Showing posts with label mythic journeys. Show all posts
Showing posts with label mythic journeys. Show all posts

Tuesday, June 17, 2014

Symbols & Knowledge

Each letter used is a symbol for a sound and sounds are audio symbols, each number is a symbol for an amount as well as later applied symbolism, so we learn, communicate, and record ideas through symbols. We use symbols in our celebrations and memorials, and we dream in symbols. We buy and sell products using symbols. Our expressions are symbols that tell others of our emotions. What we wear symbolizes how we view ourselves and what we believe in. We simultaneously intuit and misconstrue symbols, and constantly develop more symbols.

People love symbols. We are influenced by symbols, and perhaps our intelligence is based on our lexicon of symbols.

So if you wonder about why I'm interested in symbols and symbolism, that's the answer. Anthropologists, art historians, historians, linguists, and psychologists study symbols, trying to find answers to many questions about humans since we seem to be the only species that uses symbols.

Rosie Weetch, the curator at the British Museum, recently did an article for Slate Magazine (6/4/2014) on Secret Codes Embedded in Ancient Artifacts. She studies the symbols on artifacts found at Sutton Hoo, an early Middle-ages Anglo Saxon site in Suffolk, England, which are often ambiguous, and tries to determine the meaning. This shows symbols have always been important to humans. Our use of symbols may go back as far as Paleolithic man. Name a country, religion, organization, school, ancient society, and you will discover they use, or used symbols. A few samples are included:

Symbols of the United States
Symbols of England
Symbols of France
Adrinka symbols from Ghana, West Africa
Native American symbols

While these symbols are often important, some are open to interpretation and misinterpretation. Stereotypes are often a misuse of symbolism. Minds, while similar, being what they are, often interpret symbols differently. Then too, some symbols due to the nature of imagery can share the same iconography but have vastly different meanings. It's what makes symbols so interesting.

Saturday, December 26, 2009

The Heroine Completes Her Hero's Journey

Fifth post on Pride and Prejudice.

Just when Elizabeth Bennet feels attraction to Darcy and he seems to return her regard, she learns from her sister Jane's letter that Lydia has run off with Wickham, and her world falls apart. This event is without doubt the ordeal every hero must face. Lydia represents the shadow, who acts on the base innermost desires inside of everyone. Certainly for a Regency Miss, the desire to thwart the very tightly corseted society demanded of every woman with any pretense to gentility, must have been a very strong hidden dream.

It is often hard by today's standards where the individual is judged by their actions to understand how one sister's moral failure tarred her siblings, but that is how society used to view women, and not so terribly long ago. Lydia's indiscretion affected the matrimonial chances of all of her sisters. If Colonel Foster and Elizabeth's father and uncle did not take immediate action to find Lydia and force Wickham to marry her, the whole family would be smeared with her shame (as would Colonel Foster, with whom Lizzy was staying). None of the Bennet sisters would have made good marriages. Elizabeth knows this and feels guilty for not having disclosed Wickham's character. A promise to Darcy stopped her. Luckily, the couple is found, and they marry.

The visit of the newlyweds to the wife's family is, in turn, hilarious and disgusting. Their arrival begins the journey back from the wilderness Elizabeth has been in on her journey to find love. Lydia is unrepentant, still careless and oblivious of anyone but herself. while many sixteen-year-olds share these characteristics, most are not so totally ignorant, most know right from wrong. Perhaps Mrs. Bennet's behavior had an undue influence on Lydia; after all, Lydia was her favorite. But if that is so, why did her influence not affect Jane and Elizabeth, who are both clearly humiliated by Lydia's actions and behavior? Lydia, during her visit, forgets a promise and tells Elizabeth that Darcy was at the wedding.

This information drives Elizabeth to find the truth of Darcy's involvement in forcing Wickham to marry Lydia and save the family's reputation. When Darcy visits, he is distant, throwing Elizabeth into a flurry of self-doubt. His intervening with Bingley brings Jane her happiness, but Elizabeth doubts any man would offer again after the refusal she gave Darcy. Before Elizabeth can finish her journey, she must face more gatekeepers. One comes in the form of a letter from Mr. Collins to her father, and Elizabeth must dissemble to her father. The other is the more formidable ordeal in the visit from Lady Catherine de Bourgh, who demands Elizabeth's promise not to marry Darcy. Here Elizabeth proves true to her journey's lessons and faces rudeness and hostility with calmness and honesty. It is not long after this visit that Darcy returns to Longbourne. When Elizabeth faces him with her thanks and gratitude, she earns her heart's desire. Mr. Darcy renews his pledge of love and desire that Elizabeth should become his wife.

The last minor ordeal Elizabeth faces is telling her family she has won the prize, the elixir of life, marriage with Darcy, that her quest sought. Both she and Darcy are changed people, both have found love in their choice of mate, and as true of many journeys, Elizabeth will not return home, but begin a new life as a woman married to an affluent man.

I hope these few posts on Pride and Prejudice have shown how the Hero's Journey has worked through this story. I am a true believer that stories are tied to our individual psychologies and our own paths along the Mythic Hero's Journey.

The five posts on Lizzy's journey:

Saturday, December 5, 2009

Elizabeth's Transformation

Fourth post on Pride and Prejudice.

Elizabeth has always prided herself on her insight and acumen on the people around her and has learned from watching and listening to her father, no doubt. Since beginning her hero’s journey to find her other half, in this case a man she can love, she has endured Mr. Darcy’s overheard dismissive rebuff, Mr. Collins’s boastful self-importance ineptly hidden by his mask of humility, Mr. Wickham turning away to court an heiress, Mr. Bingley’s abandonment of Jane, a visit to her former suitor, Mr. Collins, now married to her best friend, and finally, Mr. Darcy’s impassioned but disdainful proposal. Her road of trials has been long. Now, unexpectedly, Mr. Darcy’s unexpected letter gives her the ultimate fortune, truth. She accomplishes this by giving up her own conceits and prejudices and examining her own motives.

A new world emerges from her insight. She begins by seeing both Wickham and Darcy in different lights. Once home in Longbourn, she also sees her family’s failings and is embarrassed by their less than suitable behavior. When the proposed invitation from Mrs. Foster for Lydia to move to Brighton with her, Elizabeth pleads with her father to save Lydia by not permitting her to go. She has seen the disaster that awaits, not only Lydia but all of her sisters; but her efforts are all to no avail.

Although the prejudice with which she viewed her world has gone, Elizabeth has not finished her journey. While traveling with her aunt and uncle, Elizabeth encounters a much different Mr. Darcy and his home of Pemberly. He is no longer so haughty, withdrawn in his own superiority. However, any hopes of a beginning a friendship with him are dashed by Lydia, for news arrives that she has run off with Mr. Wickham.

The five posts on Lizzy's journey:

Wednesday, December 2, 2009

Mystery and The Hero's Journey

What could they possibly have in common? The setting can be anywhere and any time period - mysteries cross borders and time zones as easily as any other genre. So it is no surprise when they look to the hero's journey for character types.

For most of my work, I do an intensive character sketch - part of that is to pick which hero or heroine (most of my sleuth's are female) best suits the particular story I'm telling.

In Small Town Secrets the sleuth/heroine, Chaneeta Morgan, is a strong independent woman, made strong by her circumstances. While Chaneeta is a strong heroine such as an Amazon Woman heroine, she leans heavily toward being a Madonna.

Amazon women are capable, independent, self-sufficient. But Chaneeta is more than that, she has a soft side a mothering side. She is the chairperson of the small town where she lives - She is the owner of The Golden Kettle Cafe, she is many things to many people. Example:

Someone is bent on burning it down one building at a time. Can Chaneeta and Olga bury their rivalry long enough to use their powers to stop the arsonist before the town is destroyed, or will the skeleton in the Town Chairperson’s closet be her undoing at the hands of Editor in chief of the Daily Nettle Newspaper, Olga Corn?

Chaneeta is vulnerable, but not defenseless. She is not above receiving help, she does not need everyone's approval though she would sincerely like it, because she feels better when people like her. Olga Corn, her rival and most time nemesis is a shape-shifter doing whatever it takes to get what she wants.

While Joseph Campbell's Hero's journey elucidates the hero's journey for me, Christopher Volger also explains the journey when he says, "We test out our ideas and feelings about some human quality and try to learn more about it."

As readers we find our answers, or confirmation of our beliefs, in the books we gravitate to again and again as our favorite reads. Wise old woman or man, mentors, guides, heroes and heroines are all necessary to tell a story that readers are willing to spend time reading and it is our joy to write. Mystery and suspense are my favorite genres and they benefit greatly by exploring the various aspects of the Heroes journey.

Billie A. Williams.

Sunday, November 29, 2009

The Heroine Wants Love

Third post on Pride and Prejudice.

Elizabeth's quest is to find love within marriage. Women today look for the same thing, but now, many women are capable of supporting themselves, so marriage is not a dire necessity. In Regency England, however, women of the upper social classes had two choices: marry well or become a spinster and live off your relatives in poverty. Love didn't often come into consideration when looking for a husband. Neither are ideal choices, as today we know how many marriages break down. Elizabeth is twenty, hardly a spinster, but she lives in a rural area with limited choices, and her dowry is meager. Oddly, in a few months, her journey will introduce her to four possible suitors, and she endures three proposals. Luckily, even in this pre-baseball era, Elizabeth need not fear three strikes and you're out. Her third proposal is a homerun.

At first, she finds Mr. Darcy an arrogant man, caught in his pride and uninterested in her. Shortly thereafter, the Trickster-Herald, her cousin, Mr. Collins, arrives at Longbourn with the intention of ending a family dispute and marrying one of Mr. Bennets' daughters as a solution to the entailment of the estate. Since Mrs. Bennet tells him Jane is taken, Mr. Collins sets his sites on Elizabeth. Why is he a Trickster? Because of his comedic effect. You cannot but find his behavior humorously appalling. He toadies up to everyone while he admitting to Mr. Bennet that many of his flattering comments are rehearsed. In his proposal he acts like a Threshold Guardian, taking Elizabeth near the innermost cave and the conundrum found there: financial security while married to a foolish man or an eternity alone. Mr. Collins remains the Trickster with Mrs. Bennet, encouraging her to believe in his good intentions, but when Elizabeth thwarts him, he proposes to her best friend; another trick, and breaks his word.

The horror for Elizabeth is that Charlotte accepts and may have even worked to bring about the proposal. How is Charlotte to live with such an overweening, egotistical man whose abject humility only exposes his overwhelming pride? As a Herald, Mr. Collins calls Elizabeth to the adventure of marriage; but Elizabeth's intelligence tells her how awful a marriage with such a man might become. Her refusal of the call only shows her good innate sense.

She also meets Mr. Wickham, a ShapeShifter Shadow character in his attractive disguise. Everyone welcomes handsome Mr. Wickham to Meryton. Elizabeth enjoys his attentions and he seems very gentlemanly, plus he encourages her prejudice against Mr. Darcy. He tells her of Darcy's perfidy to himself. This seeming gentleman turns into the worst type of cad later in the story, his actions bringing evil and disrepute the Bennet family. Wickham never proposes to Elizabeth, but certainly behaves in such a manner that the reader believes he wants to.

When Elizabeth goes to visit her best friend and her rejected suitor, she encounters Mr. Darcy again, visiting his aunt, Lady Catherine De Bourgh, Mr. Collins' patron. He brings with him Fitzwilliam Darcy, his cousin. Colonel Fitzwilliam also pays attention to Elizabeth, but he is upfront that his desire will not lead to marriage; he cannot afford it. A proposal appears, though, from Mr. Darcy. Again, Elizabeth rejects the proposal when he asks "Could you expect me to rejoice in the inferiority of your connections? To congratulate me on the hope of relations whose condition in life is so decidedly beneath my own?" She answers, "You are mistaken, Mr. Darcy if you suppose that the mode of your declaration affected me in any other way than as it spared the concern which I might have felt in refusing you, had you behaved in a more gentleman-like manner."

In my baseball metaphor, Eliza has been to bat twice and stuck out, deliberately made a choice not to play. Mr. Darcy, she thought and believed the most arrogant, conceited, with a selfish disdain for the feelings of others. In his own way he disgusted her as much as Mr. Collins.

Mr. Darcy throughout the story plays several archetypes. In the next pages he becomes a mentor, a wise person who gives the hero a gift to help them on their journey. For all of Elizabeth's poor opinions of him, the very next morning he very civilly approaches her, and hands her a letter.

The letter, the mentor's gift, provides Elizabeth inner vision. In two or three readings, she learns her own blindness, sees her actions and her family's behavior for how it looked to others. She learns truth. The mask of her self-blindness has been ripped off, and from now on, Elizabeth will see.

The five posts on Lizzy's journey:

Friday, November 13, 2009

Elizabeth's Journey As Hero

1st Post on Pride and Prejudice. Finally, back to my topic on Mythic structures in literature.

If the novel Pride and Prejudice follows the Hero's Journey, as laid out by Joseph Campbell, and as outlined by Christopher Vogler in The Writer's Journey, then Elizabeth will follow steps in a psychological journey of mythic proportions. What are the stages?

The beginning one reveals the hero's ordinary world. Shortly thereafter, the hero receives a call to adventure, often with an initial refusal. Afterward, a mentor often induces the hero to cross the threshold into an unfamiliar world to find their personal treasure. Only the strong survive in this new world, and even they are not guaranteed success.

In Pride and Prejudice, Elizabeth (Lizzy) Bennet's normal world is quickly revealed as is her journey, which is summed up in the first line: It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife. So it is the dangerous journey of marriage, the pitfalls, trials, and tribulations of finding a life partner, and the uncertainty of a lasting love that Lizzy travels. Her world is the gossipy, limited upper-crust society of a small, 19th Century English town. This world changes when Mr. Bingley buys the local estate, Netherfield Park, as discussed by Mr. And Mrs. Bennet in the story's opening pages. The mother of five girls, Mrs. Bennet's goal is for her girls to be suitably married as fast as possible, for without a son, Mr. Bennet's estate is entailed away. This leaves her and her daughters' security at risk. The reader soon discerns that the marriage between Mr. and Mrs. Bennet is not one of wedded bliss; however, in this society, girls are expected to marry and accept the resulting marriage no matter how successful or unsuccessful.

At the Assembly, Lizzy, after overhearing a snub of herself, snubs the snobbish Mr. Darcy. It is obvious that Lizzy's pride causes her to refuse her first call to adventure. Since her sister Jane and Mr. Bingley share a sudden infatuation, Lizzy's disgust for Mr. Darcy and her unwillingness to lower her pride and toady up to him like so many of her cohorts are wont to do, turns her from the only other eligible single man in the area. That situation changes with the appearance of her cousin, Mr. Collins, and with Mrs. Bennet as a marriage mentor to her girls, all hell breaks loose...

The five posts on Lizzy's journey:

Sunday, April 26, 2009

Where The Story Starts 2

So how does the Hero's Journey work? I’ve taken three romance stories many people have read. Pride and Prejudice by Jane Austen, published in 1813; at the very beginning or romance writing. Devil’s Cub by Georgette Heyer, published in 1932, one of the first historical romances, and Legally Blonde, the movie, released June 2001 based on a novel by Amanda Brown, a romantic comedy.

Why not use science fiction or fantasy stories? Because that’s where you expect to find mythological and folktale characteristics. If the precepts of the hero’s journey work, they should work across all genres and all media.

Opening sentences of Pride and Prejudice:
“It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife. However little know the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of someone or other of their daughters.”

Within two sentences Jane Austin has established her setting (Austen’s contemporary society) – a typical upper-class neighborhood. This is the ordinary world of the heroine. Austin also indicates the impending journey about to start.

The opening sentence from Devil’s Cub:
“There was only one occupant of the couch, a gentleman who sprawled very much at his ease, with his legs stretched out before him, and his hands dug deep in the capacious pockets of his greatcoat. While the coach rattled over the cobbled streets of the town, the light from an occasional lantern or flambeau momentarily lit the interior of the vehicle and made a diamond pin or a pair of very large shoe-buckles flash, but since the gentleman lounging in the coach wore his gold-edged hat tilted low over his eyes, his face remained in shadow.”

I had forgotten the way this story started. I’ve always considered it Mary’s (the heroine) journey. And while most romances are about the heroine’s journey, Devil’s Cub is about the hero’s journey. That is why the story starts in Dominic’s very exclusive self-centered world. It’s his world that changes. While you might think his abduction of Mary significantly changes her world, it doesn’t. Mary remains the same character as when she first walks into the story.

From Legally Blonde (the movie) opening scene:
A pretty girl in close-fitting clothes riding a bicycle with an envelope addressed to “Elle" in the basket. She is riding through a college town, passing frat boys and pulls into a sorority house. Scenes shift between typical happenings in the sorority. Hawaiian singer Hoku sings “It’s a Perfect Day.” (It’s a perfect day, nothing standing in my way.)

Everything about this is so upbeat. Elle Woods, the heroine, has a perfect life. She is blonde, beautiful and lives on the surface of life with few cares and expectations that only good can come her way. Change is about to come, and Elle changes, but still expects good to come her way.

So there you have it, openings showing the ordinary world that is about to change as the world of adventure calls.

Monday, March 30, 2009

Where the Story Starts

Most stories start with an ‘Initial Situation’ or a depiction of the main character’s ordinary world, his home. Here the reader learns about the main character, his family situation, and any prophecies or forewarning about this character. This setting indicates the hero’s condition, the world in which they currently live. Valdimir Propp called it the ‘Initial Situation,’ and Joseph Campbell, the ‘Call to Adventure,’ which he says, ‘signifies that destiny has summoned the hero and transferred his spiritual center of gravity from within the pale of his society to a zone unknown.’

The Initial Situation also gives hint to the basic problem, or the main character’s lack, or a lack in his family or community. There may a coincidence or mistake that reveals a hidden secret or something amiss that the hero must be resolved. These mishaps are often an invitation to journey, the chance change -- whether it be to find new love, to solve a murder, to save the world, or to visit an altogether different world. Adventure calls promising change.

With today’s fast-paced society, stories have also sped up. Opening scenes, first paragraphs and first chapters have to have a ‘hook,’ a dilemma or situation that grabs the reader's attention and pulls them into the story. Often this occurs in the character’s common world. In the various CSI television programs, it is the murder as it happens or the discovery of a body and then shortly the main character and his investigation team that serves as the initial situation and call to adventure.

Check it out. Think about TV shows or any book you’re reading. Can you identify the initial situation and the demand for change? It might be in the opening credits, an opening scene lasting a minute or less, it might be a sentence, a paragraph, or a whole chapter.

Tuesday, March 24, 2009

The Illud Tempus

Most fairy tales start with what is called ‘illud tempus,’ (now and forever) or a temporal-spatial determination meant to take the reader from their world to the world of the story. In stories from oral traditions it used to be the opening line, ‘Once upon a time.' That clearly informed listeners that the story did not take place here and now, but some timeless place both now and forever.

Admittedly, stories no longer begin with ‘once upon the time.’ However, the ‘illud tempus’ shows up in other forms through most of our media. There are book titles and covers that inform us about the change of place and time, plus those few pages a reader turns to in every book before the story begins – just a few seconds to take a break from reality. In television shows there are the initial introduction scenes and driving music that inform most viewers that the show is about to start, taking them to an imaginary place. This happens in movies, too. Watch for images during these openings. They are often rich in mythic symbolism.

In addition, few of us listen to the stories in the original, oral tradition where ‘once upon a time,’ or ‘a long, long time ago,’ are needed. We chose to read. By making that decision we choose, at least initially, to suspend our disbelief about the impossible and improbable. We give our agreement to visit this story’s world in the now and forever.

Sunday, March 22, 2009

Reading and the Collective Unconscious

During the last century, several scholars and scientists published studies on mythology, folklore and fairy tales, stories that had started with oral storytellers in man's pre-literacy, early history. They wanted to understand the persistence of these stories. Moreover, they knew certain story motifs were encountered in many unrelated cultures and time epochs.

Their ideas developed from the emerging study of psychology. One of the claims Joseph Campbell made was that these tales were necessary for the development of the human psyche. The researchers found that in a subliminal way, these stories helped the listeners overcome the demons, terrors, and dilemmas haunting their dreams and found in their everyday lives. Further, they thought these stories helped society's members learn the morals and customs of not only their culture but also humanity.

Vladimir Propp, a Russian scholar, studied Russian fairy tales and in 1928 wrote the Morphology of Folk Tales, which was transcribed into English sometime in the 1950s. Essentially, it described a series of plot devices found in every Russian fairy tale. Another eminent scholar, Joseph Campbell, in his The Hero With a Thousand Faces released in 1947, tied a similar story morphology with the archetypes and the 'collective unconscious' of Jungian psychology.

What has this to do with readers (or those watching television dramas, movies, or at a guess, those playing video games, for that matter)? Only that these archetypes and plot devices thread through our own modern stories; at least the one we seem to like best.

As a writer, I find this fascinating. Does that mean if all writers follow these structures every story will be like another? Not at all. Stories that contain these forms, just like snowflakes with only six sides, can enjoy an infinity of difference. A plus side – these story forms are already known to engage the audience.

In upcoming posts I will try to show the popular archetypes and structures found in our media today and how they operate, so come back soon.