Yet interwoven with this unfolding masculine-feminine evolution is a second dialectical process, which has played a more explicit role in the historical narrative, and which involves a basic archetypal polarity within the nature of the masculine itself. On the one hand, the masculine principle (again, in both men and women) can be understood in terms of what may be called the Promethean impulse: restless, heroic, rebellious and revolutionary, individualistic and innovative, eternally seeking freedom, autonomy, change, and the new. On the other hand, there is its complement and opposite, what can be called the Saturnian impulse: conservative, stabilizing, controlling, dominating, that which seeks to sustain, order, contain, and repress—i.e., the juridical-structural-hierarchical side of the masculine that has expressed itself in patriarchy.
The two sides of the masculine—Prometheus and Saturn, son and father—are implications of each other. Each requires, calls forth, and grows into its opposite. On a broad scale, the dynamic tension between the two principles can be seen as constituting the dialectic that propels “history” (political, intellectual, spiritual). It is this dialectic that has driven the internal drama throughout The Passion of the Western Mind: the unceasing dynamic interplay between order and change, authority and rebellion, control and freedom, tradition and innovation, structure and revolution. I am suggesting, however, that this powerful dialectic ultimately propels and is propelled by—is, as it were, in the service of—yet a larger overarching dialectic involving the feminine, or “life.”
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