Apollo - Dionysus - Cybele
Separate - Amorphous - Connected
Inflation - - Deflation
Sky - - Earth
Day - Twilight - Night
Paranoia - Normality - Schizophrenia
Outer - - Inner
Order - Criticality - Chaos
Clear - Complex - Chaotic
The imaginaire is structured in early childhood and later on determines the fundamental points of personality formation. Although the imaginaire necessarily encompasses all three regimes, one of them is always dominant and represses the others, thereby erecting the structure of consciousness in accordance with its own geometry and topology.
The Diurne
The diurnal regime fully corresponds to what we call the Logos of Apollo. This is the solar, masculine, heroic, noetic universe.
The domination of the postural reflex (which pushes the child up into the upright, vertical stance) organizes consciousness in accordance with the diurnal regime. This regime is dominated by diaeretic operations, such as division, dismemberment, the establishment of clear limits, contemplation, vertical hierarchy, severe logical laws, and is characterized by the concentration of identity towards one end (i.e., the construction of a consolidated subject) in parallel to the dissection (down to miasma) of the subject of perception at the opposite end (e.g., analyzing an object, dismembering a sacrificial animal, etc.).
In the diurnal regime, the subject recognizes itself as a hero confronting time and death, with which it wages endless war. Vertical symmetries, images of flight (and fall), and masculine symbols such as the straight line, the sword, the scepter, the axis, arrows, light, the sun, and the sky are predominant in this mode.
Our thought is based on the development of this kind of imagination. We imagine things separately. We separate things and [in doing so] consolidate our subject. Everybody is against us but we [beat] everybody. In the field of mental illness, it corresponds to paranoia. Paranoia is absolutization of this diurne.
This is the creation of hierarchy, of verticality, with the most paranoid subject at the top of the society - the tsar, the king that destroys everything and consolidates himself. Paranoia is the illness of the kings because everybody is against them and everybody is planning to overthrow them […]
The Mystical Nocturne
This regime is marked by the absence of clarity, as consciousness enjoys the continuous and unlimited tissue of hardly distinguishable things. Sensations of digestion, saturation, napping, comfort, stillness, gliding, and slight immersion are dominant.
The prevailing elements are water, earth, and warmth. The relevant symbols are the cup, the Mother, twilight, reduced objects, centripetal symmetries, the infant, the blanket, the bed, and the womb.
This is the feminine, maternal regime. The mystical nocturne is based on radical feminization and is an antiphrasis. In this mode, dangerous and ominous phenomena (death, time, evil, threats, enemies, and misfortune, etc.) are given softer or contradictory names:
Death = dormition (literally falling asleep) or even birth (resurrection);
Time = progress, becoming, improving;
Threat = a game resolved in peace and bliss;
The enemy = a friend who is not dangerous, and to whose side one must necessarily cross as soon as possible (Stockholm syndrome)
Misfortune = happiness (a temporary challenge designed for something good), etc.
A person with a dominant mystical nocturne is prone to seek compromise, is distinguished by conformism and hyper-conformism, is peace-loving, easily adapts to any conditions, is feminine, is drawn towards serenity, and sets comfort, satiety, safety, and harmony above all else, believing that the best is guaranteed to come naturally.
It is not to separate something that is outside of us and to consolidate something that is inside of us, as in the case of the diurne, but […] to unite everything that is around us and to divide ourselves. This is a schizophrenic attitude, in the extreme case [because] the schizophrenic is separated inside. There are voices and different egos inside and there is the world around it that has reason, that is more powerful than the subject. So the world is united and strong and the subject is weak and problematic and ill.
Here we can unmistakably recognize the structures of the Black Logos, the noetic world of Cybele, the Great Mother, and the chthonic worlds of the womb.
The Dramatic Nocturne
The third regime of the imaginaire is also nocturnal, but is dramatic, dynamic, and active. It can be placed between the diurne and the mystical nocturne. It is built on a copulative dominant, on rhythm, movement, and dual symmetries. Its symbol is the bisexual being, the Androgyne, a pair of lovers, choreia, the circle, dance, rotation, repetition, the cycle, motion returning to its origin.
The dramatic nocturne does not struggle with time and death like the diurne, and does not cross over to the side of time and death as the mystical nocturne does. It closes time in a cycle and keeps death in a chain of births and deaths regularly replacing one another (reincarnation). In this regime, the subject is reflected in the object and vice versa, and this game of reflections is reproduced in an infinite sequence.
If the diurne is the masculine regime, the realm of the day, and if the mystical nocturne is the maternal realm of the night, then the dramatic nocturne correlates with twilight (dusk and dawn) and the male/female pair (sometimes united into one).
While the diurne rigidly divides one from another (diaeresis) and the mystical nocturne unites everything (synthesis), the dramatic nocturne unites the divided and divides the united – never entirely, but retaining differences in their merger and sameness in division.
Those who have a dominant dramatic nocturne exhibit developed artistic abilities, psychological flexibility, eroticism, lightness, mobility, the ability to maintain balance in motion and to perceive events in the external world as a never-ending, shifting alternation of dark and light moments (the ancient Romans’ dies fastus/dies nefastus).
Durand’s dramatic nocturne perfectly fits the description of the Dark Logos, the noetic universe of Dionysus, the god who fuses opposites in himself – suffering and dispassion, death and resurrection, male and female, high and low, and so on. Hence precisely why the “search for the Dark Logos” led us to Dionysus and the broad complex of his situation.
If the regime of diurne is paranoid and the regime of mystical nocturne is schizophrenic, what is the mental disease that corresponds to the dramatic nocturne? There is no mental disease: It is normality. In a normal situation we use this dramatical nocturne, the Dionysian approach to reality. Sometimes there is effeminization and sometimes there is radical separation and differentiation. So we are using both strategies at the same time.
The Three Worlds in Mythology
The realm of the Light Logos corresponds to Olympus, the heavenly world, and the king of the gods, the thunder-god Zeus, his wife, Hera of the air, the solar Apollo, the warrior Athena, the goddess of justice Dike, and other analogous figures.
This is the highest horizon of the celestial Olympian gods in the maximal purity in which the Greeks tried to imagine the gods free from chthonic or archaic elements. This series of gods can be called the diurnic series, for their primary realm of rule is the that of the day, wakefulness, the clear mind, the vertical symmetries of power, and purification.
The second realm of myth, corresponding to the mystical nocturne, is that of the chthonic deities associated with Gaia, the Great Mother. This includes the “Urania” of Rhea, the deputies of the titan Cronus and the mother of Zeus, all the generations of the Titans overthrown by the gods, as well as other creatures of the Earth, such as the Hundred-Handed Ones (Hecatoncheires), the giants, and other chthonic monsters.
The third kingdom, situated between Olympus and Hades (Tartarus), is the domain of the intermediate gods. The undisputed king of this mythical realm is Dionysus, who descends into Hades as Zagreus and rises to Olympus as the resurrected Iacchus of the Eleusinian mysteries and Orphic hymns. Here should also be included the psychopomp god Hermes, the goddess of harvest and fertility Demeter, as well as the countless series of lesser gods and daimons – the nymphs, satyrs, dryads, silens, etc.
[Aleksandr Dugin]
‘Introduction to Noomakhia: Logos of Dionysos [Lecture 5] - Alexander Dugin’ & The Three Logoi: An Introduction to the Triadic Methodology of NOOMAKHIA, Chap. 2
The Geometry of the Logoi
Logos of Apollo
[…] the Three Logoi represent three primordial positions of viewing the map of the Universe: from above (by Apollo and Olympus), from below (by Gaia, Cybele, and Tartarus), and from an intermediate position (that of Dionysus, Demeter, and humanity) […] the basic figure of the Universe will change depending on the arrangement of this or that “observatory point.”
The Logos of Apollo believes itself to be the center, the foundation, the top of the triangle or the peak of Mount Olympus (Parnassus). The view from here is a view looking down upon the base of the triangle. The descending vertical of the solar Logos sets at the opposite end of itself its opposition – the flat, horizontal Earth.
Logos of Dionysus
The intermediary world of Dionysus is structured differently. Its height rises up to the heavens and its depth reaches down to the center of hell. Dionysus’ center is in himself, while the above and below are the limits of his divine path – formed not by themselves, but over the course of the dramatic mysteries of his tragic, sacrificial death and victorious resurrection.
The Logos of Dionysus is dynamic; it embodies the abundance and tragedy of life. Dionysus’ universe differs radically from the Universe of Apollo, insofar as their different views yield different worlds.
The Logos of Dionysus is a phenomenon, a mutable structure of his epiphany. It is far from chaos, but it is not the fixed order of Apollo. It is a kind of playful combination of both, a sacred flickering of meanings and minds constantly threatening to plunge into madness – a madness which is healed by the impulse towards the higher Mind. It is not the fixed triangle of the mountain, but the pulsating, living heart that composes the paradigmatic canvas of thinking.
Logos of Cybele
The geometry of Cybele’s Universe is completely different. On the one hand, in her we can see the inverted image of the Universal Mountain turned upside down into a sort of cosmic funnel.
The symmetry between hell and heaven was vividly described by Dante. The Ancient Greeks believed that there is a black sky in Tartarus with its own (suffocating) air, its own (fiery) rivers and (foul) land.
Yet this symmetry should be not merely visual, but also ontological and noological. The world of the titans consists of the refusal of the order of the diurne. The horizontal thus acquires the dimension of a downwards vertical, a horizontal of the depths. Differences fuse while identities are split asunder. Light is black, and darkness blazes and burns. If in the world of Apollo there is only the eternal “now”, then Cybele’s world is reigned by time (Kronos – Chronos), where there is everything but the “now”, and instead only the “before” and “too late”, where the main moment is always missed. The torture of Tantalus, Sisyphus, and the Danaids reflects the essence of the temporality of hell: everything is repeated to no end.
The inverted triangle, as applied to the worlds of Cybele, is most akin to an inverse “Apollonian hypothesis” – and thus indeed Apollo understands this opposite to himself. Mother Earth thinks otherwise: she has no straight lines, no clear orientations. Attempts to separate one from the other cause her unbearable pain. Her thinking is muffled, gloomy, and inconsistent. She cannot break away from the mass which de-figures and repeatedly dissolves all forms, decomposes them into atoms and recreates them again at random. This is how monsters are born.
Therefore, the three views of the universe from these three positions represent three conflicting worlds, and it is this conflict of interpretations which constitutes the essence of the war of the minds.
[Aleksandr Dugin]
The Three Logoi: An Introduction to the Triadic Methodology of NOOMAKHIA, Chap. 2
[…] the Logos of Cybele, Logos of Dionysus, and Logos of Apollo are deep inside of any form of thought.
They are inside of thought and not in front of thought. They are the paradigms that are very difficult to grasp, to seize, and to understand because they are dealing behind our mind, defining its structure. We could not see [them] as images that are in front of us.
When we are speaking about the Logos, we are speaking about something that is deep behind our […] consciousness that defines the roots of our mentality.
[Aleksandr Dugin]
‘Introduction to Noomakhia: Logos of Dionysos [Lecture 5] - Alexander Dugin’
It is easily noticeable that the three synchronic worlds of this model can be taken to represent the calendric cycle: the upper half (the kingdom of Apollo) corresponds to summer, the lower world of Cybele to winter, and the intermediary worlds of Dionysus to autumn and spring.
The latter can be interpreted as the cardinal points of the drama of Dionysus, his sacrificial killing, dismemberment, resurrection, and awakening.
[Aleksandr Dugin]
The Three Logoi: An Introduction to the Triadic Methodology of NOOMAKHIA, Chap. 2
Related posts:
Apollo / Dionysus
The imaginaire is structured in early childhood and later on determines the fundamental points of personality formation. Although the imaginaire necessarily encompasses all three regimes, one of them is always dominant and represses the others, thereby erecting the structure of consciousness in accordance with its own geometry and topology.
The Diurne
The diurnal regime fully corresponds to what we call the Logos of Apollo. This is the solar, masculine, heroic, noetic universe.
The domination of the postural reflex (which pushes the child up into the upright, vertical stance) organizes consciousness in accordance with the diurnal regime. This regime is dominated by diaeretic operations, such as division, dismemberment, the establishment of clear limits, contemplation, vertical hierarchy, severe logical laws, and is characterized by the concentration of identity towards one end (i.e., the construction of a consolidated subject) in parallel to the dissection (down to miasma) of the subject of perception at the opposite end (e.g., analyzing an object, dismembering a sacrificial animal, etc.).
In the diurnal regime, the subject recognizes itself as a hero confronting time and death, with which it wages endless war. Vertical symmetries, images of flight (and fall), and masculine symbols such as the straight line, the sword, the scepter, the axis, arrows, light, the sun, and the sky are predominant in this mode.
Our thought is based on the development of this kind of imagination. We imagine things separately. We separate things and [in doing so] consolidate our subject. Everybody is against us but we [beat] everybody. In the field of mental illness, it corresponds to paranoia. Paranoia is absolutization of this diurne.
This is the creation of hierarchy, of verticality, with the most paranoid subject at the top of the society - the tsar, the king that destroys everything and consolidates himself. Paranoia is the illness of the kings because everybody is against them and everybody is planning to overthrow them […]
The Mystical Nocturne
This regime is marked by the absence of clarity, as consciousness enjoys the continuous and unlimited tissue of hardly distinguishable things. Sensations of digestion, saturation, napping, comfort, stillness, gliding, and slight immersion are dominant.
The prevailing elements are water, earth, and warmth. The relevant symbols are the cup, the Mother, twilight, reduced objects, centripetal symmetries, the infant, the blanket, the bed, and the womb.
This is the feminine, maternal regime. The mystical nocturne is based on radical feminization and is an antiphrasis. In this mode, dangerous and ominous phenomena (death, time, evil, threats, enemies, and misfortune, etc.) are given softer or contradictory names:
Death = dormition (literally falling asleep) or even birth (resurrection);
Time = progress, becoming, improving;
Threat = a game resolved in peace and bliss;
The enemy = a friend who is not dangerous, and to whose side one must necessarily cross as soon as possible (Stockholm syndrome)
Misfortune = happiness (a temporary challenge designed for something good), etc.
A person with a dominant mystical nocturne is prone to seek compromise, is distinguished by conformism and hyper-conformism, is peace-loving, easily adapts to any conditions, is feminine, is drawn towards serenity, and sets comfort, satiety, safety, and harmony above all else, believing that the best is guaranteed to come naturally.
It is not to separate something that is outside of us and to consolidate something that is inside of us, as in the case of the diurne, but […] to unite everything that is around us and to divide ourselves. This is a schizophrenic attitude, in the extreme case [because] the schizophrenic is separated inside. There are voices and different egos inside and there is the world around it that has reason, that is more powerful than the subject. So the world is united and strong and the subject is weak and problematic and ill.
Here we can unmistakably recognize the structures of the Black Logos, the noetic world of Cybele, the Great Mother, and the chthonic worlds of the womb.
The Dramatic Nocturne
The third regime of the imaginaire is also nocturnal, but is dramatic, dynamic, and active. It can be placed between the diurne and the mystical nocturne. It is built on a copulative dominant, on rhythm, movement, and dual symmetries. Its symbol is the bisexual being, the Androgyne, a pair of lovers, choreia, the circle, dance, rotation, repetition, the cycle, motion returning to its origin.
The dramatic nocturne does not struggle with time and death like the diurne, and does not cross over to the side of time and death as the mystical nocturne does. It closes time in a cycle and keeps death in a chain of births and deaths regularly replacing one another (reincarnation). In this regime, the subject is reflected in the object and vice versa, and this game of reflections is reproduced in an infinite sequence.
If the diurne is the masculine regime, the realm of the day, and if the mystical nocturne is the maternal realm of the night, then the dramatic nocturne correlates with twilight (dusk and dawn) and the male/female pair (sometimes united into one).
While the diurne rigidly divides one from another (diaeresis) and the mystical nocturne unites everything (synthesis), the dramatic nocturne unites the divided and divides the united – never entirely, but retaining differences in their merger and sameness in division.
Those who have a dominant dramatic nocturne exhibit developed artistic abilities, psychological flexibility, eroticism, lightness, mobility, the ability to maintain balance in motion and to perceive events in the external world as a never-ending, shifting alternation of dark and light moments (the ancient Romans’ dies fastus/dies nefastus).
Durand’s dramatic nocturne perfectly fits the description of the Dark Logos, the noetic universe of Dionysus, the god who fuses opposites in himself – suffering and dispassion, death and resurrection, male and female, high and low, and so on. Hence precisely why the “search for the Dark Logos” led us to Dionysus and the broad complex of his situation.
If the regime of diurne is paranoid and the regime of mystical nocturne is schizophrenic, what is the mental disease that corresponds to the dramatic nocturne? There is no mental disease: It is normality. In a normal situation we use this dramatical nocturne, the Dionysian approach to reality. Sometimes there is effeminization and sometimes there is radical separation and differentiation. So we are using both strategies at the same time.
The Three Worlds in Mythology
The realm of the Light Logos corresponds to Olympus, the heavenly world, and the king of the gods, the thunder-god Zeus, his wife, Hera of the air, the solar Apollo, the warrior Athena, the goddess of justice Dike, and other analogous figures.
This is the highest horizon of the celestial Olympian gods in the maximal purity in which the Greeks tried to imagine the gods free from chthonic or archaic elements. This series of gods can be called the diurnic series, for their primary realm of rule is the that of the day, wakefulness, the clear mind, the vertical symmetries of power, and purification.
The second realm of myth, corresponding to the mystical nocturne, is that of the chthonic deities associated with Gaia, the Great Mother. This includes the “Urania” of Rhea, the deputies of the titan Cronus and the mother of Zeus, all the generations of the Titans overthrown by the gods, as well as other creatures of the Earth, such as the Hundred-Handed Ones (Hecatoncheires), the giants, and other chthonic monsters.
The third kingdom, situated between Olympus and Hades (Tartarus), is the domain of the intermediate gods. The undisputed king of this mythical realm is Dionysus, who descends into Hades as Zagreus and rises to Olympus as the resurrected Iacchus of the Eleusinian mysteries and Orphic hymns. Here should also be included the psychopomp god Hermes, the goddess of harvest and fertility Demeter, as well as the countless series of lesser gods and daimons – the nymphs, satyrs, dryads, silens, etc.
[Aleksandr Dugin]
‘Introduction to Noomakhia: Logos of Dionysos [Lecture 5] - Alexander Dugin’ & The Three Logoi: An Introduction to the Triadic Methodology of NOOMAKHIA, Chap. 2
The Geometry of the Logoi
Logos of Apollo
[…] the Three Logoi represent three primordial positions of viewing the map of the Universe: from above (by Apollo and Olympus), from below (by Gaia, Cybele, and Tartarus), and from an intermediate position (that of Dionysus, Demeter, and humanity) […] the basic figure of the Universe will change depending on the arrangement of this or that “observatory point.”
The Logos of Apollo believes itself to be the center, the foundation, the top of the triangle or the peak of Mount Olympus (Parnassus). The view from here is a view looking down upon the base of the triangle. The descending vertical of the solar Logos sets at the opposite end of itself its opposition – the flat, horizontal Earth.
Logos of Dionysus
The intermediary world of Dionysus is structured differently. Its height rises up to the heavens and its depth reaches down to the center of hell. Dionysus’ center is in himself, while the above and below are the limits of his divine path – formed not by themselves, but over the course of the dramatic mysteries of his tragic, sacrificial death and victorious resurrection.
The Logos of Dionysus is dynamic; it embodies the abundance and tragedy of life. Dionysus’ universe differs radically from the Universe of Apollo, insofar as their different views yield different worlds.
The Logos of Dionysus is a phenomenon, a mutable structure of his epiphany. It is far from chaos, but it is not the fixed order of Apollo. It is a kind of playful combination of both, a sacred flickering of meanings and minds constantly threatening to plunge into madness – a madness which is healed by the impulse towards the higher Mind. It is not the fixed triangle of the mountain, but the pulsating, living heart that composes the paradigmatic canvas of thinking.
Logos of Cybele
The geometry of Cybele’s Universe is completely different. On the one hand, in her we can see the inverted image of the Universal Mountain turned upside down into a sort of cosmic funnel.
The symmetry between hell and heaven was vividly described by Dante. The Ancient Greeks believed that there is a black sky in Tartarus with its own (suffocating) air, its own (fiery) rivers and (foul) land.
Yet this symmetry should be not merely visual, but also ontological and noological. The world of the titans consists of the refusal of the order of the diurne. The horizontal thus acquires the dimension of a downwards vertical, a horizontal of the depths. Differences fuse while identities are split asunder. Light is black, and darkness blazes and burns. If in the world of Apollo there is only the eternal “now”, then Cybele’s world is reigned by time (Kronos – Chronos), where there is everything but the “now”, and instead only the “before” and “too late”, where the main moment is always missed. The torture of Tantalus, Sisyphus, and the Danaids reflects the essence of the temporality of hell: everything is repeated to no end.
The inverted triangle, as applied to the worlds of Cybele, is most akin to an inverse “Apollonian hypothesis” – and thus indeed Apollo understands this opposite to himself. Mother Earth thinks otherwise: she has no straight lines, no clear orientations. Attempts to separate one from the other cause her unbearable pain. Her thinking is muffled, gloomy, and inconsistent. She cannot break away from the mass which de-figures and repeatedly dissolves all forms, decomposes them into atoms and recreates them again at random. This is how monsters are born.
Therefore, the three views of the universe from these three positions represent three conflicting worlds, and it is this conflict of interpretations which constitutes the essence of the war of the minds.
[Aleksandr Dugin]
The Three Logoi: An Introduction to the Triadic Methodology of NOOMAKHIA, Chap. 2
[…] the Logos of Cybele, Logos of Dionysus, and Logos of Apollo are deep inside of any form of thought.
They are inside of thought and not in front of thought. They are the paradigms that are very difficult to grasp, to seize, and to understand because they are dealing behind our mind, defining its structure. We could not see [them] as images that are in front of us.
When we are speaking about the Logos, we are speaking about something that is deep behind our […] consciousness that defines the roots of our mentality.
[Aleksandr Dugin]
‘Introduction to Noomakhia: Logos of Dionysos [Lecture 5] - Alexander Dugin’
It is easily noticeable that the three synchronic worlds of this model can be taken to represent the calendric cycle: the upper half (the kingdom of Apollo) corresponds to summer, the lower world of Cybele to winter, and the intermediary worlds of Dionysus to autumn and spring.
The latter can be interpreted as the cardinal points of the drama of Dionysus, his sacrificial killing, dismemberment, resurrection, and awakening.
[Aleksandr Dugin]
The Three Logoi: An Introduction to the Triadic Methodology of NOOMAKHIA, Chap. 2
Related posts:
Apollo / Dionysus
