Thea is laying out the cosmic principles of the zodiac and of the first three signs, the first triad, Taurus is the second sign. Where Matter is the state of things being described; Matter in its “pure state of being,” undefiled because Mind has not yet entered the picture. She called this state of being “the primordial state of material consciousness epitomized.”
Malamulapaga’s image is an interesting one in an age where “fat shaming” has become common and criticized. But Thea instructs us that the image is about purity to an extreme and her size and condition represents this purity “although gross and unrefined.” She compares “Mala” to Great Hunter as his counterpart, being “rustic and undeveloped.” However, the wild and untamed nature is displaced by a harmonious state that makes conditions ripe for the Garden of Eden type environment mentioned in the chapter notes.
In the display of material consciousness, the mental processes that soon define creation have not yet tainted Matter; consciousness is Whole still, and exhibits no separation, consciousness is yet unsullied to use Patrizia’s term. But she elaborates more precisely suggesting that there is indeed “separation” (…from the Divine, a presupposition that readers might miss on the first pass through the story.) However, existence is unaware of the separation because perception cannot register any division at all.
Throughout the chapter the children bring readers along with them to encounter characters who are sleeping. In fact, the children too fall into a deep and abiding sleep too long for earth clocks to count. Sleep can be a metaphor for a lack of awareness, but here it is describing the state of complete ignorance of the “divine Oneness” which is a theme throughout the story. Patrizia describes it this way, “The Seed-Spirit has plunged so deeply into its material being that it not only abides in a fully complacent, unenlightened harmony, but also resists all efforts to awaken therefrom.”
Bull is emblematic of a “complacent primordial state of material consciousness.” Mala, the feminine principle, beautifully describes the first stirrings of participation in the evolutionary movement in this new story of creation.
The relevance for individual’s today regarding these profound insights, illuminated in the story, The Magical Carousel, has to do with the “perversion of material consciousness.” The same perversion discussed in the commentaries as they pertain to chapter 2, Matter, are an aberration in our present-day consciousness. She mentions John the Divine referring to the concept he called The Whore of Babylon, a material consciousness gone wild. The Whore completely devours the energies of earth, consumed by a materialistic greedy and gluttonous egoism. A distinction needs to be made between John the Divine’s Whore and the feminine principle in Taurus, which is The Magical Carousel’s version. Mala depicts an insulated form that is unblemished by perversion, guarded and protected within a fenced off garden, and idyllic place yet uncorrupted. She is adored and craves appreciation, but at the same time is intolerant of anything going awry, or not according to plan. Mala’s self-possession is so total and complete that even her generosity serves her, but she is still adorable in her distorted size and mannerisms. Her compulsion is to exemplify such self-love that others ‘need‘ to identify with this attribute as a strength in her, and one they wish to share. An interesting aside mentioned by the author is that the story was not transmitted piecemeal the way say that a story in literature might be cobbled together, but it arrived whole, complete with a soundtrack and the song of Malamulapaga playing in the background throughout the creative process. “The quality of her voice is heavy and bold, and the cacophony of her tune results in a harmony of its own kind, unlike anything that could be accepted as ‘harmonious’ by the sophisticated human being.” So, the story too, when it is first read or listened to, has a remarkable form that is both awe inspiring and attractive, with such gravity and eloquence that readers are drawn into its immersive quality, but unfamiliarity at first weighs down progress for all but the fleetest souls and spirits. My own progress through this material cannot be described in any other way than plodding.
Until the children arrive all is well, and as ever shall be, living in paradise, but their entrance onto the stage upsets matters. Thea points out that the children represent the “originally involved Seed” which disrupts the Bull’s pattern of complacency when the red handkerchief is introduced, carried over from the previous sign by PomPom. As the movement progresses pay attention to the elements that are brought forward in the story, from previous scenes. These ‘particles’ bring together the storyline in an aim toward Unity and as it is suggested are much more than a storytelling device.
There is another callback reference to the first chapter or previous sign in Aries where, like Great Hunter, Bull is “blind to his power”. This lack of awareness relates to a potential for destruction that is total when his wrath is awakened. So, these attributes are at odds with one another. On the one hand there is an awesome power potential that is so great that it could mean complete destruction, but on the other hand this power is obscured in a total lack of awareness.
The bull is a common fertility symbol across cultures throughout time. One of my favorite stories is the Irish myth called the Táin Bó Cúailnge, or the cattle raid. The illuminating distinction Patrizia makes in the story is how the energies represented in this case of Bull are both unsophisticated and unrefined, nevertheless, or perhaps as part of the cause, there is tremendous potency represented in Bull in that he “represents the materialization of the Fire-Seed of Aries; the seeds of Bull are the result of the first primordial fusion of Fire and Water, the process of energy contained in mass, a basic principle of our material universe.”
Fiddling around with these powers unconsciously is like playing with the “nuclear option.” Consequently, mayhem and tumult are let loose, in a way that is worse than playing with fire and leads to meaningless devastating developments that destroy previous forms, wherein the power is contained. In Taurus, these actions unfold without malice because the mind has not yet corrupted the process, which is not the case when the movement arrives in Scorpio, opposite the sign of Taurus. But since the mind is not yet regent in this stage the poisonous perverting element is not present in Taurus.
A difficult concept to wrap one’s arms around is the duality of the “sacred feminine” dressed in attributes that accentuate her self-absorbed, devouring, and hedonistic attitudes and behaviors alongside more welcoming traits that make her so loveable and appreciated. The idea presented is that the energies are contained but rarely shown, or only revealed with tremendous hesitancy. So, without some external impetus the habit of compulsion at this stage is to hoard the energy instead, and to not put it out into the open and on full display.
Hoarding energies work to accumulate treasure but for no purpose other than to possess the very subtle forces or “dimensions of universal being” contained therein. Hoarding “treasure” can only serve individual pleasure, and since power is idle at this stage, so to then is the benefit of the power, and therefore, so long as the power remains contained the power remains harmless, but in a sense also useless.
One of the unique attributes found in the fixed signs, the second modality of each triad, is that energies can become blocked. This is where Patrizia makes the connection between the structure of the Zodiac and the Hindu conception of the triune Gods, Brahma, Vishnu, and Shiva: Creation, Preservation, and Destruction. At this point in the commentaries, she suggests that the Keynote of the preservation signs is accumulation. Which I will need to ponder for a bit because all the so called “keynotes” on The Gnostic Circle, introduce each Age based on the initial degree that opens the Age by precession. In the Ages that are deemed for Preservation (Taurus, Leo, Scorpio, and Aquarius) each opens with a Cardinal sign: Aquarius (Keynote Cancer), Scorpio (Keynote Aries), Leo (Keynote Capricorn), and Taurus (Keynote Libra). So, the reference she is making to the fixed signs overall, as a modality of preservation, is fascinating because this same attribute of accumulation happens to be the Keynote for the Ages that are deemed for Destruction, the mutable signs (Pisces, Sagittarius, Virgo, and Gemini). The reference to the fixed modality being associated with accumulation applies in terms of the sign energy at any level, at the degree level, or the level of the Age in question. To be sure the Keynote of the Age of Aquarius, which is Cancer, has to do with Security and this theme is certainly playing itself out in the most literal sense of the word.
Modalities in traditional astrology describe the energy flow. So, in the story where Taurus depicts a land of idyllic settings and happenings to be preserved, the children come along like a stone in the shoe and make things very uncomfortable. They represent a force of change. Bull becomes upset when triggered by the red handkerchief, when he finally opens his eyes and sees, “compelling him to release his power, whereby the flow is liberated from the constrictions of the ignorant material state of being.” Aha! There it is. We just stated above that when we view these signs as conditions or elements, representative of the ages that the sign, that each “fixed Age” has a cardinal Keynote, and the Age of Taurus has the Keynote of Libra, which has to do with balance and cooperation through the rise of intellectual powers, social intelligence, and diplomacy, which leads to freedom, equality, and liberation.
Each Age can be viewed as an episode, and the Age of Taurus when viewed through the lens of an old consciousness interprets “sin.” This is easily understood in the story of the Garden of Eden and the book of Genesis where the tale is about the evolution of mind, but The Magical Carousel is different because “Mind has not been unveiled.” Mind is not discovered and explored until the next sign is reached, Gemini. But Mind that is discovered there is not Mind we typically think about. The noticeable distinction in the garden of The Magical Carousel as compared to the Garden of Eden, is that in TMC there is no sin. The condition is not sinful “but only the condition of unknowing.” Interestingly, the errors of their ways do not appear to bring them the wrath of God, there is no punishment for wrongdoing. Instead, we learn how the archetypal characters, Great Hunter, and Bull, are “victims of their own insufficiencies.”
One tricky perspective within these teachings is that each symbol-image of the zodiac, like Great Hunter, or Ram, or Malamulapaga, or Bull, are “all different aspects of Divine Consciousness, or the Absolute in Manifestation.” As a total part of the progression at each stage those symbol-images, or aspects of God have no power to condemn, punish, or hurt the children in anyway. “He” does however, effectively boot them out of one land (sign) and into another because of “his own limitations, brought about by the nature of the creation he himself set in motion, or gave rise to.”
Once again, we take account of the Keynote for the age (as opposed to the modality, or element) which in Taurus is Libra. The stage already appears set though it is still very early in creation, where the incorporation of the Divine Consciousness plays itself out as balanced and equal. The “Supreme” is no longer external perceived, or imagined, but realized within as human beings evolve. Using this new map as a model of universal consciousness development and identifying each sign or symbol-image with a unique aspect of God, we suddenly realize that Divine expressions of the past may not be in fact wrong as much as they represent a partial isolated expression of the whole. One of the side effects we might say of a mental consciousness is precisely this kind of divisiveness, which Patrizia said developed dogmas based on the limitation of partial seeing. All throughout history, no matter what epoch we study in the past, there was never a vision of Oneness. Therefore, sin was an expedient explainer for unacceptable behavior and punishment a reasonable response. The Magical Carousel reframes the entire trajectory of evolution such that there is no trace of the old consciousness. Instead, what is revealed is a “united whole,” the human consciousness and the Divine Consciousness are equal companions in evolution not in any way antagonists or unequal partners. “To be more exact, it is the element of conscious evolution in the human being.” To comprehend this is to gain the gist of the entire series, and for that matter much of the rest of everything Patrizia has written. In closing these notes, I would like to end by inserting the “mind blown” emoji. How very appropriate.