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Final Essay By: Joshua M. Patton
Final Essay By: Joshua M. Patton
Final Essay
By: Joshua M. Patton
Reading Literature: Myths
ELIT1060
Dr. Eric Slomer
December 12, 2009
The traditional definition of myth is simply that they are historical stories used to explain the
view of a society on any number of topics. Unlike the myth and structures of the ancient
Greeks, nothing lasts any more. Myth is intrinsically connected to language, which is more fluid
than a developing countryside or societal values. Thus, it makes sense to me that this definition
of myth is perhaps in need of an update. Adding mythical elements to a story, especially where
said elements seem out of place, is a literary tactic that seemingly elevates the scope of the tale
in the eyes of individuals in search of some escapism or possibly explanation. Instead of the
above, myths may be more accurately described for our time as fantastic stories from which we
interpret, explain or extrapolate to an aspect of one’s life.
In the early twentieth century, Joseph Campbell wrote a book that has served to further the
literary use of myth in new media called A Hero With A Thousand Faces. In the introduction he
writes “It has always been the prime function of mythology and rite to supply the symbols that
carry the human spirit forward, in counteraction to those other constant human fantasies that
tend to tie it back” (Campbell, 1968, p. 11). He goes on to explain the commonality in many of
the ancient mythologies and provided a blueprint for the storytellers of his day and the future.
It was perhaps because of the widespread use of this text on college campuses that a new era
of myth was about to be unleashed.
Perhaps Campbell’s work had no greater effect on myth in our culture than when a young
George Lucas read the book and envisioned a tale that fit within the parameters of “The
Adventure of the Hero,” the main archetypal myth discussed at length in the book. Star Wars
changed the way film was seen by those outside of the industry and into more literary circles.
Dr. Joan Benton Connelly, an Associate Professor of Fine Arts at NYU, was part of a
documentary on the History Channel that focused on Star Wars’ connection to mythological
tradition. In the film she states that when she watched the movie she was witness to “the
creation of modern myth” (Burns, 2007). This story was more than just a visually stunning
piece of film, but a modern myth now a huge part of our culture. This movie delighted Dr.
Campbell whose work was influenced by Carl Jung, who thought that individuals experienced
things visually much more deeply than they would through any other sense.
The epic journey of a hero is easily accessible to the modern reader or viewer. The individual
hero: Luke Skywalker, Harry Potter, Superman, Odysseus, et. al, allows one to easily juxtapose
our individual struggles and experiences with those of the hero. Luke Skywalker is at first
competing with Han Solo for Leia’s affections and remains without a love interest for the rest of
his story. His duty prevents him from having a successful love life, just as commitments outside
of one’s social life can prevent a person from finding love. It is through these tales that the
reader or viewer can find a universal truth within the confines of the fantastic circumstances.
The Harry Potter novels are another cultural phenomenon that is akin to the ascent of Star
Wars in terms of placing classic mythical elements at the center of commercial success.
However while Star Wars was notable for its mind‐bending effects and bizarre characters, the
Potter books are notable because it ignited a firestorm back towards printed literature. Harry
Potter like Luke Skywalker is taking on his own heroic path that mirrors the paths taken by
Odysseus and the ancient mythic heroes. Unlike Star Wars, where the mythological
associations are typically invented or re‐imagined as something that better fits the inter‐stellar
setting, Harry Potter is living on planet Earth during the 1990’s. The references to mythology
can be explained as fact since the “muggles” are living in a world with a magical society
coexisting in secret.
Family is deeply critical to a myth, such as the father‐son dynamic. The original trilogy of Star
Wars’ movies focused on the story of Luke Skywalker and his father Darth Vader – “darth” is
Dutch for father—and their unique involvement in a galactic war. Potter’s journey begins as an
infant when the evil wizard Voldemort murders his parents. Voldemort then goes for Harry,
but he survives the attack, seemingly killing the evil wizard. It is this loss that drives the boy to
overcome these impossible circumstances he finds himself encountering in each installment.
They both receive gifts from their fathers delivered by their mentors. Luke was given a
lightsaber and Harry was given an invisibility cloak, and these items were essential to the
heroes’ successes. Both were wounded, Luke lost his hand (in an accident that mirrored his
father’s in the later‐made prequels) and Harry was given a lightning‐shaped scar the night his
parents died. Luke is trying to avenge the murder of his father which changes to ultimately
saving the part of his father that remains in Vader. Harry is trying to avenge his parents and
save the lives of those he has come to see as his family. The individual reader or viewer can
often see reflections of these mythical happenings in their own families and inspire “heroic”
action, such as trying to save an abusive loved one from substance abuse. He or she might seek
a mentor, someone who has been in their shoes or an intervention counselor ‐‐ instead of a
kind old wizard.
Since the first Star Wars movie was released in 1977, it inspired other hit‐hungry filmmakers to
delve into classical myth to find the skeletons of the stories they would tell. Comic book heroes
lend themselves to mythological comparison and they are dominating the box office. The
bookshelves in the children’s section of the bookstore are lined with multiple serial books that
detail one hero’s journey or another. Yet the best place for myth today is in the television
series LOST, masterminded by Damon Lindelof and Carlton Cuse. The show features an
ensemble cast of characters brought together by a plane crash on a mysterious island with
indigenous inhabitants.
The show features many mythical, cultural, and religious symbols to use as the building blocks
of its own mythology. The writers are brilliant in their ability to answer questions the viewers
want to know without giving away much of the big picture of the heavily suspense‐driven
show. As the show enters into its final season, the larger story will be revealed and once the
secrets of the characters’ storylines are known, I think we will see that many were based on
mythical archetypes. For example, in the ensemble group, two of the male characters Jack and
Sawyer share qualities with Odysseus and Achilles. In the conflict with the indigenous people of
the island, Jack often reacts immediately and typically with brute force, similar to Achilles. He
has few weaknesses, but his enemies find that his “heel” is the woman he loves. Sawyer is a
schemer and an unwilling but natural leader. He uses quick thinking and trickery – including the
“Wookie prisoner gag” (Cuse & Pinkner, 2007), homage to one of Luke’s plans in Star Wars – to
achieve his ends and is a caring and effective leader, very similar to Odysseus. With such a wide
array of characters, there is little chance of not finding one that will allow the viewer to
extrapolate the growth of the character into his or her own life.
It is from these sorts of stories where perhaps the seed of inspiration for the next great myth or
the next great idea is planted. The story provides lessons that are often reinforced or
reinterpreted as life moves along changing points of reference and points of view. The follies of
the characters serve as lessons to the reader or viewer, such as when Harry Potter eschews his
friends’ and family’s advice ultimately killing his Godfather or when Luke rushes to Cloud City
before his training is complete causing him to lose his hand. To share what is important with
the people about whom you care and not dive into situations unprepared, are lessons that can
influence the actions of the reader or viewer. It might not been an answer he or she would
have come to in deliberate thought. The answers may come from experiencing a story and
taking from it an interpretation of one’s own journey, an explanation of why overcoming
adversity makes one stronger, or extrapolating a fantastic battle of space knights or wizards
into a metaphor for goal achievement.
References
Burns, K. (writer/director). (2007). Star Wars: The Legacy Revealed [Television documentary].
Los Angeles, CA: History Channel.
Campbell, J. (1968) The hero with a thousand faces. Princeton: Princeton University Press.
Cuse C. & Pinkner, J. (writers). (2007). Not In Portland. [Television series episode]. Williams, S.
(Director). LOST. Honolulu, HI: ABC Studios.
Lucas, G. (writer/producer). (1977‐2005) Star Wars Episodes I‐VI. [Feature Films]. Los Angeles,
CA: Lucasfilm/Twentieth Century Fox.
Rowling, J. (1997). Harry Potter and the Sorcerer’s Stone. New York, NY: Scholastic.
Rowling, J. (1999). Harry Potter and the Chamber of Secrets. New York, NY: Scholastic.
Rowling, J. (1999). Harry Potter and the Prisoner of Azkaban. New York, NY: Scholastic.
Rowling, J. (2000). Harry Potter and the Goblet of Fire. New York, NY: Scholastic.
Rowling, J. (2003). Harry Potter and the Order of the Phoenix. New York, NY: Scholastic.
Rowling, J. (2005). Harry Potter and the Half‐Blood Prince. New York, NY: Scholastic.
Rowling, J. (2007). Harry Potter and the Deathly Hallows. New York, NY: Scholastic.