MOYERS: A man once told me that he didn’t remember dreaming until he retired. Suddenly, having no place to focus his energy, he began to dream and dream and dream. Do you think that we tend to overlook the significance of dreaming in our modern society?
CAMPBELL: Ever since Freud’s Interpretation of Dreams was published, there has been a recognition of the importance of dreams. But even before that there were dream interpretations. People had superstitious notions about dreams—for example, “Something is going to happen because I dreamed it is going to happen.”
MOYERS: Why is a myth different from a dream?
CAMPBELL: Oh, because a dream is a personal experience of that deep, dark ground that is the support of our conscious lives, and a myth is the society’s dream. The myth is the public dream and the dream is the private myth. If your private myth, your dream, happens to coincide with that of the society, you are in good accord with your group. If it isn’t, you’ve got an adventure in the dark forest ahead of you.
MOYERS: So if my private dreams are in accord with the public mythology, I’m more likely to live healthily in that society. But if my private dreams are out of step with the public—
CAMPBELL: —you’ll be in trouble. If you’re forced to live in that system, you’ll be a neurotic.
MOYERS: But aren’t many visionaries and even leaders and heroes close to the edge of neuroticism?
CAMPBELL: Yes, they are.
MOYERS: How do you explain that?
CAMPBELL: They’ve moved out of the society that would have protected them, and into the dark forest, into the world of fire, of original experience. Original experience has not been interpreted for you, and so you’ve got to work out your life for yourself. Either you can take it or you can’t. You don’t have to go far off the interpreted path to find yourself in very difficult situations. The courage to face the trials and to bring a whole new body of possibilities into the field of interpreted experience for other people to experience—that is the hero’s deed.
MOYERS: You say dreams come up from the psyche.
CAMPBELL: I don’t know where else they come from. They come from the imagination, don’t they? The imagination is grounded in the energy of the organs of the body, and these are the same in all human beings. Since imagination comes out of one biological ground, it is bound to produce certain themes. Dreams are dreams. There are certain characteristics of dreams that can be enumerated, no matter who is dreaming them.
MOYERS: I think of a dream as something very private, while a myth is something very public.
CAMPBELL: On some levels a private dream runs into truly mythic themes and can’t be interpreted except by an analogy with a myth. Jung speaks of two orders of dream, the personal dream and the archetypal dream, or the dream of mythic dimension. You can interpret a personal dream by association, figuring out what it is talking about in your own life, or in relation to your own personal problem. But every now and then a dream comes up that is pure myth, that carries a mythic theme, or that is said, for example, to come from the Christ within.
MOYERS: From the archetypal person within us, the archetypal self we are.
CAMPBELL: That’s right. Now there is another, deeper meaning of dreamtime—which is of a time that is no time, just an enduring state of being. There is an important myth from Indonesia that tells of this mythological age and its termination. In the beginning, according to this story, the ancestors were not distinguished as to sex. There were no births, there were no deaths. Then a great public dance was celebrated, and in the course of the dance one of the participants was trampled to death and torn to pieces, and the pieces were buried. At the moment of that killing the sexes became separated, so that death was now balanced by begetting, begetting by death, while from the buried parts of the dismembered body food plants grew. Time had come into being, death, birth, and the killing and eating of other living beings, for the preservation of life. The timeless time of the beginning had been terminated by a communal crime, a deliberate murder or sacrifice.
Now, one of the main problems of mythology is reconciling the mind to this brutal precondition of all life, which lives by the killing and eating of lives. You don’t kid yourself by eating only vegetables, either, for they, too, are alive. So the essence of life is this eating of itself! Life lives on lives, and the reconciliation of the human mind and sensibilities to that fundamental fact is one of the functions of some of those very brutal rites in which the ritual consists chiefly of killing—in imitation, as it were, of that first, primordial crime, out of which arose this temporal world, in which we all participate. The reconciliation of mind to the conditions of life is fundamental to all creation stories. They’re very like each other in this respect.
MOYERS: Take the creation story in Genesis, for example. How is it like other stories?
CAMPBELL: Well, you read from Genesis, and I’ll read from creation stories in other cultures, and we’ll see.
MOYERS: Genesis 1: “In the beginning God created the heavens and the earth. The earth was without form and void, and darkness was upon the face of the deep.”
CAMPBELL: This is from “The Song of the World,” a legend of the Pima Indians of Arizona: “In the beginning there was only darkness everywhere—darkness and water. And the darkness gathered thick in places, crowding together and then separating, crowding and separating.…”
MOYERS: Genesis 1: “And the Spirit of God was moving over the face of the waters. And God said, ‘Let there be light’; and there was light.”
CAMPBELL: And this is from the Hindu Upanishads, from about the eighth century B.C.: “In the beginning, there was only the great self reflected in the form of a person. Reflecting, it found nothing but itself. Then its first word was, ‘This am I.’ ”
MOYERS: Genesis 1: “So God created man in his own image, in the image of God he created him; male and female he created them. And God blessed them, and God said to them, ‘Be fruitful and multiply.’ ”
CAMPBELL: Now, this is from a legend of the Bassari people of West Africa: “Unumbotte made a human being. Its name was Man. Unumbotte next made an antelope, named Antelope. Unumbotte made a snake, named Snake.… And Unumbotte said to them, ‘The earth has not yet been pounded. You must pound the ground smooth where you are sitting.’ Unumbotte gave them seeds of all kinds, and said: ‘Go plant these.’ ”
MOYERS: Genesis 2: “Thus the heavens and the earth were finished, and all the host of them. And on the seventh day God finished his work which he had done.…”
CAMPBELL: And now again from the Pima Indians: “I make the world and lo, the world is finished. Thus I make the world, and lo! The world is finished.”
MOYERS: And Genesis 1: “And God saw everything that he had made, and behold, it was very good.”
CAMPBELL: And from the Upanishads: “Then he realized, I indeed, I am this creation, for I have poured it forth from myself. In that way he became this creation. Verily, he who knows this becomes in this creation a creator.”
That is the clincher there. When you know this, then you have identified with the creative principle, which is the God power in the world, which means in you. It is beautiful.
MOYERS: But Genesis continues: “ ‘Have you eaten of the tree of which I commanded you not to eat?’ The man said, ‘The woman whom thou gavest to be with me, she gave me fruit of the tree, and I ate.’ Then the Lord God said to the woman, ‘What is this that you have done?’ The woman said, ‘The serpent beguiled me, and I ate.’ ”
You talk about buck passing, it starts very early.
CAMPBELL: Yes, it has been tough on serpents. The Bassari legend continues in the same way. “One day Snake said, ‘We too should eat these fruits. Why must we go hungry?’ Antelope said, ‘But we don’t know anything about this fruit.’ Then Man and his wife took some of the fruit and ate it. Unumbotte came down from the sky and asked, ‘Who ate the fruit?’ They answered, ‘We did.’ Unumbotte asked, ‘Who told you that you could eat that fruit?’ They re
plied, ‘Snake did.’ ” It is very much the same story.
MOYERS: What do you make of it—that in these two stories the principal actors point to someone else as the initiator of the Fall?
CAMPBELL: Yes, but it turns out to be the snake. In both of these stories the snake is the symbol of life throwing off the past and continuing to live.
MOYERS: Why?
CAMPBELL: The power of life causes the snake to shed its skin, just as the moon sheds its shadow. The serpent sheds its skin to be born again, as the moon its shadow to be born again. They are equivalent symbols. Sometimes the serpent is represented as a circle eating its own tail. That’s an image of life. Life sheds one generation after another, to be born again. The serpent represents immortal energy and consciousness engaged in the field of time, constantly throwing off death and being born again. There is something tremendously terrifying about life when you look at it that way. And so the serpent carries in itself the sense of both the fascination and the terror of life.
Furthermore, the serpent represents the primary function of life, mainly eating. Life consists in eating other creatures. You don’t think about that very much when you make a nice-looking meal. But what you’re doing is eating something that was recently alive. And when you look at the beauty of nature, and you see the birds picking around—they’re eating things. You see the cows grazing, they’re eating things. The serpent is a traveling alimentary canal, that’s about all it is. And it gives you that primary sense of shock, of life in its most primal quality. There is no arguing with that animal at all. Life lives by killing and eating itself, casting off death and being reborn, like the moon. This is one of the mysteries that these symbolic, paradoxical forms try to represent.
Now the snake in most cultures is given a positive interpretation. In India, even the most poisonous snake, the cobra, is a sacred animal, and the mythological Serpent King is the next thing to the Buddha. The serpent represents the power of life engaged in the field of time, and of death, yet eternally alive. The world is but its shadow—the falling skin.
The serpent was revered in the American Indian traditions, too. The serpent was thought of as a very important power to be made friends with. Go down to the pueblos, for example, and watch the snake dance of the Hopi, where they take the snakes in their mouths and make friends with them and then send them back to the hills. The snakes are sent back to carry the human message to the hills, just as they have brought the message of the hills to the humans. The interplay of man and nature is illustrated in this relationship with the serpent. A serpent flows like water and so is watery, but its tongue continually flashes fire. So you have the pair of opposites together in the serpent.
MOYERS: In the Christian story the serpent is the seducer.
CAMPBELL: That amounts to a refusal to affirm life. In the biblical tradition we have inherited, life is corrupt, and every natural impulse is sinful unless it has been circumcised or baptized. The serpent was the one who brought sin into the world. And the woman was the one who handed the apple to man. This identification of the woman with sin, of the serpent with sin, and thus of life with sin, is the twist that has been given to the whole story in the biblical myth and doctrine of the Fall.
MOYERS: Does the idea of woman as sinner appear in other mythologies?
CAMPBELL: No, I don’t know of it elsewhere. The closest thing to it would be perhaps Pandora with Pandora’s box, but that’s not sin, that’s just trouble. The idea in the biblical tradition of the Fall is that nature as we know it is corrupt, sex in itself is corrupt, and the female as the epitome of sex is a corrupter. Why was the knowledge of good and evil forbidden to Adam and Eve? Without that knowledge, we’d all be a bunch of babies still in Eden, without any participation in life. Woman brings life into the world. Eve is the mother of this temporal world. Formerly you had a dreamtime paradise there in the Garden of Eden—no time, no birth, no death—no life. The serpent, who dies and is resurrected, shedding its skin and renewing its life, is the lord of the central tree, where time and eternity come together. He is the primary god, actually, in the Garden of Eden. Yahweh, the one who walks there in the cool of the evening, is just a visitor. The Garden is the serpent’s place. It is an old, old story. We have Sumerian seals from as early as 3500 B.C. showing the serpent and the tree and the goddess, with the goddess giving the fruit of life to a visiting male. The old mythology of the goddess is right there.
Now, I saw a fantastic thing in a movie, years and years ago, of a Burmese snake priestess, who had to bring rain to her people by climbing up a mountain path, calling a king cobra from his den, and actually kissing him three times on the nose. There was the cobra, the giver of life, the giver of rain, as a divine positive figure, not a negative one.
MOYERS: But how do you explain the difference between that image and the image of the snake in Genesis?
CAMPBELL: There is actually a historical explanation based on the coming of the Hebrews into Canaan and their subjugation of the people of Canaan. The principal divinity of the people of Canaan was the Goddess, and associated with the Goddess is the serpent. This is the symbol of the mystery of life. The male-god-oriented group rejected it. In other words, there is a historical rejection of the Mother Goddess implied in the story of the Garden of Eden.
MOYERS: It does seem that this story has done women a great disservice by casting Eve as responsible for the Fall. Why are women the ones held responsible for the downfall?
CAMPBELL: They represent life. Man doesn’t enter life except by woman, and so it is woman who brings us into this world of pairs of opposites and suffering.
MOYERS: What is the myth of Adam and Eve trying to tell us about the pairs of opposites? What is the meaning?
CAMPBELL: It started with the sin, you see—in other words, moving out of the mythological dreamtime zone of the Garden of Paradise, where there is no time, and where men and women don’t even know that they are different from each other. The two are just creatures. God and man are practically the same. God walks in the cool of the evening in the garden where they are. And then they eat the apple, the knowledge of the opposites. And when they discover they are different, the man and woman cover their shame. You see, they had not thought of themselves as opposites. Male and female is one opposition. Another opposition is the human and God. Good and evil is a third opposition. The primary oppositions are the sexual and that between human beings and God. Then comes the idea of good and evil in the world. And so Adam and Eve have thrown themselves out of the Garden of Timeless Unity, you might say, just by that act of recognizing duality. To move out into the world, you have to act in terms of pairs of opposites.
There’s a Hindu image that shows a triangle, which is the Mother Goddess, and a dot in the center of the triangle, which is the energy of the transcendent entering the field of time. And then from this triangle there come pairs of triangles in all directions. Out of one comes two. All things in the field of time are pairs of opposites. So this is the shift of consciousness from the consciousness of identity to the consciousness of participation in duality. And then you are into the field of time.
MOYERS: Is the story trying to tell us that, prior to what happened in this Garden to destroy us, there was a unity of life?
CAMPBELL: It’s a matter of planes of consciousness. It doesn’t have to do with anything that happened. There is the plane of consciousness where you can identify yourself with that which transcends pairs of opposites.
MOYERS: Which is?
CAMPBELL: Unnameable. Unnameable. It is transcendent of all names.
MOYERS: God?
CAMPBELL: “God” is an ambiguous word in our language because it appears to refer to something that is known. But the transcendent is unknowable and unknown. God is transcendent, finally, of anything like the name “God.” God is beyond names and forms. Meister Eckhart said that the ultimate and highest leave-taking is leaving God for God, leaving your notion of God for an experience of that which transcends all notio
ns.
The mystery of life is beyond all human conception. Everything we know is within the terminology of the concepts of being and not being, many and single, true and untrue. We always think in terms of opposites. But God, the ultimate, is beyond the pairs of opposites, that is all there is to it.
MOYERS: Why do we think in terms of opposites?
CAMPBELL: Because we can’t think otherwise.
MOYERS: That’s the nature of reality in our time.
CAMPBELL: That’s the nature of our experience of reality.
MOYERS: Man-woman, life-death, good-evil—
CAMPBELL: —I and you, this and that, true and untrue—every one of them has its opposite. But mythology suggests that behind that duality there is a singularity over which this plays like a shadow game. “Eternity is in love with the productions of time,” says the poet Blake.
MOYERS: What does that mean, “Eternity is in love with the productions of time”?
CAMPBELL: The source of temporal life is eternity. Eternity pours itself into the world. It is a basic mythic idea of the god who becomes many in us. In India, the god who lies in me is called the “inhabitant” of the body. To identify with that divine, immortal aspect of yourself is to identify yourself with divinity.
Now, eternity is beyond all categories of thought. This is an important point in all of the great Oriental religions. We want to think about God. God is a thought. God is a name. God is an idea. But its reference is to something that transcends all thinking. The ultimate mystery of being is beyond all categories of thought. As Kant said, the thing in itself is no thing. It transcends thingness, it goes past anything that could be thought. The best things can’t be told because they transcend thought. The second best are misunderstood, because those are the thoughts that are supposed to refer to that which can’t be thought about. The third best are what we talk about. And myth is that field of reference to what is absolutely transcendent.
MOYERS: What can’t be known or named except in our feeble attempt to clothe it in language.
The Power of Myth Page 7
