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While this force of unity in the tension of duality entered continental philosophy from Hindu philosophy as Schopenhauer’s will, it was stowaway in psychoanalysis with the rise, fall, and reinvention of Carl Jung, who received the unity of the collective unconscious out of the depths from his sexual relation with Spielrein. Dismissed by the one-sidedness of patriarchal thinking at the time as a projected excess of ambivalence, Spielrein's dual force of destruction/creation is newly defined by this study in terms of the Shakti/Kundalini. In fact, the reflective inward face of Venus was personified by Spielrein, the “pure player,” who overcame her situation as Jung's patient and mistress to become the Rickelsian "Bobbin" entering Freud's circle with a new (r)evolutionary theorem: "Destruction as the Cause of Becoming". In resurrecting the mythology of Morning Star, this study was obligated to do the same with Hesperus, the Evening Star. Yet, Salomé’s return in 1912 as a member of Freud's circle coincided with the departure of Sabina Spielrein. Her deconstruction of the Christian symbolic structure, which she commenced with Nietzsche, was now complete.

The inspiration for this new balanced construction in her Perse-phone rebound from Nietzsche to Freud can be found in her 1914 masterwork: “The Devil and his Grandmother.” In this hybrid work, stitching theater to the new celluloid medium, Salomé rescues the devil from Christian associations with evil by reclaiming the original association of this proactive force with the Morning Star. In 1912 Salomé reinvented the Dreieinigkeit as the Oedipal triad of mother (Salomé), father (Freud) and son (Tausk).

I follow Salomé's conversion from Nietzsche's student to philosopher through the Rickelsian version of the famous fort/da game as her passage, beginning in 1882, from Nietzsche to Freud. Rickels’ resulting "Perse-phone Bobbin" theory establishes the medial woman as the dual sender/receiver of occult signals. Laurence Rickels connects the 1882 Dreieinigkeit of Nietzsche/Salomé/Rée to Nietzsche’s earlier establishment of a portal for the emergence of his intellectual Doppelgänger. In creating an Aquarian icon out of Salomé, Nietzsche lobbed his new science into the midst of the 20th century. From the Spring Equinox to the Winter Solstice and the December 7 conjunction of Venus with the Sun, Nietzsche created the operatic phenomenology that would make Lou Salomé his human projection of the Übermensch while revealing the timing of their brief but profound leap into the hieros gamos as the cosmology of the descent and return (of Venus). The conversion of Nietzsche from scholar to poet/prophet took place during the crucial 1882 pregnancy (nine months) that led to the advent of a new religion based on the integration of opposites.

Within this holistic perspective, “Übermensch” is Nietzsche's encoding through the rhythmic language of Thus Spoke Zarathustra of the ancient symbol of the Ouroboros. The archetype associated with the Third entity reflects a paradigm shift from linear time (which uses number as a tool) to cyclical time (which honors the autonomy of number). The apparatus is revealed in the coding of the title: Übermensch is the Third entity, a literary marriage of Über/Mensch. The recurrence of the pre-patriarchal mythology within an Aquarian mythology of equal partnership is itself a reflection of the cosmology of the 1882 Venus Transit of the Sun, returning in 2012 as the ontology for this paper commenced. The occult tools of numerology, astrology, and alchemy are applied to the phenomenology surrounding Nietzsche's love affair with Lou Salomé to establish ontological proof for the re-enactment of the Sumerian rite of the hieros gamos (the sacred marriage). "Übermensch: Salomé, Nietzsche & the Ages of Aquarius" is a comprehensive excavation of a "will to power" only made possible through the occult apparatus which Schopenhauer proclaimed as the basis for a new philosophy. This study explores the origins of the exile of the feminine in continental philosophy.