We have seen how the story of Calaf and Turandot to be read as emblematic story of two characters who start at critical situations seriously deficient (man lacking a homeland and a role and the woman lacks the capacity to love) but that, by using intelligent generosity of the prince that unlocks the situation, get together with love a renewal of the kingdom. Go past the old patriarchal principle of division of roles - who is in that the holder of male power and supremacy of keeping women in a subordinate role of constant emotional support - establishing a new, more balanced relationship of the couple, satisfactory to both. You can also read the whole story in a more expanded and include the entire history of violent transition from matriarchy to patriarchy, with the tragic consequences of a tightening of consciousness on an attitude of "struggle, victory, conquest, soppaffazione" and the inevitable bitterness that slowly Opposition rises to become just as violent, vengeful and destructive. Far from going back to the matriarchal phase, the tale shows a solution of authentic reconstruction of the conflict by establishing a new model of mutual respect and harmony.
This is also true for the violence perpetrated on the nature and shows us, unless we suffer the stars of progressive desiccation and sterility that we are threatening, the road to recovery by asking "under" the nature in an intelligent and loving and not continuing to exploit it with arrogant selfishness.
But a story can and should also read the intrapsychic level, ie to present the individual and his internal conflicts, as if the story concerns a single character and the story was a kind of dramatization of his problem, a real his dream to play.
Consider first the story from the man, symbolically represented by Calaf. You may assume the story of a young (but age is relative, because some steps may occur at any time, even if it would be best addressed at an early half of life) who is in a state of great confusion and disorientation because he lost everything that until now gave him security and protection (the realm of consciousness as an organization, some place where he had a prestigious role of mirroring and positive) . There may be external reasons why this happened (a failure of the company on which his father had a disease, a crisis that loses job prospects, etc..), But what matters is the internal resonance and the hint of a personal crisis: the loss of an old approach, the illusion that youth can be good and good enough to integrate successfully into society and the world of work, the discovery of the failure of fathers (as in '68), and so on. Even if the crisis is engaged by external reasons, before starting a search, there must always be a minimum of knowledge that every event that concerns us in full and active and requires our total commitment and our responsibility. In any case the time comes when the child grows, he realizes that his father is no longer the king, that is the embodiment of authority and wisdom, suddenly sees the old and weakened, it can not take it as a model and guide , and, while loving him, he must get away from him and follow other paths, must wander in search of something new and different ... 
And what happens with the mother? In this story is apparently a major gap: the missing parent. There are two important women, Liu and Turandot, but there are no mothers. How can this be and what can it mean for a young, since we are considering him a son and each of the first female representative, and then the Soul is the mother? Obviously the mother is dead. Here it is assumed, but in the fairy tale by Carlo Gozzi is stated explicitly that the old queen, wife of Timur, unable to withstand the hardships of exile and pain of the alleged loss of her son, and died. Often in the stories we see the reason for the death of his mother (Snow White, Cinderella ...) and sometimes its place is taken by a wicked stepmother. The earlier the event, the greater the damage, going from the idealized mother as the fairy witch, because the consciousness of the child has not yet been able to bring together the two images, through the depressive phase of the awareness that these are the two aspects of the same mother.
Here the mother "witch" never appears, because it seems to presume this was a mother only "good" full-service family, husband and son, of "his men" in other words.
son knows no other aspect of the feminine and, in the crisis, suddenly realizes that his beloved mother is only a reflection of his father, has no real center of his own as he lives only as a custodian of those patriarchal values \u200b\u200bwhich is also protected and therefore not a carrier of "other", a true point of view, polished and intelligent. So for him as dead, but it is the only type of woman who knows and that is proposed in the variation of the "good girl" who bases his life and dedication sull'accudimento (Liu), who appreciates but does not can fall in love. Something is missing but he does not know that his soul yearns and presages. At this point the confusion and despair can be large.
Thanks anyway love received, the young man has a good feeling, always been a "good guy", but now you realize you have also a great rage, vengeful and destructive, something that opposed to any solution of common sense, but because it has a dark intuitive feeling that he was somehow misled and diverted to a more comprehensive development, to have suffered almost ancient violence. He feels the charm of some new and unknown, a "wholly other" from the common thought of the reassuring aspects of the patriarchal family and ordered a need for knowledge and a curiosity about the obscure and different that makes him irresistibly to question the fundamental issues of life and on himself. Maybe go into analysis, or at least trying to get in touch with his dreams and his "puzzles" in search of that part of himself that had been hurt because they respected and recognized in its autonomy, and then began an intense dialogue and confrontation with the unconscious, through his images. Symbolically, we are at the crucial moment of the fight with Dragon, critical step through which a mother complex is freed from his female side (the Soul), independent and different from that embodied but also imprisoned far from their mother. Turandot is this: a female domestic wholly other to win, Dragon Princess and at the same time, carries the danger and romance to gain access to the new situation. If things go well (many have tried and have been lost, as the principles that we have to lose his head ...), the man discovers that all the work of intelligence is not enough. After realizing the problems posed by their core neglected and angry (the puzzles to be solved), we must make a leap of faith and submission, leaving it at the time of reconciliation and return to love, so that the rehabilitation and integration is possible. Only then, after much internal discussion, when the ego has lost its arrogance and is ready to recognize the true values \u200b\u200bof the Soul autonomy, emerges the new man, sensitive and creative understanding, not more childishly attached to parents, with a new center and then a new "kingdom". Reunited with his "inner princess," is now ready to face life and its relationship with the adult female pair, with a completeness and a renewed strength.
The meeting with his psychic part controsessuale was also the final goal of the alchemical process in Philosophorum Rosarium, in which, after the events of death and rebirth of the royal couple, with the return of the light we see the appearance of Rebis, the ' image of the two victorious now be merged into one, signifying the newfound inner unity and integration of the personality.
0 comments:
Post a Comment