Archetypical Psychosophy Model

Archetypical Psychosophy Model

The Placements

1st Placement: The Icon—The Conductor—The Ruler.
2nd Placement: The Parent—The Hero—The Witch.
3rd Placement: The Fallen—The Trickster—The Pendulum.
4th Placement: The Heir—The Child—The Subordinate.

The 1st Placement relies completely on the internal monologue of the user, supplanting itself as its ruler and dictator. The aspect held in the ruler's gaze is the user's inheritance, Icon, and creates or alters their character. There is no room on the throne for anyone besides the king. Like the ruler archetype, it takes the gifts and attention of the subject (or aspect) as something it should feel entitled to, portraying an effortless mastery in the gifts bestowed upon it. Imagine the realm as a globe theater. The Ruler sits on his seat reclined and alone as a VIP, watching everything in the play unfold. The play is for him and him only, and all the characters and people are there because of him and for his usage and whims. The Placement can also seem as the conductor, who determines and dictates the progression and the movement of the play.

Let's keep our attention to the theater analogy as we move into the second placement. The Second placement is the Hero, its what immortalizes the character and what is engaged and seeks others to help or destroy. Consider it the virtue of the character or user: "When everything seems lost, the Warrior rides over the hill and saves the day." It is the method of confrontation and the harbinger of contact-fullness. It means to exhibit and show off its dexterity and skill. The sword of a warrior that sharpens the Sword of another. The Hero Placement is praised for its skill and seeks to ejaculate or explode itself on the other. The Hero is quick, strong, and engaging, seeking or calling others into engagement or battle. The point of bravery. In the play, Hero goes through its journey as he is characterized by various tests or ordeals and is called to action. He is the main character or center at the stage for the king who slays the villains and enforces the themes of the play.

 

The Third Placement is the Fallen, The Trickster, The Pendulum. It is the combatant and a threat to the hero or a conspirator against the King.The asymptotic placement, as I would like to call it, is like a broken pendulum that can never maintain its original velocity. It is displaced to and fro, moving from its aspirational engagement to pure disdain and malice. I imagined a point in time at which a pregnant woman is just about to give birth: This is the point of labor with the aspect. The dread and heaviness felt in the usage of this aspect, like the pregnant woman forcing the child out of herself in a painful and tedious ordeal. If I were to associate it with the hero and the trickster, this is the point where the trickster makes the hero or viewer question themselves and their ideals. He criticizes the king and his rulings; he criticizes the hero for his heroics, sending the hero into a spiral of doubt. The king sees through his eyes as the hero is used to overcome the Fallen One and emerges victorious. The Fallen is fixated on its malice and pessimism and so cannot or wishes not to engage itself in the play while still placing himself in front of the hero's blade.

 

And finally, The Child or Heir. The Child is the youngun who has made its parents come to see the play made for the king. A child of common birth who gazes at the splendor of the king's rulership and the hero's skill. He goes home and imitates the hero in a childish manner, giggling to himself as he and his friends play pretend. The Child is passive to the instructions of the parent, as he is to be obedient towards their instructions and guidance. In contact with the aspect, the child is like a kid holding a crayon in front of a blank piece of paper. The Subordinate is the lower class who lives and breathes to serve the king. He may have skills and displays of his own, but they are used in the service of the king in his quarters. He reacts when told to react but unstimulated, remains abiotic or dull.

Interesting to note that, The Conductor—the Child Position, exists outside the stage, which is an indicator of the results' lack of deliberation and result as the roles hold no actual tandem and are more candid roles (a lack of fabrication like the play and is taking place regardless of others gazing at it), whereas the Hero and Trickster are curated characters and actors within the play and exist solely on the stage. They are constantly engaged and interacting with the stage and one another in dialogue or conflict. They are manufactured and inorganic, while the Result roles are "real" and organic characters.

 

The Aspects 

Physics is in regards to matter and the mundane. This subject (you or others) and your attitude or attention towards matter or rather everyday Life and libido. This attitude dictates the attention towards sensate potency and all material things be it finances, belongings, money, comfort, physical care and practical skills.

Logic deals with sterile judgment, rational framework to be applied impersonally. This subject and your attitude towards formality or argumentation. This attitudes dictates attention towards formal reason, literacy and the code of language, spoken and written word, computation, systems and science Logic is the Masculine and Apollonian 

Emotions deal with Visceral reactions and theatrics. In short emotional expression and the aesthetics and motifs surrounding them. This attitude dictates attention towards acting, romanticism, culture, artistic expression, music, essence and vibrations, entertainment, ethics, affection, emotional zeitgeists, Mysticism, affective imagery, Drama and theater. Emotion is the Feminine and Dionysian 

Volition gives rise for greater substance and essence within a person. Volition is associated with matters of the spirit and right to the throne. An ancestral birthright or the essence that determines who a person is and where they place themselves in the realm. Volition constitutes of matters that burden the soul and spirit. A solemn gist and selfdom, the gravity one has and their dharma and destiny. Their psychical symbols and pneumatic ideations.