You've probably heard of the secret. The secret is supposed to be the true secret of success, the secret of why some people are successful in the world, whilst others aren’t. It’s supposed to be the secret known by the world’s wealthy and powerful. It’s supposed to be the secret of how to control and improve your life, as yourself, essentially, through your state of being or consciousness. It’s supposed to be knowledge of the truth of life.
The secret says that you are responsible for your life, and that what holds you back, what impedes you in life, is not in the world outside you, but within you. So you can solve your problems and limitations, or succeed, by ridding yourself of the blockages in your own psyche or mind.
There is of course, as anyone with a little self-knowledge must know, some truth behind this. But there is also, as you might suspect, a lot of nonsense surrounding it. Firstly, many of the rich and powerful in the world are where they are, not because they have some secret illumination, but because money and power is what they have pursued, they are driven by the wanting of money and power, and they happen to be the ones who are best placed and adapted to succeed in that. But that does not mean at all that all the most wealthy people in the world have necessarily ended up in that position purely on that basis. The world is not as simple as that. The world is complex, complicated, and nuanced.
Nevertheless, in a competitive situation, in a race, someone has to win. It's as simple as that. And many losers look up to winners and see them as something more than just a winner. Because they think, whether overtly or tacitly, "I want to be like that", or "How can I be like that"? And so now, today, the world is full of narratives on "how to succeed", fed by that principle. Firstly, the aspiration to follow after a hero or to be a being other than the being you already are, is pretty commonplace to begin with, in the human race. But perhaps more pertinently, is the idea that what is judged to be success in someone else's life, comes from personal habits of mind that can be learned in the same way that we learn anything else.
But anyone who knows anything about psychology, will probably recognise that what we are looking at here is what psychology calls the narrative fallacy. Human life itself is far, far more complex, complicated, interconnected, and nuanced, than the narrative-self mind likes to give it credit for. The actual workings of the network of causes behind who wins and who doesn't, like the relevant network itself, is mostly out of sight. But the compulsion to knit together a suitable narrative, especially when the most relevant factor is taken to be the narrative-self itself, the narrative idea of "who someone is" or "what they are like", and the naive belief that the inner workings of the mind are understood, and that its personal narratives can be believed, is irresistible. Cognitive bias and distortion have a field day.
There is another fact to face. The "secret" sounds like secret wisdom. But the world is not ruled by the wise. If it were only the wise who ever succeeded, then the world would be ruled by the wise. We would all be living in Plato's Republic, under the rule of philosopher kings. And we are not.
However, none of this means that habits of mind and personal psychology do not play an extremely important part in what unfolds as the circumstances of life. It is just that the secret of what is going on there, cannot be legitimately characterised through personal narratives. So it can also be true that what afflicts you as obstacles to living the kind of life in which you are living with greater harmony and creativity, and rightness of being, is your responsibility. But this is not something you can "fact check" scientifically. It's a question of experience. Which means it's not just a question of psychology scientifically understood. It's a question of phenomenology. It's about self-knowledge. Which is precisely what science is not about.
And that's where the real knot is. Because self-knowledge, real self-knowledge as spoken of in the world's great wisdom traditions, isn't personal. It's not at all the same thing as "what I am like as a person". Or "what I believe in, and what I do, and how I handle it". That's not actual self-knowledge at all. That's all narrative self.
In terms of phenomenology, which science can know nothing about, friction and difficulties can be a manifestation of your devoting your life and attention too much to what you think you want, and who you think you are, which is all about narrative self, without an accompanying growth of self-knowledge.
It is simply not true that the worldly success of all the world’s most successful people is the demonstration that they have all realised tremendous self-knowledge or some great spiritual or philosophical secret. It is just that it might look like that, through the lens of the narrative fallacy. The truth is that it’s also perfectly possible to fill a vacuum of self-knowledge with acquired knowledge of how to succeed in the world. The two things are not the same thing.
In fact, some of the world's most successful people are by their very own admission carrying significant amounts of personal, emotional baggage. Which always comes from the past. And the biggest obstruction to knowledge of the truth of our self is precisely that - troublesome, personal, emotional past. Often, what drives success, is pain. Not always, but it certainly can be. The way the world works is far more complex, complicated, interconnected, and nuanced, than can possibly be understood through the idea that you can "learn the secret of success" with the mind of narrative self.
At the core of the world's great wisdom traditions, is a clear message. In terms of phenomenology, what most people don't realise is that the kind of success that comes divorced from the process of finding self-knowledge, also comes with a price. A debt. And no matter how much you succeed, in seeking a position, or seeking who you think you are, or who you would like to be, in the world, as narrative self, you’ll never really be free of that debt. Because no position, or identity of who we think we are, or who we would like to be, as narrative self, is who we really are.
The debt will still rear its head as uncertainty, stress, fear, disturbance, and unhappiness. If not sooner, then later. And the more powerful our position in the world, the more uncertainty, stress, disturbance, or unhappiness, or in general, lack of peace and harmony, is likely to rear itself in terms that appear to the mind to be something else, something in the external world or circumstances.
On that road, in the relentless pursuit of the idea of yourself and your success, as narrative self, divorced from the pursuit of self-knowledge, all paths lead ultimately to the final rational solution. Which is for you to become the one at the top, with more power over all your enemies, than they have over you. That is the way of the world. History demonstrates it. Whether you are an individual, or a collective. Because it's a world in which a certain dynamic is playing itself out. A dynamic of competition and force. Why? Because physically, we are primates. We are literally a species of animal. In other words, this is about evolution.
So the real secret behind it all, lies in self-knowledge. It lies in knowing yourself. Which is why thousands of years ago, the ancient Greeks said "Know Thyself". It was the wise Oracle at Delphi that was supposed to have said that, as the deepest truth of life.
If you're determined to succeed in the world, then you will apply yourself to that. And there is absolutely nothing wrong with that. Unless of course you are vowed to poverty. What science cannot know, but what phenomenology and experience can teach, is that behind everything that happens, as human experience, there is actually an underlying integrity that doesn't make much sense at all, to the ordinary narrative understanding of who we are, and what the world is, and what it is about. Christians of course sort of recognise this, as the unfathomable ability of "God's plan". But whether or not you are a Christian what it is about, is waking up to the realisation of who you really are, beyond the limited personal idea of "who I am".
There is nothing in itself, wrong with worldly success, or wealth. It is as much sometimes part of that awakening process, as losing is. Someone who realises it might actually turn out to be a penniless hermit, just as much as they might turn out to be a successful business person. It doesn't matter.
Believe it or not, and although it's difficult for the narrative ego to believe it - because money and wealth is such a really big deal for the ego - not everyone needs to be a super successful person in the world, with significant money and wealth, in order to be in harmony. But then again, it is also the easiest thing in the world for someone who is deprived, and not facing what they need to face within their self, in order to know their self, to erroneously console themselves with the narrative idea that they are more spiritual than those who are more materially privileged.
Put quite simply, we have never been living in a world, in the first place, in which wealth or social status defines who we really are. But it can certainly define narrative self.
So what about this idea, this so-called "secret", that what stops you succeeding in the world, is blockages in yourself. Well it's true. But that's not really a secret, and it's nothing like the whole story.
What no-one can get, if they just listen to that, is that these blockages in yourself, are something that are not merely blockages to your worldly success.
Seeing blockages as obstacles to your success, is actually a mistake. It's just an interpretation, according to narrative self. These blockages, which are things like anger, resentment towards others, jealousy, rejection of the world in general, or "the government" or "the system", or "a chip on your shoulder" and so on, are actually, primarily, just obstructions to the discovery of who we really are, beyond this narrative self.
In fact, the whole idea of "blockages", here, is a Western reconstruction according to Western narrative, and Western material aspirations, of a piece of wisdom that really, comes from Buddhism, which refers to "obstructions".
But these are not obstructions to "success". They are obstructions to enlightenment. The opposite of which is ignorance.
So you can have one person in the world who is tremendously successful in worldly terms, and who is surrounded by wealth and perhaps power, who is no more free of this ignorance, than someone who is financially struggling. Because the way the world works, is far more complex, complicated, interconnected, and nuanced, then most people give it credit for. And there are always things going on out of sight, that most people don't understand. But the thing is, whatever your circumstances, whether poor or wealthy, there is still debt. And the debt appears as stress, anxiety, unhappiness, depression, and so on.
The debt isn't anything that the person, or personal mind - the narrative self - can really understand. What it is, is just the so-called blockages, themselves. And that's the thing that narrative self finds impossible to understand.
But what happens is that whether poor or wealthy, or successful or unsuccessful in worldly terms, some people start to wake up to the realisation of this. And then they notice that the only blockages in life are blockages in their self. Such people notice that it's not really the world as something separate from their self, that creates the difficulties in life. And so they start to take responsibility for that.
Some people have been doing that more or less their life. Others have only just started. And most people, probably, in contemporary Western culture as it is at the moment, in the momentum of what it unconsciously tries to teach everyone every day through the media and the news, don't know anything about it.
Because what it's about, is responsibility. And currently, we are not living in that kind of culture. It is the opposite. We are living in a blame culture. And what we are talking about here, is that in the end, anything that can disturb you, you have to take responsibility for. But that doesn't mean pointing the finger. That means, you stop blaming other people for what you experience as your own negativity, or disturbance. You take responsibility for it. After all, it's in you. It's not really in anyone else, or in the world. You can still take action to alleviate disturbance and unhappiness, you can correct it, or walk away from it, or sue someone, or go and fight the enemy if you have to, but you still take the self-responsibility. The finger pointing and the accusation in which there is subtly hidden the idea that someone else is responsible for the nature of your life, stops.
It's not that we can just suddenly transcend our emotions. But there is a world of difference between what "causes" emotions such as hurt, resentment, and anger, through what happens in the world and other people's actions, and responsibility. We can get rid of causes, if we can. But none of the causes are responsible, or where the necessary conscious responsibility lies. The world's idea of "responsibility" is unconscious, and designed to perpetuate the avoidance of the true responsibility that is necessary.
If you look at it, if you are going to overcome "blockages" then the person you are (the person you are currently being), is going to change. The blockages that you were previously misidentified with and hadn't been consciously responsible for, were part of the emotional power pack behind the narrative, personal self. So the disappearance of a blockage means you are no longer that person.
So there is no "secret" in which the person is being freed-up to be more successful, by rooting out blockages. It’s that the rooting out of blockages, diminishes the person, the narrative self, and you become more transpersonal. That’s the real secret. If there is any secret about it.
What's happening, is that the experience of who you are, is changing. Other people don't necessarily notice it. Especially if they are still immersed in the world of narrative self. And the narrative self in any case cannot simply disappear, for the simple reason that it has been hundreds of thousands of years of evolution in the making. What changes is the misidentification of consciousness with it.
Many, or probably most people in the world, are going to succeed, or fail, or just do what they do, without necessarily consciously engaging in this process. But it’s not that you can opt out, anyway. It's just that you either consciously engage with it, or you don't. And if you don't consciously engage with it, the so-called "blockages" and vexations will continue, until you reach a certain point. And then a different process takes over.
Most people simply can't comprehend it. They just go on blaming others. They can't hear it, even if it is explained to them. And some people have a part of their life in which they consciously engage with it, for a bit, and then slip back into the old way. Whichever way you look at it, there's no actual "secret" about it. It's just that a human being may not be able to hear it when it is talked about, or see it in action, for themselves, in their own life.
Secrets
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The Secret of the Secret
22 minute read -
The Secret of Rapunzel
11 minute read
We talk about our life story precisely because our life is a story. But really, it's not our personal story as we understand it through personal mind. Deep in the mindstuff we humans are being are all kinds of stories, all of which originally, come from the good. But in there, is also the mischievous, and the dangerous.
Mindstuff isn't just what we think about. It's also what we experience. And what we are experiencing is the mindstuff we are being. But most humans don't yet understand the nature of their mind. They haven't yet come to see that what you think about, and how you think, plays its part in what you experience, and how you experience the world. And in what comes to you, as experience, through the world.
Most people never really come to understand this. And so they fall into the same old patterns of human experience that have been repeating themselves as repeat patterns since time immemorial.
Fairytales and myths tend to be about those patterns. They symbolise aspects of our lives, deep-seated fears and desires and attachments, that live in the human psyche, in the unconscious.
Romance, the desire to have children, the fear of death, all these, are all part of the same story. The story through which we humans come into existence, in the first place.
Inside us, in our mind stuff, is the "unconscious earth". Like rampion, once the story of human propagation comes up from the "unconscious earth" into the light of day, it propagates itself from generation to generation. It must keep coming up from the unconscious, into our experience, so that we ourselves temporarily become it.
So it is likely to cast a spell on us. And if it were a flower, a literally delicious, edible flower, the catch is that it would be the sort of flower that you might find in the garden of a witch. You can go in there, and get it as often as you like, or add it to your daily dishes, and what is the problem? No problem. Until the witch finds out.
Because we don't know the mind stuff that we are being, we don't really know what the procreative force in us, what sex and the desire to have children, is, where it comes from, what it really means, but rather, just have canned answers to that. Like, "the species needs to propagate". Answers given to us by society, or religion, or science complete with its very incomplete knowledge. Because science does not know how biological brain function amounts to our consciousness and whole conditional experience of being, as mind, self and world.
So we don't really know what this story stuff, this "rampion", is, what to do about it, or how to treat it. We don't know that, as self-knowledge. We just desire and eat the rampion. And so the human race propagates.
In many modern accounts, the fairytale begins by saying that there was once a man and a woman who wished to have a child, and then the rampion in the garden of the witch is presented as something the woman desires after she becomes pregnant. But in the Rapunzel story as told by Jacob and Wilhelm Grimm, the meaning is clear.
We are simply told that the couple wish to have a child, but in vain. We are told that the man's wife longs for the rampion growing in the garden of the witch, that they can see through the rear window of their house.
The rear window. It is literally hidden behind the house. In the "house" of our consciousness, we can unconsciously "see" through the rear window of it into our unconscious, as it were, through our desires. Our desires are this very "seeing".
In the garden of the which is both the Rampion, and a tall tower, all inaccessible behind a high wall. Inaccessible behind a high wall? Such is the nature of the unconscious.
The husband has to break into the garden and steal the rampion. Not just once. He must keep doing so. And when the witch finds out, what is the problem?
No problem. But there is a price to pay.
In the fairytale, the witch allows the man to take as much rampion as he likes. But then, when their daughter becomes a woman, she will be stolen away by the witch, who names her Rapunzel, which means rampion, the flower craved by her mother.
In the tale, as soon as Rapunzel reaches puberty, the witch, the keeper of the rampion, keeps Rapunzel, with her beautiful, long, golden hair, hidden, locked up in the tower that is in the garden. The tower in the unconscious. A tower that keeps her, in her virginity, "above" the world.
But the tower is also her prison. And her only contact with the world is through the witch. The witch who is the keeper of the rampion. The real secret here, is that the witch and the rampion are in us all. But we all have our own part to play in the story. The witch has a different relation to us, according to the part we are playing. For Rapunzel, the witch is her captor, her keeper. She is Rapunzel, born of the rampion, and her name, Rapunzel means rampion.
Why does the witch keep her captive? It is because she has a secret treasure. She embodies, unknown even to herself, an inner secret knowledge. The secret of love. She indeed embodies the rampion, as her name, Rapunzel, indicates. But she also embodies her inner, secret knowledge, the secret of love.
So she cannot go out into the world as she is, where she might be available to any man, who sees only Rapunzel the rampion. The secret she embodies cannot be in the world, which is why the witch, the keeper of the rampion, has to keep her locked up in the tower.
The connection between her inner secret and the world is symbolised in her beautiful long hair. Her hair, the symbol of her inner secret, she can let down to the world, from the tower, where she and her secret resides.
And so the witch, who lives in the world, comes to the tower, and calls the famous words:"Rapunzel, Rapunzel, let down your hair",
and when Rapunzel lets down her hair from the window of the tower, the witch is able to climb up to Rapunzel.
But who exactly is the witch? She is none other than the keeper of the rampion. And that, means she is the "keeper" of Rapunzel. With her inner, secret knowledge, the secret of love. The secret of Rapunzel. The flowers that grow in the garden below, in the world below, are also called rapunzel. And they belong to the witch.
What is the tower? Is it the tower of Rapunzel's virginity? Is it a tower of spiritual purity?
No. It is, after all, the tower in the garden, the unconscious, belonging to the witch. Rather, it is a tower of nescience. Nescience of Rapunzel's secret.
So Rapunzel’s relationship with the world, is through the witch who guards the rampion, and demands for it, a price. And so it is that every Rapunzel in the whole world, sings from her tower. And sooner or later, as is the way of things, a young prince hears Rapunzel singing.
In the Greek Myths, lusty centaurs, half stallion, half man, often go hunting nymphs. A prince is different. He does have something of the centaur in him, if he too is out in the forest hunting. But being a prince, when he hears Rapunzel's song, soon falls in love with her.
How can he reach her? In the fairy tale, he watches, and sees how the witch gets to her, when Rapunzel lets down her hair. And there is nothing as bewitching, as the sight of Rapunzel’s falling hair. So the prince goes to Rapunzel the same way. He goes to the bottom of the tower and calls:"Rapunzel, Rapunzel, let down your hair",
When Rapunzel meets her prince for the first time, she is afraid at first. But being a prince, he is not just hunting her. And he, too, has never seen such beauty. Nevertheless, he has only reached her by climbing her hair, and now, he too, is in the tower. The tower in the garden of the unconscious, kept by the witch.
It is the same for every young Rapunzel and her prince. The rampion has a price. And it is about to be paid again.
So in every story on earth, where there is a Rapunzel and her prince, even though they fall in love, the prince cannot free Rapunzel from her tower. He can only be with her, and enjoy her, by climbing her hair. And then he has to leave her again. The prince tries bringing her pieces of silken rope. With this, she says, she can make a ladder, so that she can climb down and they can go and be together in his Kingdom. But the prince's silken gifts will never work.
Why? Because the witch, the guardian of the rampion, is still there in the story. She hasn’t gone away.
So when the witch finds out what has been going on between Rapunzel and her prince, there is trouble. Both must now face the wrath of the witch.
The next time Rapunzel lets down her hair, instead of finding her prince, all she finds is the angry witch, the keeper of the rampion. Who cuts off her hair.
The Prince had first heard her singing, and behind her singing was Rapunzel's secret. But the beauty that literally brought him into contact with her is now cut off by the witch. Rapunzel finds she can no longer bring her prince to her.
And what about the young prince? Now, when he comes to his Rapunzel, there is trouble for him, too. He too, finds the one he so loved, is not there. Instead, he sees an angry witch. The beautiful hair he climbed, is no longer connected to the one who sang so beautifully.
It has been cut off and used as a lure. And he has never seen anything so angry, so vicious. So he flees, he jumps away, and piercing his eyes on the thorns below the tower, for many years hence, never sees such beauty as he first saw in his beautiful Rapunzel.
It's a common story isn't it? But even those who take part in it, cannot usually see it happening.
For some, that is the end of the story. But in the fairytale, there is more.
Rapunzel and her prince must both now pass through the hidden secret of the world. And that can only be done in the world. The world that actually, is the great distraction, the great, impermanent, empty distraction from the love that Rapunzel and her prince first encountered, before the witch demanded her price.
The hidden secret of the world is that it is not what it appears to be. As the Hindus say, it is Maya. As the Buddhists say, it is empty. Really, it is just a covering of ignorance, over the truth. But everyone who is to discover the truth, must go into the world, and pass through it.
So one day, having passed through the lure of the world, the prince hears the most beautiful singing. And just as he did as a young prince, when he first encountered the witch's garden, he recognises the singing, as the beauty of the one he truly loves, above the world.
And now when Rapunzel sees her prince, she weeps tears of joy, for no longer is she locked up by the witch, in the tower of nescience. No longer does she need to let down her hair, for it is always down. For she, the beautiful Rapunzel, is the natural rampion of the Earth, when freed from the witch.
When Rapunzel's tears fall on the prince’s eyes, he sees again the beauty he had become blind too, because of the witch, and he knows again his love. But now he really sees, and really knows. He has passed through the experience of the world, and has emerged from it. And so has she. He sees not just her beautiful golden hair dangling from a tower of nescience, but who she really is.
And so now, because the witch is gone, Rapunzel can go with her prince to their Kingdom.
You may have spotted a little twilight language in my commentary. If you did, you no doubt understand it all the better. -
The Secret of George and the Dragon
15 minute read
This is George and the Dragon (c. 1470) by Paolo Uccello (1397-1475). It contains some of the essential elements of the first part of the story, as it appears in The Golden Legend, represented simultaneously together, symbolically.
St George is of course a Christian saint. And as such, his depiction in art is usually first and foremost interpreted in the Christian context. This is a depiction that can be related to Christianity in the usual ways, the Dragon, for example representing the devil, but Uccello's painting here has been described as a work of 'profound originality' by someone 'not content to supply the standard article' (See Foster, R & Tudor-Craig, P, The Secret Life of Paintings, BBC / Boydell Press, 1986).
No one can be perfectly sure of what an artist intended in a painting, unless they hear it from the artist. However, here is a possible commentary on what are perhaps some of its more esoteric messages.
In the Golden Legend the dragon lives in a lake outside the city of Silene (possibly the ancient Greek Cyrene) in Lybia. As in the various other versions of the story, the essential storyline is that the Dragon has to be appeased by the citizens, or distracted by the citizens from attacking them, by feeding it with sheep.
Eventually, when there are no more sheep to feed to the Dragon, the situation escalates and citizens themselves - children and young people - are offered to the Dragon. Inevitably the time comes when the king's own daughter is to be offered. The king attempts to refuse but the people threaten to kill him if his daughter too, is not sacrificed.
The king's daughter is about to be eaten by the Dragon, when St George comes riding by. Initially the king's daughter either spurns George or send him away for fear of his life, depending on the version you read. But he convinces her that all will be well.
He wounds the Dragon into submission, so it becomes 'a meek beast and debonair'. The king's daughter's girdle is then bound to the neck of the Dragon, so that she can lead him into the city, whereupon St George cuts off his head. In the Christian aspect of the story this is on condition that the people become baptised.
If you understand the Dragon to be the devil, then the exoteric meaning in the Christian context is pretty clear. But now let's take a closer look at the picture.
When Uccello painted his George and the Dragon Florence was a hotbed of renaissance "revival of learning" from the ancients. Under Cosimo de Medici, the theologian and the philosopher Marsilio Ficino had at that time been the spiritual leader of the Florentine Academy for around eight years. He had been translating the works of Plato, and had already embarked on a translation of the newly discovered Corpus Hermeticum. Uccello was an old man in his seventies when he painted the picture, and may not have been absorbing the new humanism in quite the same way as his younger contemporaries such as Botticelli. Nevertheless, the painting occurs in the context of a boiling pot of Neoplatonic philosophy and spirituality, which was Florence under Cosimo de Medici at that time, rather than simply a straightforward Christian one. So let's look at the picture from this wider perspective.***
From the clarity of the moon in the picture we might even suspect it is an eclipse, but artistic license aside, it cannot be a lunar eclipse precisely because it is the daytime, and in daytime the only lunar eclipse visible is the selenelion, when the moon is on the horizon.
The clarity that we can see in the moon, however, is not as we would expect for the daytime waning crescent. A daytime waning crescent is typically very difficult to see, because of its lack of illumination. The visibility and placement of the moon in the picture certainly appears to be deliberate symbolism, as we might expect anyway. And notably, the moon is directly above George.
The implied position of the Sun is consistent with the daytime crescent moon, which is the only time the waning crescent appears like this on the lunar upper quarter, the "points" of the crescent pointing downwards. The Sun is somewhere off-scene to the upper left, as we can see from the highlights and shadows of the cave, the damsel, the dragon, George, his horse, and the central cloud in the sky. The position of the moon in the sky would suggest it is around midday (a waning crescent rises a few hours after midnight, and sets around mid afternoon), and that South is somewhere over to the left.
From the Greek mythology onwards the crescent moon is found associated with Selene, the moon goddess, who in the various arts is often depicted together with a crescent moon in one way or another. In the myth of Selene and Endymion, Selene, the moon goddess, passes over the sleeping mortal shepherd Endymion nightly, and seeing his youthful beauty, descends to make love with him. Selene wishes this to continue forever, but it cannot be, because Endymion, being merely mortal, is bound to age and die. The solution comes in the form of Zeus granting that Endymion may sleep forever in the cave.
Thus we have an archetype - sleeping male sexuality in the presence of immortal female sexuality. Ficino regarded both Venus and the moon as symbols of female love, and in his Book of the Sun and elsewhere referred to the moon as the "lady of generation".
The imagery of the male sleeping in the context of female love appears elsewhere in Renaissance symbolism. We find it also in Botticelli's Mars and Venus:
A common interpretation of this work is that Mars is in post-coital slumber. He is, after all, unclothed. Venus here, although Botticelli and others have no compunction in depicting the goddess of love unclothed in other works, is clothed. Even if Mars here is in post-coital or post-sexual slumber, what does it mean? Old Renaissance masters are not merely depictions of various sexual scenarios. Venus is clothed here not because she or the picture have no sexual meaning, but because she is the goddess of love in a situation in which the picture shows the relation between her, and the nature of Mars.
As you can see in the picture, as far as Venus is concerned, the forceful, warlike, conquering, world-exploring and weapon bearing aspect of Mars' character is childish, as portrayed through the satyrs (a satyr being silenus in the ancient Greek) who play mockingly with the helmet and armour. Note how the satyr on the upper right cannot wake Mars from his sexual sleep even by playing a conch shell in his ear. It is not just Mars, but Mars and his sexuality that is asleep.
Ficino, following Plato, recognised what he called the two Venuses (in his Commentary on Plato's Symposium). One is heavenly, the other is common. One is "Angelic", the other is material and is the means through which there is sexual procreation. But they are not separate. The one comes from the other. The lower Venus is a "projection", as it were, in the realm of the mortals and the material, of the higher, transmundane Venus. Just as the the Olympians came from the Titans. And the gods and then the mortals, in turn, came from the Olympians.
In other words, one Venus is celestial or Divine love, the other is the means of generation. Ficino is quite clear about this. He is also clear about the relation between Venus and the moon, whom he calls "the lady of generation".
Selene, the immortal moon, as the myth tells us, can only come to Endymion while he sleeps. And in Mars' encounter with Venus, he sleeps. Because both the moon and Venus are transmundane, and the transmundane can only come into the mundane material, in a way in which the mundane sleeps. The common sexuality of Mars is asleep, compared to the true nature of Venus.
The closest Mars will ever come to the higher Venus, in his mundane, sleeping condition, in human form, is in his encounter with the lower Venus - common sexuality. But both Venuses are in the one Venus, whom we see here in the picture. Mars cannot truly realise who she is, in his sleeping condition, where in his dreaming he is merely mortal, like Endymion. Separate from Venus, Mars is full of his forceful and warlike, conquering, world-exploring and weapon bearing tendencies. That's where the patriarchal originates. Venus waits for him to awaken. She has been waiting a long time. This is what is happening in the picture.
What has all this got to do with Uccello's George and the Dragon? To begin with, the Greek myths are not really isolated from each other. And in Ficino's world, the Neoplatonic fabric of 14th century Florentine art and philosophy, in Cosimo de Medici's "Academy", the Greek myths were understood in an overall philosophical context.
After Uccello's George and the Dragon the "mixing" of the Greek myths becomes very apparent in Botticelli's works such as The Birth of Venus and La Primavera. So many myths are mixed together in La Primavera that scholars have never ceased arguing over its meaning.
Uccello's placement of the crescent moon over George, in his George and the Dragon, certainly seems to allude to Selene. Except that George is not asleep. And that's the whole point of George and the Dragon, in the Neoplatonic context, rather than just specifically the Christian.
In Uccello's picture what does the dragon represent? Of course, in the earlier Christian symbolism it is the devil. That's the "standard" interpretation. And the dragon here is none other than the "Original Sin". In old Christianity the dragon is sex.
St George, here, is following in the footsteps of Christ, in slaying the dragon. That's the Christian symbolism. But it is not an existential dragon without that has to be slayed, it is the dragon within. That's the esoteric meaning. In Christianity everything is within. "The kingdom of heaven is within you".
If anyone has been sleeping in Uccello's picture, it is the Dragon, who has been sleeping in the cave (the cave of course, is the unconscious). But here, the dragon has emerged from the cave in order, literally, to have his fill of the damsel. The dragon, as we said, in old Christianity is Original Sin - which is "the Fall" and sex. In the Neoplatonic version, this is Mars' sexuality. It is the same thing that Venus in Botticelli's Mars and Venus is waiting for Mars to wake up from.
But in Uccello's picture George and the Dragon, George is awake. And where is the dragon, really? It takes George to wound the dragon, in order to subdue it. That's the first thing. Then, tied to the damsel's girdle, it is led by the damsel herself to the "city", which is of course the centre of "the kingdom", no less than George's kingdom, where George is able to completely slay it.
The dragon is slain by George, but not without the damsel, whom the dragon in the first instance, wants to simply consume. What are we talking about here? First the Dragon lives off sheep, which are just animal. Then the Dragon lives off the young people. And then, were it not for George, it would have been the king's daughter. The king, who in such Romances is always supposed to be the embodiment of wisdom.
The gallant knight in his battle against the material, cannot transcend it without the help of the damsel. He could have been a monk, and could have withdrawn to a monastery and celibacy. But he is not. He is after the Holy Grail itself - Gnostic knowledge. And for that, he needs the damsel.
Is all this language too twilight? Or really, isn't it all rather obvious?
The damsel, the king's daughter in the George and Dragon myth, appears alternatively in Neoplatonism, where she is Venus. And remember there are two Venuses. The Venus of Divine love, and the lower Venus. The two Venuses are not really separate, they are really both the one Venus. One is transmundane, and the other appears in material existence. The king's daughter embodies both. Just as every human being, really, potentially at least, embodies the Divine.
You can't understand any of this merely intellectually, by mentation. You have to have some experience or knowledge of what we are talking about, some actual knowledge of human affect, some actual knowledge of love and sex, beyond the superficial way in which it is portrayed by popular culture. Then, the meaning in these polysemic images, whether story or painting, becomes obvious. Suffice to say, when the dragon is slain, Mars wakes up. And then so does Venus.
The next part of the story, beyond the pictures we have just looked at, when Mars wakes up, or when George completes the slaying, is what is symbolised in Botticelli's La Primavera. But that's for another time. Suffice to say that it is believed that Venus and Mars, and La Primavera, were both wedding gifts, and that Venus and Mars was intended to hang in the bedchamber.
Where did the dragon come from, in the first place? Of course, in the Christian symbolism, this is about "the Fall". It is about the descent of Adam and Eve from the Garden of Eden, into suffering.
If we look into the clouds above George, we see not just storm clouds, but billowing conic spirals. There are light clouds, but there are also dark clouds. Something is happening, in the emanation from the One, down through the heavens, as the Neoplatonic picture sees it, some kind of defilement in the descent.
The largest spiral, still in the light, is "horizontal", and we are looking into it, as it were, "down" into it, where it begins to become dark. Coming out of the turbulence above George's head, is another spiral, now fully dark, coming straight towards us. Other spirals, dark mixed with light, point down and to the left, towards the dragon and the Earth. The churning, conic spiralling clouds, disappear to the point of nothing, but then, from clouds spiralling inwards, comes the unfolding of the spiralling again, manifesting in the tail of the dragon, leading to the dragon itself, coming towards us.
The dragon (which is in human beings) has come out of the cave, into "civilisation", or if you prefer, into "society", and Uccello places the scene of action over a symbolic parterre garden, which was fashionable in high society at the time. Neither George's horse nor the dragon spoils the garden, but rather, both tread only on the paths.
But there is something wrong with the garden. Uccello was a mathematician, as well as a painter. Parterre gardens were highly geometric, and mathematically pleasing. But this garden is clumsy, deliberately depicted as incompetent. It is almost laughable. Here is the truth about civilisation or society, where the dragon still needs to be slayed. The dragon and George's gallantry is being played out within the garden itself. As it must.
And it is the same to this day. To this day, the niceties and beliefs and well-formed orders and behaviours of society, its ideas of right and wrong, and of what is "regular" or "irregular", "appropriate" or "inappropriate", are a clumsy, unconscious imitation of the true order working behind what happens. An order in which there is always the damsel, the daughter of the King, who in the great scheme of things beyond the mere imitation of it that is human life, is supposed to be the embodiment of wisdom. An order in which the damsel is always leading the dragon to his death, after it has been wounded by the gallant knight who saves the damsel from being devoured.