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“For it is simply a fact that poets and artists, who are dealing every day of their lives with the feeling- as well as thought-values of their own imageries of communication, are endowed with a developed organ for the understanding of myth that is too often lacking in the merely learned; so that when the artist or poet is also learned, he may be a more dependable guide to the nuclear themes of a given mythic complex, and a much more profound interpreter of their relevance to life, than even the most respected of its specialized academic elucidators.”It occurs that Campbell, no matter how ubiquitous or popular he is, is a tragically underestimated source of human understanding. It seems his work, to some degree, suffers for its author’s visibility. As if scholars, each devoted to their field with accepted dogmatic myopia–whether their gaze is upon anthropology, psychology, theology, language, philosophy or literature–conjure up an image of an old man too congenial for genius, with the Gollum like presence of one Bill Moyers perpetually clung to his back, and can thus look past this man that ruthlessly cuts to the one and common quick, who pulls back the plural curtain dividing our learning to reveal how we draw our energy from the heart of the matter.If Campbell suffers a somewhat polarized reception, the reason, I speculate, hinges on how he emphasizes eastern thought–a term I use here to mark a distinction between thought/theory and action/practice. The eastern philosophies are more advanced for nothing but their emphasis on pulling the philosopher out of his chair. And it is for this very same reason that the western mind will not admit this supremacy, and so too with Campbell, that there is a contingent that resists and objects to his thought. But this reluctance, as Campbell will tell you, is fear. And only he who overcomes it becomes the hero of his own life and thus alive–which no mere thinker can ever be. As Nietzsche says, “whatever can be thought, cannot but be a fiction.” The mere thinker is a spectator, the crying critic. Returning to Campbell after an inexcusable 10 year drought–or, as he might say, wasteland–I find myself singularly compelled to to this incredibly presumptuous declaration, that most of Campbell’s detractors are forming their opinions with a much inferior complement of understanding than he. I will go so far as to say that the wise reader, when coming upon something in Campbell that she finds disagreeable, will at least explore the possibility that she herself is wrong, before this man who has drank so deeply from so many primary springs. Here is a man that can give us more of Joyce than can Joyce himself–that is, than we ourselves can reap without his help. Without Campbell’s revelations of Joyce’s redeeming qualities and the absurd lengths one must go to reach them, the Joyce lover is an inadequate pretender. But if Campbell can unearth what content is so intently hidden in Joyce, how can he can he not accentuate the enormous content that is meant to be unhidden in Schopenhauer, in Nietzsche, in Christ, Blake, Buddha, Black Elk, Wordsworth, Ortega y Gasset, Eliot, Mann, Jung, Shakespeare, The Upanishads, etc.? Indeed, one might better ask, what canon, that some significant sum of people holds or has held as most holy, has Campbell not thoroughly apprised himself of before gifting the world his declarations?For those who allow their orientation to drift to the east, it becomes more and more apparent that in order to understand, what one needs more than intellect is courage.“Creative Mythology, in Shakespeare’s sense, of the mirror ‘to show virtue her own feature, scorn her own image, and the very age and body of the time of his form and pressure,’ springs not, like theology, from the dicta of authority, but from the insights, sentiments, thought, and vision of an adequate individual, loyal to his own experience of value. Thus it corrects the authority holding to the shells of forms produced and left behind by lives once lived. Renewing the act of experience itself, it restores to existence the quality of adventure, at once shattering and reintegrating the fixed, already known, in the sacrificial creative fire of the becoming thing that is no thing at all but life, not as it will be or as it should be, as it was or as it never will be, but as it is, in depth, in process, here and now, inside and out.”
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