|THE CONFLUX - FEELIX|
Feelix then, composed of the physical body* and the three spheres of his consciousness ('reach', perception, and thought) is a Conflux, a place where the rivers of time flow together and into each other. The Metabolism of Time diagram can be overlaid directly on the figure of Feelix himself - so that 'the Altered Future' overlays the head, the Experience of the Moment, the throat, the Inner Mind, the Solar plexus and the Altered Past, the genitals. Feelix then is this great Conflux of thoughts, emotions, feelings and experience.
We have detailed characteristics, physiognomical and psychological, for the various 'characters' that arise when an individual is more concentrated on or genetically determined towards, for example, the experience of the moment or the altered future - just like in the body there are cells which contain all DNA but express only the portion needed to be a liver cell or a skin cell so there are in society people who contain the whole Metabolism of Time but only express a portion of it.
An important aspect of the Great Work is to unlock the other characters within yourself systematically. Perhaps you are a 'Treefrog' in that you have prominent eyes, an obsession with the aesthetic experience, an urge to travel and explore and are potentially clairvoyant. But you are also, or at least contain within you the potential to be, all the other characters, in the same way you not only have a thyroid gland, but you have pineal, pituitary, pancreas, etc as well. Once these characters have been explored completely you will be able to do the work of the Treefrog, or whatever character you are, more effectively, as your actions will be in tune with the whole. You will find that the other characters in the world will be supportive of your 'story'**.
How does one explore these characters then?
- One can meditate upon them as archetypes (and the various other forms of them that have come to us over the centuries in the forms of Gods, heroes, patriarchs, saints, etc) and journey into oneself to encounter them, communicate with them and 'unlock' (or rectify) them.
- One can see their reflections in the people of the 'outside' world (which actually for all intents and purposes occurs within consciousness); using the physiognomical system one can navigate social space and resolve 'internal' disputes 'externally' using psychodrama. For instance, if one wants to 'unlock' the Treefrog and one is not a Treefrog, one needs to find a Treefrog and explore its being through conversation and dialogue and shared adventure or projects. By actively listening to another being as a part of yourself as opposed to a different creature altogether one can learn about oneself through dialogue.
The advantage of pursuing these paths systematically cannot be overstated. The universe, qabalistically, is built on a strong foundation and in rectifying your own being it is wise to approach it like an architect looking primarily for support and balance and then make decisions based on this as opposed to entirely randomly.
Physically, genetically moreover, I am on the paths between the Mime (adrenal cortex), the Many Mannered Mind Man (genitals), and the Prisoner (pancreas). This combination of imagination, mimesis, stress control and adaptability makes me suited to the environment of entertainment, theatre and film but it could apply to other areas equally usefully. Perhaps the memory of the Jay would be more useful when it comes to learning lines, but actually 'forgetting' the lines so scripts are played more naturally as opposed to hearing the lines being 'remembered' is an important part of suspending audience's belief. Here then a potential disadvantage of the Mime, her forgetfulness, can be turned into a strength (as looking at the Metabolism of Time one sees that we 'forget' into memory. The problems I have are typical of those characters and include some propensity to weight gain, urticaria (my skin condition) which flares up in response to way too much work (which I bring upon myself by being able to handle a lot), and a hazily configured ego***.
Through my work I am endeavouring to seek out the characters/archetypes within and outside of myself through meditation and 'pathwalking'****. As they are 'rectified' I note that I acquire their skills and talents to some extent alongside my own natural talents but actually what is happening is I am unlocking their potential within me.*****
*A concept which includes the DNA that makes you up as much as the blood, bones and sinew derived from it.
**If your story happens to be Dionysian self-destruction they will be more supportive of that too. Bear that in mind.
***Lower triad characters typically have a less concrete idea of themselves than middle triad, and upper triad 'objectify' themselves more easily. Certainty in these areas increases 'up' the tree.
****More on this special form of theurgy later.
*****'Every person, whatever his grade in the Order, has also a "natural" grade appropriate to his intrinsic virtue. He may expect to be "cast out" into that grade when he becomes 8'=3'. Thus one man, throughout his career, may be essentially of the type of Netzach; another, of Hod. In the same way Rembrandt and Raphael retained their respective points of view in all stages of their art. The practical consideration is that some aspirants may find it unusually difficult to attain certain grades; or, worse, allow their inherent predispositions to influence them to neglect antipathetic, and indulge sympathetic, types of work. They may thus become more unbalanced than ever, with disastrous results. Success in one's favourite pursuit is a temptress; whose yields to her wiles limits his own growth. True, every Will is partial; but, even so, it can only fulfill itself by symmetrical expansion. It must be adjusted to the Universe, or fail of perfection.' Book 4, Chapter 7