Adam and Eve – Two souls, dwell alas! In my breast, Part III

Table of Contents

The way out of Plato’s cave

For practitioners, the way out of it is the unknown path that needs to be searched for (arrow I) that leads from darkness (in A) into the light at the end of the tunnel (in D). This path is described as “becoming masculine (intensifying animus)”. In the descent (arrow II), the spiritual act of creation (TV 91), it is the other way round. This made people, in the course of their spiritual evolution (arrow II), become more “feminine”. This needs to be taken into account when interpreting many biblical and non-biblical quotations and myths.

Revealing the Lógos from the Myth

Similarly as THE man and THE woman intermarry, in the Ascension THE heaven (ouranós) and THE earth (gaía) do so, as do the two components pneúma (spirit) and sóma (body) of the psyché (soul). There is much more behind this than the plausible assertion that man consists of body, soul and spirit. This insinuation, in contrast to the three-stage change of the psyché in the ascent (arrow I) from sóma (body) to pneúma (spirit), can NOT be proven.

Yin and Yang
Fig. 2. Schematic representation of the (a) Great Path (Dadao) (arrow I = ascent) from the familiar world (A)through the three otherworldly (lower, central and upper) Taiji worlds to absolute non-being (in D) and (b) act of creation (arrow II = descent) of the Taiji worlds from absolute non-being (above D) to this world (A).

Gustav Klimt's The Three Ages of the Woman
Gustav Klimt’s The Three Ages of the Woman (1905) famous painting. Original from Wikimedia Commons. Digitally enhanced by rawpixel

Male recollection

If Jesus, who was known to speak in parables (allegories, metaphors), was enlightened, as several hints suggest (see DGUE), he should have completed the Ascension. For example, (John 18.36) refers to this: “My kingdom is not of this world.”

The words attributed to Jesus are also to be considered allegorically (Nag Hammadi Code II, 51, 18-26): “Behold, I will lead her (Mary Magdalene) (Arrow I), that I may make her male.” They emphasize his ability to make the knowledge (epistéme) buried in the act (arrow II) once again accessible to Mary through recollection (anamnésis).

The close connection between recall (zakar) and masculine (sachar) is also emphasized by the etymology of Zacharias[1], the name of an apostle and also of the father of John, the teacher of Jesus.

Jesus is occasionally referred to as androgynous. This is not a gender attribute, as claimed with reference to Genesis (1.27) in relation to the “first man”: “As male and female he created them.” Rather, behind this is the anima (Eve) decreasing in ascent and the animus (Adam) increasing, i.e. “male recollection (arrow I)”. This is also hidden within Matthew (18:3): “Verily I say unto you: Unless you repent (arrow I) and become like children, you will not enter the kingdom of heaven (D).”

It has always been and will always be the aim of all masters to enable their students to ascend and achieve ascension. Rumi’s poem The Wise Man’s Desire[2]  (image 3) refers to this:

Searching, the Sheik (Master) went through the city carrying your light[3]:,

“Sick of beasts, I long for a man.”

“Him,” they say, “we sought, but he does not exist.”

“What there is NOT (better: what creatio ex nihilo produces out of itself),” he says, “I long for.”

Here, as in Suhrawardi (TV 90), the world of this world, recognized with psyché (= sóma), is called “animal (animalistic, bestial)”. Rumi (1207-1273), with whom Goethe was also concerned, refers to her as a witch[4]: “The ‘witch of the world’ is a most cunning woman; it is not in the power of the commoner to override her magic.”

Given the allegorical correspondence of “animal” and “female” not recognized by untrained interpreters, the “poetry” should not be surprising[5]: “In modern times, these Sufi and philosophical depictions developed into a misogynistic stereotype that linked the evil of women with their animal nature.

Gustav Klimt's The Bride
Gustav Klimt’s The Bride (1917–1918) famous painting. Original from Wikimedia Commons. Digitally enhanced by rawpixel.


I hope that I have clearly described how, in old non-biblical and biblical wisdom literature, “woman” often means people, whether male or female, who, having left the “Garden of Eden (in D) (arrow II)”, indulge in their “worldly lusts (in A)”. Those who are liberated from this with the help of a master – in the ascent, in the conversion (arrow I) – as was apparently often the case in the past, when the literature I have quoted was written, become less and less “feminine”, and increasingly “androgynous” or “masculine”. The following question arises: “Why was this wisdom lost to us resulting in the “poetry art”?” Those who are looking for the answer can find it in DGUE.

This is the last III part of “Adam and Eve”. Part I you can find here.

Translated from German to English from Lynn Taylor.

Selected publications of Prof. Dr. Peter Hubral

Hubral, Peter; The Socrates Code: Rediscovering the long lost Secrets of Ancient Philosophy with Tai Chi. Lotus Press 2014.

Hubral, Peter; The Plato Code: The impact of the misconceived Greek philosophía on the European culture, Lotus Press 2014.


Hubral, Peter; The Faithless Universal Path of Enlightenment, Rediroma Publishing House, Volumes I and II, 2022.

Hubral Peter; Myth and Lógos, TV 45.

Hubral Peter; Noah’s Ark, TV 90

Hubral Peter; Fall of Atlantis, TV ??

[1] Meaning “Zacharias”:


[3] For those who are interested in what’s in the background, you can read about it in DGUE.

[4] P. 105 in Abdullah Kușlu; The Correlation between the Creator and Creation in Masnavī of Rūmī. Dr. Arbeit at the Rheinische Friedrich-Wilhelms-Universität zu Bonn, 2018.

[5] S. 257–280 in Rkia E. Cornell; In Probing the Depths of Evil and Good.

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