Tuesday, November 16, 2010

Of Returning Keys

I think you covered the overview well of these two chapters. I really enjoyed the Shinto myths of Amaterasu and then the myths of Izanagi and Izanami. Actually, what this made me think of a lot was a PS2/Wii game called Okami. It's an excellent game with a beautiful visual style that puts some different spins on some of the Shinto myths regarding Amaterasu. You play as Amaterasu incarnate as a white wolf, battling demons with the Shinto mystic relics of sword, beads (rosary) and mirror to restore natural beauty and peace to Japan. Also, it incorporates a kind of ink brush drawing interface for a portion of the game play that you must use to defeat enemies and solve puzzles.



Also, I found the story of Arjuna from the Bhagavad Gita. A fascinating image of a man perceiving the infinite in a short moment on the battlefield, "the moment just before the blast of the first trumpet calling to combat." I like ideas/stories like this when a character glimpses through a small crack in time the great chasm of eternity beyond, and it forever changes the individual. Another association: Bela Fleck and the Flecktones, my favorite jazz, rock, bluegrass, fusion band, did a song about this little story, or at least a kind of interpretation called "Sojourn of Arjuna" complete with some great bass, banjo and sax solos. Unfortunately, I couldn't find a version with the full lyrics, this one is more of a prolonged jam, but in the studio version Future Man has several verses of narrative and exposition.(Bela Fleck on banjo, Jeff Coffin on sax, Victor Wooten on bass and Future Man on vocals and electric drums.




One of the other interesting quotes from "Master of Two Worlds" involved the nature of embodying the Cosmic Man in an identity reflective of the storyteller:

Furthermore, the revelation recorded in "The Song of the Lord" was made in terms befitting Arjuna's caste and race: The Cosmic Man whom he beheld was an aristocrat, like himself, and a Hindu. Correspondingly, in Palestine the Cosmic Man appeared as a Jew, in ancient Germany as a German... The race and stature of the figure symbolizing the immanent and transcendent Universal is of historical, not semantic, moment...


To extrapolate further, it seems by looking at people's interpretations of divinity, of God, we see much about who they are and how they look at the world. Your perception the divine's incarnate tendencies affects how you think about life, destiny and morality. It's a simple, but powerful thought. I guess the question to me is always: can we change how we view divinity? If we grow up with a certain view of God, only to find that it's a flawed view, can you change it for a better fuller one without losing the conception altogether? I think it's possible, but I think it's difficult. This shaping of one's perception of God is that point of having your own faith, or stepping beyond the childhood images of God come from parents and authority figures and basing your vision on experience.

Concerning your point about symbolism and God, I see where your coming from, but I also feel like there's something to having multiple, even diametrically opposed symbols, for someone or something. For instance, God as creator and destroyer on the face are opposite interpretations, but they both do place God as in power over the world, and thus, in a similar identity. It makes me think about value contrast in drawing, where you create a continuum of lights and darks from black to white, basically, and it's the proper placement of these that can create the illusion of depth, definition and form on a 2d surface. So, though the shadow and highlights might be conceptual opposites, it is this very tension that, orchestrated properly, creates definition and, if you will in an illusionistic, pictorial sense: truth.

Perhaps having logically opposite symbols for God is also symbolic in literary form. It is a symbol to show God's fullness with a nature that is beyond definition. Dostoevsky was an author famously praised by the literary critic Mikhail Bakhtin for writing characters in polyphonic voice. Essentially, Bakhtin argued that Dostoevsky's characters were so successful because of their inner multiple-voiced identities. In a Dostoevsky novel, a single character will constantly have multiple desires, competing goals and seemingly irrational tendencies/thoughts. Granted, Dostoevsky himself was vaguely crazy, but these inner contradictions often give a sense of a full-fledged personality, complete with the inconsistencies of human nature.

Thursday, November 11, 2010

Returning the Keys

OK, so the next sections were:

Chapter III: Return
It's time for the hero to return to the world with his prize.

1. Refusal of the Return
Buuut sometimes he'd rather stay.

2. The Magic Flight
Other times there's something chasing him, and he has to cleverly escape.

3. Rescue from Without
And other times, someone has to come in there and get him.

4. The Crossing of the Return Threshhold
So he crosses back into the world, charged with otherworldy energy.

5. Master of two Worlds
He appears to his followers dressed in the horrible majesty of the other world.

6. Freedom to Live
I really don't know what Campbell is trying to say here.

Chapter IV: The Keys
Campbell draws us a picture of the monomyth. He says that the myths have changed over time, and so the core, powerful, monomythic symbols are often buried under a mountain of "secondary anecdote and rationalization."



And that's basically all there is to it. As far as reflection on these sections ...

I drove back from a concert in Dallas today, and during the drive spent a while thinking about symbol and reference. Note this editorial by Campbell, in the section "Master of the Two Worlds":

Symbols are only the vehicles of communication; they must not be mistaken for the final term, the tenor, of their reference. No matter how attractive or impressive they may seem, they remain but convenient means, accomodated to the understanding. Hence the personality or personalities of God -- whether represented in trinitarian, dualistic, or unitarian terms, in polytheistic, monotheistic or henotheistic terms, pictorially or verbally, as documented fact or as apocalyptic vision -- no one should attempt to read or interpret as the final thing. The problem of the theologian is to keep his symbol translucent, so that it may not block out the very light it is supposed to convey.


I like this sentiment, but I also find myself kind of skeptical of it. Sure, I'll buy that God, whatever God is, is so immense that it will overflow any set of symbols we use to represent it. But at the same time, there seem to be issues of logic and paradox that can't be simply whitewashed with an appeal to "mystery". To use examples that appears frequently in this book: is God light, or is God darkness? Is God creator, or destroyer, or both ... and if both, how is that possible? Does the ego survive death, or does it not? If the mythical symbols point to real things, then where the symbol deviates from the thing it references, it would seem to become obfuscating, and possibly deceptive or downright false.

Tuesday, November 2, 2010

Regarding Initiation

Alright, initiation! Penis snakes! Wooooo!

I feel like my posts have been mostly talking past yours, so this time I'm going to do a different thing and try to really focus on the things in this section that you've already talked about ... except for maybe a couple of things that I dog-eared and just can't pass up.

First, I agree. Long chapter. And to be honest, it took me a really long time to read, probably because at this point, I'm having a hard time caring. I just have this feeling that I'm going to get to the end of the book and just sort of sit there, blinking at it, kind of disappointed, thinking, "That's it?"

There's just all of this piling on of myth and symbol and psychoanalysis, and while the similarities between all these things are interesting, I'm having a hard time teasing out Campbell's "theory" based on what I've read so far, or even really understanding what the theory might be about. So far it looks a lot like "see what happens when I interpret Western myth in terms of Buddhist myth!?", but of course there must be more to it than that.

Anyway, enough grouching. You had some interesting things to say.

Who are our "medicine men" today? Who among us "fight the demons" so that we may "fight reality?"


I think this is done is by giving us stories and rituals that we can use to safely raft down the dark rivers of our subconscious. (I don't really know how to use this word correctly in a technical sense, but what I mean is the things that motivate us, but of which we aren't aware.)

To a large degree, I'm going to have to give the "medicine man" distinction to religious leaders. The stories that they tell about the universe, and our place in it, are the only ones big enough to quiet the demons of our deepest selves. And I'd include the New Atheists in this group as well, because they do the medicine-man thing just as well as your standard religious leader, or perhaps better: "I've thought about this already, so you don't have to do any thinking ... just trust me that this is the way things are."

However, I think that some of us are currently operating without medicine men, which strikes me as a fairly inefficient if not dangerous way to go about things. We don't entirely buy the Big Story that our society embraces, which leaves us somewhat adrift. Or as Campbell might say, lost in "the crooked lanes of [our] own spiritual labyrinth."

"Then he finds that he and his opposite are not of differing species, but one flesh." ... This makes me wonder about our interpretations of spiritual rebirth within the church. So often the dialogue centers on rejecting an old self, a kind of aggressive pushing away of a past or a still disappointing present self, rather than a whole and full acceptance of a new self.


I am inclined to agree with your implicit criticism of this approach, initially because I prefer the positive formulation (accepting the new) to the negative (rejecting the old). But also, I think it's because this idea of swapping selves via magic is fairly unhelpful, because it's not really the way things usually work. Certainly, moments of "seeing clearly" can rearrange our perspective, like you mention, but the actual, meaningful change, the one where we start treating the waiter or cashier like human beings, comes a bit at a time and as a habit, not like a magic, transmogrified self.

But I'm kind of hesitant about this, and could be convinced otherwise. Does it make sense to talk about a New Self sort of change? Could it be that it is exactly this story, about the Old Self and the New Self, that works its wonders down deep in our mental hardware and actually makes it possible for us to change from Old to New?

As the hero continues through his trials, he is sure to meet the goddess.


This section troubles me, not because of any well-thought-out objection, but because its gender language seems kind of musty. The binary man-ness and woman-ness implicit in the forms is questionable, and the patterns "man is born of woman, man pursues woman, the hero is male", while probably true for many people and societies throughout history, seem more tenuous now. I would be interested to hear a feminist reading of this section, as well as Woman as Temptress.

The majority of our conscious existence is spent simply perceiving.


I think this is a really interesting observation. So interesting all by itself that I can't think of anything to add.

Clearly, not everyone is vexed with the trouble of having to constantly turn down overly zealous attractive women.


But man, if you do have the problem, it's a vexing one!

Nevertheless, every failure to cope with a life situation must be laid, in the end, to a restriction of consciousness.


You appear to interpret this in terms of Socrates, which I think is warranted: To know the good is to do the good. (And as a corollary useful for judgmental people like myself, "People are doing the best they know how.")

I think there's a different flavor to what Campbell is claiming here, though. I think what he's talking about not employing myth to explain the world, or the right action in circumstance x, but the Buddhist idea of Enlightenment. Enlightened persons, he suggests, are the ones who diffuse both wars and temper tantrums. And I think that for him, enlightenment has a lot to do with the dissolution of selfish desires and the recognition that everything is one.

I think there's a lot to be said for this claim -- Paul Martin's Original Faith, for example, makes a very explicit case that what Buddhism teaches is the deconstruction of the ego, and that once we have sufficiently worked through our own self-obsession, a new and beautiful world becomes available. (Original Faith is out of print at the moment, but hopefully will be back in soon).

Frankly, I like Martin's treatment of this idea better than I like Campbell's, maybe because it's more straightforward. And because it gives some of the practical suggestions you mention, including ways of approaching conflict in the world, sitting meditation, etc. To me, this suggests that myth alone is not enough, or at least it cannot merely be heard or seen, but must be acted on (or acted out) somehow, as with the aboriginal rituals, if it is to be effective.

It seems that at this point, one does not have to fear the loss of his or her identity, because what dwells within and beyond are the same bountiful and beautiful greatness ... I admit that I'm getting rather vague here, as Campbell himself does, but it seems to be true of the greatest and most compelling stories.


Something I've been noticing for a while is that many of the greatest and most useful stories about the world operate at a very high level of abstraction. Certainly, there are many interesting things about reducing the world to its constituent parts, and investigating and chronicling the highly predictable behavior of things like pebbles or molecules or quarks. And learning these things allows us to engineer a world that is more to our liking.

But there are things in the world that are too big and messy for us to reduce in this way, and which are just as real. And it's here that myth and religion and philosophy help us, precisely because they operate at the rarified and often suspiciously ephemeral levels of "ethics" and "metaphysics" and "snake gods". I think you're being broad rather than vague, and I think that broadness is extremely important, and something you shouldn't feel obligated to apologize for.

Thus, for the transcendent hero, the universe itself has been completely shifted and raised to a higher aesthetic level.


The word "aesthetic" here intrigues me. I wonder, what does aesthetics have to say about our status as perceivers, and what language does it use to tell the story of the hero, moving from ugliness to beauty?

Totem, tribal, racial, and aggressively missionizing cults represent only partial solutions of the psychological problem of subduing hate by love ... the individual becomes dedicated to the whole of his society. The rest of the world meanwhile (that is to say, by far the greater portion of mankind) is left outside the sphere of his sympathy and protection because outside the sphere of the protection of his god.


I think it's awfully generous for Campbell to give these evangelical groups the status of "partial solutions", but I also find it difficult to discount them entirely. Thinking in particular of the Christian West: it's obviously gotten something right, as argued by David Bentley Hart and others, but still seems terribly preoccupied with its own vision of the metaphysical machinery of the universe: "God is shaped like this, and relates to the universe like this, and we have to do this to get these souls saved." And because of this preoccupation, or maybe because of a powerful attention to the value of the individual and a belief in the eternal persistence of the individual, it seems entirely blind to the problem of the illusory self. Which I find completely frustrating. It's as if the big pieces we need to live loving lives are split among the world religions. It's like the problem is so big that there is no one story that can contain its solution.

And maybe that's what Campbell is alluding to here, in one of the sections I dog-eared:

It is obvious that the infantile fantasies which we all cherish still in the unconscious play continually into myth, fairy tale, and the teachings of the church, as symbols of indestructible being. This is helpful, for the mind feels at home with the images, and seems to be remembering something already known. But the circumstance is obstructive too, for the feelings come to rest in the symbols and resist passionately every effort to go beyond. The prodigious gulf between those childishly blissful multitudes who fill the world with piety and the truly free breaks open at the line where the symbols give way and are transcended.


But how unsatisfying! First, because Campbell's analysis seems deeply broken: we can't transcend the symbols, we can only deconstruct them, trade them for different ones.

But more than that, this section is frustrating because the dark side of our "childish bliss" is childish petulance, self-absorption, cruelty and hatred. And if the light of knowledge is only available to a small group of "truly free", isn't it a terribly feeble and pitiful light? If this is the nature of the saintly virtue -- to only be accessible to a lucky few -- then perhaps we should abandon it for a more democratic light, one that is not so remote, one that can be accepted by the multitudes, one that allows us all to become truly good.

And the last thing that my mind latched onto was this (quoted from the tao te ching):

All things are in process, rising and returning. Plants come to blossom, but only to return to the root. Returning to the root is like seeking tranquility. Seeking tranquility is like moving toward destiny. To move toward destiny is like eternity. To know eternity is enlightenment, and not to recognize eternity brings disorder and evil.


I'm very interested in the idea of transience -- not just as something that is accepted stoically, but as a value, something that is valued in and of itself. Where a thing is beautiful or good, not in spite of its fleeting nature, but precisely because it is passing. I'm not sure whether people can operate in this way, but I wonder what would be the implications if we could.

That's why this passage from the tao te ching is so interesting to me. The flow of ideas somehow seems to roll along like the flow of things:

Everything is change, life moves down into the earth, into death and the heart of things, rest and tranquility, and into accepting that the world can be no way other than the way it is, flowing forever into eternity. Failing to accept this about the world scatters and destroys, fills the world with unnecessary grief, and unmakes good things before the time for them to be unmade.