The Song of Middle-earth: J. R. R. Tolkien’s Themes, Symbols and Myths. David Harvey

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СКАЧАТЬ and we are not given a full biography, but merely his undertaking of the Quest. Sir Gawain is a well-known figure in the Arthurian legend. His most significant Quest, that related in the tale of the Green Knight, is but one of the many tales surrounding this hero.

      The hero is an archetype. In his life he exemplifies man’s ideals and aspirations. He represents the higher goals that man can achieve. His actions are the symbolic leaps forward in man’s spiritual and moral progress. He has been able to battle past his personal and local historical limitations to serve as a model or example to a wider community. He ventures over the hill of everyday human existence to confront a possibly dreadful unknown, and does so willingly. The hero is symbolic of man’s desire to progress, not physically or materially, but spiritually and ethically, to find himself and his place in the nature of things. He is the creature of myth (or legend) in search of the meaning of myth. His goal may not be generalised absolute truth but in his quest he may achieve an absolute truth and self-realisation. Consequently, the life of the hero is a Quest or in the life of the hero a Quest may be a pivotal activity. Thus, in the Arthurian legend, Gawain speaks most significantly and symbolically in the tale of the Green Knight. Perceval’s most important function is his role in the Quest for the Sangreal. But the Quest is not restricted to the Arthurian or medieval myths. The Epic of Gilgamesh is entirely a Quest tale, as is the Odyssey and the Aeneid.

      In all the Quest hero tales the hero ventures forth from the world of common or everyday events into a region of mystery or supernatural wonder. He encounters fabulous forces, achieves a decisive victory and returns, enriched and enlightened, to his fellow man and, by his actions and existence, bestows good fortune upon his community. Opposing the hero is the monster who may be a beast or a human tyrant, the latter acting regardless of the rights and sensibilities of those over whom he holds power. The characteristics of the monster are essentially the same. He is the hoarder of the general benefit, avid for the greedy rights of my and mine. He wreaks universal havoc throughout his domain. His ego is a curse to himself and his world. He is self-terrorised, haunted with fear and ready to oppose violently any threat to his rule. Wherever he rules a cry goes up for the redeemer, the saviour, the hero, carrier of the shining blade whose blow, touch or mere existence will liberate the land. By such an act of redemption the hero bestows benefits upon the oppressed victims of the monster and advances further upon the personal quest for self-realisation and moral righteousness. By slaying the monster he symbolically puts aside the black part of human nature, that penchant for evil that lies within us. The hero turns away from lust, greed, cruelty and megalomania and towards the more acceptable modes of behaviour that, theoretically at least, mark Man’s moral progress from savage barbarity to moral civilisation. So it is that the hero is archetypal. He represents us all. His actions are an example for us to emulate and follow. By following in his footsteps we become the hero.

      Within the life of the hero are a number of steps or stages. These may occur over his whole life or may be reflected within the Quest that he undertakes. His life or adventure follows a pattern, involving separation from the world, the achievement of a source of power and a life enhancing return.

      The advent of the hero, his birth or his background, is shrouded with mystery or surrounded by miracle. Quetzal, Attis and Jesus are examples of the miraculous birth, accompanied by portents and prophecy. The hero may, upon birth, be cast out from his home which is what happened to Siegfried, Moses, Oedipus and Romulus. He may be fostered in a different environment, quite alien from his true origins, or be totally left in the wild, abandoned to nature. Such situations symbolise his universal origins and nature. He is at ease in any environment. He appreciates power and wealth, poverty and degradation. He communes with the wild side of man’s soul. He speaks the language of animals. He is at one with nature and with his humanity and is thereby the universal representative of man.

      At an early stage of his development the hero will undergo some form of initiation during which time he will reveal a part of his potential as a mover of events. The initiation is a form of rite of passage and as such is as much an indication to the hero himself of his potential as it is to others. It is the dawning or awakening of self-realisation. The initiation may take place in the infancy of the hero, such as Herakles and the serpents or Odysseus and the boar, or at a later time, such as David and Goliath. Jesus had two stages of initiation; one, the Youth Christ at the Temple, is preliminary. The main initiation comes at the Baptism in the Jordan and is a prelude to His ministry. From that point the events in the life of the hero follow swiftly upon one another for Him.

      Following the initiation, and preceding his great acts, the hero goes through a period of withdrawal. Having been confronted with the potential of his being he must, psychologically, come to terms with it. He has a choice in the manner of the use of his powers. The choice that he makes, the path that he selects to follow, must be the right one. Consequently the withdrawal phase is a period of inner trial, as well as self-confrontation. Yet from such period of withdrawal the hero emerges to undertake his most important feat, which is the Quest.

      The Quest, as I have indicated, is a search for the self and the essence of man’s being. The hero may receive and refuse the call, as did Perceval. Such a character represents those of us who would rather avoid self-confrontation. Perceval avoided the confrontation with mystic reality. Gawain, on the other hand, asked the question and was held to be a true seeker. He saved the King and the Kingdom and is an imitation of Christ. The Quest inevitably involves magic, beasts or the supernatural, or a combination of all three. The wizards, dragons, demons, giants or mystic dreams and visions are all part and parcel of the effort that the hero must put into the achievement of his goal. They symbolise the darkness, ignorance or temptation that stands in the way of progress towards true understanding, awareness and self-realisation. They must be, and are, overcome. The Quest within the life of the hero reveals an eternal struggle for self-realisation. But frequently associated with the Quest and its achievement is the death of the hero which may be actual or symbolic. I can think of no better example of symbolic death than Aragorn’s passage through the Paths of the Dead in The Lord of the Rings, which I shall discuss more fully in a later chapter. The actual death of the hero is not final, and may often be linked with nature and the concept of rebirth. Thus, when Odin’s Quest for the runes results in his death, and Christ’s Quest in a similarly actual and symbolic way, we see the hero in death cradled in the promise of rebirth. The tree, on which both Odin and Christ perished, has its roots in the unknown – that final part of the Quest to be attained.

      Associated with death is the descent to the Underworld. Because the death of the hero is so often sacrificial and to conquer death he has first to die, the hero faces that which man fears most – the ultimate unknown from which there is no return – death. The hero becomes the scapegoat for humanity by the frequently sacrificial nature of his death. He carries our sins with him and on our behalf descends to the Underworld to confront Death or the Lord of the Underworld, or the Ultimate Evil itself. If the death of the hero is of a symbolic nature so too is his descent to the Underworld. His descent is not as one who is dead but as if he were one dead. Thus, Christ, who physically dies, descends to Hell to deliver His ultimatum to Satan and commence the Harrowing of Hell. Orpheus descends as part of his Quest for Eurydice and conquers death with his musical skill. His is a symbolic descent and a symbolic challenge. His descent represents the power of love and the immortal nature of pure art.

      It is by Resurrection that the hero returns – and again this may be actual or symbolic. By rebirth, death is defeated and the cycle of Nature is re-established. The hero evidences his universality as the Man in Nature by actual or symbolic rebirth and the confirmation of the established order of things. He has not only confirmed order but also his self-awareness and self-realisation. His rebirth is a return to the source of his origins, to take up the promised honour, kingdom or throne which was foretold before or at his birth. His resurrection is a fulfilment of being.

      The final stage of the hero’s development is his Apotheosis, his reception into Heaven or the confirmation of his universal and immortal nature. Christ, Mithras, Dionysius, Elijah and Galahad are received into Heaven. Arthur, Charlemagne and Barbarossa are not dead but sleeping, awaiting СКАЧАТЬ