1Myth Analysis MethodsThemes (What myths attempt to explain universally)• Creation of the world and the people in it• Stru...
2Joseph Campbell’s Hero’s Journey (Second half of the hero’s life)From Joseph Campbell (from Hero With A Thousand Faces)De...
34. Atonement With The Father: "The ogre-aspect of the victims father is a reflex of the victimsown ego -- derived from th...
4Mapping Trickster Figures1. ambiguous and anomalous personality of the trickster: “a necessary anomaly involving every se...
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Myths handout latest

  1. 1. 1Myth Analysis MethodsThemes (What myths attempt to explain universally)• Creation of the world and the people in it• Structure of the universeElements/ Heavenly Bodies• Causes of life and death• Supernatural beingsDestroyers, preservers, divine specialties• Cosmic disastersflood, drought, famine• Heroes and Trickstersagents of change• Animals and PlantsCreation and Kinship• Body and SoulSpirit and the Afterlife• Marriage and Kinship• Social Mores and TaboosOtto Ranks Hero (First Half of Life)1. The hero is the child of distinguished parents, usually the son of a king orleader (god).2. His origin is preceded by difficulties.3. During/before the pregnancy is a prophecy in the form of a dream or anoracle cautioning against his birth/often threatening the life of his father.4. Often he is surrendered to the water in a box.5. He is then saved by animals or by lowly people.6. After he has grown up, he finds his distinguished parents.7. He either takes revenge or is acknowledged.8. He achieves rank and honors.
  2. 2. 2Joseph Campbell’s Hero’s Journey (Second half of the hero’s life)From Joseph Campbell (from Hero With A Thousand Faces)Departure:1. The Call To Adventure: Often there is a Herald, summoning the hero to an "unsuspected world"and "the individual is drawn into a relationship with forces that are not rightly understood." It may bebecause of a mistake or because of repressed desires and conflicts. This is the "awakening of self"which may be the "coming of adolescence" or some dying of old self and birth of new self. A deer isoften a herald.2. Refusal Of The Call: Often this establishes the link between audience and hero (inability,weakness, fallibility) but it may also establish the heros morality (who really wants to go to war?)3. Supernatural Aid: "For those who have not refused the call, the first encounter of the hero-journey is with a protective figure (often a little old crone or old man) who provides the adventurerwith amulets against the dragon forces he is about to pass." This figure is a reassurance, the protectingpower of destiny.* For Catholics, the Virgin Mary may appear to them* In fairy lore, it may be a wizard or shepherd who appears to supply the amulets and advice the herowill require. The higher mythologies develop the role in the great figure of the guide, the teacher, theferryman, the conductor of souls to the underworld4. The Crossing of The First Threshold: First the hero meets a Threshold Guardian. Often there isa struggle with the Threshold Guardian.5. The Belly Of The Whale: The hero basically annihilates himself to be reborn. The hero isswallowed into the unknown(symbolic of the womb) and would appeared to have died. The hero thusundergoes a metamorphosis. "No creature can achieve a higher nature without ceasing to exist"(metaphorically in some cases.)Initiation1. The Road Of Trials: The hero must survive a succession of trials. This is the favorite phase of themyth adventure. The hero is covertly aided by the advice, amulets, and secret agents of thesupernatural helper. This can include a trip to the underworld. One by one the resistances are broken.He (or she) must put aside pride, virtue, beauty, life, and bow or submit to the intolerable. The heromay see a clue about how to save himself.2. The Meeting With The Goddess: The ultimate adventure, when all the barriers and ogres havebeen overcome, is commonly represented with the mystical marriage of the hero-soul with the QueenGoddess of the world. This is the ultimate crisis. Woman in this mythological picture represents thetotality of what can be known.3. Woman As The Temptress: The woman (goddess) has become the totality of sin. After the firstthrill, the hero begins to see the darker side of the love (lust)
  3. 3. 34. Atonement With The Father: "The ogre-aspect of the victims father is a reflex of the victimsown ego -- derived from the sensational nursery scene has been left behind... sealing the potentiallyadult spirit from a better balanced, more realistic view of the father... Atonement consists of theabandonment of that self-generated double-monster." When a child outgrows the need for thenurturing of the mother, it passes spiritually into the realm of the father. For Campbell the herosdreadfully afraid of the father but must go to meet the father and understand him.5. Apotheosis: The hero gets to be in a "god-like" state after he or she "has gone beyond the terrors ofignorance... he becomes free of all fear, beyond the reach of change." "The hero has become, by virtueof the ceremonial, more than man." "A new and larger paradise is thus established."6. The Ultimate Boon: Here you find the GOAL of the journey or quest.* Maui (Hawaiian myth): Fire successfully stolen* Gilgamesh: The plantReturn1. Refusal Of The Return: The hero wonders if he or she should remain in the state of apotheosis.(Remember the Wizard of Oz) or return back to the normal world. Once in a while, the hero doesntreturn.2. The Magic Flight: "If the hero, in his triumph, wins the blessing of the god or goddess and is thenexplicitly commissioned to return to the world with some elixir for the restoration of society, the finalstage of his adventure is is supported by all the powers of the supernatural patron. On the other hand,if the trophy has been obtained against the opposition of its guardian, or the heros wish to return to theworld is resented by the gods or demons, then the last stage of the mythological round becomes alively, often comical, pursuit. The flight may be complicated by marvels of magical obstruction andevasion."* Jason must flee with the Golden Fleece; he kills Medeas younger brother and tosses pieces of himinto the sea.3. Rescue From Without: Someone may have to come and get the hero to make him or her return."The bliss of the deep abode is not lightly abandoned in favor of the self-scattering of the wakenedstate." (See p 376 in World Mythology. Ameratsu is so angry that she must be tricked to get her out ofthe underworld with the fine cloth, rich jewels, combs and a mirror on the tree.)4. The Crossing Of The Return Threshold: Campbell says that the hero finds out that the twoworlds are in some sense one world. The evils and the goods are in both. "There must always remain,however, ... a baffling inconsistency" so that the return is difficult and disorienting. The hero comesback insulated (so as not to be emptied of the precious knowledge). The hero must endeavor tocommunicate/translate the knowing to resistant others. He may appear to others as mad.5. Master Of The Two Worlds: The hero..."gives up completely all attachment to personal hopes,limitations, and fears, no longer resists the self-annihilation that is prerequisite to rebirth in therealization of truth, and so becomes ripe, at last, for the great at-one-ment. His personal ambitiontotally dissolved, he no longer tries to live but willingly relaxes to whatever may come to pass..."
  4. 4. 4Mapping Trickster Figures1. ambiguous and anomalous personality of the trickster: “a necessary anomaly involving every setof extremes: sacred and profane, life and death, culture and nature, order and chaos, fertility andimpotence…he is not defined merely as a series of oppositions or contrasts. His activities areoutlawish, outlandish, outrageous, out of bounds and out of order.2. deceiver/trick player: “a consummate and continuous trick-player and deceiver. In manycultures and religions, the trickster acts as the prima causa of disruptions and disorders,misfortunes and improprieties.” He might be an unconscious numbskull (the trick can be playedback on him) or a malicious spoiler.3. shape-shifter: “The trickster can alter his shape or bodily appearance in order to facilitatedeception. Not even the boundaries of species or sexuality are safe, for they can be readilydissolved by the trickster’s disguises and transmorphisms.”4. situation-invertor: “The trickster exhibits typically the ability to overturn any person, place, orbelief, no matter how prestigious. Profaning or inverting social beliefs brings into sharp relief justhow much a society values these beliefs.”5. messenger/imitator of the gods: “Often of uncertain or impure birth, the trickster can be both amessenger and an imitator of the gods.” He can slip back and forth. He may be the messenger ofdeath or he may bring gifts. Society may be simultaneously disrupted and renewed.6. sacred/lewd tinker: “noted for his ingenuity in transforming anything at hand in order to find acreative solution. The trickster seems impelled inwardly to violate all taboos, especially thosewhich are sexual, gastronomic, or scatological.”J.F. Bierlin’s account of 6 meanings myth gives to human existenceOur Finitude: “…the realization that there are limits to our understanding and our reasoning, and that life, too,is limited.” We’re also finite as we recognize that death is inevitable.Our Estrangement From Deities: The companionable fellowship with the gods is “broken through sin orperhaps an action on the part of the creator to absent himself or herself from the creation.” The process ofreconciliation is a key theme through myths.Our Process of Changing, Becoming, Transforming:” The hero might be born to his quest, but although bornto be a hero, he also has to become a hero…He must transcend defeats.” We are all in the process of becomingwho we are.Both the Freedom and Burden of Human Choice: This is the paradox that the freedom of the exercise of freewill can also be an oppressive responsibility.Our Existence with, in and through Others: “Children receive and identity from their parents, yet strive toachieve their own individuality. The myths speak to the power of love to transform both the lover and thebeloved; this love gives meaning to life. The hero cannot be the hero alone; the heroic myths include mentors,friends, lovers, allies, and, above all, enemies who define the heroes.”Our Identity and Participation in the Cosmos: “…a perception of our place the entirety of things. Ouridentities as citizens, children, lovers, workers, and the minor-league heroes we are in our own houses…”

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