Maps of Meaning. That’s psychologist Jordan B. Peterson’s description of myth. His book is by a professor for professors, so it’s a challenging read – very technical and dense. I didn’t make it through the entire book, but enough to get the gist.
Part of what Peterson does is connect neurology to “the architecture of belief,” with a particular focus on Jungian archetypes. I won’t go into detail about that. But the basic idea is that just as the general structure of language is hardwired in the human brain even though specific languages must be learned, the general structure of storytelling is also hardwired even though specific stories must be created and learned.
Science & myth
Peterson makes a crucial distinction about the role of science and the role of myth. Science describes the world of things – what composes them, how they physically interact with other things, etc. But myth is about meaning. More so, myth is a call to action.
Familiar territory feels predictable and safe, but unexplored territory feels unpredictable and chaotic. The unknown is both frightening and alluring at the same time. And myth is a journey from the known to the unknown to bring back something of value.
The basic mythological template, Peterson writes, is a metaphor for our lives. Our present state is familiar, and we may be complacent even if things aren’t so good right now. But we also have an ideal future – a desire for how things could be better.
That desire is an expression of meaning. It’s not a scientific endeavor even though scientific knowledge can help us navigate the world. Further, this hero’s quest is a responsibility. Responsibility being the primary source of meaning.
Myth is a challenge
The challenge myth articulates is that we must act without truly knowing what our actions will bring. Unpredictability is chaos, and when things don’t go as expected we can become irate.
The world is a forum for action and myth serves as a guide. A particular pitfall, however, is that we’re inclined to compare what we have with what we want, not with what may actually be. That is, we’re prone to illusion.
Each person’s challenge, Peterson says, is to develop a personality capable of facing even extreme conditions. The exploratory act quells chaos, freeing something valuable from its grip (sometimes represented as a dragon’s gold). By incorporating this value we are transformed.
Peterson analyzes myth and claims there are common archetypes or images used to represent the process – the hero’s journey – of leaving the comfort of familiar territory, which protects us from chaos, to undertake the dangerous task of confronting chaos in unexplored territory.
Seen through a Freudian lens, the unknown is the Id, the known is the superego, and the knower/hero is the ego.
The structure of myth
In myth there’s a threat to the comfortable state of affairs. This status quo, this unself-conscious paradise, however, is incomplete. It represents childhood, and the terrible mother – nature’s chaos – is the threat. The hero confronts her but is swallowed, often represented as a visit to the underworld. There the hero must defeat a monster (or perhaps death itself), and be transformed. The hero must then return to transform the community.
Sigmund Freud’s student, Carl Jung, articulated several archetypes or characters that appear in myths worldwide. It all starts with primordial chaos before creation, represented variously as dragons, serpents, waters of the deep, and so on:
- Nature is the eternal unknown. Every archetype has positive and negative aspects. At the positive pole, the great mother gives birth to nature from primordial chaos. But everything must also die. The terrible mother is a devourer, the goddess of anxiety, depression, even pain and death. Nature uses destruction to create new things, so primordial chaos is somewhat retained in nature. The great mother also gives birth to the hero, who might be her lover as well. Myths are weird in the same way that dreams are weird. Maybe that’s where many myths came from.
- The known is culture – the wise king or father whose shadow is the tyrant. Culture is predictable and disciplined, but can be restrictive and tyrannical. Ritual imitation of the great father protects us from the fear of unprotected exposure to unexplored territory. The resulting culture, or group identity, restricts the meaning of things and makes social interactions more predictable. But it can also heighten social aggression when the unknown intrudes. And denial of the unknown (“we have infallible knowledge”) can lead to hell on earth.
- The knower is the hero, who is sometimes a sun god or the son of the great god. The hero slays the dragon, vanquishes the villain, or defeats death, which represent chaos. But the hero’s shadow side is the adversary – the prince of darkness – who rejects the unknown. Loyalty to personal interest – identification with the hero – is important to counteract group pressure.
According to Peterson, myths feature the positive aspects of order (the father) and the hero (usually the son) protecting against destruction (the terrible mother); or the negative aspects of tyranny and the adversary against creation.
Notice that he places the masculine and feminine in opposite directions. It’s like the father and the hero’s positive poles point one way, and the mother’s pole points in the opposite direction. I’m not sure what to make of that.
Real world implications
Throughout human history myth has been central to people’s worldviews. Modern Western society is an outlier because myth is seen as superstition. But science and myth are not incompatible considering the distinction that science is an objective description of things while myth is a guide for acting on the subjective meaning we ascribe to things.
However, Peterson warns that involuntary exposure to chaos can unleash forces that can undermine a culture’s known world. The societal destruction that accompanied European contact with the people of the Americas is one example.
Further, there’s a tension between freedom and security. Order can keep the chaos of untamed nature at bay, but order can also be overbearing and deadly. The hero must achieve a delicate balance of creating order from chaos while maintaining novelty and flexibility.
Too much order and predictability denies the unknown, which can lead to violence to suppress the perceived threat. Lucifer’s pride is thinking that all he knows is all that’s necessary to know – an apt description of religious fundamentalism or secular utopian schemes such as communism and fascism. This arrogance creates hell on earth.