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Chapter 1

Myth and the modern world

People say that what we're all seeking is a meaning for life. 1 don't think that's what we're really seeking. I think that what we're seeking is an experience of being alive, so that our life experiences on the purely physical plane will have resonances within our own innermost being and reality, so that we actually feel the rapture of being alive.
MOYERS: Why myths? Why should we care about myths? What do they have to do with my life?
CAMPBELL: My first response would be, "Go on, live your life, it's a good life — you don't need mythology." I don't believe in being interested in a subject just because it's said to be important. I believe in being caught by it somehow or other. But you may find that, with a proper introduction, mythology will catch you. And so, what can it do for you if it does catch you?
One of our problems today is that we are not well acquainted with the literature of the spirit.
We're interested in the news of the day and the problems of the hour. It used to be that the university campus was a kind of hermetically sealed-off area where the news of the day did not impinge upon your attention to the inner life and to the magnificent human heritage we have in our great tradition — Plato, Confucius, the Buddha, Goethe, and others who speak of the eternal values that have to do with the centering of our lives. When you get to be older, and the concerns of the day have all been attended to, and you turn to the inner life — well, if you don't know where it is or what it is, you'll be sorry.
Greek and Latin and biblical literature used to be part of everyone's education. Now, when these were dropped, a whole tradition of Occidental mythological information was lost. It used to be that these stories were in the minds of people. When the story is in your mind, then you see its relevance to something happening in your own life. It gives you perspective on what's happening to you. With the loss of that, we've really lost something because we don't have a comparable literature to take its place.
These bits of information from ancient times, which have to do with the themes that have supported human life, built civilizations, and informed religions over the millennia, have to do with deep inner problems, inner mysteries, inner thresholds of passage, and if you don't know what the guide-signs are along the way, you have to work it out yourself. But once this subject catches you, there is such a feeling, from one or another of these traditions, of information of a deep, rich, life-vivifying sort that you don't want to give it up.
MOYERS: So we tell stories to try to come to terms with the world, to harmonize our lives with reality?
CAMPBELL: I think so, yes. Novels — great novels — can be wonderfully instructive. In my twenties and thirties and even on into my forties, James Joyce and Thomas Mann were my teachers. I read everything they wrote. Both were writing in terms of what might be called the mythological traditions. Take, for example, the story of Tonio, in Thomas Mann's Tonio Kr;ger. Tonio's father was a substantial businessman, a major citizen in his hometown. Little Tonio, however, had an artistic temperament, so he moved to Munich and joined a group of literary people who felt themselves above the mere money earners and family men.
So here is Tonio between two poles: his father, who was a good father, responsible and all of that, but who never did the thing he wanted to in all his life -- and, on the other hand, the one who leaves his hometown and becomes a critic of that kind of life. But Tonio found that he really loved these hometown people. And although he thought himself a little superior in an intellectual way to them and could describe them with cutting words, his heart was nevertheless with them.
But when he left to live with the bohemians, he found that they were so disdainful of life that he couldn't stay with them, either. So he left them, and wrote a letter back to someone in the group, saying, "I admire those cold, proud beings who adventure upon the paths of great and daemonic beauty and despise 'mankind'; but I do not envy them. For if anything is capable of making a poet of a literary man, it is my hometown love of the human, the living and ordinary. All warmth derives from this love, all kindness and all humor. Indeed, to me it even seems that this must be that love of which it is written that one may 'speak with the tongues of men and of angels,' and yet, lacking love, be 'as sounding brass or a tinkling cymbal.'
And then he says, "The writer must be true to truth." And that's a killer, because the only way you can describe a human being truly is by describing his imperfections. The perfect human being is uninteresting — the Buddha who leaves the world, you know. It is the imperfections of life that are lovable. And when the writer sends a dart of the true word, it hurts. But it goes with love. This is what Mann called "erotic irony," the love for that which you are killing with your cruel, analytical word.
MOYERS: I cherish that image: my hometown love, the feeling you get for that place, no matter how long you've been away or even if you never return. That was where you first discovered people. But why do you say you love people for their imperfections?
CAMPBELL: Aren't children lovable because they're falling down all the time and have little bodies with the heads too big? Didn't Walt Disney know all about this when he did the seven dwarfs?
And these funny little dogs that people have -- they're lovable because they're so imperfect.
MOYERS: Perfection would be a bore, wouldn't it?
CAMPBELL: It would have to be. It would be inhuman. The umbilical point, the humanity, the thing that makes you human and not supernatural and immortal -- that's what's lovable. That is why some people have a very hard time loving God, because there's no imperfection there. You can be in awe, but that would not be real love. It's Christ on the cross that becomes lovable.
MOYERS: What do you mean?
CAMPBELL: Suffering. Suffering is imperfection, is it not?
MOYERS: The story of human suffering, striving, living –
CAMPBELL: — and youth coming to knowledge of itself, what it has to go through.
MOYERS: I came to understand from reading your books -- The Masks of God or The Hero with a Thousand Faces, for example -- that what human beings have in common is revealed in myths. Myths are stories of our search through the ages for truth, for meaning, for significance. We all need to tell our story and to understand our story. We all need to understand death and to cope with death, and we all need help in our passages from birth to life and then to death. We need for life to signify, to touch the eternal, to understand the mysterious, to find out who we are.
CAMPBELL: People say that what we're all seeking is a meaning for life. I don't think that's what we're really seeking. I think that what we're seeking is an experience of being alive, so that our life experiences on the purely physical plane will have resonances within our own innermost being and reality, so that we actually feel the rapture of being alive. That's what it's all finally about, and that's what these clues help us to find within ourselves.
MOYERS: Myths are clues?
CAMPBELL: Myths are clues to the spiritual potentialities of the human life.
MOYERS: What we're capable of knowing and experiencing within?
CAMPBELL: Yes.
MOYERS: You changed the definition of a myth from the search for meaning to the experience of meaning.
CAMPBELL: Experience of life. The mind has to do with meaning. What's the meaning of a flower? There's a Zen story about a sermon of the Buddha in which he simply lifted a flower. There was only one man who gave him a sign with his eyes that he understood what was said. Now, the Buddha himself is called "the one thus come." There's no meaning. What's the meaning of the universe? What's the meaning of a flea? It's just there. That's it. And your own meaning is that you're there. We're so engaged in doing things to achieve purposes of outer value that we forget that the inner value, the rapture that is associated with being alive, is what it's all about.
MOYERS: How do you get that experience?
CAMPBELL: Read myths. They teach you that you can turn inward, and you begin to get the message of the symbols. Read other people's myths, not those of your own religion, because you tend to interpret your own religion in terms of facts -- but if you read the other ones, you begin to get the message. Myth helps you to put your mind in touch with this experience of being alive. It tells you what the experience is. Marriage, for example. What is marriage? The myth tells you what it is. It's the reunion of the separated duad. Originally you were one. You are now two in the world, but the recognition of the spiritual identity is what marriage is. It's different from a love affair. It has nothing to do with that. It's another mythological plane of experience. When people get married because they think it's a long-time love affair, they'll be divorced very soon, because all love affairs end in disappointment.
But marriage is recognition of a spiritual identity. If we live a proper life, if our minds are on the right qualities in regarding the person of the opposite sex, we will find our proper male or female counterpart.
But if we are distracted by certain sensuous interests, we'll marry the wrong person. By marrying the right person, we reconstruct the image of the incarnate God, and that's what marriage is.
MOYERS: The right person? How does one choose the right person?
CAMPBELL: Your heart tells you. It ought to.
MOYERS: Your inner being.
CAMPBELL: That's the mystery.
MOYERS: You recognize your other self.
CAMPBELL: Well, I don't know, but there's a flash that comes, and something in you knows that this is the one.
MOYERS: If marriage is this reunion of the self with the self, with the male or female grounding of ourselves, why is it that marriage is so precarious in our modern society?
CAMPBELL: Because it's not regarded as a marriage. I would say that if the marriage isn't a first priority in your life, you're not married. The marriage means the two that are one, the two become one flesh. If the marriage lasts long enough, and if you are acquiescing constantly to it instead of to individual personal whim, you come to realize that that is true -- the two really are one.
MOYERS: One not only biologically but spiritually.
CAMPBELL: Primarily spiritually. The biological is the distraction which may lead you to the wrong identification.
MOYERS: Then the necessary function of marriage, perpetuating ourselves in children, is not the primary one.
CAMPBELL: No, that's really just the elementary aspect of marriage. There are two completely different stages of marriage. First is the youthful marriage following the wonderful impulse that nature has given us in the interplay of the sexes biologically in order to produce children. But there comes a time when the child graduates from the family and the couple is left. I've been amazed at the number of my friends who in their forties or fifties go apart. They have had a perfectly decent life together with the child, but they interpreted their union in terms of their relationship through the child. They did not interpret it in terms of their own personal relationship to each other.
Marriage is a relationship. When you make the sacrifice in marriage, you're sacrificing not to each other but to unity in a relationship. The Chinese image of the Tao, with the dark and light interacting — that's the relationship of yang and yin, male and female, which is what a marriage is. And that's what you have become when you have married. You're no longer this one alone; your identity is in a relationship. Marriage is not a simple love affair, it's an ordeal, and the ordeal is the sacrifice of ego to a relationship in which two have become one.
MOYERS: So marriage is utterly incompatible with the idea of doing one's own thing.
CAMPBELL: It's not simply one's own thing, you see. It is, in a sense, doing one's own thing, but the one isn't just you, it's the two together as one. And that's a purely mythological image signifying the sacrifice of the visible entity for a transcendent good. This is something that becomes beautifully realized in the second stage of marriage, what I call the alchemical stage, of the two experiencing that they are one. If they are still living as they were in the primary stage of marriage, they will go apart when their children leave. Daddy will fall in love with some little nubile girl and run off, and Mother will be left with an empty house and heart, and will have to work it out on her own, in her own way.
MOYERS: That's because we don't understand the two levels of marriage.
CAMPBELL: You don't make a commitment.
MOYERS: We presume to — we make a commitment for better or for worse.
CAMPBELL: That's the remnant of a ritual.
MOYERS: And the ritual has lost its force. The ritual that once conveyed an inner reality is now merely form. And that's true in the rituals of society and in the personal rituals of marriage and religion.
CAMPBELL: How many people before marriage receive spiritual instruction as to what the marriage means? You can stand up in front of a judge and in ten minutes get married. The marriage ceremony in India lasts three days. That couple is glued.
MOYERS: You're saying that marriage is not just a social arrangement, it's a spiritual exercise.
CAMPBELL: It's primarily a spiritual exercise, and the society is supposed to help us have the realization. Man should not be in the service of society, society should be in the service of man. When man is in the service of society, you have a monster state, and that's what is threatening the world at this minute.
MOYERS: What happens when a society no longer embraces a powerful mythology?
CAMPBELL: What we've got on our hands. If you want to find out what it means to have a society without any rituals, read the New York Times.
MOYERS: And you'd find?
CAMPBELL: The news of the day, including destructive and violent acts by young people who don't know how to behave in a civilized society.
MOYERS: Society has provided them no rituals by which they become members of the tribe, of the community. All children need to be twice born, to learn to function rationally in the present world, leaving childhood behind. I think of that passage in the first book of Corinthians: "When I was a child, I spoke as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things."
CAMPBELL: That's exactly it. That's the significance of the puberty rites. In primal societies, there are teeth knocked out, there are scarifications, there are circumcisions, there are all kinds of things done. So you don't have your little baby body anymore, you're something else entirely.
When I was a kid, we wore short trousers, you know, knee pants. And then there was a great moment when you put on long pants. Boys now don't get that. I see even five-year-olds walking around with long trousers. When are they going to know that they're now men and must put aside childish things?
MOYERS: Where do the kids growing up in the city — on 125th and Broadway, for example — where do these kids get their myths today?
CAMPBELL: They make them up themselves. This is why we have graffiti all over the city.
These kids have their own gangs and their own initiations and their own morality, and they're doing the best they can. But they're dangerous because their own laws are not those of the city. They have not been initiated into our society.
MOYERS: Rollo May says there is so much violence in American society today because there are no more great myths to help young men and women relate to the world or to understand that world beyond what is seen.
CAMPBELL: Yes, but another reason for the high level of violence here is that America has no ethos.
MOYERS: Explain.
CAMPBELL: In American football, for example, the rules are very strict and complex. If you were to go to England, however, you would find that the rugby rules are not that strict. When I was a student back in the twenties, there were a couple of young men who constituted a marvelous forwardpassing pair. They went to Oxford on scholarship and joined the rugby team and one day they introduced the forward pass. And the English players said, "Well, we have no rules for this, so please don't. We don't play that way."
Now, in a culture that has been homogeneous for some time, there are a number of understood, unwritten rules by which people live. There is an ethos there, there is a mode, an understanding that, "we don't do it that way."
MOYERS: A mythology.
CAMPBELL: An unstated mythology, you might say. This is the way we use a fork and knife, this is the way we deal with people, and so forth. It's not all written down in books. But in America we have people from all kinds of backgrounds, all in a cluster, together, and consequently law has become very important in this country. Lawyers and law are what hold us together. There is no ethos. Do you see what I mean?
MOYERS: Yes. It's what De Tocqueville described when he first arrived here a hundred and sixty years ago to discover "a tumult of anarchy."
CAMPBELL: What we have today is a demythologized world. And, as a result, the students I meet are very much interested in mythology because myths bring them messages. Now, I can't tell you what the messages are that the study of mythology is bringing to young people today. I know what it did for me. But it is doing something for them. When I go to lecture at any college, the room is bursting with students who have come to hear what I have to say. The faculty very often assigns me to a room that's a little small -- smaller than it should have been because they didn't know how much excitement there was going to be in the student body.
MOYERS: Take a guess. What do you think the mythology, the stories they're going to hear from you, do for them?
CAMPBELL: They're stories about the wisdom of life, they really are. What we're learning in our schools is not the wisdom of life. We're learning technologies, we're getting information. There's a curious reluctance on the part of faculties to indicate the life values of their subjects. In our sciences today — and this includes anthropology, linguistics, the study of religions, and so forth — there is a tendency to specialization. And when you know how much a specialist scholar has to know in order to be a competent specialist, you can understand this tendency. To study Buddhism, for instance, you have to be able to handle not only all the European languages in which the discussions of the Oriental come, particularly French, German, English, and Italian, but also Sanskrit, Chinese, Japanese, Tibetan, and several other languages. Now, this is a tremendous task. Such a specialist can't also be wondering about the difference between the Iroquois and Algonquin.
Specialization tends to limit the field of problems that the specialist is concerned with. Now, the person who isn't a specialist, but a generalist like myself, sees something over here that he has learned from one specialist, something over there that he has learned from another specialist -- and neither of them has considered the problem of why this occurs here and also there. So the generalist — and that's a derogatory term, by the way, for academics — gets into a range of other problems that are more genuinely human, you might say, than specifically cultural.
MOYERS: Then along comes the journalist who has a license to explain things he doesn't understand.
CAMPBELL: That is not only a license but something that is put upon him -- he has an obligation to educate himself in public. Now, I remember when I was a young man going to hear Heinrich Zimmer lecture. He was the first man I know of to speak about myths as though they had messages that were valid for life, not just interesting things for scholars to fool around with. And that confirmed me in a feeling I had had ever since boyhood.
MOYERS: Do you remember the first time you discovered myth? The first time the story came alive in you?
CAMPBELL: I was brought up as a Roman Catholic. Now, one of the great advantages of being brought up a Roman Catholic is that you're taught to take myth seriously and to let it operate on your life and to live in terms of these mythic motifs. I was brought up in terms of the seasonal relationships to the cycle of Christ's coming into the world, teaching in the world, dying, resurrecting, and returning to heaven. The ceremonies all through the year keep you in mind of the eternal core of all that changes in time. Sin is simply getting out of touch with that harmony.
And then I fell in love with American Indians because Buffalo Bill used to come to Madison Square Garden every year with his marvelous Wild West Show. And I wanted to know more about Indians. My father and mother were very generous parents and found what books were being written for boys about Indians at that time. So I began to read American Indian myths, and it wasn't long before I found the same motifs in the American Indian stories that I was being taught by the nuns at school.
MOYERS: Creation —
CAMPBELL: — creation, death and resurrection, ascension to heaven, virgin births — I didn't know what it was, but I recognized the vocabulary. One after another.
MOYERS: And what happened?
CAMPBELL: I was excited. That was the beginning of my interest in comparative mythology.
MOYERS: Did you begin by asking, "Why does it say it this way while the Bible says it that way?"
CAMPBELL: No, I didn't start the comparative analysis until many years later.
MOYERS: What appealed to you about the Indian stories?
CAMPBELL: In those days there was still American Indian lore in the air. Indians were still around. Even now, when I deal with myths from all parts of the world, I find the American Indian tales and narratives to be very rich, very well developed.
And then my parents had a place out in the woods where the Delaware Indians had lived, and the Iroquois had come down and fought them. There was a big ledge where we could dig for Indian arrowheads and things like that. And the very animals that play the role in the Indian stories were there in the woods around me. It was a grand introduction to this material.
MOYERS: Did these stories begin to collide with your Catholic faith?
CAMPBELL: No, there was no collision. The collision with my religion came much later in relation to scientific studies and things of that kind. Later I became interested in Hinduism, and there were the same stories again. And in my graduate work I was dealing with the Arthurian medieval material, and there were the same stories again. So you can't tell me that they're not the same stories. I've been with them all my life.
MOYERS: They come from every culture but with timeless themes.
CAMPBELL: The themes are timeless, and the inflection is to the culture.
MOYERS: So the stories may take the same universal theme but apply it slightly differently, depending upon the accent of the people who are speaking?
CAMPBELL: Oh, yes. If you were not alert to the parallel themes, you perhaps would think they were quite different stories, but they're not.
MOYERS: You taught mythology for thirty-eight years at Sarah Lawrence. How did you get these young women, coming to college from their middle-class backgrounds, from their orthodox religions — how did you get them interested in myths?
CAMPBELL: Young people just grab this stuff. Mythology teaches you what's behind literature and the arts, it teaches you about your own life. It's a great, exciting, life-nourishing subject. Mythology has a great deal to do with the stages of life, the initiation ceremonies as you move from childhood to adult responsibilities, from the unmarried state into the married state. All of those rituals are mythological rites. They have to do with your recognition of the new role that you're in, the process of
throwing off the old one and coming out in the new, and entering into a responsible profession.
When a judge walks into the room, and everybody stands up, you're not standing up to that guy, you're standing up to the robe that he's wearing and the role that he's going to play. What makes him worthy of that role is his integrity, as a representative of the principles of that role, and not some group of prejudices of his own. So what you're standing up to is a mythological character. I imagine some kings and queens are the most stupid, absurd, banal people you could run into, probably interested only in horses and women, you know. But you're not responding to them as personalities, you're responding to them in their mythological roles. When someone becomes a judge, or President of the United States, the man is no longer that man, he's the representative of an eternal office; he has to sacrifice his personal desires and even life possibilities to the role that he now signifies.
MOYERS: So there are mythological rituals at work in our society. The ceremony of marriage is one. The ceremony of the inauguration of a President or judge is another. What are some of the other rituals that are important to society today?
CAMPBELL: Joining the army, putting on a uniform, is another. You're giving up your personal life and accepting a socially determined manner of life in the service of the society of which you are a member. This is why I think it is obscene to judge people in terms of civil law for performances that they rendered in time of war. They were acting not as individuals, they were acting as agents of something above them and to which they had by dedication given themselves. To judge them as though they were individual human beings is totally improper.
MOYERS: You've seen what happens when primitive societies are unsettled by white man's civilization. They go to pieces, they disintegrate, they become diseased. Hasn't the same thing been happening to us since our myths began to disappear?
CAMPBELL: Absolutely, it has.
MOYERS: Isn't that why conservative religions today are calling for the old-time religion?
CAMPBELL: Yes, and they're making a terrible mistake. They are going back to something that is vestigial, that doesn't serve life.
MOYERS: But didn't it serve us?
CAMPBELL: Sure, it did.
MOYERS: I understand the yearning. In my youth I had fixed stars. They comforted me with their permanence. They gave me a known horizon. And they told me there was a loving, kind, and just father out there looking down on me, ready to receive me, thinking of my concerns all the time. Now, Saul Bellow says that science has made a housecleaning of beliefs. But there was value in these things for me. I am today what I am because of those beliefs. I wonder what happens to children who don't have those fixed stars, that known horizon — those myths?
CAMPBELL: Well, as I said, all you have to do is read the newspaper. It's a mess. On this immediate level of life and structure, myths offer life models. But the models have to be appropriate to the time in which you are living, and our time has changed so fast that what was proper fifty years ago is not proper today. The virtues of the past are the vices of today. And many of what were thought to be the vices of the past are the necessities of today. The moral order has to catch up with the moral necessities of actual life in time, here and now. And that is what we are not doing. The old-time religion belongs to another age, another people, another set of human values, another universe. By going back, you throw yourself out of sync with history. Our kids lose their faith in the religions that were taught to them, and they go inside.
MOYERS: Often with the help of a drug.
CAMPBELL: Yes. The mechanically induced mystical experience is what you have there. I have attended a number of psychological conferences dealing with this whole problem of the difference between the mystical experience and the psychological crack-up. The difference is that the one who cracks up is drowning in the water in which the mystic swims. You have to be prepared for this experience.
MOYERS: You talk about this peyote culture emerging and becoming dominant among Indians as a consequence of the loss of the buffalo and their earlier way of life.
CAMPBELL: Yes. Ours is one of the worst histories in relation to the native peoples of any civilized nation. They are nonpersons. They are not even reckoned in the statistics of the voting population of the United States. There was a moment shortly after the American Revolution when there were a number of distinguished Indians who actually participated in American government and life.
George Washington said that Indians should be incorporated as members of our culture. But instead, they were turned into vestiges of the past. In the nineteenth century, all the Indians of the southeast were put into wagons and shipped under military guard out to what was then called Indian Territory, which was given to the Indians in perpetuity as their own world — then a couple of years later was taken away from them.
Recently, anthropologists studied a group of Indians in northwestern Mexico who live within a few miles of a major area for the natural growth of peyote. Peyote is their animal -- that is to say, they associate it with the deer. And they have very special missions to go collect peyote and bring it back.
These missions are mystical journeys with all of the details of the typical mystical journey. First, there is disengagement from secular life. Everybody who is going to go on this expedition has to make a complete confession of all the faults of his or her recent living. And if they don't, the magic is not going to work. Then they start on the journey. They even speak a special language, a negative language.
Instead of saying yes, for example, they say no, or instead of saying, "We are going," they say, "We are coming." They are in another world.
Then they come to the threshold of the adventure. There are special shrines that represent stages of mental transformation on the way. And then comes the great business of collecting the peyote. The peyote is killed as though it were a deer. They sneak up on it, shoot a little arrow at it, and then perform the ritual of collecting the peyote.
The whole thing is a complete duplication of the kind of experience that is associated with the inward journey, when you leave the outer world and come into the realm of spiritual beings. They identify each little stage as a spiritual transformation. They are in a sacred place all the way.
MOYERS: Why do they make such an intricate process out of it?
CAMPBELL: Well, it has to do with the peyote being not simply a biological, mechanical, chemical effect but one of spiritual transformation. If you undergo a spiritual transformation and have not had preparation for it, you do not know how to evaluate what has happened to you, and you get the terrible experiences of a bad trip, as they used to call it with LSD. If you know where you are going, you won't have a bad trip.
MOYERS: So this is why it is a psychological crisis if you are drowning in the water where —
CAMPBELL: — where you ought to be able to swim, but you weren't prepared. That is true of the spiritual life, anyhow. It is a terrifying experience to have your consciousness transformed.
MOYERS: You talk a lot about consciousness.
CAMPBELL: Yes.
MOYERS: What do you mean by it?
CAMPBELL: It is a part of the Cartesian mode to think of consciousness as being something peculiar to the head, that the head is the organ originating consciousness. It isn't. The head is an organ that inflects consciousness in a certain direction, or to a certain set of purposes. But there is a consciousness here in the body. The whole living world is informed by consciousness.
I have a feeling that consciousness and energy are the same thing somehow. Where you really see life energy, there's consciousness. Certainly, the vegetable world is conscious. And when you live in the woods, as I did as a kid, you can see all these different consciousnesses relating to themselves. There is a plant consciousness and there is an animal consciousness, and we share both these things. You eat certain foods, and the bile knows whether there's something there for it to go to work on. The whole process is consciousness. Trying to interpret it in simply mechanistic terms won't work.
MOYERS: How do we transform our consciousness?
CAMPBELL: That's a matter of what you are disposed to think about. And that's what meditation is for. All of life is a meditation, most of it unintentional. A lot of people spend most of life in meditating on where their money is coming from and where it's going to go. If you have a family to bring up, you're concerned for the family. These are all very important concerns, but they have to do with physical conditions, mostly. But how are you going to communicate spiritual consciousness to the children if you don't have it yourself? How do you get that? What the myths are for is to bring us into a level of consciousness that is spiritual.
Just for example: I walk off Fifty-first Street and Fifth Avenue into St. Patrick's Cathedral. I've left a very busy city and one of the most economically inspired cities on the planet. I walk into that cathedral, and everything around me speaks of spiritual mysteries. The mystery of the cross, what's that all about there? The stained-glass windows, which bring another atmosphere in. My consciousness has been brought up onto another level altogether, and I am on a different platform. And then I walk out, and I'm back on the level of the street again. Now, can I hold something from the cathedral consciousness?
Certain prayers or meditations are designed to hold your consciousness on that level instead of letting it drop down here all the way. And then what you can finally do is to recognize that this is simply a lower level of that higher consciousness. The mystery that is expressed there is operating in the field of your money, for example. All money is congealed energy. I think that that's the clue to how to transform your consciousness.
MOYERS: Don't you sometimes think, as you consider these stories, that you are drowning in other people's dreams?
CAMPBELL: I don't listen to other people's dreams.
MOYERS: But all of these myths are other people's dreams.
CAMPBELL: Oh, no, they're not. They are the world's dreams. They are archetypal dreams and deal with great human problems. I know when I come to one of these thresholds now. The myth tells me about it, how to respond to certain crises of disappointment or delight or failure or success. The myths tell me where I am.
MOYERS: What happens when people become legends? Can you say, for example, that John Wayne has become a myth?
CAMPBELL: When a person becomes a model for other people's lives, he has moved into the sphere of being mythologized.
MOYERS: This happens so often to actors in films, where we get so many of our models.
CAMPBELL: I remember, when I was a boy, Douglas Fairbanks was the model for me. Adolphe Menjou was the model for my brother. Of course, those men were playing the roles of mythic figures.
They were educators toward life.
MOYERS: No figure in movie history is more engaging to me than Shane. Did you see the movie Shane?
CAMPBELL: No, I didn't.
MOYERS: It is the classic story of the stranger who rides in from outside and does good for others and rides away, not waiting for his reward. Why is it that films affect us this way?
CAMPBELL: There is something magical about films. The person you are looking at is also somewhere else at the same time. That is a condition of the god. If a movie actor comes into the theater, everybody turns and looks at the movie actor. He is the real hero of the occasion. He is on another plane.
He is a multiple presence.
What you are seeing on the screen really isn't he, and yet the "he" comes. Through the multiple forms, the form of forms out of which all of this comes is right there.
MOYERS: Movies seem to create these large figures, while television merely creates celebrities.
They don't become models as much as they do objects of gossip.
CAMPBELL: Perhaps that's because we see TV personalities in the home instead of in a special temple like the movie theater.
MOYERS: I saw a photograph yesterday of this latest cult figure from Hollywood, Rambo, the Vietnam veteran who returns to rescue prisoners of war, and through violent swaths of death and destruction he brings them back. I understand it is the most popular movie in Beirut. The photograph showed the new Rambo doll that has been created and is being sold by the same company that produces the Cabbage Patch dolls. In the foreground is the image of a sweet, lovable Cabbage Patch doll, and behind it, the brute force, Rambo.
CAMPBELL: Those are two mythic figures. The image that comes to my mind now is of Picasso's Minotauromachy, an engraving that shows a great monster bull approaching. The philosopher is climbing up a ladder in terror to get away. In the bullring there is a horse, which has been killed, and on the sacrificed horse lies a female matador who has also been killed. The only creature facing this terrific monster is a little girl with a flower. Those are the two figures you have just spoken of — the simple, innocent, childlike one, and the terrific threat. You see the problems of the modern day.
MOYERS: The poet Yeats felt we were living in the last of a great Christian cycle. His poem "The Second Coming" says, "Turning and turning in the widening gyre/The falcon cannot hear the falconer;/Things fall apart; the centre cannot hold;/ Mere anarchy is loosed upon the world,/The blooddimmed tide is loosed, and everywhere/The ceremony of innocence is drowned." What do you see "slouching towards Bethlehem to be born"?
CAMPBELL: I don't know what's coming, any more than Yeats knew, but when you come to the end of one time and the beginning of a new one, it's a period of tremendous pain and turmoil. The threat we feel, and everybody feels — well, there is this notion of Armageddon coming, you know.
MOYERS: "I have become Death, the Destroyer of worlds," Oppenheimer said when he saw the first atomic bomb explode. But you don't think that will be our end, do you?
CAMPBELL: It won't be the end. Maybe it will be the end of life on this planet, but that is not the end of the universe. It is just a bungled explosion in terms of all the explosions that are going on in all the suns of the universe. The universe is a bunch of exploding atomic furnaces like our sun. So this is just a little imitation of the whole big job.
MOYERS: Can you imagine that somewhere else other creatures can be sitting, investing their transient journey with the kind of significance that our myths and great stories do?
CAMPBELL: No. When you realize that if the temperature goes up fifty degrees and stays there, life will not exist on this earth, and that if it drops, let's say, another hundred degrees and stays there, life will not be on this earth; when you realize how very delicate this balance is, how the quantity of water is so important — well, when you think of all the accidents of the environment that have fostered life, how can you think that the life we know would exist on any other particle of the universe, no matter how many of these satellites around stars there may be?
MOYERS: This fragile life always exists in the crucible of terror and possible extinction. And the image of the Cabbage Patch doll juxtaposed with the vicious Rambo is not at odds with what we know of life through mythology?
CAMPBELL: No, it isn't.
MOYERS: Do you see some new metaphors emerging in a modern medium for the old universal truths?
CAMPBELL: I see the possibility of new metaphors, but I don't see that they have become mythological yet.
MOYERS: What do you think will be the myths that will incorporate the machine into the new world?
CAMPBELL: Well, automobiles have gotten into mythology. They have gotten into dreams.
And airplanes are very much in the service of the imagination. The flight of the airplane, for example, is in the imagination as the release from earth. This is the same thing that birds symbolize, in a certain way. The bird is symbolic of the release of the spirit from bondage to the earth, just as the serpent is symbolic of the bondage to the earth. The airplane plays that role now.
MOYERS: Any others?
CAMPBELL: Weapons, of course. Every movie that I have seen on the airplane as I traveled back and forth between California and Hawaii shows people with revolvers. There is the Lord Death, carrying his weapon. Different instruments take over the roles that earlier instruments now no longer serve. But I don't see any more than that.
MOYERS: So the new myths will serve the old stories. When I saw Star Wars, I remembered the phrase from the apostle Paul, "I wrestle against principalities and powers." That was two thousand years ago. And in the caves of the early Stone Age hunter, there are scenes of wrestling against principalities and powers. Here in our modern technological myths we are still wrestling.
CAMPBELL: Man should not submit to the powers from outside but command them. How to do it is the problem.
MOYERS: After our youngest son had seen Star Wars for the twelfth or thirteenth time, I said, "Why do you go so often?" He said, "For the same reason you have been reading the Old Testament all of your life." He was in a new world of myth.
CAMPBELL: Certainly, Star Wars has a valid mythological perspective. It shows the state as a machine and asks, "Is the machine going to crush humanity or serve humanity? Humanity comes not from the machine but from the heart. What I see in Star Wars is the same problem that Faust gives us:
Mephistopheles, the machine man, can provide us with all the means, and is thus likely to determine the aims of life as well. But of course, the characteristic of Faust, which makes him eligible to be saved, is that he seeks aims that are not those of the machine.
Now, when Luke Skywalker unmasks his father, he is taking off the machine role that the father has played. The father was the uniform. That is power, the state role.
MOYERS: Machines help us to fulfill the idea that we want the world to be made in our image, and we want it to be what we think it ought to be.
CAMPBELL: Yes. But then there comes a time when the machine begins to dictate to you. For example; I have bought this wonderful machine — a computer. Now I am rather an authority on gods, so I identified the machine — it seems to me to be an Old Testament god with a lot of rules and no mercy.
MOYERS: There is a fetching story about President Eisenhower and the first computers —
CAMPBELL: — Eisenhower went into a room full of computers. And he put the question to these machines, "Is there a God?" And they all start up, and the lights flash, and the wheels turn, and after a while a voice says, "Now there is."
MOYERS: But isn't it possible to develop toward your computer the same attitude of the chieftain who said that all things speak of God? If it isn't a special, privileged revelation, God is everywhere in his work, including the computer.
CAMPBELL: Indeed so. It's a miracle, what happens on that screen. Have you ever looked inside one of those things?
MOYERS: No, and I don't intend to.
CAMPBELL: You can't believe it. It's a whole hierarchy of angels -- all on slats. And those little tubes — those are miracles.
I have had a revelation from my computer about mythology. You buy a certain software, and there is a whole set of signals that lead to the achievement of your aim. If you begin fooling around with signals that belong to another system of software, they just won't work.
Similarly, in mythology — if you have a mythology in which the metaphor for the mystery is the father, you are going to have a different set of signals from what you would have if the metaphor for the wisdom and mystery of the world were the mother. And they are two perfectly good metaphors. Neither one is a fact. These are metaphors. It is as though the universe were my father. It is as though the universe were my mother. Jesus says, "No one gets to the father but by me." The father that he was talking about was the biblical father. It might be that you can get to the father only by way of Jesus. On the other hand, suppose you are going by way of the mother. There you might prefer Kali, and the hymns to the goddess, and so forth. That is simply another way to get to the mystery of your life. You must understand that each religion is a kind of software that has its own set of signals and will work.
If a person is really involved in a religion and really building his life on it, he better stays with the software that he has got. But a chap like myself, who likes to play with the software — well, I can run around, but I probably will never have an experience comparable to that of a saint.
MOYERS: But haven't some of the greatest saints borrowed from anywhere they could? They have taken from this and from that, and constructed a new software.
CAMPBELL: That is what is called the development of a religion. You can see it in the Bible. In the beginning, God was simply the most powerful god among many. He is just a local tribal god. And then in the sixth century, when the Jews were in Babylon, the notion of a world savior came in, and the biblical divinity moved into a new dimension.
You can keep an old tradition going only by renewing it in terms of current circumstances. In the period of the Old Testament, the world was a little three-layer cake, consisting of a few hundred miles around the Near Eastern centers. No one had ever heard of the Aztecs, or even of the Chinese. When the world changes, then the religion has to be transformed.
MOYERS: But it seems to me that is in fact what we are doing.
CAMPBELL: That is in fact what we had better do. But my notion of the real horror today is what you see in Beirut. There you have the three great Western religions, Judaism, Christianity, and Islam — and because the three of them have three different names for the same biblical god, they can't get on together. They are stuck with their metaphor and don't realize its reference. They haven't allowed the circle that surrounds them to open. It is a closed circle. Each group says, "We are the chosen group, and we have God."
Look at Ireland. A group of Protestants was moved to Ireland in the seventeenth century by Cromwell, and it never has opened up to the Catholic majority there. The Catholics and Protestants represent two totally different social systems, two different ideals.
MOYERS: Each needs a new myth.
CAMPBELL: Each needs its own myth, all the way. Love thine enemy. Open up. Don't judge.
All things are Buddha things. It is there in the myth. It is already there.
MOYERS: You tell a story about a local jungle native who once said to a missionary, "Your god keeps himself shut up in a house as if he were old and infirm. Ours is in the forest and in the fields and on the mountains when the rain comes." And I think that is probably true.
CAMPBELL: Yes. You see, this is a problem you get in the book of Kings and in Samuel. The various Hebrew kings were sacrificing on the mountaintops. And they did wrong in the sight of Yahweh.
The Yahweh cult was a specific movement in the Hebrew community, which finally won. This was a pushing through of a certain temple-bound god against the nature cult, which was celebrated all over the place.
And this imperialistic thrust of a certain in-group culture is continued in the West. But it has got to open to the nature of things now. If it can open, all the possibilities are there.
MOYERS: Of course, we moderns are stripping the world of its natural revelations, of nature itself. I think of that pygmy legend of the little boy who finds the bird with the beautiful song in the forest and brings it home.
CAMPBELL: He asks his father to bring food for the bird, and the father doesn't want to feed a mere bird, so he kills it. And the legend says the man killed the bird, and with the bird he killed the song, and with the song, himself. He dropped dead, completely dead, and was dead forever.
MOYERS: Isn't that a story about what happens when human beings destroy their environment?
Destroy their world? Destroy nature and the revelations of nature?
CAMPBELL: They destroy their own nature, too. They kill the song.
MOYERS: And isn't mythology the story of the song?
CAMPBELL: Mythology is the song. It is the song of the imagination, inspired by the energies of the body. Once a Zen master stood up before his students and was about to deliver a sermon. And just as he was about to open his mouth, a bird sang. And he said, "The sermon has been delivered."
MOYERS: I was about to say that we are creating new myths, but you say no, every myth we tell today has some point of origin in our past experience.
CAMPBELL: The main motifs of the myths are the same, and they have always been the same.
If you want to find your own mythology, the key is with what society do you associate? Every mythology has grown up in a certain society in a bounded field. Then they come into collision and relationship, and they amalgamate, and you get a more complex mythology.
But today there are no boundaries. The only mythology that is valid today is the mythology of the planet — and we don't have such a mythology. The closest thing I know to a planetary mythology is Buddhism, which sees all beings as Buddha beings. The only problem is to come to the recognition of that. There is nothing to do. The task is only to know what is, and then to act in relation to the brotherhood of all of these beings.
MOYERS: Brotherhood?
CAMPBELL: Yes. Now brotherhood in most of the myths I know of is confined to a bounded community. In bounded communities, aggression is projected outward.
For example, the ten commandments say, "Thou shalt not kill." Then the next chapter says, "Go into Canaan and kill everybody in it." That is a bounded field. The myths of participation and love pertain only to the in-group, and the out-group is totally other. This is the sense of the word "gentile" — the person is not of the same order.
MOYERS: And unless you wear my costume, we are not kin.
CAMPBELL: Yes. Now, what is a myth? The dictionary definition of a myth would be stories about gods. So then you have to ask the next question: What is a god? A god is a personification of a motivating power or a value system that functions in human life and in the universe — the powers of your own body and of nature. The myths are metaphorical of spiritual potentiality in the human being, and the same powers that animate our life animate the life of the world. But also there are myths and gods that have to do with specific societies or the patron deities of the society. In other words, there are two totally different orders of mythology. There is the mythology that relates you to your nature and to the natural world, of which you're a part. And there is the mythology that is strictly sociological, linking you to a particular society. You are not simply a natural man, you are a member of a particular group. In the history of European mythology, you can see the interaction of these two systems. Usually the socially oriented system is of a nomadic people who are moving around, so you learn that's where your center is, in that group. The nature-oriented mythology would be of an earth-cultivating people.
Now, the biblical tradition is a socially oriented mythology. Nature is condemned. In the nineteenth century, scholars thought of mythology and ritual as an attempt to control nature. But that is magic, not mythology or religion. Nature religions are not attempts to control nature but to help you put yourself in accord with it. But when nature is thought of as evil, you don't put yourself in accord with it, you control it, or try to, and hence the tension, the anxiety, the cutting down of forests, the annihilation of native people. And the accent here separates us from nature.
MOYERS: Is this why we so easily dominate or subjugate nature -- because we have contempt for it, because we see it only as something to serve us?
CAMPBELL: Yes. I will never forget the experience I had when I was in Japan, a place that never heard of the Fall and the Garden of Eden. One of the Shinto texts says that the processes of nature cannot be evil. Every natural impulse is not to be corrected but to be sublimated, to be beautified. There is a glorious interest in the beauty of nature and cooperation with nature, so that in some of those gardens you don't know where nature begins and art ends — this was a tremendous experience.
MOYERS: But, Joe, Tokyo today refutes that ideal in such flagrant ways. Tokyo is a city where nature has virtually disappeared, except as contained in small gardens that are still cherished by some of the people.
CAMPBELL: There is a saying in Japan, Rock with the waves. Or, as we say in boxing, Roll with the punches. It is only about a hundred and twenty-five years ago that Perry broke Japan open. And in that time, they have assimilated a terrific load of mechanical material. But what I found in Japan was that they were holding their own head against this, and assimilating this machine world to themselves.
When you go inside the buildings, then you are back in Japan. It is the outside that looks like New York.
MOYERS: "Holding their own head." That is an interesting idea because, even though the cities emerge around them, within the soul, the place where the inner person dwells, they are still, as you say, in accord with nature.
CAMPBELL: But in the Bible, eternity withdraws, and nature is corrupt, nature has fallen. In biblical thinking, we live in exile.
MOYERS: As we sit here and talk, there is one story after another of car bombings in Beirut — by the Muslims of the Christians, by the Christians of the Muslims, and by the Christians of the Christians. It strikes me that Marshall McLuhan was right when he said that television has made a global village of the world -- but he didn't know the global village would be Beirut. What does that say to you?
CAMPBELL: It says to me that they don't know how to apply their religious ideas to contemporary life, and to human beings rather than just to their own community. It's a terrible example of the failure of religion to meet the modern world. These three mythologies are fighting it out. They have disqualified themselves for the future.
MOYERS: What kind of new myth do we need?
CAMPBELL: We need myths that will identify the individual not with his local group but with the planet. A model for that is the United States. Here were thirteen different little colony nations that decided to act in the mutual interest, without disregarding the individual interests of any one of them.
MOYERS: There is something about that on the Great Seal of the United States.
CAMPBELL: That's what the Great Seal is all about. I carry a copy of the Great Seal in my pocket in the form of a dollar bill. Here is the statement of the ideals that brought about the formation of the United States. Look at this dollar bill. Now here is the Great Seal of the United States. Look at the pyramid on the left. A pyramid has four sides. These are the four points of the compass. There is somebody at this point, there's somebody at that point, and there's somebody at this point. When you're down on the lower levels of this pyramid, you will be either on one side or on the other. But when you get up to the top, the points all come together, and there the eye of God opens.
MOYERS: And to them it was the god of reason.
CAMPBELL: Yes. This is the first nation in the world that was ever established on the basis of reason instead of simply warfare. These were eighteenth-century deists, these gentlemen. Over here we read, "In God We Trust." But that is not the god of the Bible. These men did not believe in a Fall. They did not think the mind of man was cut off from God. The mind of man, cleansed of secondary and merely temporal concerns, beholds with the radiance of a cleansed mirror a reflection of the rational mind of God. Reason puts you in touch with God. Consequently, for these men, there is no special revelation anywhere, and none is needed, because the mind of man cleared of its fallibilities is sufficiently capable of the knowledge of God. All people in the world are thus capable because all people in the world are capable of reason.
All men are capable of reason. That is the fundamental principle of democracy. Because everybody's mind is capable of true knowledge, you don't have to have a special authority, or a special revelation telling you that this is the way things should be.
MOYERS: And yet these symbols come from mythology.
CAMPBELL: Yes, but they come from a certain quality of mythology. It's not the mythology of a special revelation. The Hindus, for example, don't believe in special revelation. They speak of a state in which the ears have opened to the song of the universe. Here the eye has opened to the radiance of the mind of God. And that's a fundamental deist idea. Once you reject the idea of the Fall in the Garden, man is not cut off from his source.
Now back to the Great Seal. When you count the number of ranges on this pyramid, you find there are thirteen. And when you come to the bottom, there is an inscription in Roman numerals. It is, of course, 1776. Then, when you add one and seven and seven and six, you get twenty-one, which is the age of reason, is it not? It was in 1776 that the thirteen states declared independence. The number thirteen is the number of transformation and rebirth. At the Last Supper there were twelve apostles and one Christ, who was going to die and be reborn. Thirteen is the number of getting out of the field of the bounds of twelve into the transcendent. You have the twelve signs of the zodiac and the sun. These men were very conscious of the number thirteen as the number of resurrection and rebirth and new life, and they played it up here all the way through.
MOYERS: But, as a practical matter, there were thirteen states.
CAMPBELL: Yes, but wasn't that symbolic? This is not simply coincidental. This is the thirteen states as themselves symbolic of what they were.
MOYERS: That would explain the other inscription down there, "Novus Ordo Sedorum."
CAMPBELL: "A new order of the world." This is a new order of the world. And the saying above, "Annuit Coeptis," means "He has smiled on our accomplishments" or "our activities."
MOYERS: He —
CAMPBELL: He, the eye, what is represented by the eye. Reason. In Latin you wouldn't have to say "he," it could be "it" or "she" or "he." But the divine power has smiled on our doings. And so this new world has been built in the sense of God's original creation, and the reflection of God's original creation, through reason, has brought this about.
If you look behind that pyramid, you see a desert. If you look before it, you see plants growing.
The desert, the tumult in Europe, wars and wars and wars -- we have pulled ourselves out of it and created a state in the name of reason, not in the name of power, and out of that will come the flowerings of the new life. That's the sense of that part of the pyramid.
Now look at the right side of the dollar bill. Here's the eagle, the bird of Zeus. The eagle is the downcoming of the god into the field of time. The bird is the incarnation principle of the deity. This is the bald eagle, the American eagle. This is the American counterpart of the eagle of the highest god, Zeus.
He comes down, descending into the world of the pairs of opposites, the field of action. One mode of action is war and the other is peace. So in one of his feet the eagle holds thirteen arrows — that's the principle of war. In the other he holds a laurel leaf with thirteen leaves — that is the principle of peaceful conversation. The eagle is looking in the direction of the laurel. That is the way these idealists who founded our country would wish us to be looking — diplomatic relationships and so forth. But thank God he's got the arrows in the other foot, in case this doesn't work.
Now, what does the eagle represent? He represents what is indicated in this radiant sign above his head. I was lecturing once at the Foreign Service Institute in Washington on Hindu mythology, sociology, and politics. There's a saying in the Hindu book of politics that the ruler must hold in one hand the weapon of war, the big stick, and in the other the peaceful sound of the song of cooperative action. And there I was, standing with my two hands like this, and everybody in the room laughed. I couldn't understand. And then they began pointing. I looked back, and here was this picture of the eagle hanging on the wall behind my head in just the same posture that I was in. But when I looked, I also noticed this sign above his head, and that there were nine feathers in his tail. Nine is the number of the descent of the divine power into the world. When the Angelus rings, it rings nine times.
Now, over on the eagle's head are thirteen stars arranged in the form of a Star of David.
MOYERS: This used to be Solomon's Seal.
CAMPBELL: Yes. Do you know why it's called Solomon's Seal?
MOYERS: No.
CAMPBELL: Solomon used to seal monsters and giants and things into jars. You remember in the Arabian Nights when they'd open the jar and out would come the genie? I noticed the Solomon's Seal here, composed of thirteen stars, and then I saw that each of the triangles was a Pythagorean tetractys.
 
MOYERS: The tetractys being?
CAMPBELL: This is a triangle composed of ten points, one point in the middle and four points to each side, adding up to nine: one, two, three, four, five, six, seven, eight, nine. This is the primary symbol of Pythagorean philosophy, susceptible of a number of interrelated mythological, cosmological, psychological, and sociological interpretations, one of which is the dot at the apex as representing the creative center out of which the universe and all things have come.
(The tetractys, or tetrad, or the tetractys of the decad is a triangular figure consisting of ten points arranged in four rows: one, two, three, and four points in each row, which is the geometrical representation of the fourth triangular number. As a mystical symbol, it was very important to the secret worship of Pythagoreanism. There were four seasons, and the number was also associated with planetary motions and music. — Тетрактис, или тетрада, или тетрадия декады — это треугольная фигура, состоящая из десяти точек, расположенных в четыре ряда: одна, две, три и четыре точки в каждом ряду, что является геометрическим представлением четвертого треугольного числа. Как мистический символ, он был очень важен для тайного поклонения пифагорейцам. Времен года было четыре, и это число также ассоциировалось с движением планет и музыкой, — примечание чтеца).
MOYERS: The center of energy, then?
CAMPBELL: Yes. The initial sound (a Christian might say, the creative Word), out of which the whole world was precipitated, the big bang, the pouring of the transcendent energy into and expanding through the field of time. As soon as it enters the field of time, it breaks into pairs of opposites, the one becomes two. Now, when you have two, there are just three ways in which they can relate to one another: one way is of this one dominant over that; another way is of that one dominant over this; and a third way is of the two in balanced accord. It is then, finally, out of these three manners of relationship that all things within the four quarters of space derive.
There is a verse in Lao-tzu's Tao-te Ching which states that out of the Tao, out of the transcendent, comes the One. Out of the One come Two; out of the Two come Three; and out of the Three come all things.
So what I suddenly realized when I recognized that in the Great Seal of the United States there were two of these symbolic triangles interlocked was that we now had thirteen points, for our thirteen original states, and that there were now, furthermore, no less than six apexes, one above, one below, and four (so to say) to the four quarters. The sense of this, it seemed to me, might be that from above or below, or from any point of the compass, the creative Word might be heard, which is the great thesis of democracy. Democracy assumes that anybody from any quarter can speak, and speak truth, because his mind is not cut off from the truth. All he has to do is clear out his passions and then speak.
So what you have here on the dollar bill is the eagle representing this wonderful image of the way in which the transcendent manifests itself in the world. That's what the United States is founded on.
If you're going to govern properly, you've got to govern from the apex of the triangle, in the sense of the world eye at the top.
Now, when I was a boy, we were given George Washington's farewell address and told to outline the whole thing, every single statement in relation to every other one. So I remember it absolutely.
Washington said, "As a result of our revolution, we have disengaged ourselves from involvement in the chaos of Europe." His last word was that we not engage in foreign alliances. Well, we held on to his words until the First World War. And then we canceled the Declaration of Independence and rejoined the British conquest of the planet. And so we are now on one side of the pyramid. We've moved from one to two. We are politically, historically, now a member of one side of an argument. We do not represent that principle of the eye up there. And all of our concerns have to do with economics and politics and not with the voice and sound of reason.
MOYERS: The voice of reason — is that the philosophical way suggested by these mythological symbols?
CAMPBELL: That's right. Here you have the important transition that took place about 500 B.C.
This is the date of the Buddha and of Pythagoras and Confucius and Lao-tzu, if there was a Lao-tzu.
This is the awakening of man's reason. No longer is he informed and governed by the animal powers. No longer is he guided by the analogy of the planted earth, no longer by the courses of the planets — but by reason.
MOYERS: The way of —
CAMPBELL: — the way of man. And of course, what destroys reason is passion. The principal passion in politics is greed. That is what pulls you down. And that's why we're on this side instead of the top of the pyramid.
MOYERS: That's why our founders opposed religious intolerance —
CAMPBELL: That was out entirely. And that's why they rejected the idea of the Fall, too. All men are competent to know the mind of God. There is no revelation special to any people.
MOYERS: I can see how, from your years of scholarship and deep immersion in these mythological symbols, you would read the Great Seal that way. But wouldn't it have been surprising to most of those men who were deists, as you say, to discover these mythological connotations about their effort to build a new country?
CAMPBELL: Well, why did they use them?
MOYERS: Aren't a lot of these Masonic symbols?
CAMPBELL: They are Masonic signs, and the meaning of the Pythagorean tetractys has been known for centuries. The information would have been found in Thomas Jefferson's library. These were, after all, learned men. The eighteenth-century Enlightenment was a world of learned gentlemen. We haven't had men of that quality in politics very much. It's an enormous good fortune for our nation that that cluster of gentlemen had the power and were in a position to influence events at that time.
MOYERS: What explains the relationship between these symbols and the Masons, and the fact that so many of these founding fathers belonged to the Masonic order? Is the Masonic order an expression somehow of mythological thinking?
CAMPBELL: Yes, I think it is. This is a scholarly attempt to reconstruct an order of initiation that would result in spiritual revelation. These founding fathers who were Masons actually studied what they could of Egyptian lore. In Egypt, the pyramid represents the primordial hillock. After the annual flood of the Nile begins to sink down, the first hillock is symbolic of the reborn world. That's what this seal represents.
MOYERS: You sometimes confound me with the seeming contradiction at the heart of your own belief system. On the one hand, you praise these men who were inspirers and creatures of the Age of Reason, and on the other hand, you salute Luke Skywalker in Star Wars for that moment when he says, "Turn off the computer and trust your feelings." How do you reconcile the role of science, which is reason, with the role of faith, which is religion?
CAMPBELL: No, no, you have to distinguish between reason and thinking.
MOYERS: Distinguish between reason and thinking? If I think, am I not reasoning things out?
CAMPBELL: Yes, your reason is one kind of thinking. But thinking things out isn't necessarily reason in this sense. Figuring out how you can break through a wall is not reason. The mouse who figures out, after it bumps its nose here, that perhaps he can get around there, is figuring something out the way we figure things out. But that's not reason. Reason has to do with finding the ground of being and the fundamental structuring of order of the universe.
MOYERS: So when these men talked about the eye of God being reason, they were saying that the ground of our being as a society, as a culture, as a people, derives from the fundamental character of the universe?
CAMPBELL: That's what this first pyramid says. This is the pyramid of the world, and this is the pyramid of our society, and they are of the same order. This is God's creation, and this is our society.
MOYERS: We have a mythology for the way of the animal powers. We have a mythology for the way of the seeded earth — fertility, creation, the mother goddess. And we have a mythology for the celestial lights, for the heavens. But in modern times we have moved beyond the animal powers, beyond nature and the seeded earth, and the stars no longer interest us except as exotic curiosities and the terrain of space travel. Where are we now in our mythology for the way of man?
CAMPBELL: We can't have a mythology for a long, long time to come. Things are changing too fast to become mythologized.
MOYERS: How do we live without myths then?
CAMPBELL: The individual has to find an aspect of myth that relates to his own life. Myth basically serves four functions. The first is the mystical function — that is the one I've been speaking about, realizing what a wonder the universe is, and what a wonder you are, and experiencing awe before this mystery. Myth opens the world to the dimension of mystery, to the realization of the mystery that underlies all forms. If you lose that, you don't have a mythology. If mystery is manifest through all things, the universe becomes, as it were, a holy picture. You are always addressing the transcendent mystery through the conditions of your actual world.
The second is a cosmological dimension, the dimension with which science is concerned — showing you what the shape of the universe is, but showing it in such a way that the mystery again comes through. Today we tend to think that scientists have all the answers. But the great ones tell us, "No, we haven't got all the answers. We're telling you how it works -- but what is it?" You strike a match, what's fire? You can tell me about oxidation, but that doesn't tell me a thing.
The third function is the sociological one -- supporting and validating a certain social order. And here's where the myths vary enormously from place to place. You can have a whole mythology for polygamy, a whole mythology for monogamy. Either one's okay. It depends on where you are. It is this sociological function of myth that has taken over in our world — and it is out of date.
MOYERS: What do you mean?
CAMPBELL: Ethical laws. The laws of life as it should be in the good society. All of Yahweh's pages and pages and pages of what kind of clothes to wear, how to behave to each other, and so forth, in the first millennium B.C.
But there is a fourth function of myth, and this is the one that I think everyone must try today to relate to — and that is the pedagogical function, of how to live a human lifetime under any circumstances. Myths can teach you that.
MOYERS: So the old story, so long known and transmitted through the generations, isn't functioning, and we have not yet learned a new one?
CAMPBELL: The story that we have in the West, so far as it is based on the Bible, is based on a view of the universe that belongs to the first millennium B.C. It does not accord with our concept either of the universe or of the dignity of man. It belongs entirely somewhere else.
We have today to learn to get back into accord with the wisdom of nature and realize again our brotherhood with the animals and with the water and the sea. To say that the divinity informs the world and all things is condemned as pantheism. But pantheism is a misleading word. It suggests that a personal god is supposed to inhabit the world, but that is not the idea at all. The idea is trans-theological.
It is of an undefinable, inconceivable mystery, thought of as a power, that is the source and end and supporting ground of all life and being.
MOYERS: Don't you think modern Americans have rejected the ancient idea of nature as a divinity because it would have kept us from achieving dominance over nature? How can you cut down trees and uproot the land and turn the rivers into real estate without killing God?
CAMPBELL: Yes, but that's not simply a characteristic of modern Americans, that is the biblical condemnation of nature which they inherited from their own religion and brought with them, mainly from England. God is separate from nature, and nature is condemned of God. It's right there in Genesis: we are to be the masters of the world.
But if you will think of ourselves as coming out of the earth, rather than having been thrown in here from somewhere else, you see that we are the earth, we are the consciousness of the earth. These are the eyes of the earth. And this is the voice of the earth.
MOYERS: Scientists are beginning to talk quite openly about the Gaia principle.
CAMPBELL: There you are, the whole planet as an organism.
MOYERS: Mother Earth. Will new myths come from this image?
CAMPBELL: Well, something might. You can't predict what a myth is going to be any more than you can predict what you're going to dream tonight. Myths and dreams come from the same place.
They come from realizations of some kind that have then to find expression in symbolic form. And the only myth that is going to be worth thinking about in the immediate future is one that is talking about the planet, not the city, not these people, but the planet, and everybody on it. That's my main thought for what the future myth is going to be.
And what it will have to deal with will be exactly what all myths have dealt with — the maturation of the individual, from dependency through adulthood, through maturity, and then to the exit; and then how to relate to this society and how to relate this society to the world of nature and the cosmos. That's what the myths have all talked about, and what this one's got to talk about. But the society that it's got to talk about is the society of the planet. And until that gets going, you don't have anything.
MOYERS: So you suggest that from this begins the new myth of our time?
CAMPBELL: Yes, this is the ground of what the myth is to be. It's already here: the eye of reason, not of my nationality; the eye of reason, not of my religious community; the eye of reason, not of my linguistic community. Do you see? And this would be the philosophy for the planet, not for this group, that group, or the other group.
When you see the earth from the moon, you don't see any divisions there of nations or states.
This might be the symbol, really, for the new mythology to come. That is the country that we are going to be celebrating. And those are the people that we are one with.
MOYERS: No one embodies that ethic to me more clearly in the works you have collected than Chief Seattle.
CAMPBELL: Chief Seattle was one of the last spokesmen of the Paleolithic moral order. In about 1852, the United States Government inquired about buying the tribal lands for the arriving people of the United States, and Chief Seattle wrote a marvelous letter in reply. His letter expresses the moral, really, of our whole discussion.
"The President in Washington sends word that he wishes to buy our land. But how can you buy or sell the sky? The land? The idea is strange to us. If we do not own the freshness of the air and the sparkle of the water, how can you buy them?
"Every part of this earth is sacred to my people. Every shining pine needle, every sandy shore, every mist in the dark woods, every meadow, every humming insect. All are holy in the memory and experience of my people.
"We know the sap which courses through the trees as we know the blood that courses through our veins. We are part of the earth and it is part of us. The perfumed flowers are our sisters. The bear, the deer, the great eagle, these are our brothers. The rocky crests, the juices in the meadow, the body heat of the pony, and man, all belong to the same family.
"The shining water that moves in the streams and rivers is not just water, but the blood of our ancestors. If we sell you our land, you must remember that it is sacred. Each ghostly reflection in the clear waters of the lakes tells of events and memories in the life of my people. The water's murmur is the voice of my father's father.
"The rivers are our brothers. They quench our thirst. They carry our canoes and feed our children. So you must give to the rivers the kindness you would give any brother.
"If we sell you our land, remember that the air is precious to us, that the air shares its spirit with all the life it supports. The wind that gave our grandfather his first breath also receives his last sigh. The wind also gives our children the spirit of life. So if we sell you our land, you must keep it apart and sacred, as a place where man can go to taste the wind that is sweetened by the meadow flowers.
"Will you teach your children what we have taught our children? That the earth is our mother?
What befalls the earth befalls all the sons of the earth.
"This we know: the earth does not belong to man, man belongs to the earth. All things are connected like the blood that unites us all. Man did not weave the web of life, he is merely a strand in it.
Whatever he does to the web, he does to himself.
"One thing we know: our god is also your god. The earth is precious to him and to harm the earth is to heap contempt on its creator.
"Your destiny is a mystery to us. What will happen when the buffalo are all slaughtered? The wild horses tamed? What will happen when the secret corners of the forest are heavy with the scent of many men and the view of the ripe hills is blotted by talking wires? Where will the thicket be? Gone!
Where will the eagle be? Gone! And what is it to say goodbye to the swift pony and the hunt? The end of living and the beginning of survival.
"When the last Red Man has vanished with his wilderness and his memory is only the shadow of a cloud moving across the prairie, will these shores and forests still be here? Will there be any of the spirit of my people left?
"We love this earth as a newborn loves its mother's heartbeat. So, if we sell you our land, love it as we have loved it. Care for it as we have cared for it. Hold in your mind the memory of the land as it is when you receive it. Preserve the land for all children and love it, as God loves us all.
"As we are part of the land, you too are part of the land. This earth is precious to us. It is also precious to you. One thing we know: there is only one God. No man, be the Red Man or White Man, can be apart. We are brothers after all."



1) Не важно, ЧТО будет завтра, важно то, что ЗАВТРА будет.
2) Длинный путь домой становится короче, когда тебя ждут дома.
3) Не всякую радость скроешь.
4) Всем больно, а особенно человеку.
5) Если человек не ощущает возраста, он может совершать глупости. Молодость покроет все неудобства.(Не ощущая возраста, совершаем глупости, полагая, что всё можно списать на молодость, покрывающая все неудобства.)
6)Все мы — слепцы, нуждающиеся в поводыре. Печально, когда и сам поводырь оказывается таким же слепцом, как и мы все.
7)Более непредсказуемой стихии, нежели чем сама человеческая психика, на свете уже не сыскать, особенно это касается женской психики. Скажем, если мужик с мужиком может подраться, а потом помириться, то с женщиной и ни подерешься, и ни помиришься — она, если ее обидеть, будет самым злейшим и непредсказуемым врагом для мужчины. Женщину нельзя обижать, но, а если это случилось, то придется заставить её отдать Богу душу. Разумеется, это относится к чужой женщине!
Есть женщины, которым не сидится на месте и они провоцируют мужчин, к которым неравнодушны, на необдуманные поступки. Неопытный молодой мужчина может с легкостью обидеть дурную женщину, вместо того чтобы бежать от ней без оглядки!
8)Меня лично не вставляет от первоначального исходного значения слова, мне не важен исходный житейский смысл высказывания, мне важен новый смысл слова — его неожиданное метафорическое значение. Поэтому поэзию я люблю, но, разумеется, не виршеплетство…
9)Списанные ошибки молодости ложатся тяжелым бременем на старость.
10) У каждого человека есть мнение, редко у кого есть мысль.

11)В повседневной жизни мы сталкиваемся с таким явлением, как «идеализация речевого акта». Например, с телеэкранов мы слышим, как герои в той или иной речевой ситуации выражают свои намерения, мысли и т. п. в сублимированной форме — так, как мы не говорим в обыденной жизни. То есть, диалоги героев или персонажей проходят строгую редакцию, вначале авторами сценария, а затем и киноредакцией. Такое же явление мы наблюдаем и в театральных постановках, а также читая, художественную литературу.

Идеализация речевого акта, на мой взгляд, и определяет наш культурный уровень! Культурные люди, как правило, говорят языком отредактированных персонажей. А есть те, кто уже подражает стилям говорения известных всей стране культурных людей, желая тем самым попасть в мейнстрим!
12)Идеалист: Мир — это зеркало, в котором ты видишь отражение. Ты видишь прекрасное, значит, ты носишь прекрасное внутри себя.

Реалист: Я вижу прекрасное лишь в прекрасном, скажем, мать кормит свое чадо грудью. В уродстве я не вижу прекрасного, скажем в том, в чем Салвадор Дали видел прекрасное — коррида, когда убивают на глазах у кровожадной публики бедное животное. Не мир есть зеркало, а ты есть зеркало отражающее мир таким, какой он есть.
13)Безлюдная улица кажется невыносимо длинной и долгой, уныло одинокой в сравнении с той улицей, где ты можешь смешаться с другими такими же людьми, как и ты, людьми, которые куда-то спешат или просто прогуливаются, ожидая своего часа.