Home Guidelines Reading Alternative Grail Psychonautics
Lydia's Well Gnostique Gaia-Sophia Magdalene Living Myth
Sky Lore 2012 S h i f t Rite Action



Site Guide




Mythophrenia Explained

... someone who lives in the mix and merge of the actual and the imagined, who may take the imagined as being the more real of the two, holding a higher value relative to truth. I contend that mythophrenia is not necessarily a mental disorder but a liminal state normal to human animals. Supernatural forces push the mythophrenic one way or the other, inducing destabilization, grandiosity, or madness. People who can't handle this condition become schizophrenics, paranoids, "borderline personalities" or otherwise unstable specimens. Those who handle it well become extraordinary artists, writers, and visionaries, although not necessarily, or often, recognized and celebrated as such by society at large. Some mythophrenics handle it for a while and then crack up.

Example: Antonin Artaud

"My heart is what isn't my ego... To love the ego is to love death, but the law of the Virgin is infinite." Revolt Against Poetry

"The Fantastic is of a noble quality, its disorder is only apparent, it really obeys an order that is fashioned mysteriously and on a level which normal consciousness does not reach but which Magic allows us to reach, and which is the very mystery of all poetry." The Peyote Rite Among the Tarahumara Indians

By "Fantastic" Artaud means the Supernatural, the Nagual, the matrix of divine imagination, contrasted to human imagination. Human survival depends on knowing the difference. All productions of human imagination are deviant unless they are framed in the sacred narrative, the Fallen Goddess Scenario (FGS). ALL. That is the Gnostic Rule.

More on Artaud, other notable mythophrenics, fugue states, memes and nmemes, synchromysticism, divine intervention, the Mandela Effect, and Maitreya the World Teacher as this new platform within metahistory.org develops.

Visionary Guidance

Sydney Long, Spirit of the Plains (1897). An example of visionary art derived from the Symbolist movement of the last 19th Century.

Note: At the moment I discovered this painting by searching on the Internet, I remembered that I once had a dream about it. In the dream I was in Australia discussing art with some people in a gallery. The cranes in the painting occur as mythic motifs in Translations from the Andromedan: "the silver cranes of Lake Manasa." The Pan-like figure also "resonates" to persistent elements of my personal and creative lilfe, such as the Pan-Socrates liaison, ta erotica, nature worship. See comments below on the management of fugue states.

Mythophrenia may be defined as the art and practice of visionary self-guidance, or self-direction using the tools of myth, language, and symbolism. There are several elementary skills to master here. All in all, the practice is not complicated, although -- truth be told -- it requires delving into a field of extreme density and complication, the realm of the second attention, indicated by the 6 of 6/5 in the 10-D formula, and exploring its interface with the first attention, /5, designated as C-ERN.

At the outset, it is helpful to distinguish complication from complexity. Success in mythophrenia may be compared to an alchemical process of distillation: you distill the complications down to the complex core, the Essential. Complexity theory....

The first skill to be learned in mythophrenia is how to manage fugue states.

Fugue States

In music, a fugue is a contrapuntal composition in which a short melody or phrase (the subject) is introduced by one part, then successively taken up by others, and fully developed by interweaving the parts.

In psychiatry, a fugue is a momentary loss of awareness of one's identity, often coupled with flight from one's usual environment, associated with certain forms of hysteria and epilepsy.

In mythophrenia, a fugue is an alignment riff, a stream of associations, cues, and clues, both inner and outward, that align you to the dreaming power of the earth.

This is an exercise: repeat, do not over-determine the fugue of free associations. Do not dip into the fugue and stir it, just skim it. Do not elaborate the fugue beyond the associations that freely arise. Practice the use of your first attention, screening the associative interface of the subconscious, 6/5 -- that way, for now.

Orchestration of the fugue state is the singular responsibility of magister ludi, the master of the game. Like the conductor of an orchestra comprized of many instruments, each musician assigned to a specific part...

See Scheherazade by Rimsky-Koraskov, performed by the Vienna Philharmonic, conducted by Valery Gergiev, Salzberg Music Festival 2005.

For example: read the synopsis of Charlotte's Web

As you do, notice the striking factors registered in words and themes: barn in Maine, pathway sound, divine intervention, weaving praise, the spiderlings, Joy, Aranea, Nellie (look at the initial letters). Let your first attention skim the material and notice the free associations that arise but do not at this point elaborate them or speculate on them. Just notice them, how they catch your attention, and hold them in a kind of wondering suspension. For now. Hold the excitement.

In your responses, you can of course cite the associations that arise by a spontaneous fugue in your mind. There will be cumulative terms [ ] additional to the actual words and themes you register in the film, White's bio, and the synopsis of the story, etc. You may include in your post some of those cumulative associations but if you do so, put them in a list with hyphens or ellipsis, using dots.... Do not build them into coherent sentences or statements.

In short, do not declare or state openly what you may intuit "as message" coming through the fugue of free associations. Let that intuited signification remain unstated for now. Practice this technique rigorously!

"The Charlotte Working" is the name I give to the exercise or experiment intended to demonstrate the command of the dreaming power of the Aeonic Mother.




Material by John Lash and Lydia Dzumardjin: Copyright 2002 - 2018 by John L. Lash.