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Thereupon Mwuetsi’s children strangled Mwuetsi and buried him. They buried Morongo with Mwuetsi. Then they chose another man to be Mambo. Morongo, too, had lived for two years in Mwuetsi’s Zimbabwe.[6]*

It is clear that each of the three stages of procreation represents an epoch in the development of the world. The pattern for the procession was foreknown, almost as something already observed; this is indicated by the warning of the All-Highest. But the Moon Man, the Mighty Living One, would not be denied the realization of his destiny. The conversation at the bottom of the lake is the dialogue of eternity and time, the “Colloquy of the Quick”: “To be, or not to be.” Unquenchable desire is finally given its rope: movement begins.

The wives and daughters of the Moon Man are the personifications and precipitators of his destiny. With the evolution of his world-creative will the virtues and features of the goddess-mother were metamorphosed. After the birth from the elemental womb, the first two wives were prehuman, suprahuman. But as the cosmogonic round proceeded and the growing moment passed from its primordial to its human-historical forms, the mistresses of the cosmic births withdrew, and the field remained to the women of men. Thereupon the old demiurgic sire in the midst of his community became a metaphysical anachronism. When at last he grew tired of the merely human and yearned back again to the wife of his abundance, the world sickened a moment under the pull of his reaction, but then released itself and ran free. The initiative passed to the community of the children. The symbolic, dream-heavy parental figures subsided into the original abyss. Only man remained on the furnished earth. The cycle had moved on. 3. Womb of Redemption

The world of human life is now the problem. Guided by the practical judgment of the kings and the instruction of the priests of the dice of divine revelation (see the hakata of Mwuetsi’s children, p. 263), the field of consciousness so contracts that the grand lines of the human comedy are lost in a welter of cross-purposes. Men’s perspectives become flat, comprehending only the light-reflecting, tangible surfaces of existence. The vista into depth closes over. The significant form of the human agony is lost to view. Society lapses into mistake and disaster. The Little Ego has usurped the judgment seat of the Self.

This is in myth a perpetual theme, in the voices of the prophets a familiar cry. The people yearn for some personality who, in a world of twisted bodies and souls, will represent again the lines of the incarnate image. We are familiar with the myth from our own tradition. It occurs everywhere, under a variety of guises. When the Herod figure (the extreme symbol of the misgoverning, tenacious ego) has brought mankind to the nadir of spiritual abasement, the occult forces of the cycle begin of themselves to move. In an inconspicuous village the maid is born who will maintain herself undefiled of the fashionable errors of her generation: a miniature in the midst of men of the cosmic woman who was the bride of the wind. Her womb, remaining fallow as the primordial abyss, summons to itself by its very readiness the original power that fertilized the void.

“Now on a certain day, while Mary stood near the fountain to fill her pitcher, the angel of the Lord appeared unto her, saying, ‘Blessed art thou, Mary, for in thy womb thou hast prepared a habitation for the Lord. Behold, light from heaven shall come and dwell in thee, and through thee shall shine in all the world.’”[7]

The story is recounted everywhere; and with such striking uniformity of the main contours, that the early Christian missionaries were forced to think that the devil himself must be throwing up mockeries of their teaching wherever they set their hand. Fray Pedro Simón reports, in his Noticias historiales de las conquistas de Tierra Firme en las Indias Occidentales (Cuenca, 1627), that after work had been begun amongst the peoples of Tunja and Sogamozzo in Colombia, South America,

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