El s’mbolo de
Dulcinea/Gaia: English>
En los "esp’ritus
sensibles", aquellos que est‡n ÒdespertandoÓ o pueden ÒdespertarÓ, especialmente
porque Žstos, generalmente poseen naturalmente una mayor energ’a,
habitualmente, sus ÒemocionesÓ son comœnmente utilizadas, manipuladas por
terceros o puede dar lugar a confusiones de conducta. Lo que debiera ser el
"pathos" (¹ατοσ= la pasi—n, sendero,
camino) es "atra’do", "distra’do" (como dir’a Tomas
Merton), por distintos centros de gravedad EXTERNOS a nosotros mismos :
"ideolog’as", Òcampa–as pol’ticasÓ, ÒMiedosÓ, etc. que, para
aprovechar la energ’a del alma humana hacen uso de cualesquier Òcausa justaÓ.
TambiŽn son atra’das por identificaci—n con ÒyoesÓ internos, como "me
siento malÓ, tengo "c—lera", tengo "pena", estoy
"triste", o "estoy alegre", producidos por nuestras propias
"asociaciones" subjetivas internas. La Novela de Caballer’a, y el
"amor cortesano" de los inicios del
Renacimiento, la "Alquimia" de aquellas Žpocas, esa otra Žpoca de
cambio y Apocalipsis (Ἀ¹οκάλυψις= Revelaci—n de lo Alto),
NOS PROVEE DE UNA HERRAMIENTA, DE UNA "CLAVE", de una "tŽcnica"
que EVITA QUE NUESTRA ENERGêA VITAL, nuestra "l’bido" sea consumida,
sea absorbida, tragada, por cualquier evento EXTERNO a nosotros, imaginario e
interno o supuestamente "REAL" y externo. Por m‡s JUSTIFICADO e
incluso "ALTRUISTA" que Žste sea. No
voy a "salvar" a ninguna humanidad sin antes "salvarme" a
m’ mismo (y la raz—n me dicta que si creo que debo hacerlo antes debo poseer la
energ’a suficiente yo mismo). Esta CLAVE, esta tŽcnica, este
"truco" de aquŽl Mago del Tar—t, es aquŽl que emple— el QUIJOTE: ƒl
se estableci— una META, un OBJETIVO ÒqueridoÓ para sus emociones y su atenci—n
en general, las que no ser’an dirigidas hacia fuera, por nada ni por nadie,
sino por aquella elegida por el Hidalgo Caballero, con el prop—sito de mantener
su coraz—n abierto, no cerrado: ÇSe cree, que en un lugar cerca del suyo hab’a
una moza labradora de muy buen parecer, de quien Žl un tiempo anduvo enamorado,
aunque, segœn se entiende, ella jam‡s lo supo ni le dio cuenta de ello.È
ÇLlam‡base Aldonza Lorenzo, y a Žsta le pareci— ser bien darle t’tulo de se–ora
de sus pensamientos; y, busc‡ndole nombre que no desdijese mucho del suyo y que
tirase y se encaminase al de princesa y gran se–ora, vino a llamarla 'Dulcinea
del Toboso' porque era natural del Toboso: nombre, a su parecer, musical,
peregrino y significativo, como todos los dem‡s que a Žl y a sus cosas hab’a
puestoÈ. Al elegir este "pat—s", este "intento"
indeclinable e insustituible, esta caballeresca empresa, este Òhiero-gamosÓ (ἱερὸς γάμος, ἱερογαμία) devolv’a la creaci—n
del mundo al Òeterno presenteÓ, la manifestaci—n del "logos" hasta
sus dos componentes iniciales, Ad‡n y Eva (*), retrotrayŽndolos, en su
aventura, hasta retornar al "pardes" (para’so) original.
(*) 0,1,1,2,3,5É .etc. ÁLa
Serie Fibonacci! !, donde, aunque cuando buscamos, realmente nos estamos
buscando a nosotros mismos, eso dicen ÓellosÓ; PERO esos 1 y 1, despuŽs de
la manifestaci—n, son necesariamente Ying y Yang, mujer y hombre, Eva y Ad‡n,
Lilith y AsmodŽo, pero una versi—n real de ambos, separados como en una bater’a
elŽctrica, para producir energ’a. para comenzar la CREACIîN, arriba y abajo (la
versi—n inversa: -1, -1, -2.-3 ...) Ahora, ÀquŽ es 3 ?, 3 es la primera tr’ada,
el primer intervalo en una octava: cuando abres la boca para comer, o respiras
por tus fosas nasales, o abres tu coraz—n para seguir viviendo, o tu mente para
alimentarte, para recibir la luz del ÒTopos UranusÓo para iluminar la
conciencia del mundo! etc.. ÁLo que acabamos de comprender es el secreto de los
secretos! ÀCu‡les son sus consecuencias en nuestro mundo circundante y su
gesti—n ...? Entonces: ÁNecesitamos una relaci—n m‡s cercana de 1 a 1, un
intercambio, una comunidad en la quinta dimensi—n!, una comunicaci—n eficaz, un
intercambio energŽtico, el œnico que puede suplir tal "carencia", tal
"hambre" que todos experimentamos: Á"Yo", un "Yo" real
y "efectivo" no es UNO, sino UNO y otro UNO! , por el hecho f’sico de
que, para producir cualquier resultado, ambos ÒpolosÓ deben estar presentes
para poder recibir, para poder ser ÒalimentadosÓ por la Òtercera fuerzaÓ del
cosmos; ÁCualquier otra cosa resulta es solo ÒaccidenteÓ o "caos"!.
Una observaci—n
importante es que aqu’ el Caballero, el Quijote, a diferencia de aquellos
quienes solo buscan incrementar su conocimiento en aras de incrementar su poder
consecuentemente, no cae en un desarrollo egocŽntrico que lo a’sla de la vida
misma, cayendo en la patolog’a del poder por el poder, y en cambio, antes bien
su visi—n altruista por excelencia, centrada en el pat—s (emoci—n) se enfoca en
acrecentar la vida y alcanzar la vida eterna en aquŽl maravilloso retorno a la
unidad primigenia previa a la expulsi—n del para’so. Paso a paso, mientras
lucha contra los enemigos, incrementa la ÒsaludÓ de ambos, hasta alcanzar una
eternidad consciente y compartida, ambos ahora como una vibrante unidad.
Esto se debe a que el
Quijote, al enfocar su psique en Dulcinea, le permite a la vez, descubrir el
espacio de la fuerza, del Žter, el ÒnagualÓ, que de otra manera le ser’a
esquivo, y all’ proseguir el Òcamino con coraz—nÓ seguro hacia el ÒpardŽsÓ.
.
The symbol of
Dulcinea/Gaia:
In those
"sensitive spirits", those who are ÒawakeningÓ or may ÒawakeÓ, especially because
they in special naturally possess higher energy, emotions are commonly
utilized, manipulated by third parties, or it can lead to
confusion and misconduct. What it should be the "pathos" (¹ατοσ = passion, road, path) is
"attracted", "distracted" (as Thomas Merton would say), by
different centers of gravity external to ourselves: "ideologies",
Òpolitical campaignsÓ, ÒfearsÓ, etc. Ingeniously
"produced" in order to take the power, making use of any Òfair
causeÓ. These also got identified with the several ÒegosÓ as "I am feeling
bad", I feel "anger", I am "sad", or "I am happy",
produced by our own subjective internal "associations". The Novel of
Cavalry, and the "courtly love" of the
early Renaissance, the "Alchemy" of those epochs, that other epoch of
change and Apocalypse (Ἀ¹οκάλυψις = Revelation
from above), PROVIDES OF A TOOL, A KEY ", of a" technique "that
impedes OUR VITAL ENERGY, our" libido " to be consumed, absorbed,
swallowed, by any EXTERNAL event to us, imaginary and internal or
supposedly" real " and external. It does not matter how JUSTIFIED or
even "ALTRUISTIC" that this may be. I will not "save" any
humanity without first "saving myself" (and reason tells me that if I
think I should do it before I must possess enough energy myself).
This key, this
technique, this "trick" of that Mage (Μαγοσ) of Tarot, is the one
that used the QUIXOTE in order to keep his heart "open" and not
closed: He established a GOAL, a TARGET, a Òmost dearÓ object for his emotions,
and in general for his ÒattentionÓ, which would not be directed away by
anything or anyone, but by that one chosen by the Hidalgo Caballero himself:
"It is believed
that in a place near his own there was a working girl of very good opinion,
whom he had once been in love with, although, as it is understood, she never
knew him or [in some editions] accounted for.
She was called Aldonza
Lorenzo, and it seemed to him that it was well to give her the title of
mistress of her thoughts; And, looking for a name that he did not throw away
much of his own, and that he would throw himself and go to that of a princess
and a great lady, he came to call her 'Dulcinea del Toboso', because it was a
native name of El Toboso: a musical one, pilgrim and meaningful, as all the
others that he and his things had set. "
By choosing this
"pathos", this irreplaceable and indeclinable "Intent",
this chivalrous enterprise, this Òhiero-gamosÓ (ἱερὸς γάμος, ἱερογαμία) returned the
creation of the world at an eternal ÒpresentÓ, the manifestation of the
"logos" to its two initial components, Adam and Eve (*), retrograding
them, in its Adventure, until returning to the original "pardes"
(paradise).
(*) 0,1,1,2,3,5É.etc. The Fibonacci Series!, where,
though when We seek for, we are really seeking for ourselves, so ÒtheyÓ say;
BUT those 1 and 1, after manifestation, are necessarily, Ying and Yang, woman
and man, Eve and Adam, Lilith and Asmodeo, but a real version of both,
separated as any electric battery, as to produce energy.. To start CREATION,
above and below (the inverse version: -1, -1,-2.-3É)
Now what is it 3?, 3 is the first triad, the first interval in an octave: when
you open your mouth to eat, or you breath in through your nostrils, or open
your heart to keep on living, your mind to feed, to receive the light from the
ÒTopos_UranusÓ, or to illuminate the conscience of the world, etc..!. .What we have just have understood is the Secret of
Secrets!. Which are its consequences in our surrounding world and its
managing..? So: We are in need of a closer
relation of 1 to 1, an exchange, a community in the fifth dimension!, an effective communication, an energetic exchange, the
only which may fulfill such ÒlackÓ, such ÒhungerÓ we all experience:
"Me", a working and "effective" "Me" it is not
ONE, but ONE and another ONE!, anything different is disorder, due to the
physical fact that, in order to produce any result, both ÒpolesÓ must be
present, in order to make possible to receive, to be fed by the cosmic Òthird
forceÓ; anything else results in ÒaccidentÓ or "chaos".!
An important
observation is that here the Knight, Don Quixote, unlike those who only seek to
increase their knowledge just to increase their power consequently, does not
fall into an egocentric development that isolates him from life itself, falling
into the pathology of power by the power itself, and instead, rather his
altruistic vision par excellence, centered on the pat—s (emotion) focuses on
increasing life and achieving eternal life in that wonderful return to the
original unity prior to the expulsion from paradise. Step by step, while fighting
enemies, increase the "health" of both, until reaching a conscious
and shared eternity, both of them now as a vibrant unity.
This is due to
the fact that Don Quixote, by focusing his psyche on Dulcinea, allows him at
the same time to discover the space of force, of ether, the "nagual",
which would otherwise be elusive, and there continue the safe path, its Òway
with heartÓ towards the "pardŽs".