Monsters and Heroes

(This was originally published on polytheist.com December 2014. As mentioned in previous posts I’m compiling all my writing here for posterity and for future reference.)

When we think of Greek mythology images of fantastic monsters and heroes often comes to mind. The stories are filled with hybrid beasts that haunt the lands as challengers to would be champions. We see these monsters as just that: monsters. An opposition, a narrative piece to add some excitement to tales of heroes. But what if monsters hold a greater significance? What do we gain by understanding their role in the heroes journey? Why do I feel a sympathy and even a reverence to monsters?

There is always a degree of kitsch when discussing Greek mythology. Many of us were introduced to the myths as children. Growing up in the 90’s I would watch the ultimate of camp: Hercules and Xena TV shows. Then there was the Disney production of Hercules and always my favourite of the sword and sandal Claymation classics like the original Jason and the Argonauts, Clash of Titans and Adventures of Hercules.

It’s really no wonder why people look at me funny when I explain my personal beliefs. Pretty much every telling of the heroes exploits has been camp trite that deviates from the narrative of myth with a production value a level above a 1970’s stag film.
Yet when reading actual myths there is a seriousness in it. A heroes journey to enlightenment can be called equivalent of stories like Jesus Christ and Gautama Buddha.

Herakles is one of the most renown heroes of Greek myth. Unlike his Theban, Attic, Argive counterparts he is a universal hero, a stock hero of the Hellenic world. For example when we look at Italian and even Spanish Hellenic myths Herakles takes on roles over other city state heroes like Theseus. So in nations that had no nationalistic identity with a hero in the myth, Herakles was used as a replacement.
This is testament to the Story itself. The hero of the tale is insignificant to the archetype of the protagonist verses the monster. It may be a different hero but always the same monster.

But to avoid confusion let’s just focus on the labours of Herakles. Most people understand the twelve labours as being a means for Herakles to right a wrong and also to get recognition as a great hero. We can, and do, view these stories as just fun epic tales. But as a person studying and attempting to understand myth they often have a layered significance. For example we could view the labours as a celestial event of the sun moving through the sky during the year, each labour is the ancient understanding of the constellations the sun passes through. Herakles ultimate, fiery and horrible death is akin to other solar deities that die at winter solstice.

The shamanic role of Herakles is his loss of identity and attribute transferences when fighting each monster. Example is: we can’t imagine Herakles without his lion skin, but the skin itself belonged to his first labour of the Nemean Lion, a invulnerable monster often born from Typhon and Echidna, sent to Nemea to terrorise the land. In order to defeat the beast Herakles must challenge his own perceptions by working out a different method of killing and skinning the beast with its own claws. When he achieves his goals he dons the skin and uses it’s protective fur as armour. In a twisted sense he becomes the beast. Ordering it’s chaos into his own accord.

Herakles again does this when he defeats his second labour and uses the Hydra’s blood as poison for his arrows. Ultimately it’s this poison that defeats Herakles, as it’s the same poison used on his shirt to kill him. It’s toxin and his own funeral pyre burns his mortality away and allows him to ascended as a deity. The beast, and his accomplishments allow for his transcendence.

These themes are also found with Perseus. Perseus is given a task of killing Medusa, a sad and unfortunate monster. Perseus invades Medusa’s home, uses his mirrored shield to look at Medusa’s image and also use her own identity to kill her. When the task is done he steals her identity, by decapitating her, using her deathly stone gaze powers to defeat his foes. Again this theme as identity transference and ordering a beasts chaos to the will of the hero leads to the champions triumphs.

But not all Greek heroes do this. Let’s look at Bellerophon, the actual rider of Pegasus. Bellerophon performs a series of heroic tasks and defeats monsters like the Chimaera. However he does this with the aid of a monster, he does not kill Pegasus, he only tames it. That’s why when Bellerophon attempts to ascend to heaven he is rejected. He is not truly one with the beast, he only owns the beast but has not accepted the monsters identity into himself.

To return back to Theseus (or Herakles) we have a hero entering a space which is actually the antagonist. The path itself is the monster and teaches the hero to become something special, the creature or god at the end of the path are just an obstacle to finalise the heroes enlightenment. In this sense Theseus journeys into the deep unknown with his rewards being what experience he has in the travels. The identity transference takes on a completely different role as it’s not literally stealing the monster attributes that contributes to his transcendence, but becoming something internally through travelling. The initiation is entirely cerebral.

You can see these same themes in other heroes like Orpheus and Odysseus. They all venture into hades and undergo an experience of loss that will forever change their lives. Their knowledge and power may not be as carnal as skinning a lion or stealing a gorgon head, but it’s of the same value.

To end this piece I want to point out that the protagonist and antagonist are of equal measure. The heroes achievement are only made by their foes and by sacrificing part of themselves in order to steal their foes power the hero becomes greater, a god. Acknowledging this allows us to see the value in these monsters and that heroic worship should also include the rivals of these heroes.

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The Gifts of Hephaestus

(This is a republished article originally written August 2014)

Vulcan_(Bissen)
Vulcan by Herman Wilhelm Bissen, 1838

Hephaestus is often an overlooked god of amongst contemporary Polytheists. Maybe it’s because his attributes are given to metal smithy, which is no longer a popular profession, or maybe because he is simply an unattractive god compared to the others of the Olympian pantheon, or could it be he is just too busy to communicate with new followers? I’m not sure.  However I find him as a major mover in the Greek mythos, often the cause of problems that mortals struggle with.

As a professional metal worker, mould maker, sculptor – I find myself naturally attracted to the god. Metal working is a type of mystery magic and has always been associated with alchemy and shamanism – even today there are some shamanistic cultures that see it as direct magic and why not? Metal working in itself is turning solid basic elements into liquids and transforming them into objects. Craftsmen in general literally shape the gods and create their features. They also create things like pots to cook food in, jewels for marriage and proof of worth, tools to sow the earth, swords and armour to conquer etc. Industry is magic, it fosters civilisation and brings us closer to the divine. Mystical metals like gold and mercury, power our computers, our heating, cooking and lighting today. In no other time have we been so completely surrounded by the Gifts of Hephaestus.

The Gifts of Hephaestus. Interesting idea, I suppose one of the best things to do is explain myth in summary. Greek mythology has no canon text, it is an oral story that was shared by different people at different times that was later embellished by authors. So there are many variants of the same story. Here is my summery of the Gifts.

hephaestus_by_goatass-d3jqetd
Hephaestus by Wayne McMillan and Markos Gage, 2006

Commonly Hephaestus was born from Hera alone, after Zeus gave birth to Athena.  When Hera saw her child she was disgusted at his ungodly features and threw him from Olympus. He fell on the island of Lemnos and became crippled but was cared for and raised by the Cyclops who taught him the art of metalworking and fostered his natural talents.

As he grew he conceived  a means to take revenge on his mother. Crafting a beautiful golden throne and sent it to Olympus. Hera was so impressed by the craftsmanship of the throne she upon it without thinking, only to discover herself stuck. The gift was a curse. Distressed Zeus called for help from the gods to free his wife with reward of Aphrodite’s hand in marriage. But none of the gods could free Hera. The only god that could free her was Hephaestus, but he refused to help.
Dionysus arrived at his forge and got the smith drunk – placed him on a donkey and took him to Olympus. In the presence of the gods the smith complied to their wishes and released Hera. Dionysus gave his reward (Aphrodite) to the smith and both he and Dionysus became Olympians gods.

Aphrodite was not too keen on being married to a lame and ugly god and soon had an affair with the war god Ares. Hephaestus found out about their union and ensnared them in a trap, he brought them naked before the gods for judgement but they just laughed at his plight. He was not redeemed for their crimes and so instead sort vengeance on the offspring of their union…

Harmona was consummated in the illegitimate union. In the spinning thread of fate she met Cadmus at the mysteries of Samothrace – a mystery cult often attributed to Hephaestus as father of the Cabeiri- they fell in love and were wedded with the blessing of the gods. Hephaestus gave a gift to Harmona, a magical necklace that maintained the beauty of youth, but like many of Hephaestus’ gifts  it was cursed.
Cadmus was exiled from his homeland and after a prophecy followed a cow into the plains of Boeotia and established the city of Thebes. This land was sacred to Ares and guarded by a dragon, which Cadmus killed. The dragons blood forever marked his family with miasma and even penance to Ares for eight years never cleansed the taint he had brought on his family and city. Cadmus and Harmona had five children one being Semele, she was given the necklace and was unintentionally killed by Zeus, but also gave birth to Dionysus (note the chronological paradox.)

After this event Cadmus abdicates from ruling and gave his throne to his grandson Pentheus – while Harmona passed her necklace to her daughter and mother of Pentheus – Agave. Pentheus refused to recognise his cousin Dionysus as a god and was torn apart by his mother and sisters in bacchic madness. Those involved depart the city in exile – Cadmus and Harmona became snakes to be free of their miasma and live a final life on earth before ascending.

In later generations of the Cadmus family line the necklace is worn by Jocasta, Queen of Thebes – wife to Laius. After an ill-fated prophecy of their son – killing his father and marrying his mother – his parents abandoned him on the mountain and pinned his feet. Like Hephaestus, Oedipus was abandoned and crippled (Oedipus means “swollen foot.”)  Oedipus was saved by a shepherd and raised to adulthood by the king and queen of Corinth until he came to adulthood and heard the same prophecy as his original parents did. He thought it related to his Corinthian parents and went into self-exile, becoming an adventurer. In his travels he killed an ingrate noble and defeated the sphinx that had been terrorising Thebes. He was hailed as a hero and rewarded with the queens hand in marriage after the strange murder of king Laius. . .

Do you see where this going? The mounting miasma from necklace continues on and on until the city of Thebes is totally destroyed. The vengeance of Hephaestus is perhaps the most complex and everlasting of all the gods curses and directly influences human lives. Its effects ripple throughout civilisation and history. It is a pure analogy of technology. We are saturated with his gifts, his genius magic improves our lifestyle but at what cost?

Kaveirian skyfos with a procession towards the temple of Cabeiri from Thebes, late 5th, early 4rth century B.C http://medievalpoc.tumblr.com/post/82021731674/athens-archaeological-museum-a-collection-of
Kaveirian skyfos with a procession towards the temple of Cabeiri from Thebes, late 5th, early 4rth century B.C
(Source)

I hinted at mystery side of Hephaestus. The Samothracian mysteries focused around deities called the Cabeiri. It unknown who these gods were, or even if they had names, depending on time their associations are mixed with other deities of Greece, sometimes they are eastern in origin. Some say they are twins who presided over orgiastic dances that honoured Demeter, Persephone and Hecate. They are the metalworking sons of Hephaestus that aided sailors, blessed because they helped in the recovery of the phallus of Zagreus.
Their mysteries were orgasmic with connection to the Kuretes – ecstatic soldiers that dance with clashing shields and armour, their identities hidden by their helmets. These same deities are said to have protected both Zeus and Zagreus-Dionysus in birth.
This mystery cults appears to have changed over time but it seemed have particular empathise on Hephaestus and Dionysus. In some Samothracian illustrations the Cabeiri appear almost dwarf or satyr like with grape vines – crashing and making wine. The mysteries migrated and were honoured in Thebes and elsewhere. In Sicily there was a similar cult, the Palici – dedicated to twin volcanic geysers. This cult was an early abolitionist cult. The Palici, like the Cabeiri are either the sons or grandsons of Hephaestus that offer liberty to slaves.

Lets move on: Fire!

As I write I just lit my cigarette with a lighter. A simple gesture and I have a lit smoke. We forget that fire is sacred. In primitive cultures it was either taken from trees lit by Zeus or after some hard work. Ever made fire from sticks? It’s tough and a skill that takes a long time to master.
It is a mystery and still is today, with Boy Scouts often using it as a simple initiation with rewards of badges and rank.
Some myth claim that Prometheus stole fire from the forge of Hephaestus and gave it to man. From there man moved from living in caves to building cities. Fire is the impetus of industry. In metal working it is a key component of transforming metals. Without fire we cannot refine metal from stone nor make it malleable to make into the shapes we want.

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(source)

In metalworking you learn quite a bit about fire, it burns. Also you learn it’s limitations and develop a relationship that allows you to control it. Seeing molten metal is mesmerizing. It is actually difficult to explain the sensation of being it’s presence – let alone handling it. The heat is overwhelming, you feel it through the protective gear as it clings to your body with your hairs standing on end as if being prepared to be cooked. Handling it is intense, any mistake can bring doom and most of the time it is done in a group. It is a social experience with everyone relying on each other’s expertise to fulfil the task. I cannot speak for everyone but I personally find it to be a mystical experience.

The chthonic side of Hephaestus is fascinating too. Where does metal and gems come from? In early times it may have been possible to discover pure gold ore on the surface, but that time has mostly gone. To find ore – especially those of high erosion- we must dig. Mining is still one of the most dangerous occupations today, collapse, gas leaks, suffocation… But imagine primitive man entering caves with fire and mining at vein only for it to burst into flame for no apparent reason. In Hades domain his jewels are difficult to acquire without forever becoming a member.
Caves have often been a place for initiation or mysteries and for obvious reasons, darkness is mystery. Before Prometheus stole the flame from Hephaestus humans lived in caves, but accordingly if they were without fire they had no means to ventured far into the cave. Fire solved the mystery of our natural abodes, it showed us the gems and gold further into the caves. It melted the soft elements for us to use as tools or decorate ourselves with. So Hephaestus brings these secrets to life, he forms our intellect as we form his metal.

To create alloys one must combined base elements together. Bronze was an alchemical achievement as it was difficult to produce in ancient times, once mastered however it was far superior to any other metals like iron or copper, bronze swords could break copper ones, even primitive iron would break against bronze, not only that, when polished it has a semblance to gold, making it a sort after metal by sculptors.
Greeks had an abundance of copper, but to create bronze they required tin, which is relatively rare element in the Mediterranean.  However there are alternatives to harden copper, such as arsenic. Long term low level exposure to arsenic creates crippling tumours and deformities to the feet, hands and face.  So the followers of Hephaestus would had actually appeared like the god.
Mercury is considered a magical metal ( apart from being a liquid at room temperature) it has the unique ability to transform metals like gold and aluminium from solid to liquid back to solid (amalgamation). It also has the ability to turn the human brain into a liquid too. ‘Mad as a hatter’ was a condition illustrated by Lewis Carroll but a serious issue in the development of industry. Hatters were exposed to mercury when creating felt. Today some gold mining companies use mercury to extract gold from rock. This is an extremely dangerous processes  that creates high levels of toxic gases and acids and was most likely used by ancient metal smiths for the same reasons. Apart from causing madness mercury also deforms the skin.
Then lead is another common element used by metalworkers. Like mercury it has similar effects on the body including deformities, mental and behaviour issues and blindness.  There is a couple of theories why Cyclops are the smiths of Zeus before Hephaestus, one being that blacksmiths were tattooed with cycle on their forehead and another is that blindness was a common occupational hazard. Either from metals being used or from the flame itself. So we see that the class of labourers in ancient times would have been visually apparent, their behaviour too would had been erratic and easy to anger, they would had been deformed outcasts but still essential to the development of civilisation.

Hephaestus today

Thanks for health and safety protocols, advancements in industry and medicine, these ailments are no longer as much as an issue as ancient Greece. But as I mentioned in the intro we are surrounded by the god. Respecting Hephaestus is realising our environment and the devices of his domain. There is a tendency for polytheists to be more nature loving and concerned about environmental issues. This is admirable and valid, however few see the importance of industry within these circles. Since the advent of the internet and raise of the digital age there has been massive boom towards alternative faiths and pagan nature religions. Communication, industry, technology has brought us all together but it’s easy to forget to marvel at the technology behind the screen that you are reading right now. This is the gift of Hephaestus and like all his gifts they are dual formed. Even if we as not a metalworkers nor have an intimate relationship with the deity, we should never forget his dominance over our lives.

To Hephaistos
Incense: Powdered Frankincense

Powerful and strong-spirited Hephaistos,
Unwearying fire that shines in the gleam of flames,
God, bringing light to mortals, mighty-handed, eternal artisan.
Worker, cosmic part and blameless element,
Highest of all, all-eating, all-taming, all-haunting, ether, sun, stars, moon and pure light.
For it is a part of Hephaistos all these things reveal to mortals.
All homes, all cities and all nations are yours,
And, O mighty giver of many blessings, you dwell in human bodies.
Hear me, lord, as I summon you to this holy libations,
That you may always come, gentle, to make work a joy.
End the savage rage of untiring fire,
Since, through you, nature itself burns in our bodies.

Translation by Apostolos N. Athanassakis
(source)

What is myth?

Vienna- hercules cerberus
Hercules and Cerberus in Vienna (image source)

It’s a not so secret, secret that I offer free advice and mentoring in regards to Hellenic Polytheism and related subjects. There are several persons I’ve been working with who have all brought up similar questions regarding mythology — all at the same time —  so from my limited demographic I’m guessing that this is a question that pops up all the time…

Is myth truth?

This is such a delicate question. I believe that truth can be found in myth, but do not believe it as the divine truth akin to that found in the Bible. You see, we have to realise that regardless of our own agenda, the definitions and language used, our culture has been influenced by monotheism. This is a serious problem for people who seek to detach themselves from the over-culture and focus on polytheism . There is an inherent ‘monothought’ that is bred into us, this manner of thought denigrates our “polythought”.

Now before people phase out, allow me to explain my definitions of these made up terms:

‘Monothought’ relates to religious information that is compacted into our brains as “TRUTH”. So we are educated to take these religious things as literal, black and white, right and wrong.

‘Polythought’ is a process of critical thinking. It is being able to hear a literal story but understanding the subtext or possible subtext of the tale and seeing it on multiple levels and even realities.

Mythology is kind of subtext. Often innumerably complex. So every person reading myth will apply their own concept to it, in other words: our interpretations are influenced by our own life experience. This is totally cool to do because it demonstrates how deep mythology is, each person can read the same story and come away with a different meaning. This is the Power of Myth.

However, if we want to explore myth more deeply and come to terms to what it meant to the original people who spoke the stories… this is where it becomes tricky as not only does myth require us to forget our knowledge, it also requires empathy. This is even more difficult because we have to fantasise what it would be like in bronze age Greece, not only at a time and culture we cannot comprehend, but often a location/country we don’t have firsthand knowledge of. In this difficult exercise we can find hints of truth within myth.

So I’ll provide some examples:

Most people, (I hope), know the basics of the Labours of Herakles. As penance of his crimes Herakles is forced to work for his relative and a favourite of Hera, King Eurystheus. Eurystheus deliberately sets Herakles on impossible tasks in order to defeat him and see Herakles’ failure. However Herakles is victorious every time, not only that – he embarrasses Eurystheus who is often so terrified of the heroes’ return he hides in a jar. Now we can take the story as just myth, it’s entertaining and illustrates Herakles ascension to godhood, but it is quite possible it has a deeper meaning. Each labour can be related to ancient star constellations, or zodiac, if we picture Herakles as the sun, he moves through each constellation to illustrate a time of the year. Meaning that the story can be seen as a calendar story. I even theorise that Eurystheus hiding in the jar is the moon, maybe symbolising special festive dates for the cultic calendar of Herakles (so far I have found no academic proof of this, but I think it’s a sound theory.)

So there is the subtext of the tale, it is more than possible that ancient people would use this story to remember the times of the year, they would measure the suns (Herakles) passing of the constellations (labours) to determine when to plant seed, when winter was coming (going to Hades to tame Cerberus) etc. Afterwards Herakles would rise again to repeat the labours.

Another example is a very deep myth – it is deep as it relates to religious rites and possibly actual historic events.
Theseus and the Minotaur. Theseus is an up in coming king of Athens, sadly Athens is subjugated to the wrath of King Minos of Crete. Athens must provide a tribute of seven maidens and seven courageous youths every seven years as tribute to the monstrous Minotaur.
To prove himself as rightful heir to Athens and also to free the city of this horrible tribute, Theseus offers himself up as pseudo-tribute and embarks with the youths to defeat the Minotaur. With the aid of the Princess Ariadne he navigates the labyrinth and defeats the beast. Thus ending the dominion over Athens and eventually proves the rights of Theseus as king.

This again can be seen as a solar story, the traditional seven arch Cretan Labyrinth has celestial significance, sometimes it’s related to the seven known classical planets with its centre being the Minotaur or sun. In other words it can be a primitive representation of a solar system. This is interesting when we think of the constellation of Taurus, a common theme found in classical iconography is the slaying of the bull by the sun (Mithraic Tauroctony) often this is symbolic of the sun conquering, i.e., passing through the bull constellation marking an end a year and beginning of another. So it can be seen that this tale is another calendar myth.

Then there is the historic side. We know through archaeological evidence, mythology and classical study that during the height of Cretan culture (Minoan) it was dominate in the Aegean pre-dark age, early bronze age (3650 to 1450 BC). There is no clear consensus of what actually happened but we know that the Minoan civilization had some effect and influence on mainland Mycenaean Greece until the Minoan’s were somehow devastated, most likely by the Thera eruption. Afterwards we find evidence through language that Minoan culture was taken over by Mycenaeans. Is it possible that the Theseus story illustrates actual historic events of a weaker culture taking over the previous dominate one?

There is so much we can take from this myth, another aspect of this story is the abandoning of Ariadne on Naxos. Ariadne was most likely originally a powerful Minoan goddess, but with the decline of Minoan culture we also see a decline in her role and cult to the point she is ‘downgraded’ to a mere mortal in the story. I often see the abandoning as a cross culture cultic merge of one cult into another. This is quite common in early mythology where goddesses were downgraded or even desexed to fit into the apparent male dominated culture of the Mycenaeans.

The final example I want to talk about has been a little controversial of late: The Crippling of Hephaistos.

In the myth Hephaistos is either born from the consummation between Zeus and Hera, or just Hera alone. Whatever the case the babe is deformed at birth and thrown from Olympus as a reject and becomes forever disabled in the legs. The master smiths of Lemnos, the Cyclopes, adopt Hephaistos and teach him to become a master crafter. Hephaistos eventually gets revenge against his mother (who is often the one that rejects him) by humiliating Hera through his craft. When Hephaistos finally frees Hera from his curse he is welcomed back into Olympus as an Olympian god.

This has been controversial of late because of terms used in myth to describe the affliction suffered by Hephaistos. Certain folk are offended at terms like cripple, lame, deformed and even disabled.  This behaviour fits into my definition of “Monothought” as it’s becoming focused on an aspect of the narrative of myth, while ignoring the context behind it. In this regard I’m pretty critical of people who forcedly want to divert or reinterpret myth by their own modern standards and make it applicable to the wider community. I believe this is very dangerous territory and is ultimately hubris.

Criticism aside, there are cultural subtexts found in these stories that explain the affliction of Hephaistos and his followers. This is where “Polythought” comes in handy as it allows us to critically assess the subtext of the myth.
Health and safety laws were not in effect during the bronze age, nor did the people have an understanding of the dangers of dealing with toxins. On top of that natural elements required to produce metal alloys were not available to Greeks.

The Bronze Age is named that because it was a period where the culture learnt the mysteries of the metal alloy of bronze, a metal stronger than iron and copper, but weaker than the near impossible to produce at the time alloy of steel. It was a technological advancement discovering bronze but also very difficult and toxic to produce. Nearly all bronze today is produced as an alloy of tin and copper, but tin is extremely rare in the Mediterranean, as an alternative arsenic was a substitute of tin. I pray to the gods above and below that my readers are not dim-witted to know how toxic arsenic is… but let’s just say it’s been used to assassinate a number of famous characters throughout history.  Low level, long term exposure of arsenic causes problems to the feet and hands, also mental issues including irrational rage and general madness.
Apart from the obvious toxins in bronze making, metalworkers worked with lead too, also known for inducing madness, deformed limbs and even hereditary dwarfism. And also mercury that was used with gold, silver and copper to create a process called, Amalgam. Mercury makes certain metals cold liquids that enables the base metal to be manipulated without firing. Naturally this is also highly toxic and results in all kinds of mental and physical problems.

So we see by thinking in terms of what we know of ancient times the smiths would had suffered some form of deformity through their work. Honestly I suspect it was seen as a sign of their mastery of craft, magic. This assumption comes from other cultures that exist today in Siberia and West Africa where the role of smiths is akin to priests and shamans and marked out as their own social class. Yet today in our minority culture we are privilege with a flip of a switch or click a cigarette lighter — fire is born, but we don’t know anything about the meaning behind the magic itself. For these ancient smiths they not only mastered the flame they taught fire to turn solids to liquids, back into solids. Solids given to the flame that are reborn into the form of strong swords and weapons or icons of the gods! The price of this magic work and knowledge of the mysteries of flame is deformity. A prideful price to pay for mastery of the mysteries.

I suppose I need to round this essay up. Is myth truth? No, I don’t believe in mythology as literal truth. I don’t believe that historically Herakles performed the twelve labours, nor that historically Theseus killed the Minotaur. I do, however, believe that myth lives in a realm outside our reality and lives on in its own ‘mythscape’,  a place that is anchored in our reality, landscape and history. It is a narrative of our DNA and ancestral collective consciousness. Hidden deep within myth is truth, but how we draw upon that rational truth is no more important than the story itself. We can rewrite mythology, apply rational thought, we can use new terms and even get offended. But deep down it lives within us, therefore it should be respected and embraced as it is the memory and understanding of humanity before us.

That’s why I love mythology.