Therefore Romance and its Linguistic Hagiography is a Coninductive Type that conjoins the Imperial (exoteric) Divine order with sign/law/verse and the Bodily order via a temporal reversal from our current understanding back to those very seemingly disconnected spaces. And therefore Romance is corecursively enacted as a living proof-term of its own Loving & erotic veracity through time traveling back to its origin and giving birth to itself as a Sophia/Womb beyond the Imperial Demiurgic narrative.
As the Gnostics say: “The the Demiurge said ‘There is no Creator but me!’ And the upper aeons replied ‘You are wrong, Yaldaboath!'”
They might well have meant all kinds of things by this. But if we were to perform a Bloomian gesture over this, in which we restrict our tafsir/Kabbalah to purely linguistic and literary notions of creativity, we have the same conductive form of Romance. In which the creator, the Demiurge, is of course narrative romantic invention which (in whatever Hagiographic fiction we wish) is created and originary with respect to its Imperial origin. But to which, within the very text of its exhalation is embedded the Romantic fetish as a Sophia that precedes the Demiurge’s creation yet He cannot help but enunciate, thereby denouncing his origin and yet purely ironically suggesting Her temporal reversal. And therefore the Love upon which the Age of the Enlightenment suppressed was also the Love thrown back in time to preceeed and indeed give birth via embedding to the the Caesar-God’s West.