Creator Archetype Quotes

Only after Satan had exposed the evil in creation—and, by implication, in the Creator—could honesty and healing begin.

Women need the archetypal image of a Divine Female. We need to reconnect with the inherent sacredness of woman as creator and nourisher, rather than accept a vision of ourselves as less-than-divine inferiors.

When our natural inheritance has been dissipated, then the spirit too, as Heraclitus says, has descended from its fiery heights. But when spirit becomes heavy it turns to water, and with Luciferian presumption the intellect usurps the seat where once the spirit was enthroned. The spirit may legitimately claim the patria potestas over the soul; not so the earth-born intellect, which is man's sword or hammer, and not a creator of spiritual worlds, a father of the soul.

It has generally been assumed that fairy tales were first created for children and are largely the domain of children. But nothing could be further from the truth. From the very beginning, thousands of years ago, when tales were told to create communal bonds in face of the inexplicable forces of nature, to the present, when fairy tales are written and told to provide hope in a world seemingly on the brink of catastrophe, mature men and women have been the creators and cultivators of the fairy tale tradition. When introduced to fairy tales, children welcome them mainly because they nurture their great desire for change and independence. On the whole, the literary fairy tale has become an established genre within a process of Western civilization that cuts across all ages. Even though numerous critics and shamans have mystified and misinterpreted the fairy tale because of their spiritual quest for universal archetypes or their need to save the world through therapy, both the oral and the literary forms of the fairy tale are grounded in history: they emanate from specific struggles to humanize bestial and barbaric forces, which have terrorized our minds and communities in concrete ways, threatening to destroy free will and human compassion. The fairy tale sets out to conquer this concrete terror through metaphors.

So you put me through all this suffering just to taunt me?’ ‘Humans suffer because they take seriously that which we create for entertainment.’ ‘Oh really? Because let me tell you, I wasn’t the least bit entertained!’ ‘That’s because you were not being entertained, Mr Fantoccio, you were being enlightened,’ stated the Mistress through a pair of foggy eyes. ‘You want to know why painting never worked for you? Because painters are creators and you, Mr Fantoccio, are an overseer. You don’t care about setting up the puppet show; you are merely interested in giving it a good ending. For you, Mr Fantoccio, creating the world was never enough; you aspire to run it. With every breath, you want to shape it. With every choice, you need to control it.

And romance is just the place for creating mythic figures doing mythic things. Like carving 'civilzation' out of the wilderness. Like showing us what a hero looks life, a real, American, sprung-from-the soil, lethal-weapon-with-leggings, bona fide hero. And for a guy who never marries, he has a lot of offspring. Shane. The Virginian. The Ringo Kid. The Man with No Name. Just think how many actors would have had no careers without Natty Bumppo. Gary Cooper. John Wayne. Alan Ladd. Tom Mix. Clint Eastwood. Silent. Laconic. More committed to their horse or buddy than to a lady. Professional. Deadly. In his Studies in Classic American Literature, D.H. Lawrence waxes prolix on Natty's most salient feature: he's a killer. And so are his offspring. This heros can talk, stiltedly to be sure, but he prefers silence. He appreciates female beauty but is way more committed to his canoe or his business partner (his business being death and war) or, most disturbingly, his long rifle, Killdeer. Dr. Freud, your three-o'clock is here. Like those later avatars, he is a wilderness god, part backwoods sage, part cold-blooded killer, part unwilling Prince Charming, part jack-of-all-trades, but all man. Here's how his creator describes him: 'a philosopher of the wilderness, simple-minded, faithful, utterly without fear, yet prudent.' A great character, no doubt, but hardly a person. A paragon. An archetype. A miracle. But a potentially real person--not so much.

When women reassert their relationship with the wildish nature, they are gifted with a permanent and internal watcher, a knower, a visionary, an oracle, an inspiratrice, an intuitive, a maker, a creator, an inventor, and a listener who guide, suggest, and urge vibrant life in the inner and outer worlds. When women are close to this nature, the fact of that relationship glows through them. This wild teacher, wild mother, wild mentor supports their inner and outer lives, no matter what.

Once women have lost her and then found her again, they will contend to keep her for good. Once they have regained her, they will fight and fight hard to keep her, for with her their creative lives blossom; their relationships gain meaning and depth and health; their cycles of sexuality, creativity, work, and play are re-established; they are no longer marks for the predations of others; they are entitled equally under the laws of nature to grow and to thrive. Now their end-of-the-day fatigue comes from satisfying work and endeavors, not from being shut up in too small a mind-set, job, or relationship. They know instinctively when things must die and when things must live; they know how to walk away, they know how to stay. When women reassert their relationship with the wildish nature, they are gifted with a permanent and internal watcher, a knower, a visionary, an oracle, an inspiratrice, an intuitive, a maker, a creator, an inventor, and a listener who guide, suggest, and urge vibrant life in the inner and outer worlds. When women are close to this nature, the fact of that relationship glows through them. This wild teacher, wild mother, wild mentor supports their inner and outer lives, no matter what.

Anyone who belongs to a sphere of culture that seeks the perfect state somewhere in the past must feel very queerly indeed when confronted by the figure of the trickster. He is a forerunner of the saviour, and, like him, God, man, and animal at once. He is both subhuman and superhuman, a bestial and divine being, whose chief and most alarming characteristic is his unconsciousness. Because of it he is deserted by his (evidently human) companions, which seems to indicate that he has fallen below their level of consciousness. He is so unconscious of himself that his body is not a unity, and his two hands fight each other. He takes his anus off and entrusts it with a special task. Even his sex is optional despite its phallic qualities: he can turn himself into a woman and bear children. From his penis he makes all kinds of useful plants. This is a reference to his original nature as a Creator, for the world is made from the body of a god.

As the horse is the brother, so the snake is the sister of Chiwantopel (“my little sister”). Rider and horse form a centaur-like unit,84 like man and his shadow, i.e., the higher and lower man, ego-consciousness and shadow, Gilgamesh and Enkidu. In the same way the feminine belongs to man as his own unconscious femininity, which I have called the anima. She is often found in patients in the form of a snake. Green, the life-colour, suits her very well; it is also the colour of the Creator Spiritus. I have defined the anima as the archetype of life itself.85 Here, because of the snake symbolism, she must also be thought of as having the attribute of “spirit.” This apparent contradiction is due to the fact that the anima personifies the total unconscious so long as she is not differentiated as a figure from the other archetypes. With further differentiations the figure of the (wise) old man becomes detached from the anima and appears as an archetype of the “spirit.” He stands to her in the relationship of a “spiritual” father, like Wotan toThe OHG. Brünhilde or Bythos to Sophia. Classic examples are to be found in the novels of Rider Haggard.

The empowerment triangle turns drama upside-down, transforming the persecutor (or scapegoat) into a challenger, the rescuer into a coach, and the victim into a creator. The empowerment dynamic allows all the roles to be essential for growth. In the drama triangle, the persecutor works with issues of power, the rescuer works with issues of responsibility, and the victim works with area of vulnerability: The drama triangle is familiar to many of us. We all know this pattern inside ourselves. We get stuck in a situation that we want to escape, and it creates drama. By leaning into the dynamic and entering deeper into relationship, we can work the energy so that it becomes an enriching transformation. If you can work this in a group, then you’ve subdued the scapegoat archetype and turned it into something more life affirming. The most important thing about the drama triangle is to make people aware of it. When a group can understand and recognize how this is a kind of destructive pattern, it becomes empowered to change the pattern. Uncoupling drama from our organizational and personal lives is the key. The group as a whole can embody a role to create safety and make sense of the system. Transformation from the drama to the redeemed starts with a pause, then an inquiry of what’s happening here, then a recollection of the three roles and who is playing what role in this context. Once the system is self-aware, ask the questions: “what else is possible? How can I become so centered that something new can happen? How can a new perception take place?” With enough safety and connection, the group will be able to follow the healing energy into re-organization and re-integration of the parts. Claiming or remembering your own archetype can protect against falling into one.

the re-creator; all of these in cycle. Sometimes the one who is running from the Life/Death/Life nature insists on thinking of love as a boon only. Yet love in its fullest form is a series of deaths and rebirths. We let go of one phase, one aspect of love, and enter another. Passion dies and is brought back. Pain is chased away and surfaces another time. To love means to embrace and at the same time to withstand many many endings, and many many beginnings—all in the same relationship. The process is complicated by the fact that much of our overcivilized culture has a difficult time tolerating the transformative. But there are better attitudes with which to embrace the Life/Death/Life nature. Throughout the world, though it is called by different names, many see this nature as un baile con La Muerte, a dance with death; Death as a dancer, with Life as its dance partner.

1.​Identify the messages that are being presented. They all have one or more. (Except maybe that song about there being millions of peaches… I think those dudes were just high.) 2.​Along with your kids, identify which values the creators are elevating. (Freedom? Autonomy? Sex? Drugs? Pride?) Which values are they demeaning? (Humility? Responsibility? Traditional gender roles?) 3.​Try to piece together the worldview behind the message. What do you think the artist’s definition of good and bad is? What about moral and immoral? What is the good life—the life that reflects success (according to their art or writing)? Is it money? Lots of romantic relationships? Freedom from rules? 4.​If you are watching a movie, identify which characters and qualities are presented in an attractive way. Pay attention to the traits that are exhibited by the villains. The protagonist and antagonist are often archetypes, or representations of ideas.

How can we heal and transform the world without the living presence of its Creator? Monotheism pointed us away from the many gods and goddesses of the ancient world towards a single transcendent God. If the living presence of God is to return to our consciousness it will be not as a step back to the old ways, but as a divine Oneness that embraces all of creation. Mystics have always experienced the oneness of being, the many facets of creation reflecting the single Essence. We are beginning to be aware of the ecological unity of life and its interconnectedness; economically and technologically we are being drawn into an era of global oneness. We now need to understand divine oneness: how the different qualities of the divine form a living presence in the inner and outer worlds, and how these qualities work together as one. On a very simple level we do not have the power or technology to “fix” our ecological crisis on our own. The problems we have created are too severe. And yet here is the very root of our misunderstanding. We cannot do this on our own. We need to embrace the divine not as some transcendent being, but as a living presence that contains the visible and invisible worlds, all of the spirit and angelic beings that our ancestors understood. The oneness of God includes many different levels of existence. We know for our individual self that real healing only takes place when our inner and outer selves are aligned, when we are nourished by our own soul and the archetypal forces within us. What is true for the individual is true for the whole. It is from the energies within and behind creation that the healing of creation will take place, because these are the beings that support, nourish and help creation to develop and evolve. How can we heal creation without the help of the devas and other spiritual forces that are within creation? They are waiting to be asked to participate, for their wisdom and power to be used. We need to once again work together with the divine oneness that is within and around us.

The Toltec Creation Story In order to understand how far consciousness can be developed, we have to go back to what people believe is mythology, the story of the creation of the Náhuatl lineage. Those who can see beyond history with the eyes of perception will understand that this story is describing the different worlds, or dimensions, that exist right next to us. In the beginning everything was Centeotl, the energy of unity, oneness, also called Amomati or Itzcuauhtli, the Black Eagle, the pitch-black energy from which everything emanated, as in the Bible, where light originated from darkness. In order to fly, or create, the Black Eagle looked at its reflection, metaphorically speaking, thereby creating subject and object. This initial reflection was called Tezcatlipoca, the smoking mirror. I’m often asked where it’s located, and I can only reply that it’s in the 13th heaven, far from this world and at the same time so close, because we are always in it. The first thing the smoking mirror reflected was the sacred couple, Ometecuhtli and Omecihuatl, Mr and Mrs Two, lord and lady, the male and female essences, or energies. And this creator couple had four children, all named Tezcatlipoca, Smoking Mirror, in honour of the first reflection. These Tezcatlipocas are considered gods by many people, including academics, but in fact they are essences, forms of energy, that are found in everything. They are expressed in a spiritual way, an astronomical way and of course a human way too. Each of the Tezcatlipocas was assigned a cosmic direction: The north: The Black Tezcatlipoca was assigned this direction. He is the guardian of dreams, the guardian of ‘the cave’ or the core of each being in the underworld. The west: The Red Tezcatlipoca, also called Xipe Totec, Lord of Shedding, was assigned this direction and was given the task of bringing order to the dreams of the Black Tezcatlipoca. He also drives the forces of change, renewal, life and death. The south: The Blue Tezcatlipoca, known as Huitzilopochtli, was assigned this direction, which represents the transformation of the warrior’s will. He guides us through our dreams, helping us reach our full potential. He is also a prophet, hence the master of foreboding. The east: The White Tezcatlipoca, Quetzalcóatl, was assigned this direction, the place where light emerges. He is the archetype of light and knowledge in ancient Mexico. These four Tezcatlipocas, or forces, brought order to the dream of Centeotl. Their movement, ollin, gave birth to the Ohmaxal, the Cosmic Cross, which keeps everything in a state of change. And from this change, this movement, emerged matter, which later became stars, then planets and finally energy beings and physical beings.