Professional Documents
Culture Documents
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.
Taylor & Francis, Ltd. and The C.G. Jung Institute of San Francisco are collaborating with JSTOR to digitize, preserve and
extend access to The San Francisco Jung Institute Library Journal.
http://www.jstor.org
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
and to rewrite hero myths in order to make them more appropriate to womens psychology and spirituality. (For a summary, see William Doty, Myths of Masculinity, New York, Crossroad, 1993, pp. 198200.)
But here, I begin with the fact that most heroes of myth
and history have been male. Instead of dismissing this as a
patriarchal conspiracy, an exploration of the masculinity of
the traditional hero reveals much that is of interest about
European or Western cultures, and especially about their
mythologizing of masculinity. This foregrounding of the
heros masculinity is in contrast to most of the Jungian writers
to be discussed, who tend to press the hero into service in
their models of psychological development without giving
adequate consideration to whether he represents an appropriate role model or archetypal image for females.
A HEROIC CULTURE
From Achilles of the Trojan War to Schwarzkopf of the
Gulf War, the West has long worshipped figures who embody
the heroic impulse to strive, to seek, to find and not to yield,
as Tennyson put it. While other cultures tell myths of godmen whose journeys and exploits helped to fashion the world
we know today, nowhere have they achieved the same
prominence or longevity as in Greece and the West. As
Mircea Eliade argues,
Figures comparable to the Greek heroes are also found
in other religions. But it is only in Greece that the religious structure of the hero received so perfect an expression; it is only in Greece that the heroes enjoyed a
considerable religious prestige, nourished imagination
and reflection, and inspired literary and artistic creativity. (History of Religious Ideas, vol. 1. Chicago, University of Chicago Press, 1985, p. 289)
There are, of course, figures in the literatures of other traditions (like Rama of the Ramayana, or Monkey of Journey
to the West) who embark on long quests or have adventurefilled lives. Nevertheless, Eliades point is valid for European
mythologies more broadly. Nowhere else does literature
saga, epic, tragedy, the novel, and biographyrevolve to the
same extent around the figure of an individual, usually male
and often of godlike proportions, who is on a quest of some
kind. This figure became so paradigmatic that since the late
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
CONCLUSION
The wound and the eye are one and the same, writes
Hillman. ( Re-Visioning Psychology. New York,
HarperCollins, 1992, p. 107) If the hero has become so
central to the mythology of the West as to be archetypal for
this culture at least, then rather than laud him uncritically or
dump him for his excesses, we might ask whether his hegemony reflects a particular wound in our cultural psyche.
This wound would relate to the rupturing of the archetypal
father-son or senex-puer relationship, in a culture which
values change above tradition, aggression over passivity,
and youth over wisdom.
The healing of our heroic wound would require the
evolution of a male womb strong enough to hold the experience of symbolic death, so that heroics become part of
the process of initiation, not the whole of it. The emergence
of mens groups is one step in this direction. However, there
will always be a legitimate place for heroics: especially in
adolescence, to provide the ego strength to help separate
from the mother and father; but appropriate, too, in any
situation in which qualities like courage, defiance, perseverance, and sacrifice are called for.
Perhaps we can speak of two kinds of heroes. The first
is immature, driven by the need to assert his individual needs
and desires in the world. It is often only after we have experienced some basic ego gratification (at whatever age) and
are able to sacrifice it that another kind of hero emerges; one
who is willing and able to sacrifice himself for the greater
good. This selflessness is what we admire in contemporary
leaders like Nelson Mandela and the Dalai Lama: people who
have, not coincidentally, often been through a death and
rebirth experiencea defeat for the heroic egoby being
exiled or imprisoned, and who have come out the other side
not bitter or triumphant but humbled and strengthened. It is
the contrast between these two kinds of heroes that causes
Robert Segal to criticize Campbells heroic monomyth in The
Hero with a Thousand Faces: A Jungian hero would return
home humbled rather than elevated, wary rather than brash,
the saved rather than the saviour. (Introduction to In Quest
of the Hero, p. xxi)
What distinguishes these two kinds of heroes is their
attitude to death: the former defends against it, while the
latter has in some way surrendered to it and is more alive
This content downloaded from 83.137.211.198 on Fri, 14 Aug 2015 09:21:18 UTC
All use subject to JSTOR Terms and Conditions
as a consequence. So while the cultivation of a more effective male womb is one factor that would help the West move
beyond (rather than simply reject) its hero complex, another
salve for this wound might be a re-visioning of our attitudes
to death. We need to explore modes of relating to death other
than as a curse to be propitiated by medicines and prayers.
Thanks to Elizabeth Kubler-Ross and others, this, too, is
gradually happening.
But our dependence upon the hero may also be a result
of the death of God. When God seems to be, if not dead
then at least otiosis, absent from a world that has lately given
us Hiroshima and Auschwitz, Rwanda and Kosovo, then
perhaps the hero carries upon his shoulders the burden of
our longing for a connection to the divine, to a world and a
life greater than our own. No surprise, then, that we worship
the starsthe celestial divinitiesof television, pop/rock
music, sport, and especially cinema, who exist larger than
life in our imaginations as well as in the dark of the silver
screen. No wonder they disappoint us, for people elevated
to the status of a demigod on the basis of physical prowess,
beauty or (occasionally) acting ability rarely provide us with
the wisdom and moral leadership we expect of gods. No
wonder, too, that in spite of the disdain of intellectuals and
the rapidity with which we discover they have feet of clay,
we keep throwing up new heroes for popular consumption.
If we cannot invent gods any more than we can kill off
heroes, where does this leave us? Look closer and we find
that the hero connects us with death even through his attempts to transcend it. As Hillman reminds us, in ancient
Greece he was a chthonic figure, known only in his tumulus
or burial mound. (The Dream and the Underworld, p. 110;
see also Burkert, Greek Religion, London, Basil Blackwell,
1985, pp. 20308.) Longing, aching to transcend the human
condition, he reminds us powerfully of our mortality, our ties
to this earth, to this life and this place. Through our memoria
to fallen heroes in stone, bronze and celluloid, we give to
death names, faces, dates, costumes, habits and haunts.
Through their sufferings we can see Kali and Frau Holle,
Hades and Baba Juga and the other death-dealers behind
the macho masks worn by the Rambos and Schwarzkopfs
of this world. Through them we may be torn apartand remembered.
Mark Levon Byrnes Death and the Hero: Masculinity and Mythology