Hercules The Terminator

Hercules The Terminator

Hercules The Terminator


Arnold Shwarzenegger`s first major role in Hollywood was as Hercules, but he`s most famous for the Terminator series of movies. This is because the films effectively represent the development of a single character with mythic but not heroic qualities. The figure of Hercules is important because of the Twelve Labours, which in Greek mythology includes the task of cutting off the heads of the Lemaean Hydra that guards the Danaiiads, who`re women that have killed their husbands because they didn`t want to marry and are being forced to endlessly fill a bowl with water.

The filling of the bowl is a continuing exercise in futility because the Danaiiads only have sieves with which to carry water to the bowl, and the water disappears through the holes in the sieve bottoms before the Danaiiads are able to pour water into the bowl. The allusion is to the idea that women need men, because they`re barren without them, whereas the truth is that men are sterile because they can`t reproduce without women, whereas women have a penis of their own and so are a species while men aren`t. Consequently, Hercules appears as a hero to the Greeks, who preferred pederasty and homosexuality to women, which were kept only for producing men as the parasite that perpetuated itself by preying upon them as host wombs.



Hercules is an early type of the devouring imago, which is found in Christianity in Revelation as the red dragon waiting to devour the New Redeemer, and that is represented in the first Terminator movie as Arnold Schwarzenegger`s evil mission as a robot Terminator to travel through time to murder the son of Sarah Connor who`ll be the one to redeem mankind from defeat against the machines. Interestingly, `Meshiahn` is the word used to describe those who believe in Christ, which suggests a link between Christ and the `Age of the Machine`, which is depicted negatively in Terminator, because Woman is a better machine as a species and men don`t want her.



The Lemaean Hydra is what the developmental psychologist Carl Gustav Jung (1875-1961) calls the `Terrible Mother`, which is an aspect of God`s omniscience, in psychological terms, because 20th century knowledge of archetypes is necessary to understand its meaning, which is that of growth nurturing imagery recurring throughout history in terms of the improving of the functionality of the human psyche. The figure of the `Terrible Mother`, as the Lemaean Hydra, is the archetype of the woman who`s protecting her species` future. Each time Hercules cuts off a head, two more grow, which is an allusion to woman`s duplex role as a species with her own penis.



In Revelation the woman `hidden` upon the Earth, and protected by the New Redeemer, is described as having her own `seed` which, after war in heaven against the serpent`s `seed`, that is, men`s devouring imago of the red dragon, receives a new heaven and Earth from God. The woman is `hidden` upon the Earth because her penis is, and God`s Bible says that her `seed` shall be victorious.



The importance of the Hercules myth, as depicted in the Terminator movies, is that the archetypal material contradicts the image of the hero, which is detectable as that of the imago that devours woman. Hercules feels successful when he`s released the Danaiians to their future slavery with their husbands, whereas that`s a defeat for the Lemaean Hydra who, as the `Terrible Mother`, is the archetypal signpost of Woman`s future as a species. Because the Lemaean Hydra is depicted as a `monster`, Hercules` defeat of her is a picture of success that constellates the imago of the devourer of women within the psyches of those who identify with the successful image of the hero.



In Terminator Schwarzenengger is again the anti-hero who`s identified with by the devouring imago worshippers, and he`s in the role of the red dragon of Revelation, who`s waited to devour John Connor, the son of Sarah Connor and, effectively, the New Redeemer of the movie. The imagery is designed to prevent the archetype of the New Redeemer from being born in the minds of the cinema-goers. In The Sarah Connor Chronicles, the TV version of the Terminator series of movies, the robots appear as beautifully constructed women, which are `Meshiahn`, that is, they represent woman as the perfect machine because she`s self-protecting. The dilution is that she doesn`t have a penis, because the usual antagonism between males is designed to fill our attention, that is, the focus is meant to be upon the heroes, who represent the devouring imago, because that`s the imago that men want to constellate.



In order to penetrate the imago of the devourer, which isn`t the image of a hero, simple pictures reveal the truth. The more common pornography depicts a woman sitting on a penis with another holding it, while the male form remains invisible. The imagery is archetypal and says that the penis belongs to the woman holding it, which relates to the notion of the `hidden` woman`s `seed` in Revelation, and signposts the woman with a penis as God`s species, for whom a new heaven and Earth is being prepared, after Jesus` slaying of the evil, and God`s giving of perdition to the evil as their punishment.

The simplest imagery is the most educative, which is why Jesus exhorts acceptance of the Holy Spirit, the `tutelary spirit` that, effectively, emerged from the side of Jesus when pierced by the spear of Longinus after Jesus` death at the crucifixion. The Paraclete is the `Second Eve` which emerged from the side of Adam in Eden, and remained with mankind throughout history, until 2000 years ago when the Holy Spirit came from the side of Jesus to complement the wisdom of mankind`s soul that`d been obtained from the `tree of the knowledge of good and evil`, by means of the fruit that God had forbidden, and which the serpent gave to Eve, who gave it to Adam to eat of also. Thereafter they were required to leave Paradise by God, who told Adam he was to live `by the sweat of his brow`, while Eve would have pain in childbirth, which is important because the bearing of children is the single most important concept in the Bible.



In Revelation the red dragon waits to devour the child of the woman `clothed with the sun and with the moon at her feet`, which is a symbol of psycho-physical hermaphroditism. The New Redeemer is the protector with the scepter upon the Earth before she, as the `hidden` woman with a penis that contains her `seed`, is ready to leave and sow her `seed` amongst the stars, fight the `seed` of the evil `serpent` in a victorious war in heaven, according to Revelation, and live forever in God`s heaven, and new Earth that God has prepared for her and her `seed`. In other words, the pain of childbirth is the knowledge that men aren`t woman`s species, but a parasitical virus perpetuating itself by preying upon her womb as an enslaver and devourer, of her and her Earth, in wars and plagues, which amount to the same thing because that`s what men are – the plague that makes war:


`I will put enmities between thee and the woman, and thy seed and her seed: she shall crush thy head, and thou shalt lie in wait for her heel.`


God tells Abraham that his `seed` shall be like the stars of the heavens (Gen: 15.5), although his wife Sarah gave to him her handmaid Hagar, because she was barren and didn`t have a child until she was very old. The story is interesting because it indicates that the penis is important and not the marriage, that is, the fertilized are more important than the fertilizer, which retains its significance if woman has her own penis. As the fertilizer of her own species, men would be redundant. God`s development seems to be that mankind has to work for Redemption and woman`s birth is to be painful, but her species shall be born. Redemption consists in mankind`s recognition and refusal to worship the devouring imago that enslaves and devours her and her Earth as a plague and by means of war. If mankind accepts woman as a species there`s the possibility of Redemption but the species as `numberless as the dust of the Earth` would be woman`s.



In the age of Queen Victoria, the glimpse of a woman`s ankle was deemed to be sufficient for a man to be aroused. Belsen and Auschwitz suggests that, if women show more than their ankle, they`ll find themselves stacked in heaps and consumed in the ovens of the fire breathing dragon that was Nazism. However, for men who lie in wait to consume women in fire, as the red dragon of Revelation waits to devour the child of the woman of Revelation, who gives birth to the New Redeemer, God`s promise is that she shall crush their heads. As God says, it`s the heel of the woman they lie in wait for, `hidden` upon the Earth before leaving for the stars. Omnisciently, God says men will attack her, but succeed only in bruising her escaping heel.

The crushing of the men`s heads is important, because psychological complementarity of male and female aspects is essential if a man is to have Redemption, which is why the woman of Revelation is depicted as clothed with the sun, which is the male principle, and the moon, that is, the female principle. In the psychology of Carl Gustav Jung (1875-1961) a man`s ego is associated with the sun and the moon with the anima or soul image, which is represented as being among the archetypes of the collective unconscious that, emerging in dreams or imagination, constitute the creative engine of humankind. Jung`s concept of the psyche posits four functions of consciousness, that is, male functions of `Thinking` and `Sensation`, and female functions of `Feeling` and `Intuition`, which are associated with ear, eye, mouth, and nose, when undifferentiated or unconscious. In other words, self-actualization requires conscious awareness or differentiation of the four functions, which Jung calls the individuation process.

If the individuating ego identifies with the devouring imago then individuation, that is, Redemption, isn`t possible, because the acceptance or constellation of devouring imago figures, such as Hercules or the Terminator, results in scenarios like Belsen and Auschwitz where the `Feeling` function, which is associated with the mouth, is inverted and has become a function of the devourer. Because individuation requires male-female complementarity, `Thinking` and `Sensation` (male), and `Feeling` and `Intuition` (female) must function as an individuated totality, which is symbolized by the `woman clothed with the sun and with the moon at her feet` and the New Redeemer. Men who don`t have the functional totality of a differentiated `Feeling` function in association with the other differentiated functions of `Thinking`, `Sensation`, and `Intuition` have `crushed heads` because they haven`t accepted the female principle of Redemption, which is `God`s love` as Jesus says in the New Testament of the Bible.

Because the archetypes of mankind are developmentally female, male archetypes are delusions, that is, they are imagos of the devourer masquerading as heroic leaders - as Hercules, the Terminator, Hussein, Gaddafi, and many others. In other words, women don`t have archetypes, because they`re for the developmental functioning of Redemption. What they do have is the devouring imago if it`s constellated, and that`s why Jung`s understanding of female psychology is flawed. According to Jungian psychology, the animus is woman`s contrasexual component, which appears in dreams and imagination to make her the cynosure of men`s eyes. However, these are effectively the eyes of her devourers and so have no individuational functionality save to encourage her into the arms of what is effectively her demon lovers.

The archetype of Redemption is the image of Jesus Christ, because God`s Paraclete or Holy Spirit is the `tutelary guide` of the soul or anima in man, that is, Jesus specifically exorcises men he encounters because they have accepted the devouring imago, which is demonic:


`Send us among the pigs; allow us to go into them.`


Jesus gave them permission, and the evil spirits went into the pigs. The herd, about two thousand in number, rushed down the steep bank into the lake and were drowned. The demons don`t care what body they inhabit, which is a metaphor for men because the anima or soul, and the Paraclete or Holy Spirit, are female, which is why Christianity advocates acceptance of Jesus and the Holy Spirit. Jesus isn`t going to sleep with you, but men who want to sleep with men are demons, and so the possessed have the spirits of men who want to sleep with them because they`re demonic, and that`s how they sleep with men:


`Men gnawed their tongues in agony and cursed the God of heaven because of their pains and their sores, but they refused to repent of what they had done.`


Revelation describes AIDS` victims who`ve had sex with men with HIV. Because homosexuality is sterility, it`s worship of the devouring imago, that is, the parasitical enslavement of woman`s host womb. God`s anti-virus is the Virgin Mary, and Jesus, because it`s an archetypal pairing that, in accordance with the tutelary guidance of the Paraclete, teaches virus avoidance. As Jesus says to his `tempter` in the wilderness:


`Avoid me.`


He doesn`t want the virus, and he knows that the `tempter` is trying to give it to him, that is, the desire to encompass the Earth as its devourer. The imagery and language is significantly simpler than mythological depictions of heroic endeavour, because older mythologems, and indeed fictions based on old material, place the devouring imago at the centre of the pseudo-heroism, which confuses the reader or viewer into identifying with the devouring action.

War Of The Worlds is a favourite movie for remakes because it`s a simple story of devourers chasing young women, like Dakota Fanning, along the street and zapping her family and friends with blasters, while a heroic figure protects her. The rest of civilization and culture is destroyed, and the audience is expected to view Tom Cruise`s survival as her `protector` as successful. But the futility programme says destruction is what civilization, art and culture is for.

Dakota Fanning is chased by the devourer in War Of The Worlds, because that`s the programmer`s aim, to programme everyone with the devouring imago, and in Scream and Scream II the audience cheer as Anna Faris and Sarah Michelle Gellar are stalked and killed by the murderer, because that`s the programmer`s intention for mankind`s development.

In Silence Of The Lambs the viewer is asked to accept, as a psychopathology fictionally monitored by `Jodie Foster of the FBI`, the cannibal activities of Hannibal Lecter, who`s a typical devouring imago figure. In Spiral Amber Tamblyn is painted nude, and discovers many more nude paintings of different young women in the flat of the artist. When she asks about them, he murders her. She`s jealous of the women in his past, which is ironic if a woman has her own penis. The movie`s programme is for acceptance of the devouring imago, whereas Jesus` advice is:


`Avoid me.`


Effectively, the devouring imago and the hero play complementary roles within the programmer`s vision. The hero figure is the anti-Paraclete who, masquerading as an artist or other male guardian, guides the woman into her role as devourable, which is why Dakota Fanning appears in Man On Fire with Denzil Washington as a girl too young to be sexual. The bodyguard figure of Washington is a false hero imago framing Dakota`s asexual young girl`s body as undesirable for anything but devourment, and so the movie`s programme is for the kidnappers` terrorist activity rather than Dakota Fanning, who`s the heroine. There isn`t a real hero because heroes function as plot devices for the devouring imago, while the endangered heroine s injected into scenes for heroine addicts. Those who want the woman to live dwindle in proportion to the extent to which the devouring imago is constellated, and the result is 9/11 on CNN.

Those who`ve contracted the disease of the devouring imago aren`t supposed to distinguish between MBC Action and the terrorist attack on New York`s Twin Towers. That`s the programme of the anti-Christian `pictures`, which is why Hollywood`s called `Babylon`, and why Babylon (c. 4000 B.C.) is the ancient Persian seat of the rulers of Iraq and Iran. The heroic imagos of Hollywoood`s `Babylon` are merely a cover for the devouring imago of Iraq and Iran`s `Babylon` of Saddam Hussein and Ahmadinejad, while the `Great Whore, Babylon, Mother of the Abominations of the Earth` remains `Woman `, and her abominations are her sons` enslaving of her for her own devouring.