LITMIR.BIZ

Скачать книгу

she cannot refuse. The Greek pattern of free will to hybris to tragedy is a male drama, since woman has never been deluded (until recently) by the mirage of free will. She knows there is no free will, since she is not free. She has no choice but acceptance. Whether she desires motherhood or not, nature yokes her into the brute inflexible rhythm of pro-creative law. Menstrual cycle is an alarming clock that cannot be stopped until nature wills it.

      Woman’s reproductive apparatus is vastly more complicated than man’s, and still ill-understood. All kinds of things can go wrong or cause distress in going right. Western woman is in an agonistic relation to her own body: for her, biologic normalcy is suffering, and health an illness. Dysmenorrhea, it is argued, is a disease of civilization, since women in tribal cultures have few menstrual complaints. But in tribal life, woman has an extended or collective identity; tribal religion honors nature and subordinates itself to it. It is precisely in advanced Western society, which attempts to improve or surpass nature and which holds up individualism and self-realization as a model, that the stark facts of woman’s condition emerge with painful clarity. The more woman aims for personal identity and autonomy, the more she develops her imagination, the fiercer will be her struggle with nature—that is, with the intractable physical laws of her own body. And the more nature will punish her: do not dare to be free! for your body does not belong to you.

      The female body is a chthonian machine, indifferent to the spirit who inhabits it. Organically, it has one mission, pregnancy, which we may spend a lifetime staving off. Nature cares only for species, never individuals: the humiliating dimensions of this biologic fact are most directly experienced by women, who probably have a greater realism and wisdom than men because of it. Woman’s body is a sea acted upon by the month’s lunar wave-motion. Sluggish and dormant, her fatty tissues are gorged with water, then suddenly cleansed at hormonal high tide. Edema is our mammalian relapse into the vegetable. Pregnancy demonstrates the deterministic character of woman’s sexuality. Every pregnant woman has body and self taken over by a chthonian force beyond her control. In the welcome pregnancy, this is a happy sacrifice. But in the unwanted one, initiated by rape or misadventure, it is a horror. Such unfortunate women look directly into nature’s heart of darkness. For a fetus is a benign tumor, a vampire who steals in order to live. The so-called miracle of birth is nature getting her own way.

      Every month for women is a new defeat of the will. Menstruation was once called “the curse,” a reference to the expulsion from the Garden, when woman was condemned to labor pains because of Eve’s sin. Most early cultures hemmed in menstruating women by ritual taboos. Orthodox Jewish women still purify themselves from menstrual uncleanness in the mikveh, a ritual bath. Women have borne the symbolic burden of man’s imperfections, his grounding in nature. Menstrual blood is the stain, the birthmark of original sin, the filth that transcendental religion must wash from man. Is this identification merely phobic, merely misogynistic? Or is it possible there is something uncanny about menstrual blood, justifying its attachment to taboo? I will argue that it is not menstrual blood per se which disturbs the imagination—unstanchable as that red flood may be—but rather the albumen in the blood, the uterine shreds, placental jellyfish of the female sea. This is the chthonian matrix from which we rose. We have an evolutionary revulsion from slime, our site of biologic origins. Every month, it is woman’s fate to face the abyss of time and being, the abyss which is herself.

      

      The Bible has come under fire for making woman the fall guy in man’s cosmic drama. But in casting a male conspirator, the serpent, as God’s enemy, Genesis hedges and does not take its misogyny far enough. The Bible defensively swerves from God’s true opponent, chthonian nature. The serpent is not outside Eve but in her. She is the garden and the serpent. Anthony Storr says of witches, “At a very primitive level, all mothers are phallic.”² The Devil is a woman. Modern emancipation movements, discarding stereotypes impeding woman’s social advance, refuse to acknowledge procreation’s daemonism. Nature is serpentine, a bed of tangled vines, creepers and crawlers, probing dumb fingers of fetid organic life which Wordsworth taught us to call pretty. Biologists speak of man’s reptilian brain, the oldest part of our upper nervous system, killer survivor of the archaic era. I contend that the premenstrual woman incited to snappishness or rage is hearing signals from the reptilian brain. In her, man’s latent perversity is manifest. All hell breaks loose, the hell of chthonian nature that modern humanism denies and represses. In every premenstrual woman struggling to govern her temper, sky-cult wars again with earth-cult.

      Mythology’s identification of woman with nature is correct. The male contribution to procreation is momentary and transient. Conception is a pinpoint of time, another of our phallic peaks of action, from which the male slides back uselessly. The pregnant woman is daemonically, devilishly complete. As an ontological entity, she needs nothing and no one. I shall maintain that the pregnant woman, brooding for nine months upon her own creation, is the pattern of all solipsism, that the historical attribution of narcissism to women is another true myth. Male bonding and patriarchy were the recourse to which man was forced by his terrible sense of woman’s power, her imperviousness, her archetypal confederacy with chthonian nature. Woman’s body is a labyrinth in which man is lost. It is a walled garden, the medieval hortus conclusus, in which nature works its daemonic sorcery. Woman is the primeval fabricator, the real First Mover. She turns a gob of refuse into a spreading web of sentient being, floating on the snaky umbilical by which she leashes every man.

      Feminism has been simplistic in arguing that female archetypes were politically motivated falsehoods by men. The historical repugnance to woman has a rational basis: disgust is reason’s proper response to the grossness of procreative nature. Reason and logic are the anxiety-inspired domain of Apollo, premier god of sky-cult. The Apollonian is harsh and phobic, coldly cutting itself off from nature by its superhuman purity. I shall argue that Western personality and Western achievement are, for better or worse, largely Apollonian. Apollo’s great opponent Dionysus is ruler of the chthonian whose law is procreative femaleness. As we shall see, the Dionysian is liquid nature, a miasmic swamp whose prototype is the still pond of the womb.

      We must ask whether the equivalence of male and female in Far Eastern symbolism was as culturally efficacious as the hierarchization of male over female has been in the West. Which system has ultimately benefited women more? Western science and industry have freed women from drudgery and danger. Machines do housework. The pill neutralizes fertility. Giving birth is no longer fatal. And the Apollonian line of Western rationality has produced the modern aggressive woman who can think like a man and write obnoxious books. The tension and antagonism in Western metaphysics developed human higher cortical powers to great heights. Most of Western culture is a distortion of reality. But reality should be distorted; that is, imaginatively amended. The Buddhist acquiescence to nature is neither accurate about nature nor just to human potential. The Apollonian has taken us to the stars.

      Daemonic archetypes of woman, filling world mythology, represent the uncontrollable nearness of nature. Their tradition passes nearly unbroken from prehistoric idols through literature and art to modern movies. The primary image is the femme fatale, the woman fatal to man. The more nature is beaten back in the West, the more the femme fatale reappears, as a return of the repressed. She is the spectre of the West’s bad conscience about nature. She is the moral ambiguity of nature, a malevolent moon that keeps breaking through our fog of hopeful sentiment.

      Feminism dismisses the femme fatale as a cartoon and libel. If she ever existed, she was simply a victim of society, resorting to destructive womanly wiles because of her lack of access to political power. The femme fatale was a career woman manqué, her energies neurotically diverted into the boudoir. By such techniques of demystification, feminism has painted itself into a corner. Sexuality is a murky realm of contradiction and ambivalence. It cannot always be understood by social models, which feminism, as an heir of nineteenth-century utilitarianism, insists on imposing on it. Mystification will always remain the disorderly companion of love and art. Eroticism is mystique; that is, the aura of emotion and imagination around sex. It cannot be “fixed” by codes of social or moral convenience, whether from the political left or right. For nature’s fascism is greater than that of any society. There is a daemonic instability in sexual relations that we may have to accept.

      The

Скачать книгу