law and her monetary influence,
Auntie Em defiantly declares the woman “doesn’t have the power to run the rest
of us.” But also claiming to be a Christian woman, the strictures of her
religion curb the typically outspoken Auntie Em from further argument.
The religious restraints of 16th
century Europe were much more severe than in today’s world. The long reign of
the Spanish Inquisition continued as did persecution of non-Christians.
Faith-abiding Christians endured the strict dogma-based orthodox teachings of
the Church. Patriarchal divinity continued as the primary subject of artwork
and the newly-invented Gutenberg printing press turned out Bibles with few
variations.
Sanctioned persecution
increased during Luther’s Reformation as the Church tried to quell radical
beliefs threatening throughout Europe.
Yet in relatively-free France and Germany the Rosarium Philosophorum found
voice. Claiming to “speak plainly” to those searching for secrets but “deceived
or terrified”[4] into giving up their search, the
anonymous writer of the Rosarium begins the text warning the reader of
false teachers. Yet the small-volume Rosarium text attributes its teachings to
an integral focus of the orthodox Church. Joining hands with the 16th
century Church a Rosarium notation states “Alchimy (sic) is a gift of the Holy
Ghost.”[5]
The Holy Ghost, or Holy Spirit, had been depicted as a dove since the earliest
days of organized Christianity. And while representing Spirit in orthodox
Christian teachings, the dove found a similar symbolism in esoteric imagery.
The Rosarium places much emphasis on the bird’s presence in three of its
first four woodcuts. In the third woodcut the dove hovers closely between the
male and female figures. The dove also bears a Latin-versed banner, “It is the
Spirit which vivifies.”
Focus on this hope-filled promise found in the Rosarium’s third woodcut is
mirrored in Dorothy’s story as Toto escapes the confines of Miss Gulch’s
imprisoning basket. Correspondingly, it is in this first portion of the
Rosarium text that we are told of “Sol and his shadow”[6] Alchemy’s use of the term shadow
hearkens to the first stage of Plato’s Cave Allegory. The Rosarium text adds
Plato’s name to its list of illustrious contributors, including Aristotle. And
it is in Plato’s famous allegory, when the prisoner first breaks free of his
confining chains, that he becomes aware he has been viewing only shadows all
the days of his confinement.
In Jung’s 1943 Psychology of the
Transference, wherein the difficulties of relationship between psychologist and
patient is the main focus, the esteemed scientist uses the Rosarium woodcuts to
provide basis for his arguments. Commenting on key images, Jung details the
progression of the doctor/patient relationship. Early in the progression the
shadow emerges. Jung likens this to the third Rosarium woodcut stating the
introduction of the shadow is indicated by the now-naked figures and that
“[shadow] is raised to consciousness and is integrated with the ego.” [7]
Awareness of the shadow side of
one’s dominant behavioral trait is now of major emphasis. Where once only
Auntie Em and her dominant behavior ruled, now a second dominant female enters.
At first Dorothy and Auntie Em seem to join forces in opposing Miss
Gulch’s wishes. But the new dominant power is backed up with civil law. This
forces Auntie Em to relinquish her stand and do nothing to prevent betraying
Dorothy’s strongest desire – the protected ownership of Toto.
Before this betrayal a person
typically defends their dominant behavioral stance. And such a defense would go
unchallenged had not a shadow force arisen as betrayer. In the protected
womb-setting of Plato’s cave, authority often provides more stability than
disruption to an individual’s innate sense of personal freedom. To desire
leaving such a familiarly agreeable setting may require a huge sense of
disruption, including betrayal.
Betrayal is often a key force in the
spiritual journey. According to noted anthropologist Jean Huston, “Betrayal, of
all the woundings that may be suffered by the soul, can be the greatest agent
of the sacred.” [8] Without betrayal from
stability-providing authority, the voice of desire becomes mute, no longer
asking for further journeying from the individual. The individual stays chained
to the walls of Plato’s cave, safe within the confines of the Rosarium’s third
stage. The dominant reactionary behavior remains separate from the secondary
realm of rationality. Emotional judgments retain their justified
status. And beliefs that the outer world is the source of the individual’s
happiness, or unhappiness, remains unquestioned in this land where authority
rules.
Miss Gulch leaves the Gale farm
secure in her sense that authority will remain unquestioned. As Toto’s
imprisoning basket sits perched on the back of her bicycle, Miss Gulch pedals
triumphantly away.
The triumphant song that accompanies
the powerful woman consists of a 12-note refrain. The repetitious notes imitate
a rooster’s crow and once again the creators of Dorothy’s film find a means to
incorporate another Buddhist symbol. As mentioned earlier, in Buddhist
symbolism the three sources of suffering are anger, desire and ignorance. The
snake, pig and rooster symbolize each source respectively. As with Dorothy’s
earlier escape from the confines of ignorance-representing pigs, so now Toto is
able to escape the confinements of desire, as seemingly-represented by Miss
Gulch’s rooster-crowing theme song.
The journey is long in breaking free
of strong desires. The decision to begin the ‘hero’s journey’, a term coined by
Joseph Campbell to describe the maturing of the psyche in an individual, often
begins in reaction to a betrayal. But as long as a person is comfortable with
the stability authority provides, progress is halted and the union of the
dominant and secondary realms will not take place. Awareness of the underbelly
of dominant behavior is needed.
Yet awareness is not action, and
Dorothy is ready to go beyond simple awareness. The disturbing scene does not
finish with Dorothy simply crying in her bedroom feeling betrayed and forlorn
as her beloved Toto is taken to his destruction. Instead, Toto escapes
unnoticed from the restraints of Miss Gulch’s basket and runs back to the Gale
house. The little dog jumps through the bedroom window into Dorothy’s loving
arms.
Awareness now becomes action as the
emboldened girl pulls a suitcase from under her bed and announces confidently
to Toto her intention of running away. The familiar realm of home no longer
provides lasting safety and stability. Dorothy is now poised to begin searching
where such a place may exist.
[1] The Rosary of the
Philosophers: Magnum Opus Hermetic Sourcebook No. 6 McLean, Adam 1981 p120
[2] All direct quotes from movie
taken from Wizard of Oz movie script - Internet
[3] Perennial Philosophy – Aldous
Huxley
[4] Ibid p9
[5] Ibid p14
[6]The Rosary of the
Philosophers p26
[7] The Collected Works of C.G.Jung
Vol. 16 p239
[8] Jean Huston, The Search for
the Beloved – p113
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