Helen Morales Quotes

If 'myth' is a slippery term, so is 'classical'. It is common shorthand for 'ancient Greek and Roman'. But this shorthand has a history, and a bias.

Psychoanalysis and Greek mythology are two sides of the same medallion. To put it differently: without classical mythology, there would be no psychoanalysis. If that seems like too bold a statement, this chapter aims to show that it is not. It will look at the dynamic relationship forged between psychoanalysis and classical myth, and the impacts, positive and negative, that each has made upon the other.
There are numerous psychoanalytic theorists, but Freud necessarily takes centre stage. Like many in 19th-century Germany, Freud was passionate about ancient
Greece and its myths. He was both an analyst of the psyche, or mind (using Greek myth) and of Greek myth (using the psyche). As a result, he initiated a radical new method of enquiry, psychoanalysis, and wrote a momentous chapter in the history of classical mythology.

New Age spirituality purports to promote change – its mantra is 'transformation' – but, in reality, it endorses the status quo. It preaches changing oneself to accept the world as it is. New Agers are too busy with their affirmations and introspections to do anything like take direct action. Indeed, in some books the advice to unleash one's inner goddess turns out to be little more
than to bring back the old 'domestic goddess'. Using myth as one's personal charter is nothing new (as we saw in Chapter 3), but when Alexander the Great chose Achilles, the psychopathic hero of Homer's Iliad, to revere and emulate, he did so with action in mind. Alexander used classical myth as his 'life coach' and changed the world. New Agers use classical myth to ensure that
the spirit is soothed, the horoscope reassuring, and the house clean, but the world stays the same.

Reading myth as crystallizing historical fact was a common
approach in the 19th and early 20th centuries. But it is an
approach to myth that is fraught with problems. It ignores or
takes insufficient account of how mythic narratives are exploited for political purposes.

The women of Juarez, and women across the world, do not want to have to take revenge, any more than Procne and Philomela did. What they want is to be able to rely on the modern gods -- the police, the courts, and the media -- for justice.

It was important for a Roman of this period to get his Greek
mythology right. Being able to identify who was who and what was what was a sign that the viewer was a person of culture and status.

Responding to myth often means wearing
blinkers. Myth is a complex game of production and reception that involves selecting some parts of a narrative and suppressing others. As we shall see later on, this process of communication is not always easily controlled.

Ancient astrology, and, to some degree,
its modern descendant, are compelling mixtures of science (or pseudo-science) and classical myth.
Jung interpreted astrology as the psychology of antiquity.
The stars and planets, he suggested, are 'archetypal images': manifestations of the collective unconscious. Jung's student, Erich Neumann, developed his ideas on archetypes, especially in relation to the archetype of the nurturing Goddess. His ideas were influential upon those who later promoted goddess worship, a central element in most (though not all) New Age practice. New Agers believe that the energy of the cosmos flows from one single source (monism), and that what we call 'god'
or 'goddess' is a principle identified with the cosmos. New Age philosophy has embraced the idea that goddess worship originated in prehistoric times, when, broadly speaking, matriarchal society preceded the patriarchal order, and people worshipped the 'Great Goddess'.

Ancient astrology was rather different from the modern
horoscope. Its more learned practitioners enjoyed intellectual respectability, and there was a substantial overlap between astrology and philosophy. People would consult astrologers on anything, from the time and manner in which they were going to die to who was likely to win in the chariot-races that afternoon.
The chronology of the origins and development of astrology are impossible to establish, and were debated even in the ancient world. Suffice it to say here that the Western tradition was one of many traditions: Indian, Chinese, Middle Eastern. It was Ptolemy, the Hellenistic geographer and astrologer, who first laid the technical foundations of Western astrology in his Tetrabiblos
('Four Books'). But the rise in the prominence of astrology was closely tied to the Roman imperial regime. It greatly benefited emperors to have their sovereignty 'written in the stars'.

What makes someone mythic is not whether or not he lived, or lived well, but whether or not he was larger than life. Mythic heroes were – and are – outrageous and outstanding. They are phenomenal. They distil some collective ideal or fantasy. That's why we can speak of 'the myth of John Lennon', but not 'the myth of John Major'. And it's also why Theseus made it and Lycurgus didn't.

However, I have also argued for allegory's positive effects. It is a process that typically takes control away from the author of a narrative and gives it to the reader. It is the reader who decides whether to interpret writing on a literal or a symbolic level. In giving greater control to the reader, allegory allows for imaginative and reflective analyses of mythology, and for its ideological purposes to be criticized, as well as affirmed.