Symbol and myth do bring into awareness infantile, archaic dreads and similar primitive psychic content. This is their regressive aspect. But they also bring out new meaning, new forms, and disclose a reality that was literally not present before, a reality that is not merely subjective but has a second pole which is outside ourselves. This is the progressive side of symbol and myth. This aspect points ahead. It is integrative. It is a progressive revealing of structure in our relation to nature and our own existence, as the French philosopher Paul Ricoeur so well states. It is a road to universals beyond discrete personal experience.
Rollo MayRelated topics
archaic aspect beyond content disclose experience french meaning myth nature outside present primitive progressive psychic revealing road second side well awareness dreads points StatesRelated quotes
[T]he Christian philosopher of to-day has larger capacities and fuller knowledge than the Israelite of the time of Moses. What the one accepted as literal truth the other cannot accept save as a myth or figure. The children of Israel received without idealisation the statements of their great lawgiver. To them the tables of the law were true tablets of stone, prepared, engraved, broken, and re-engraved; while the graving tool which thus inscribed the law was held undoubtingly to be the finger of God. To us such conceptions are impossible. We may by habit use the words, but we attach to them no definite meaning.
John Tyndall
Paul McCartney may be the closest thing our generation has produced to Franz Schubert -- a master of melody, writing tunes anyone can sing, songs that seem to have been there all along. Most people don't realize that "Ave Maria" and "Serenade" were written by Schubert (or that his "Moment Musical in F" so resembles "Martha My Dear"). McCartney writes with similar universality. His "Yesterday" has been recorded by more musicians than any other song in history. Its stepwise melody is deceptively complex, drawing from outside the diatonic scale so smoothly that anyone can sing it, yet few theorists can agree on exactly what it is that McCartney has done.
Daniel Levitin
So, too, in the Vedanta the whole world is seen as the lila and the maya of the Self, the first word meaning "play" and the second having the complex sense of illusion (from the Latin ludere, to play), magic, creative power, art, and measuring-as when one dances or draws a design to a certain measure. From this point of view the universe in general and playing in particular are, in a special sense, "meaningless": that is, they do not-like words and symbols-signify or point to something beyond themselves, just as a Mozart sonata conveys no moral or social message and does not try to suggest the natural sounds of wind, thunder, or birdsong.
Alan Watts
I could never aspire to Syd's crazed insights and perceptions. In fact for a long time I wouldn't have dreamt of claiming any insights whatsoever. I'll always credit Syd with the connection he made between his personal unconscious and the collective group unconscious. It's taken me 15 years to get anywhere near there. Even though he was clearly out of control when making his two solo albums, some of the work is staggeringly evocative. It's the humanity of it all that's so impressive. It's about deeply felt values and beliefs. Maybe that's what 'Dark Side of the Moon' was aspiring to. A similar feeling.
Roger Waters
Then we have computer science. It is true that software cannot exercise its powers of lightness except through the weight of hardware. But it is the software that gives the orders, acting on the outside world and on machines that exist only as functions of software and evolve so that they can work out ever more complex programs. The second industrial revolution, unlike the first, does not present us with such crushing images as rolling mills and molten steel, but with "bits" in a flow of information traveling along circuits in the form of electronic impulses. The iron machines still exist, but they obey the orders of weightless bits.
Italo Calvino