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The Mythology of Violence

No matter how many layers of language and manners we paint over our selves, at our centers, implies Joseph Conrad, is a desperate selfish hunger, a need to account for ourselves by defining the "I" against the "Other," to lash out in violence.

At some levels, our proclivity towards violence is obvious. We write "Kill them!" in our Facebook posts during the SuperBowl, we threaten friends with the mock "You're dead," we "beat" our friends literally and figuratively at Halo, and we beat them at Monopoly.

What may not be so obvious is that our language is thick with metaphor. Our casual conflation of the literal meaning and the connotative is unavoidable. The Colts and Saints have no plans to cooperate. They seek weaknesses and attack. They blitz in offensive units. They seize territory. And sure, football is easy to see as a parallel to the language of war, but this "institutionalizing" of war through formal sports only satisfies us to some degree. It won't be long before fans trash bars, firebomb automobiles, and stampede each other; insult the team I identify with and who knows what I will do?

Formal sports, then, gives away to more simple urges such as cage fighting. In the past three months, no less than four separate cage fighting arenas have opened in Waterford where I live. One of them is in the Christian Recreation Center!

So our formal ritualizing of sports and our metaphors of war are the thinnest of veneers over our violence. In other words, while Stephen King and others might argue that we all need a cathartic purging through such civilized devices as soccer, The Stand, and Gladiator films, these behaviors serve a dual purpose. If we have a dark interior, creating social outlets both purges these desires and affirms them. Extreme fandom of the SuperBowl legitimizes my violence, assures me that if I watch the Indy 500 only to hope for the fiery crash, it's okay. All of the best video games are rated "M."

Conrad's Kurtz exemplifies this, abandoning the lie of ritual violence and exposing its rawness. The Kurtz of Apocalypse Now reads a copy of The Golden Bough, which examines the mythological succession of the priest-king by regicide. Down with the King! He who is Other than Us must be removed by violence. And so Gatsby is removed as is Okonkwo; Sauron and Voldemort; Arthur and Jesus. Good or evil, our mythology tells us, the violence at our centers must resolve the story.

It is no wonder that our Western literary narrative, then, is an allegory of our human psychology. What happens when we remove the Superego, the civilized, the rational, from our consciousness? Beer sales soar during a championship sports weekend, Klingons drink Bloodwine, and Viking warriors fight in a "bare sark" frenzy.

This is no Swiss Family Robinson, no Coral Island, no NeverNeverLand (though this last place had no rules, either). The imposition of the civilized (what Twain calls "sivilization" and James calls "syphilization") upon us may reduce our violent tendencies, but only by channeling them into an art of suffering, a literature of conflict, a public school and economic system based upon competition. Competition, we are told, is a virtue. Diplomacy and dialogue are weakness.

But while civilized propriety is a gloss over our violence, the relationship between brutality and rationality is somewhat different. I would argue that these are contradictions, that violence in most of its incarnations is the absence of the rational. This is not Vulcan-ized logic, but a suggestion that where reason fails us, the rawness of violence is what remains, the inevitable attack upon the Other. Fear and extremist loyalties can each undermine the rational principle; in this way, the battle between the violent and the rational is within ourselves.

Derrida says that violence upon the Other is violence upon the Self. The two principles are each within us, met forever on the psychological arena as inevitably as Arthur and Mordred upon a single spear, St. George and his Dragon upon a lance. Even Rowling understood it, linking the minds and essences of Harry and Voldemort through a wand. Any attempt to reject the violence inside us is to declare war upon ourselves, the paradox upon which Western philosophy is based.

"Where we had thought to slay another, we shall slay ourselves."

--Joseph Campbell

 

The Apple of Discord

Eris, the Goddess of Discord, throws the apple into the hall of the gods, labeled kalliste, “to the fairest.” And so begin the arguments of Helen’s fidelity, Achilles’ hubris, and Odysseus’ loss. All of Western literature is beset first by discord, by imbalance, and how often the simple apple plays a major role!

 

Windsor: Eve's Apple

The link between apple and beauty, between discord and balance, blurs: and the uncertainty is at its center.  Let me explain.

 

The traditional lessons found in the Greek myth are simple enough:  Discord causes trouble (a war in Troy, for instance), Pride does the same, as does Temptation.  Therefore we should distrust these.  I might diagram it this way:

 

Positive Traits

Negative Traits: Apple

Order

Discord

Humility

Pride

Law/Rules

Temptation (away from Law)

Male (Strength/Law)

Women (Beauty)

 

This last pairing is found in the “betrayal” of Helen for her beauty and how it is overcome in the Trojan War by the sword. 

 

Interesting to note the Latin forms of “apple” (malum) and “evil” (malus). Perhaps merely a coincidence.

Thus we condemn an Eve, Helen, and Guinevere; we praise a Moses, Odysseus, and Arthur. One group creates disorder, corruption, and loss; the other restores it in mythological happy endings. All is well.

 

Looked at another way, we might add another level to our Apple:  earthly, material desire.  In the Old Testament, God warns Adam and Eve not to eat from the Tree of Knowledge; Aphrodite bribes Paris with the prize of Helen; and Lancelot is torn from the Roundtable by the shame of his tryst with the queen.

 

One could explore the obvious link here to women and the subsequent art which depicts women as temptresses, from Sibyls and sirens to succubae and Scheherazades. Similarly, we could draw interesting parallels to money, another earthly pleasure, and its similar role in literature.

 

 

But I’m less certain that the lessons are so simple.  In fact, this clean divide between Order and Apple-Villainy is even a bit dangerous. 

 

The Apple, as a sphere, carries an entirely different meaning.  Spheres are totality, the universal wholeness.  In other words, the Apple is the very symbol which defies this artificial division; it encompasses by definition the entire chart above.  If I were to redraw it, it might look like this:

 

Totality of the Apple

Division of the World into Opposites

The Side of the World Excluded by this Division

Order

Discord

Humility

Pride

Law/Rules

Temptation (away from Law)

Male (Strength/Law)

Women (Beauty, kalliste)

 

In this way, Order and Goodness make themselves heroes of tales in an effort to defeat Chaos and Wickedness.  But the Apple rolls into the hall of the gods to remind us that there another story waits.

 

Here are our three tales again, re-envisioned with this piece of the mythological puzzle:

 

1.       Eris, Greek Goddess of Discord, is first excluded from a great wedding (The Original Snub), which motivates her to remind us of the oversight with the Apple. And the wedding itself was hardly Harmonious (her opposite); it was a forced marriage.  Thus, the gods created a false sense of Harmony which inevitably called for its disruption, the totality which includes Discord, and creates the greatest Greek epic.

2.       Eve herself is seduced by a discordant serpent in Eden, one of God’s creations somehow residing in the realm of perfect Order.  Her inevitable acceptance of it creates the Original Sin which propels the total drama of humankind, free will and faith.

3.       Guinevere’s is a classic Fall and Redemption story. Lancelot comes to know that he is more than his male purity—he is, in fact, a creature of earthly desire.  And it is his failure to understand this—to wrestle it rather than accept it—which causes the land’s corruption and the necessity for Arthur (and Galahad) to restore it.  (As an added note, the island of Avalon—where Excalibur was forged and Arthur recovers from his wounds—is translated as “Isle of Apples”

4.       And just for kicks, Snow White is seduced by an apple by the once-fairest queen, and Sleeping Beauty is cursed by a fairy who is not invited to her christening.

 

Okay, got it.  So what’s the point?  Who cares about mythology, anyway?  As we discuss in my literature classes, story gives us purpose. 

 

 

Discord is not an evil but an inevitability, a necessity. From it comes change, the impetus to renew balance, and create a healthier society.  In every human and in every society, Discord lives. The natural cycle of mythology, of civilization, of life, is of disruption, change, and renewal.  If this were not true, we would have stagnation and ignorance. 

 

The corruption of the Greek gods would never have been revealed, Arthur would still be living by the imperial sword alone, and humankind might reside forever in Eden—nice, but without knowledge or purpose. Ennui.

 

Learning, education, is our ongoing dialogue to move beyond ignorance; by necessity it means that there will be conflict—discord—as change takes root. Our efforts to stamp out minority views, conflicting reports, to keep order for the sake of Order, are mistakes: they are illusions of Order, false harmonies. 

 

No status quo will ever change without contention.  And the Apple is thus the American ideal.