The Role Of The Good Critic
The Role Of The Good Critic
In the developmental psychology of Carl Gustav Jung (1875-1961) is posited the `God archetype`, an unconscious content of the psyche that seeks expression through the lives of individuals. The `God archetype` takes many forms, which Jung calls archetypes. Most archetypes are related to what Jung sees as the soul, which is largely circumscribed in the figure of the anima, and appears in its fullest describable form as the Wise Old Woman who, because a woman would have to be immortal to keep her knowledge, is seen as the eternally young goddess.
Jung`s literary analysis of alchemical symbolism points to the struggle of the `God archetype` to express itself in Medieval chemists` search for a panacea to the ills of their society, and much symbolism revolves around the idea of physical hermaphroditism as a necessary adjunct to the creation of wisdom symbolized by the lapis philosophorum or philosopher`s stone.
The woman with a penis is not an alchemical fantasy, but can be found by anyone with an internet connection in the 21st century ( https://www.futanaria.com ). Because women have a penis, they`re a species. In Jungian psychology, there are many `hero` archetypes, but the notion that women are a species places a question mark over the role of the `hero`. In the Bible the main heroic figure of Revelation is the New Redeemer who protects the `hidden` woman before she leaves Earth to sow her own seed, with her own penis presumably, as a prelude to her war against evil in heaven. The Bible tells of how she is victorious and the evil receive eternal unendurable pain as their punishment.
Revelation describes how God sends plagues to deter the evil of the Earth: `Men gnawed their tongues in agony and cursed the God of heaven because of their pains and their sores, but they refused to repent of what they had done.` (Rev: 16.10) Many have perceived these `sores` to be AIDS. If women are a species, then men are a parasite. Consequently, those who support the parasites from amongst the species of women correspond to the `Great Whore of the Apocalypse, Babylon the Golden`. Because Babylon is the ancient seat of Iraq, the Gulf Wars (1990-2011) represent the dying throes of a previously unshakeable viewpoint, which is that women are for men, whereas Woman is for her own species, and so those who support Mars, the god of war, against what Woman can make of her Earth, are men`s whores, that is, `sores` of Revelation.
The new perspective is difficult, but women who support men against Woman are, effectively, traitors to their species. It emerges from the `pimp, whore` relationship. The pimple becomes a sore. The woman explains to her pimp that she`s married and together they feed upon her husband as parasites; as many `spivs` did during WWI and WWII. Those women who support the parasites produce sores, that is, boy sons (poisons) produce poison`s `sores` (whores).
The hero of Revelation functions as a `protector`, which is a dangerous idea. Men want to feel like heroes, and so large numbers of women and children are daily murdered in numerous petty conflicts across the globe so they can feel like it. If women have a penis, and the archetypes appear in dreams, imagination, and art to reveal the path of development to the individual, which is how they function, according to Jung, then Woman`s psyche should not contain a hero figure because men aren`t her species. Consequently, all media representations of men are designed to constellate imagos of themselves in Woman`s psyche that have as their goal the illusion they they`re her defenders while in fact they are the monstrous destroyers of her planet. It`s a propaganda war based on the idea that, if the image is accepted, then the image belongs. But if men are a parasite then they don`t belong, and their image of themselves is merely the tool of a clever alien that seeks the death of all life.
In the Elizabethan period of English theatre, William Shakespeare was told he could stage his plays with men only. There are clues in thespian circles as to the meaning of such prohibitions. In Pantomime the hero is played by a young woman, so the figure of Aladdin, for example, is a girl and her penis is implied but seemingly as a joke. However, if women have a penis of their own, it`s perfectly feasible to stage a Shakespearian drama in which all of the male characters are played by women with a penis and the female characters are played by women without a penis, so making Shakespeare a species` production rather than a `women with their parasites` satire.
In Shakespeare`s Twelfth Night, or What You Will, Viola cross-dresses and appears as a man, but this is far more than farcical if we understand that women have a penis and Viola is presenting herself as what she is. In short, literary criticism isn`t about levels of meaning; it`s about correct perspective. It may be amusing to an audience to perceive that Viola, as the go-between for Olivia and the Duke, is dressed as a boy. But critics have defined the relationship between the Duke and Viola as `homoerotic`, whereas the perspectivally accurate perception is that Viola has a penis because she`s a woman and men are evil because their perspective is homosexual. From that vantage point Viola could be seen as a pimp procuring a woman for the Duke, which is in accordance with the `poisonous whore` thesis.
Viola could also be viewed as Shakespeare`s true vision of the `hidden` woman of Revelation whose penis exists but isn`t acceptable to men who prefer boy, son, and sores. In other words, Viola`s relationship with Olivia is `lesbian` but Godly because it isn`t poisonous, whereas her relationship with the Duke is `normalled` but false. Inevitably productive of boys , sons, and poison`s sores (whores) Woman`s relationship with her parasite is necessarily one of poisoning. It breathes in her womb and lives from her blood. It`s a false creature from its inception, and so poisons everything she is because it isn`t `true`.
If the psychology of Carl Gustav Jung is accurate, the `God archetype` functions as a `determinator`, which in literary criticism might be used as a perspectival analyser. In simple terms, there are no heroes save women. To critically understand any given literary work, it`d be necessary to put a woman with a penis into every role formerly played by a man. Similarly, a critic couldn`t be understood as giving a true analysis of any literary work, visual or textual, without describing the artistic product from the perspective of their knowledge of the fact that women are the species on the planet Earth and have a penis of their own. In other words, men`s art, designed to subvert the truth that women don`t need men, reveals them as promotive of a `big lie`.
The role of the critic is to describe what the archetype as determinator is trying to say from God`s point of view. Consequently, such epic novels as D.H. Lawrence`s The Rainbow, Women In Love, and Sons and Lovers miss the point. The novel that should have been written was Mothers and Daughters because women are a species and lovers is what they should be. The Lawrence novel that was banned was Lady Chatterley`s Lover, not because it explored sexual themes, but because it approached the exploration of sexuality from the woman`s point of view. The central male character is `Manners` because he represents the understanding that men are the aspect of the human species that has the penis, whereas women are the species because they have their own penis and the parasites that are men can`t reproduce themselves without women. `Manners` is `behaviouralism`. Men have a penis, but it isn`t theirs. Manners in Lady Chatterley`s Lover is the behaviouralist thesis that women behave because they need men`s penis but, if women have a penis of their own, men`s enslavement of women`s `host womb` is surety that they`ll `behave`, and so men are definable as the continuous reification of evil.
Sophie Moone, in Hungary, makes lesbian pornography because she`s defined a s a lesbian, but if she had a visible penis she`d be defined as a woman, and even what the Bible defines as `Mankind` at its closure in Revelation when the `hidden` woman leaves the Earth to sow her seed amongst the stars. In science fiction terms, it`s the prototypical war between `Mankind` and the aliens, where men are the aliens and women are `Mankind`. In scifi men are depicted almost constantly fighting wars against aliens, because women and the Earth must be protected from them. Exactly.