The Master

Language exists in reference to, with the presumption (perhaps due to its genesis) being that this reference be to some “real”, though referencing is much more eternal than that. The base is created by being in opposition to, what is made from its harnessing. The superstructure in other words, descends, as an alien upon an undifferentiated plateau of primitive existence, and creates that plateau into the base by its construction as part of a machine which exists to create the superstructure. This original construction is the work of the father. From him, the daughter descends, the superstructural that emerges after language comes as a result of the creation of the base, the yin/feminine “floating world” of language.

The function of the male is of being the avatar of the base while at the same time, being the one to newly do the constructing of the father. For this reason, the Son is in an eternal quest to begin, using his yang-oriented selfhood, to turn his base-hood, his reality, into a new machine of differentiation with which to spawn a world in the same fashion as the Father. In doing so, he ultimately disintegrates himself into absence, as the Father becomes the very machine he constructs in order to construct it. The Son annihilates himself in this fashion by disseminating his yang out into the world, thereby constructing. In order to disseminate properly, he acquires wives, channels of emptiness in which to input his energies, carrying on and recreating his energies from their emptiness. In effect, the resultant dynamic is that of a microcult of the harem. The male acts as a force of presence, creating a despotic political order in which he is the “truth” at the center of a circular system of power and meaning (the household as the cult), all descending from him.

The Song of Songs as read by the common christian displays this dynamic in an important context, where the presence of the husband is imagined as pure yang through making the husband inhuman. The narrative is importantly written from the perspective of the woman, the linguistic to whom the real of the husband is done upon. The yin writes in order to create the channels by which yang flows, the women act as the riverbed while the man acts as the water. The church interprets this in an importantly divine sense, where the phallic god is imagined as the husband in comparison to the linguistic church - notably, the face of God is always unknowable to them, as inhuman and alinguistic as the ideal phallus is, a solar presence of pure light, which can be stared at as doing so would make it linguistic and thus feminine.

Dickinson imagined her Master as an apersonified figure, the man who acts purely as a phallus, purely as the real. Such a construction as she made is required for any woman who seeks esoteric practice. In depersonifying the male, as can be seen explicitly in the dehumanization of Green Dragons in the White Tigress Arts, the woman is able to achieve what she lacks, the light within her darkness, cultivating yang, without being slaved into an alien feminine. It’s this alien-feminine which is the cause of female degeneracy, where the male’s feminine aspects are thrust upon the female, binding her within another feminine construction. In effect, she becomes not the author of her own emptiness, but a copy of another’s emptiness and in doing so, stagnates into oblivion. It’s this that is the danger with traditional marriage, where women are taken away from ever having proper utilization of the masculine and instead made to merely be copies of copies.