/tag/the%20hero

15 quotes tagged 'the hero'

The Origins and History of Consciousness

Publisher: Princeton University Press (1954)

393

The picture we have drawn of our age is not intended as an indictment, much less as a glorification of the 'good old days'; for the phenomena we see around us are symptoms of an upheaval which, taken by and large, is necessary. The collapse of the old civilization, and its reconstruction on a lower level to begin with, will justify themselves because the new basis will have been immensely broadened. The civilization that is about to be born will be a human civilization in a far higher sense than any has ever been before, as it will have overcome important social, national, and racial limitations. These are not fantastic pipe dreams, but hard facts, and their birth pangs will bring infinite suffering upon infinite numbers of men. Spiritually, politically, and economically our world is an indivisible whole. By this standard, the Napoleonic wars were minor coups d'état and the world view of that age, in which anything outside Europe had hardly begun to appear, is almost inconceivable to us in its narrowness.

The collapse of the archetypal canon in our culture, which has produced such an extraordinary activation of the collective unconscious - or is perhaps its symptom, manifesting itself in mass movements that have a profound effect upon our personal destinies - is, however, only a passing phenomenon. Already, at a time when the internecine wars of the old canon are still being waged, we can discern, in single individuals, where the synthetic possibilities of the future lie, and almost how it will look. The turning of the mind from the conscious to the unconscious, the responsible rapprochement of human consciousness with the powers of the collective psyche, that is the task of the future. No outward tinkerings with the world and no social ameliorations can give the quietus to the daemon, to the gods and devils of the human soul, or prevent them from tearing down again and again what consciousness has built. Unless they are assigned their place in consciousness and culture they will never leave mankind in peace. But the preparation for this rapprochement lies, as always, with the hero, the individual; he and his transformation are the great human prototypes; he is the testing ground of the collective, just as consciousness is the testing ground of the unconscious.

382

Despite the tendency to conservatism innate in every canon, the Western canon also has in it a revolutionary ingredient deriving from its acceptance of the hero archetype. It goes without saying that this hero figure is not the central point of the canon, nor is its revolutionary influence very easy to recognize; but when one sees in how short a space of time the most revolutionary figures of ecclesiastical history became assimilated and produced a new variation of the canon, one realizes the full significance of the acceptance into it of the hero archetype.

380

Thus the hero, like the ego, stands between two worlds: the inner world that threatens to overwhelm him, and the outer world that wants to liquidate him for breaking the old laws.

378

The hero, as the vehicle of this effort at compensation, becomes alienated from the normal human situation and from the collective. This decollectivization entails suffering, and he suffers at the same time because, in his struggle for freedom, he is also the victim and representative of the obsolete, old order and is forced to bear the burden of it in his own soul.\n\n '...Jung puts it that the danger to which the hero is exposed 'isolation in himself.' The suffering entailed by the very fact of being an ego and an individual is implicit in the hero's situation of having to distinguish himself psychologically from his fellows. He sees things they do not see, does not fall for the things they fall for - but that means that he is a different type of human being and therefore necessarily alone. The loneliness of Prometheus on the rock or of Christ on the cross is the sacrifice they have to endure for having brought fire and redemption to mankind.

377

The hero is not creative in the sense that he decorates embellishes the existing canon, although his creativeness may also manifest itself in shaping and transforming the archetypal contents of his age. The true hero is one who brings the new and shatters the fabric of old values, namely the father-dragon which, backed by the whole weight of tradition and the power of the collective, ever strives to obstruct the birth of the new.

376

The important thing is that the archetypal canon is always created and brought to birth by 'eccentric' individuals. These are the founders of religions, sects, philosophies, political sciences, ideologies, and spiritual movements, in the security of which the collective man lives without needing to come into contact with the primordial fire of direct revelation, or to experience the throes of creation.

174

In this [the hero's] conflict the 'inner voice,' the command of the transpersonal father or father archetype who wants the world to change, collides with the personal father who speaks for the old law. We know this conflict best from the Bible story of Jehovah's command to Abraham: 'Get thee out of thy country, and from thy kindred, and from thy father's house, unto a land that I will show thee' (Genesis 12:1), which the midrash interprets as meaning that Abraham is to destroy the gods of his father. The message of Jesus is only an extension of the same conflict and it repeats itself in every revolution. Whether the new picture of God and the world conflicts with an old picture, or with the personal father, is unimportant, for the father always represents the old order and hence also the old picture current in his cultural canon.

161

Wundt characterizes the heroic age as the 'predominance of individual personality.' This, he says, is what the hero represents; in fact he derives the divine figure from the hero, seeing in God only an intensified hero figure.

150

It must be emphasized yet again that the mythological fate of the hero portrays the archetypal fate of the ego and of all conscious development. It serves as a model for the subsequent development of the collective, and its stages are recapitulated in the development of every child.

150

The phenomenon of psychic duality plainly expressed in Egyptian ritual and formulated theologically thousands of years later in the famous dialogue between Nicodemus and Christ is still alive today in the not uncommon feeling that one is a 'child of God,' although a son or daughter of Mr. X. The dual parentage evidently corresponds to some duality in human nature, here represented by the hero.

210

By freeing the captive and raising the treasure, a man gains possession of his soul's treasures, which are not just 'wishes,' i.e., images of something he has not got but would like to have, but possibilities, i.e., images of something he could have and ought to have. The task of the hero, which is to 'awaken those sleeping images that can and must come forth from the night, in order to give the world a better face,' is far indeed from 'masturbation.' And yet it is a preoccupation with oneself, a case of letting the libido stream inward, without a partner - a kind of masturbatory self-fertilization in the uroboric manner, which alone makes possible the creative process of psychic palingenesis or self-birth.

136

In the first place it is mankind itself, the collective, to whom the hero, just because he deviates from the human norm, appears as a hero and a divinely begotten being. Secondly, the idea of the hero's intrinsically dual nature derives from his own experience of himself. He is a human being like the others, mortal and collective like them, yet at the same time he feels himself a stranger to the community. He discovers within himself something which, although it 'belongs' to him and is as it were part of him, he can only describe as strange, unusual, god-like.

131

Although the separation of the World Parents is, strictly speaking, an integral part of the hero myth, the developments which, at that stage, could only be represented in cosmic symbols now enter the phase of humanization and personality formation. Thus the hero is the archetypal forerunner of mankind in general. His fate is the pattern in accordance with which the masses of humanity must live, and always have lived, however haltingly and distantly; and however short of the ideal man they have fallen, the stages of the hero myth have become constituent elements in the personal development of every individual.

The Denial of Death

Author: Ernest Becker

Publisher: Free Press (1975)

191

This is the most remarkable achievement of the Christian world picture: that it could take slaves, cripples, imbeciles, the simple and the mighty, and make them all secure heroes, simply by taking a step back from the world into another dimension of things, the dimension called heaven. Or we might better say that Christianity took creature consciousness—the thing man most wanted to deny—and made it the very condition for his cosmic heroism.

When we appreciate how natural it is for man to strive to be a hero, how deeply it goes in his evolutionary and organismic constitution, how openly he shows it as a child, then it is all the more curious how ignorant most of us are, consciously, of what we really want and need. In our culture anyway, especially in modern times, the heroic seems too big for us, or we too small for it. Tell a young man that he is entitled to be a hero and he will blush. We disguise our struggle by piling up figures in a bank book to reflect privately our sense of heroic worth. Or by having only a little better home in the neighborhood, a bigger car, brighter children. But underneath throbs the ache of cosmic specialness, no matter how we mask it in concerns of smaller scope. Occasionally someone admits that he takes his heroism seriously, which gives most of us a chill, as did U.S. Congressman Mendel Rivers, who fed appropriations to the military machine and said he was the most powerful man since Julius Caesar. We may shudder at the crassness of earthly heroism, of both Caesar and his imitators, but the fault is not theirs, it is in the way society sets up its hero system and in the people it allows to fill its roles. The urge to heroism is natural, and to admit it honest. For everyone to admit it would probably release such pent-up force as to be devastating to societies as they now are. The fact is that this is what society is and always has been: a symbolic action system, a structure of statuses and roles, customs and rules for behavior, designed to serve as a vehicle for earthly heroism. Each script is somewhat unique, each culture has a different hero system. What the anthropologists call “cultural relativity” is thus really the relativity of hero-systems the world over. But each cultural system is a dramatization of earthly heroics; each system cuts out roles for performances of various degrees of heroism: from the “high” heroism of a Churchill, a Mao, or a Buddha, to the “low” heroism of the coal miner, the peasant, the simple priest; the plain, everyday, earthy heroism wrought by gnarled working hands guiding a family through hunger and disease.