Culture Hero

A modern day trickster via Tumblr

A culture hero is a prominent figure within a given society, often taking the form of a mythical person or animal with roots in ancient or proto-history.

In some instances the culture hero is a trickster, using wiles and well-intentioned disguises to save the community from some grave peril.

The culture hero may also be a real person inspiring a stagnant or perhaps ethically corrupted society, such as a rock star, a film star, an inventor, a discoverer, an admired politician or monarch, and so on.

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Hero

Theseus in the Labyrinth by Morrigan's Lover via Flickr

In depth psychology and New Age publications we often hear about the Hero. This kind of usage isn’t referring to a Martin Luther King, Neil Armstrong or Terry Fox.  While these individuals certainly were heroic, and heroes by the usual definition of the word, they weren’t necessarily heroes from the perspective of depth psychology or New Age spirituality.

The psycho-spiritual idea of the Hero is really talking about an archetype of the Hero. And the notion of the archetype can be traced back to the Greek philosopher Plato and his theory of Eternal Forms or Perfect Ideas. After Plato, the idea of the archetype was remixed by various medieval thinkers. We need not go into their complicated theories here.

What’s important for us is how the Swiss psychiatrist, C. G. Jung, adapted the ideas of the Archetype and the Hero into one concept—namely, the archetype of the hero. The Jungian archetype differs from the Platonic formulation, most notably because Jung’s archetypes involve eternity but are grounded in the human body. Plato’s archetypes are just “out there.” They are imprinted in the eternal soul and have some kind of relation with matter but they are not grounded in matter.¹

For Jung the archetype indicates the psychological contents of a proposed collective unconscious. He says the archetypes are inherited patterns encoded in the body, universally shared by mankind. Not unlike the gods and goddesses of ancient times, archetypes apparently have a psychic life of their own that extends beyond everyday consciousness and concerns.

Ancient Egyptian tomb

According to Jung, when the conscious ego encounters the archetype, the individual experiences a sense of the numinous. This encounter may be psychologically constructive or destructive, healing or disorienting. The type of effect that the numinous has on consciousness depends on the psychological stability and maturity of the individual, as well as the character and intensity of the numinosity, itself.

Visible manifestations of the archetypes appear as archetypal images. Jung distinguishes these recognizable images from the archetype proper, which Jung says can never be fully known. So the archetypal image of the Hero may appear in many different forms, but there’s only one Hero archetype.

Joseph Campbell built on Carl Jung’s idea of a hero archetype in his book The Hero With a Thousand Faces (1949). Campbell says that the idea of the hero’s journey to the underworld (and return to everyday life) is found throughout world myth and religion.

Typically, the hero is born into a problematic setting. Two biblical examples would be the infant Moses and Jesus Christ. Moses was abandoned as a baby, left in a basket to float down the Nile river. Jesus Christ was born in a manger because his parents were forced to flee the paranoid anger of King Herod “The Great” (c. 73-4 BCE) who hoped to kill the infant Jesus by ordering the killing of all children in Bethlehem under age two.

Campbell says the next phase of the budding hero’s life is a “call to adventure.” The hero usually doesn’t want to be a hero but is slowly drawn into his or her historical, perhaps sacred role. At this stage he or she may exhibit some kind of superhuman powers and insight.

A definite turning point in the hero’s journey is precipitated by some kind of crisis. The hero is either sucked into a whale’s belly (e.g. Jonah), dismembered (e.g. Osiris), abducted (e.g. Sita, Eurydice), abandoned (e.g. Joseph), hanged (e.g. Odin), sent on a ‘night sea’ voyage (e.g. St. John of the Cross) or a strange journey (in literature, Alice in Wonderland), forced to fight a threatening dragon (e.g. St. George, Beowulf), drawn into battle with relatives (e.g. Arjuna) or demons and monsters (e.g. Gilgamesh, Hercules), all of which point to a passage from the everyday into a supernatural world of danger and magic (again, in Jung’s terms, the collective unconscious).

Renart the (trickster) fox, drawn by Ernest Griset, from a children's book published in 1869 via Wikipedia

At this time the hero encounters mythical beings and beasts. Some are helpers, others are tricksters, and yet others are enemies. In learning how to discern among these mythical creatures, the hero faces a series of life-threatening tests (e.g. Odysseus binds himself to his ship’s mast to prevent the Sirens from luring him to his death; Jesus rejects the temptation of Satan in the wilderness, in the holy city and on the mountain).

The hero’s journey continues to the inner depths of an abyss, a dragon cave, a bottomless ocean, a deep underworld pit or, in modern myth, a Death Star or a Borg cube. At this point the hero hopefully discovers what the alchemists call the lapis (philosopher’s stone or inner human). There may be atonement with a father or a father figure, a sacred marriage, a theft, or perhaps a bargaining for the elixir of immortality.

Having found the proverbial Holy Grail within, the hero gains profound insight into the eternal, infinite connections among life, death, space, time, heaven and hell. But like Theseus after slaying the Minotaur at the center of the labyrinth, the hero must return to the world of day to day living. After his or her return to everyday life, he or she is symbolically reborn.

Concerning the journey to and from the underworld, the Hero understands well Plato‘s comments from his famous Cave Analogy about entering and exiting the cave.

The eyes may be confused in two ways and from two causes, coming from light into darkness as well as from darkness to light… the same applies to the soul.²

In practical terms, the hero’s quest is often confusing due to the sheer magnitude of fast paced change that’s involved. Not everyone finds their way out of the collective unconscious. Some simply go mad.

In myth and religion, Theseus found escaped from the labyrinth because he’d unwound a ball of thread that Ariadne had provided in advance. Moses and the persecuted chosen people were delivered from the Egyptians by the miraculous parting (and subsequent closing) of the Red Sea. And Jesus, after his death, descended to hell for three days before ascending to heaven.

Parallels among mythic and religious stories about the hero obviously differ in important details. In fact, the content of hero stories often varies quite radically. And each story arguably has a qualitatively different effect on those who invest their energy into them. However, Jung and Campbell contend that all the Hero stories display a basic structural similarity.³

The Wisdom of Solomon via Wikipedia

In psychological terms hero stories point to a circular passage from ego → archetypes → self → archetypes → ego. On returning, being rescued or resurrected, the hero is transformed. He or she may reclaim former elements of the older personality but these are put to a new purpose, integrated within a new sense of self.

On the social level, the hero brings to society various boons of wisdom, and possibly miraculous abilities, gained from the underworld.

—

¹ For an unusually good summary of Plato’s theories about the soul, see Herschel Baker, The Image of Man: A Study of the Idea of Human Dignity in Classical Antiquity, the Middle Ages, and the Renaissance (1961).

² G. M. A. Grube (trans.), Plato’s Republic, Indianapolis: Hackett, 1974, p. 170 [par 518a].

³ Campbell notes that the film Star Wars is a contemporary reenactment of the hero myth, rendering ancient stories and motifs into images that speak to people today.

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Herod Antipas

Herod Antipas » John the Baptist

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Herod ‘The Great’

Herod ‘The Great’ » Hero

This post needs content. Why not help us out and get it started? Please remember that copying and pasting large amounts of material from Wikipedia (or some other online encyclopedia) is not what Earthpages.ca is about. We want a fresh view, from you… not from your copy and paste editor!

Thanks,

Michael Clark, Ph.D.

 

The Borg

The Borg Queen and Seven of Nine – Image via Tumblr

In the American TV show Star Trek: The Next Generation, the Borg are a disturbing species of cybernetic organisms whose sole purpose is to increase their alleged perfection by assimilating the intelligence and technology of weaker life forms throughout the galaxy.

Their technology enables them to psychically connect to a collective like a termite colony. Individuality is unknown and the Borg exist in a dark synchrony of de-individualizing amalgamation.

Among other things, they arguably represent the Orwellian extreme of unreflective political, corporate and religious yesmen and yeswomen who do whatever they’re told by authoritarian figures without heeding their own conscience.

The Borg image is particularly effective as it recasts previous Frankenstein and zombie myths within a futuristic scenario of techno-gloom. An interesting and optimistic twist, however, appears with the character Seven of Nine (played by actor Jerry Ryan and introduced in Star Trek: Voyager) who was once abducted by the Borg but is gradually re-humanized among the supportive crew of the Federation starship Voyager.

In the feature film Star Trek: First Contact (1996) we’re introduced to the hideously compelling Borg Queen—again, not unlike the Queen of a termite colony. She’s a frightening but, for some, darkly attractive creature who in the TV series Voyager is jealous of Captain Katherine Janeway, arguably a symbol of American drive and determination. Indeed, heroic Federation starship captains like James T. Kirk, Jean-Luc Picard and Katherine Janeway represent the very opposite of the Borg’s chilling refrain: “Resistance is Futile.”

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Bodhisattva

Image – earthpages.ca

Bodhisattva [Sanskrit bodhi = enlightenment + sattva = existence]

According to Mayhayana Buddhist belief, the bodhisattva is the near enlightened being who forestalls complete enlightenment in order to lead others to a similar state of awareness.

The bodhisattva is said to have seen the proverbial door leading to total enlightenment but waits before entering in order to help others reach that same realization.

Wikipedia elaborates as such:

In Buddhism, a bodhisattva (Sanskrit: बोधिसत्त्व bodhisattva; Pali: बोधिसत्त bodhisatta) is either an enlightened (bodhi) existence (sattva) or an enlightenment-being or, given the variant Sanskrit spelling satva rather than sattva, “heroic-minded one (satva) for enlightenment (bodhi).” The Pali term has sometimes been translated as “wisdom-being,”^[1] although in modern publications, and especially in tantric works, this is more commonly reserved for the term jñānasattva (“awareness-being”; Tib. ཡེ་ཤེས་སེམས་དཔའ་་, Wyl. ye shes sems dpa’).

Because the bodhisattva has a sincere desire to lead others to enlightenment (as they understand it), they’re often venerated as a personal savior, which seems a bit ironic considering Buddhists usually claim that ultimate truth is beyond individuals, veneration, status, attachment to others, etc.

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Blessed Isles, or Isles of the Blessed

“Corfu, Greek” by Marini via Flickr

Blessed Isles, or Isles of the Blessed – According to Hesiod, this is the afterlife paradise for the dead favored by the Greek gods.

Some believe the idea was influenced by optimistic Minoan beliefs. Previously in Greece the next world had been predominantly conceived of as Hades, a sort of gloomy underworld.

In Homer‘s epic verse the Elysian Plain is filled with supreme joy, located at the end of the world, aside the River Oceanus. In early times, only heroes blessed by the gods gained the immortality of Elysium. But for Hesiod, Elysium is for all blessed dead—as opposed to the cursed.

Pindar too believes that all the righteous on earth achieve this happy abode, while Plutarch clearly links the Blessed Isles to the Elysian Fields.

Where the air was never extreme, which for rain had a little silver dew, which of itself and without labour, bore all pleasant fruits to their happy dwellers, till it seemed to him that these could be no other than the Fortunate Islands, the Elysian Fields.¹

Elysian Fields by Carlos Schwabe, 1903 (Photo credit: Wikipedia)

For Vergil, Elysium is outlined in the Aeneid as an underworld place.

Plato sees it as a region where the good soul awaits its next incarnation. In the general poetic sense, Elysium or the Elysian fields refers to a place or mindset filled with wonder, lasting contentment and bliss.

Ptolemy mentions the Blessed Isles as reference points in his discussion about longitude. And right up to the Middle Ages they continued to figure in texts concerning the Prime Meridian.

Wikipedia lists related Isles, in several mythic frameworks, where the dead may live for an extended period or for eternity: http://en.wikipedia.org/wiki/Fortunate_Isles

—

¹ Plutarch, Life of Sertorius, ch. viii., cited at http://en.wikipedia.org/wiki/Fortunate_Isles.

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Beowulf

“He knew his days upon this earth were past” Wiglaf speaking to Beowulf after his battle with the dragon. Beowulf is mortally wounded. Marshall, Henrietta Elizabeth (1908). Stories of Beowulf, 99. T.C. & E.C. Jack. (Photo credit: Wikipedia)

Beowulf is the hero and title of an Anglo-Saxon epic poem (1000 CE) of 3,000 lines, surviving on a single cotton manuscript and originating from an Old English folk tale (700 CE).

Beowulf is a Swedish leader who travels to the court of Heorot, which is presided over by his kinsman, the Dane King Hrothgar. Beowulf plans to help Hrothgar out by fighting a fierce monster, Grendel, which has been devouring the Dane King’s warriors by night.

The court is relieved to receive Beowulf’s help but, due to Grendel’s ferocity, doubt he’ll succeed in defeating the monster.

First Conquest

As night falls, Grendel appears. Beowulf grips him tightly. The monster manages to escape but at the high price of losing one of his arms, which Beowulf seizes with an iron grip. The loss of the arm eventually kills the monster. But the Danes’ merrymaking is short-lived, for that very night Grendel’s mother, a water-troll, appears to revenge her creepy son’s death.

Second Conquest

“They carried with them the hideous head of Grendel.” An illustration of 4 men carrying the head of Grendel. Marshall, Henrietta Elizabeth (1908). Stories of Beowulf, 63. T.C. & E.C. Jack. Stories of Beowulf-88.jpg (Photo credit: Wikipedia)

After Grendel’s mother kills one of Hrothgar’s warriors, Beowulf follows her to an underwater cavern where he discovers a magic sword that he wields to destroy her. He returns with Grendel’s head to a delighted court. Beowulf then travels home to southern Sweden and reigns as king of the Geats for 50 years.

Christianized commentaries of the Beowulf myth suggest Grendel and his family are heirs of the Old Testament Cain, the son of Adam and Eve, who slayed his brother Abel.

Third Conquest

Beowulf’s third and final conquest involves a dragon that awakes from centuries of unconsciousness when a simple slave enters its lair and steals its favorite cup. The enraged dragon wreaks havoc throughout the land, so Beowulf arrives to slay it. All of his supporters desert him in the attempt but one, the noble Wiglaf. In the fierce battle Beowulf strikes the beast’s scales too vigorously, breaking his sword, which then gets caught in the dragon’s jaws. Wiglaf takes the opportunity to pierce the dragon’s throat with his sword. Beowulf, suspecting his own death is near, tells Wiglaf to seize the dragon’s gold.

Beowulf is challenged by a Danish coast guard, by Evelyn Paul (1911). (Photo credit: Wikipedia)

They manage to kill the beast, but Beowulf later dies from exposure to its poisonous breath. He lives just long enough to see that his actions have saved the people, and Wiglaf then becomes heir to the throne.

Belonging to the tradition of dragon-slayer myths, Beowulf from a Jungian perspective represents the psychological dangers involved if the hero takes on archetypal forces greater than him or herself. Wiglaf, the noble helper, represents a new psychological attitude that hopefully arises after of the death of the noble but slightly overconfident hero.

The Beowulf story was also made into a feature film in 2007.

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Batman

Batman comic book cover via Tumblr

Batman first appeared in American culture as a comic book hero in Detective Comics #27 of May 1939. His creators Bob Kane (artist) and Bill Finger (writer) depicted him as a “The Caped Crusader” and “The Dark Knight.” Batman comics were extremely successful and spawned several movies and a hit TV show from 1966-68.

The TV show’s humorous, tongue-in-cheek approach attracted actors like Shelly Winters and Cesar Romero, who played archetypal villains. The most memorable of the Batman villains are probably The Joker, The Riddler, The Penguin, Cat Woman and Mr. Freeze.

It’s been suggested that the relationship between Batman and Robin, the “Boy Wonder,” has homosexual overtones, especially in the TV show depiction.

Batman also appeared in an animated TV series from 1992-1995.

Batman movies began in 1943. The more recent Batman film productions have leaned toward the dark and gloomy instead of the comical. Some say this is more in keeping with Batman’s original character. The most recent film, Dark Knight Rises, however, seems a bit lighter in tone, with some comical moments found in scenes between Batman and Cat Woman.

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Cyclops

Odysseus and his men blinding the cyclops Polyphemus. Detail of the “Eleusis amphora”, a proto-attic work, c. 650 BC, museum of Eleusis, Inv. 2630. (Photo credit: Wikipedia)

Cyclops [Greek cyclops: round-eyed] – In Greek mythology, the Cyclopes are one-eyed giants, often employed as smiths and associated with volcanoes.

The cyclops appear in several ancient literature sources. In Homer‘s Odyssey, the Cyclops Polyphemus is tricked and eventually blinded by Odysseus. In anger Polyphemus tries to destroy Odysseus’ crew by tossing huge rocks at their ship during their narrow escape.

Although they have one eye, the cyclops should not be confused with the Asian idea of the “third eye” or, for that matter, with the Christian idea of the “single eye.”¹ Not to say that these ideas are identical. They’re not. The Hindu Siva, for example, burns his enemies to ashes with a heat ray that emanates from this third eye.²  By way of contrast, Jesus Christ never advocates this kind of violence. Even if they’re not the same, these two images of the single eye, Hindu and Christian, do share the connotation of some kind of privileged spiritual perspective.

By way of contrast, Wikipedia says this about the cyclops:

They were giants with a single eye in the middle of their forehead and a foul disposition. According to Hesiod, they were strong, stubborn, and “abrupt of emotion”. Collectively they eventually became synonyms for brute strength and power, and their name was invoked in connection with massive masonry.³

This clearly isn’t about spiritual insight. However, the cyclops do fashion thunderbolts (as weapons) for Zeus’ purposes. But they’re just the tool makers. It’s Zeus who decides how his thunderbolts should be used in the cosmic battleground.

¹ http://bible.cc/luke/11-34.htm

² Many Hindus, of course, would argue that Siva’s death ray is only aimed at the inferior deities, these symbolizing the inferior aspects of the self.  An excellent book about Siva in Hindu mythology is Siva: The Erotic Ascetic by Wendy Doniger O’Flaherty http://books.google.ca/books/about/Siva.html?id=dnfZ_MBErlQC&redir_esc=y

³ http://en.wikipedia.org/wiki/Cyclops

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