Free A Short History of Myth by Karen Armstrong Page B

of transcendence has always been part of the human experience. We seek out moments of ecstasy, when we feel deeply touched within and lifted momentarily beyond ourselves. At such times, it seems that we are living more intensely than usual, firing on all cylinders, and inhabiting the whole of our humanity. Religion has been one of the most traditional ways of attaining ecstasy, but if people no longer find it in temples, synagogues, churches or mosques, they look for it elsewhere: in art, music, poetry, rock, dance, drugs, sex or sport. Like poetry and music, mythology should awaken us to rapture, even in the face of death and the despair we may feel at the prospect of annihilation. If a myth ceases to do that, it has died and outlived its usefulness.
    It is, therefore, a mistake to regard myth as an inferior mode of thought, which can be cast aside when human beings have attained the age of reason. Mythology is not an early attempt at history, and does not claim that its tales are objective fact. Like a novel, an opera or a ballet, myth is make-believe; it is a game that transfigures our fragmented, tragic world, and helps us to glimpse new possibilities byasking ‘what if?’ – a question which has also provoked some of our most important discoveries in philosophy, science and technology. The Neanderthals who prepared their dead companion for a new life were, perhaps, engaged in the same game of spiritual make-believe that is common to all mythmakers: ‘What if this world were not all that there is? How would this affect our lives – psychologically, practically or socially? Would we become different? More complete? And, if we did find that we were so transformed, would that not show that our mythical belief was true in some way, that it was telling us something important about our humanity, even though we could not prove this rationally?’
    Human beings are unique in retaining the capacity for play. 2 Unless they are living in the artificial conditions of captivity, other animals lose their early sense of fun when they encounter the harsh realities of life in the wild. Human adults, however, continue to enjoy playing with different possibilities, and, like children, we go on creating imaginary worlds. In art, liberated from the constraints of reason and logic, we conceive and combine new forms that enrich our lives,and which we believe tell us something important and profoundly ‘true’. In mythology too, we entertain a hypothesis, bring it to life by means of ritual, act upon it, contemplate its effect upon our lives, and discover that we have achieved new insight into the disturbing puzzle of our world.
    A myth, therefore, is true because it is effective, not because it gives us factual information. If, however, it does not give us new insight into the deeper meaning of life, it has failed. If it works , that is, if it forces us to change our minds and hearts, gives us new hope, and compels us to live more fully, it is a valid myth. Mythology will only transform us if we follow its directives. A myth is essentially a guide; it tells us what we must do in order to live more richly. If we do not apply it to our own situation and make the myth a reality in our own lives, it will remain as incomprehensible and remote as the rules of a board game, which often seem confusing and boring until we start to play.
    Our modern alienation from myth is unprecedented. In the pre-modern world, mythology was indispensable. It not only helped people to make senseof their lives but also revealed regions of the human mind that would otherwise have remained inaccessible. It was an early form of psychology. The stories of gods or heroes descending into the underworld, threading through labyrinths and fighting with monsters, brought to light the mysterious workings of the psyche, showing people how to cope with their own interior crises. When Freud and Jung began to chart the modern quest for the soul, they instinctively turned to