The Power of Myth

by Joseph Campbell

  CAMPBELL: This is exactly T. S. Eliot’s The Waste Land that you are describing, a sociological stagnation of inauthentic lives and living that has settled upon us, and that evokes nothing of our spiritual life, our potentialities, or even our physical courage—until, of course, it gets us into one of its inhuman wars.

  MOYERS: You’re not against technology, are you?

  CAMPBELL: Not at all. When Daedalus, who can be thought of as the master technician of most ancient Greece, put the wings he had made on his son Icarus, so that he might fly out of and escape from the Cretan labyrinth which he himself had invented, he said to him: “Fly the middle way. Don’t fly too high, or the sun will melt the wax on your wings, and you will fall. Don’t fly too low, or the tides of the sea will catch you.” Daedalus himself flew the middle way, but he watched his son become ecstatic and fly too high. The wax melted, and the boy fell into the sea. For some reason, people talk more about Icarus than about Daedalus, as though the wings themselves had been responsible for the young astronaut’s fall. But that is no case against industry and science. Poor Icarus fell into the water—but Daedalus, who flew the middle way, succeeded in getting to the other shore.

  A Hindu text says, “A dangerous path is this, like the edge of a razor.” This is a motif that occurs in medieval literature, also. When Lancelot goes to rescue Guinevere from captivity, he has to cross a stream on a sword’s edge with his bare hands and feet, a torrent flowing underneath. When you are doing something that is a brand-new adventure, breaking new ground, whether it is something like a technological breakthrough or simply a way of living that is not what the community can help you with, there’s always the danger of too much enthusiasm, of neglecting certain mechanical details. Then you fall off. “A dangerous path is this.” When you follow the path of your desire and enthusiasm and emotion, keep your mind in control, and don’t let it pull you compulsively into disaster.

  MOYERS: One of the intriguing points of your scholarship is that you do not believe science and mythology conflict.

  CAMPBELL: No, they don’t conflict. Science is breaking through now into the mystery dimensions. It’s pushed itself into the sphere the myth is talking about. It’s come to the edge.

  MOYERS: The edge being—

  CAMPBELL: —the edge, the interface between what can be known and what is never to be discovered because it is a mystery that transcends all human research. The source of life—what is it? No one knows. We don’t even know what an atom is, whether it is a wave or a particle—it is both. We don’t have any idea of what these things are.

  That’s the reason we speak of the divine. There’s a transcendent energy source. When the physicist observes subatomic particles, he’s seeing a trace on a screen. These traces come and go, come and go, and we come and go, and all of life comes and goes. That energy is the informing energy of all things. Mythic worship is addressed to that.

  MOYERS: Do you have a favorite mythic hero?

  CAMPBELL: When I was a boy, I had two heroes. One was Douglas Fairbanks; the other was Leonardo da Vinci. I wanted to be a synthesis of the two. Today, I don’t have a single hero at all.

  MOYERS: Does our society?

  CAMPBELL: It did have. It had the Christ. And then America had men like Washington and Jefferson and, later, men like Daniel Boone. But life today is so complex, and it is changing so fast, that there is no time for anything to constellate itself before it’s thrown over again.

  MOYERS: We seem to worship celebrities today, not heroes.

  CAMPBELL: Yes, and that’s too bad. A questionnaire was once sent around one of the high schools in Brooklyn which asked, “What would you like to be?” Two thirds of the students responded, “A celebrity.” They had no notion of having to give of themselves in order to achieve something.

  MOYERS: Just to be known.

  CAMPBELL: Just to be known, to have fame—name and fame. It’s too bad.

  MOYERS: But does a society need heroes?

  CAMPBELL: Yes, I think so.

  MOYERS: Why?

  CAMPBELL: Because it has to have constellating images to pull together all these tendencies to separation, to pull them together into some intention.

  MOYERS: To follow some path.

  CAMPBELL: I think so. The nation has to have an intention somehow to operate as a single power.

  MOYERS: What did you think of the outpouring over John Lennon’s death? Was he a hero?

  CAMPBELL: Oh, he definitely was a hero.

  MOYERS: Explain that in the mythological sense.

  CAMPBELL: In the mythological sense, he was an innovator. The Beatles brought forth an art form for which there was a readiness. Somehow, they were in perfect tune with their time. Had they turned up thirty years before, their music would have fizzled out. The public hero is sensitive to the needs of his time. The Beatles brought a new spiritual depth into popular music which started the fad, let’s call it, for meditation and Oriental music. Oriental music had been over here for years, as a curiosity, but now, after the Beatles, our young people seem to know what it’s about. We are hearing more and more of it, and it’s being used in terms of its original intention as a support for meditations. That’s what the Beatles started.

  MOYERS: Sometimes it seems to me that we ought to feel pity for the hero instead of admiration. So many of them have sacrificed their own needs for others.

  CAMPBELL: They all have.

  MOYERS: And very often what they accomplish is shattered by the inability of the followers to see.

  CAMPBELL: Yes, you come out of the forest with gold and it turns to ashes. That’s a well-known fairy-tale motif.

  MOYERS: There’s that haunting incident in the story of Odysseus, when the ship tears apart and the members of the crew are thrown overboard, and the waves toss Odysseus over. He clings to a mast and finally lands on shore, and the text says, “Alone at last. Alone at last.”

  CAMPBELL: Well, that adventure of Odysseus is a little complicated to try to talk about very briefly. But that particular adventure where the ship is wrecked is at the Island of the Sun—that’s the island of highest illumination. If the ship had not been wrecked, Odysseus might have remained on the island and become, you might say, the sort of yogi who, on achieving full enlightenment, remains there in bliss and never returns. But the Greek idea of making the values known and enacted in life brings him back. Now, there was a taboo on the Island of the Sun, namely, that one should not kill and eat any of the oxen of the Sun. Odysseus’ men, however, were hungry, so they slaughtered the cattle of the Sun, which is what brought about their shipwreck. The lower consciousness was still functioning while they were up there in the sphere of the highest spiritual light. When you’re in the presence of such an illumination, you are not to think, “Gee, I’m hungry. Get me a roast beef sandwich.” Odysseus’ men were not ready or eligible for the experience which had been given to them.

  That’s a model story of the earthly hero’s attaining to the highest illumination but then coming back.

  MOYERS: What are we to make of what you wrote of the bittersweet story of Odysseus when you said, “The tragic sense of that work lies precisely in its deep joy in life’s beauty and excellence—the noble loveliness of fair woman, the real worth of manly men. Yet the end of the tale is ashes.”

  CAMPBELL: You can’t say life is useless because it ends in the grave. There’s an inspiring line in one of Pindar’s poems where he is celebrating a young man who has just won a wrestling championship at the Pythian games. Pindar writes, “Creatures of a day, what is any one? What is he not? Man is but a dream of a shadow. Yet when there comes as a gift of heaven a gleam of sunshine, there rests upon men a radiant light and, aye, a gentle life.” That dismal saying, “Vanity, vanity, all is vanity!”—it is not all vanity. This moment itself is no vanity, it is a triumph, a delight. This accent on the culmination of perfection in our moments of triumph is very Greek.

  MOYERS: Don’t many of the heroes in mythology die to the world
? They suffer, they’re crucified.

  CAMPBELL: Many of them give their lives. But then the myth also says that out of the given life comes a new life. It may not be the hero’s life, but it’s a new life, a new way of being or becoming.

  MOYERS: These stories of the hero vary from culture to culture. Is the hero from the East different from the hero in our culture?

  CAMPBELL: It’s the degree of the illumination or action that makes them different. There is a typical early culture hero who goes around slaying monsters. Now, that is a form of adventure from the period of prehistory when man was shaping his world out of a dangerous, unshaped wilderness. He goes about killing monsters.

  MOYERS: So the hero evolves over time like most other concepts and ideas?

  CAMPBELL: He evolves as the culture evolves. Moses is a hero figure, for example. He ascends the mountain, he meets with Yahweh on the summit of the mountain, and he comes back with rules for the formation of a whole new society. That’s a typical hero act—departure, fulfillment, return.

  MOYERS; Is Buddha a hero figure?

  CAMPBELL: The Buddha follows a path very much like that of Christ; only of course the Buddha lived five hundred years earlier. You can match those two savior figures right down the line, even to the roles and characters of their immediate disciples or apostles. You can parallel, for example, Ananda and St. Peter.

  MOYERS: Why did you call your book The Hero with a Thousand Faces?

  CAMPBELL: Because there is a certain typical hero sequence of actions which can be detected in stories from all over the world and from many periods of history. Essentially, it might even be said there is but one archetypal mythic hero whose life has been replicated in many lands by many, many people. A legendary hero is usually the founder of something—the founder of a new age, the founder of a new religion, the founder of a new city, the founder of a new way of life. In order to found something new, one has to leave the old and go in quest of the seed idea, a germinal idea that will have the potentiality of bringing forth that new thing.

  The founders of all religions have gone on quests like that. The Buddha went into solitude and then sat beneath the bo tree, the tree of immortal knowledge, where he received an illumination that has enlightened all of Asia for twenty-five hundred years.

  After baptism by John the Baptist, Jesus went into the desert for forty days; and it was out of that desert that he came with his message. Moses went to the top of a mountain and came down with the tables of the law. Then you have the one who founds a new city—almost all the old Greek cities were founded by heroes who went off on quests and had surprising adventures, out of which each then founded a city. You might also say that the founder of a life—your life or mine, if we live our own lives, instead of imitating everybody else’s life—comes from a quest as well.

  MOYERS: Why are these stories so important to the human race?

  CAMPBELL: It depends on what kind of story it is. If the story represents what might be called an archetypal adventure—the story of a child becoming a youth, or the awakening to the new world that opens at adolescence—it would help to provide a model for handling this development.

  MOYERS: You talk about how stories help us through crises. When I read them as a child, they all had happy endings. It was a time before I learned that life is fraught with plodding, indulgent, and cruel realities. Sometimes I think we buy a ticket to Gilbert and Sullivan, and when we go into the theater, we find the play is by Harold Pinter. Maybe fairy tales make us misfits to reality.

  CAMPBELL: Fairy tales are told for entertainment. You’ve got to distinguish between the myths that have to do with the serious matter of living life in terms of the order of society and of nature, and stories with some of those same motifs that are told for entertainment. But even though there’s a happy ending for most fairy tales, on the way to the happy ending, typical mythological motifs occur—for example, the motif of being in deep trouble and then hearing a voice or having somebody come to help you out.

  Fairy tales are for children. Very often they’re about a little girl who doesn’t want to grow up to be a woman. At the crisis of that threshold crossing she’s balking. So she goes to sleep until the prince comes through all the barriers and gives her a reason to think it might be nice on the other side after all. Many of the Grimm tales represent the little girl who is stuck. All of these dragon killings and threshold crossings have to do with getting past being stuck.

  The rituals of primitive initiation ceremonies are all mythologically grounded and have to do with killing the infantile ego and bringing forth an adult, whether it’s the girl or the boy. It’s harder for the boy than for the girl, because life overtakes the girl. She becomes a woman whether she intends it or not, but the little boy has to intend to be a man. At the first menstruation, the girl is a woman. The next thing she knows, she’s pregnant, she’s a mother. The boy first has to disengage himself from his mother, get his energy into himself, and then start forth. That’s what the myth of “Young man, go find your father” is all about. In the Odyssey, Telemachus lives with his mother. When he’s twenty years old, Athena comes and says, “Go find your father.” That is the theme all through the stories. Sometimes it’s a mystical father, but sometimes, as here in the Odyssey, it’s the physical father.

  A fairy tale is the child’s myth. There are proper myths for proper times of life. As you grow older, you need a sturdier mythology. Of course, the whole story of the crucifixion, which is a fundamental image in the Christian tradition, speaks of the coming of eternity into the field of time and space, where there is dismemberment. But it also speaks of the passage from the field of time and space into the field of eternal life. So we crucify our temporal and earthly bodies, let them be torn, and through that dismemberment enter the spiritual sphere which transcends all the pains of earth. There’s a form of the crucifix known as “Christ Triumphant,” where he is not with head bowed and blood pouring from him, but with head erect and eyes open, as though having come voluntarily to the crucifixion. St. Augustine has written somewhere that Jesus went to the cross as a bride-groom to his bride.

  MOYERS: So there are truths for older age and truths for children.

  CAMPBELL: Oh, yes. I remember the time Heinrich Zimmer was lecturing at Columbia on the Hindu idea that all life is as a dream or a bubble; that all is maya, illusion. After his lecture a young woman came up to him and said, “Dr. Zimmer, that was a wonderful lecture on Indian philosophy! But maya—I don’t get it—it doesn’t speak to me.”

  “Oh,” he said, “don’t be impatient! That’s not for you yet, darling.” And so it is: when you get older, and everyone you’ve known and originally lived for has passed away, and the world itself is passing, the maya myth comes in. But, for young people, the world is something yet to be met and dealt with and loved and learned from and fought with—and so, another mythology.

  MOYERS: The writer Thomas Berry says that it’s all a question of story. The story is the plot we assign to life and the universe, our basic assumptions and fundamental beliefs about how things work. He says we are in trouble now “because we are in between stories. The old story sustained us for a long time—it shaped our emotional attitudes, it provided us with life’s purpose, it energized our actions, it consecrated suffering, it guided education. We awoke in the morning and knew who we were, we could answer the questions of our children. Everything was taken cate of because the story was there. Now the old story is not functioning. And we have not yet learned a new.”

  CAMPBELL: I’m in partial agreement with that—partial because there is an old story that is still good, and that is the story of the spiritual quest. The quest to find the inward thing that you basically are is the story that I tried to render in that little book of mine written forty-odd years ago—The Hero with a Thousand Faces. The relationship of myths to cosmology and sociology has got to wait for man to become used to the new world that he is in. The world is different today from what it was fifty years ago. But
the inward life of man is exactly the same. So if you put aside for a while the myth of the origin of the world—scientists will tell you what that is, anyway—and go back to the myth of what is the human quest, what are its stages of realization, what are the trials of the transition from childhood to maturity and what does maturity mean, the story is there, as it is in all the religions.

  The story of Jesus, for example—there’s a universally valid hero deed represented in the story of Jesus. First he goes to the edge of the consciousness of his time when he goes to John the Baptist to be baptized. Then he goes past the threshold into the desert for forty days. In the Jewish tradition the number forty is mythologically significant. The children of Israel spent forty years in the wilderness, Jesus spent forty days in the desert. In the desert, Jesus underwent three temptations. First there was the economic temptation, where the Devil comes to him and says, “You look hungry, young man! Why not change these stones to bread?” And Jesus replies, “Man lives not by bread alone, but by every word out of the mouth of God.” And then next we have the political temptation. Jesus is taken to the top of a mountain and shown the nations of the world, and the Devil says to him, “You can control all these if you’ll bow down to me,” which is a lesson, not well enough made known today, of what it takes to be a successful politician. Jesus refuses. Finally the Devil says, “And so now, you’re so spiritual, let’s go up to the top of Herod’s Temple and let me see you cast yourself down. God will bear you up, and you won’t even be bruised.” This is what is known as spiritual inflation. I’m so spiritual, I’m above concerns of the flesh and this earth. But Jesus is incarnate, is he not? So he says, “You shall not tempt the Lord, your God.” Those are the three temptations of Christ, and they are as relevant today as they were in the year A.D. 30.

  The Buddha, too, goes into the forest and has conferences there with the leading gurus of his day. Then he goes past them and, after a season of trials and search, comes to the bo tree, the tree of illumination, where he, likewise, undergoes three temptations. The first is of lust, the second of fear, and the third of submission to public opinion, doing as told.