Mythic Truth
by Jeff Treder
We humans are born storytellers. Sometimes our stories are just entertainment, and sometimes they are also meant to teach lessons. Beyond entertainment and instruction, however, there are times when our stories resonate deeply within our minds and hearts and seem to be expressing certain essential truths about our human condition. These resonant stories have been called myths. Now, “myth” is often regarded as synonymous with “fiction” or even “seductive lie.” But it seems more useful to reserve the term “myth” for those stories that seem to convey, in their own way, powerful truths about human life.
“What is truth?” Pilate asked, and despite his cynicism it’s a good question. A reasonable definition of truth is “correspondence to reality”—a statement is true, that is, insofar as it corresponds to the reality about which it speaks. Some of the time we just want to escape reality, but our lives tend to go better when we knuckle down and try to figure out what’s real and how to cope with it—when we try to get in touch with the truth.
Can stories help us get in touch with the truth? Can deeply resonant stories—can myths? To answer this, it may help to look at the similarity between myth and metaphor. When Burns says his love “is like a red, red rose,” we easily understand that she isn’t a flower, but that she has certain delightful qualities in common with a beautiful flower. There is truth here, but it isn’t literal, it’s figurative. It’s still truth, however—in the poet’s estimation, she really, truly does have these qualities (like beauty, attractiveness, even evanescence) which he thinks can better be conveyed by the floral comparison than by piling up adjectives. Centuries of poetic theory agree with him; an always-literal Shakespeare wouldn’t just be less memorable, he would convey fewer important truths about human life.
A story is essentially an extended, elaborated metaphor—“life is like this,” it tells us (or maybe, with just-for-fun stories, “wouldn’t it be interesting if life were like this”). When a great story—a myth—tell us that “life is like this,” the response of thoughtful readers is, “I don’t fully understand it, but yes, life truly is like that.”
Some Literary Myths
Let’s consider a few well-known examples: The Odyssey, Plato’s “Allegory of the Cave,” Don Quixote, and Macbeth. Homer’s Odyssey is the story of a man making his way home after years at war. Home means family (his wonderfully faithful wife Penelope, his devoted son Telemachus); home is where life is settled, ordered, known, familiar, secure. Odysseus genuinely desires to get home, fight off the suitors who are insisting that Penelope must be a widow, and re-establish himself as husband, father, and king of Ithaca. But he is also a born adventurer, and his homing desire contends with an almost equally strong desire to experience everything the world has to offer (wild sex, wild magic, wild monsters) before he gets home. No wonder that, for nearly three millenia now, this story—this myth—has persuaded millions of thoughtful hearers and readers that it is telling them something deeply, perennially true about human life, and conveying that truth with a power and resonance that no plot summary or lecture on the subject can match. We should note carefully that the Trojan War is known to have been a historical event, and that the figure of Odysseus may well have had a historical counterpart, and that Homer’s account of his adventures is full of what Homer surely knew to be tall tales. The point here is that the mythic truth of the story depends not a whit on how much of the tale is historical fact and how much is poetic fiction. Mythic truth, we might say, has a life of its own.
Plato’s “Allegory of the Cave” comes in his work The Republic, when he imagines a group of people who have lived their whole life confined in a cave. On the back wall of the cave they see shadowy figures moving about, and they assume that these shadows are all there is to life, to reality, beyond themselves. Actually the shadows are the projections of real people going by outside the cave, but they don’t know that. This, Plato says, pictures the poverty of our ordinary perceptions of reality. The story has mythic power because, as with The Odyssey, many generations of readers have felt that it conveys an accurate but hard-to-define truth about human experience. The myth itself conveys the truth with a vividness that Plato’s explanation of it in his theory of Forms (or Ideas) cannot match.
Cervantes’ Don Quixote is the great seminal story about human idealism versus ordinary reality. Idealism, embodied in the “knight of the woeful countenance,” is both noble and ennobling; it is the only thing that can raise human life above that of, say, crocodiles. Ordinary reality, spoken for by Sancho Panza, is full of squalid taverns, whores and windmills (and crocodiles), where the Don sees splendid castles, immaculate ladies and giants to be overcome by valor. The question the story raises, and leaves for us to answer, is whether human idealism actually has the power to ennoble ordinary reality, or whether it is nothing more than the madness that Sancho perceives. The story has mythic truth because we realize that the question itself, as the myth poses the question, expresses a profound truth about human life.
Macbeth is probably the most powerful story ever told about crime and punishment (Dostoevsky’s novel comes in close behind it). More precisely, it’s a story, a myth, about human guilt. As the play opens, the good King Duncan comes to Macbeth’s castle as his honored guest. Lady Macbeth believes, and persuades her husband, against his conscience, to believe, that they can murder Duncan and get away with it both politically and spiritually. They are, of course, mistaken in this belief, but, again, no summary or essay on Macbeth can even approach the power of the myth. In common with most myths, Macbeth is told in richly figurative, imaginative language, and the power of the myth is inseparable from this language. The figure of Macbeth comes to us from the legendary history of Scotland; but as with The Odyssey, the mythic truth of Shakespeare’s play does not depend at all on the extent to which his character and plot correspond to actual history. Either way, the play is about real people.
Mythic Stories in the Bible
Human mythmakers, then, seem to have the ability to express certain truths about human experience which cannot be expressed as well in any other way. If truth is correspondence to reality, human mythmakers are able to very closely approximate certain realities. Now I want to go on to consider some stories or accounts in the Bible from this point of view. If the Bible is not divinely inspired, not “the word of God,” then these stories will, at best, have mythic power and mythic truth comparable to those stories we have already looked at. For reasons I won’t go into now, I believe the Bible is in fact the word of God—in, as a standard formula puts it, the words of men—and in that case its stories and accounts will have unique power and convey unique truth. They will represent exactly certain realities of human experience
.
First, the book of Job. No one knows just when this story was written or who wrote it; estimates of its date of composition range from sometime in the second millenium B.C. to the fourth or third century B.C. Bible scholars have debated whether Job is a historical person who actually underwent the ordeal described, or whether the story is fictional or somewhere in between. Some people hold that if you believe the Bible is the word of God, then you must believe that Job was a historical person. Others, myself included, doubt whether we have enough information to know for sure, and wonder whether it matters. For whatever else it may be, the book of Job is one of the world’s great mythic stories, and that is true whether or not Job was a historical person. Nothing else ever written explores to the same depth the “problem of evil”: If God is good, loving, and all-powerful, how can he in good conscience allow such things to happen? (The author takes for granted what the book of Ecclesiastes says explicitly, that if God were absent, then human life would be meaningless and futile, “chasing after the wind.” Evil would be a mere fact, not a problem.) The book only offers a partial answer to the question. God exists, and he is indeed good, loving, and all-powerful, and he had his reasons for putting Job to the test, but he never discloses what those reasons were (the prologue gives the setting more than the reason; the coming of Christ, however, has subsequently given us much more insight on the question). The mythic power of the book of Job, in a way similar to Don Quixote, is the power with which it raises and explores the question. If the book is, as I believe, “the word of God in the words of men,” then its presentation of the issue is uniquely true: It corresponds exactly to the reality of our human condition—specifically, of human suffering.
Next, and finally, let’s consider the early chapters of Genesis, and especially the account of Adam and Eve in Eden. Like most other mythic stories, this one comes to us in richly poetic language. It is crafted and structured around a profusion of elemental symbolic images—the primal chaos, water, darkness and light, the garden, the earth from which God creates man, the two trees, the snake in the garden. About the mythic power of this story there can be no doubt; in its influence on human thought, self-understanding and history, it is the most powerful of all our myths. It tells us that we are creatures of God, not just random accidents, and that all the wrongs in human history—all the broken families, war, oppression, injustice, slavery, and idolatry—stem from our decision to disobey God and try living independent of him. (In telling us this, the Eden myth sheds a great deal more light on those questions raised by the book of Job.) If the Eden myth is also “the word of God in the words of men,” then it is also uniquely true: Like the story of Job, the story of Adam and Eve corresponds exactly to reality. Just what reality, though, are we talking about? Logically, there are three possibilities: (1) literal, historical reality; (2) spiritual reality; (3) both of these together. (Because I believe the Bible is the word of God, I am leaving out of account those who think there is no such thing as spiritual reality and that the Eden story is obviously fictional, merely an ancient Near Eastern folk tale.) No Bible believer doubts that Genesis is a revelation of spiritual reality, so the real issue is whether the myth embodies both spiritual and historical reality, or only spiritual reality. Is the Eden story historical? And how can we determine whether it is historical? Our answer to the first question depends on our answer to the second. So then, how can we determine whether the Eden story is historical?
Some Definitions
First, it may help to examine more closely what we mean by the terms “literal,” “historical,” and “spiritual.” “Literal” refers to the surface meaning of a statement, what the words mean when taken at face value. Much of human communication, however, is figurative, symbolic, or ironic to one degree or another, so that the author’s intended meaning—his real meaning—differs to some extent from the surface meaning. When Jesus, for example, tells us, “If your right eye causes you to sin, gouge it out and throw it away” (Matt.5:29a), we readily understand that he is not commanding self-mutilation but warning us, in a deliberately shocking figure of speech, how serious our struggle against sin is. We have already noted that our stories and our myths essentially are elaborated metaphors—“life is like this.” On the literal level, the story may be historically factual (say, an account of the Apollo 11 lunar landing) or it may be entirely fictional (say, Frodo’s quest in The Lord of the Rings). In either case, in either of these examples and in countless others, the story may convey mythic truth, and, as I noted with both The Odyssey and Macbeth, the truth and power of the myth do not depend on whether the story is historical or fictional. In the case of the Eden story, we have to consider both the human author, Moses (edited, probably, by subsequent priests), and the divine author, God. Do we know, or can we know, what either God or Moses had in mind with regard to the historical status of the episode? That, as Hamlet said, is the question.
This brings us to what is meant by “historical.” Some theorists in the field limit it to events and persons that are well attested by reliable written records, corroborated where possible by archeological records. On these grounds, Martin Luther is a historical person while his next-door neighbor, if no records of him or her survive, is not. I am using “historical” in a broader sense than that, to mean an event that actually occurred, or a person who actually lived, in the natural course of events on planet Earth, regardless of the documentation. The “natural” course of events stands in contradistinction to the supernatural and the spiritual.
“Supernatural” means beyond the natural or greater than the natural. Outside the worldview and witness of the Bible, we have no reliable information of a supernatural reality. But I believe that the Bible is true—reliable information—and that God is the supernatural reality. Jesus has told us that “God is spirit” (John 4:24), so God is also the spiritual reality. The ultimate reality, spiritual and supernatural, is God. Even among Christians, many people, if they try to rustle up a mental image of “spirit” or “spiritual,” come up with something close to “gaseous” or “vaporous.” This mental picture accords, actually, with Biblical language—the Hebrew and Greek words translated “spirit” both basically mean “breath” or “wind”—but it can be misleading. In our natural and fallen condition we are unable to see God as we see the natural world; this inability persists after we are born again by the Holy Spirit and will persist until we are taken to heaven or heaven comes to us when Jesus returns. This blindness, however, tells us nothing about God’s reality, though it may cause us to doubt it. In fact, God’s reality is greater than ours, more powerful and substantial than ours. He is the source and constant sustainer of our existence. Notice the imagery that Scripture gives us when speaking of heaven; it’s mostly royal imagery, the trappings of kingship—thrones, crowns, banquets, and plenty of gold and gems. In ancient societies, kings were the embodiment of authority and power, as well as, hopefully, wisdom and justice and compassion. The Biblical imagery tells us that God is the ultimate King, not only sovereign and omnipotent but also, as it turns out, perfectly wise, just and compassionate.
Supernatural and Historical Reality
Now, with these definitions, we are almost ready to consider whether the Eden story gives us historical as well as spiritual truth. First, though, it may help to think about the Flood story in Genesis 6-8. After Noah built the ark, God brought on forty days of rain, but before that he caused a pair of every animal species (seven of every ceremonially clean species) to come to the ark. How did he do this? How, for instance, did he cause polar bears to come from the arctic, or koalas from Australia, or llamas from South America, all the way to Mesopotamia? The answer has to be that he used supernatural means. To provide enough rainwater to cover the highest mountains (7:19-20), nearly six miles above sea level, he also must have used supernatural means; it would have required about 750 feet of rainwater per day. Even if we limit it to just nearby mountains, it would still be hundreds of feet of water per day, and in either case, only supernatural means could have disposed of the excess water. This is not to say that these events never happened and are fictitious; rather, I am exploring the mode of their happening and how we might understand it. The narrative is deeply supernatural and spiritual (the terms are nearly synonymous) by virtue of being dominated by God’s activity. One difficulty this presents is squaring all of it with evidence from fields like geology and paleontology; more immediate, for our present purpose, is the difficulty in determining how the supernatural and the historical connect in these events.
The strongest evidence for the historicity of the people and events in Genesis 1-8 comes from references to them in the New Testament. Luke’s genealogy of Jesus (3:23-38) traces his descent directly back to “Adam, the son of God.” Of the other references, the most significant is probably Paul’s comparison of Adam and Christ in Rom.5:12-19. Paul unquestionably considered Adam to be as fully historical as Christ. To disagree with Paul on this point, I think, would be to doubt the inspiration of Scripture—which, on a number of grounds, we have strong reason to believe. Agreeing with him, however, leaves us with the difficulty of understanding the interface between the supernatural and the historical. We will underestimate this difficulty if, influenced perhaps by Hollywood, we think of supernatural events merely as natural ones with spectacular special effects. The difference is greater than that; the difference is absolute. God is infinitely greater than the natural world, and his state of being is, to us, incalculable, unfathomable. These early Genesis accounts, though they are about historical people, are full of divine, supernatural acts. The interface between these completely different levels of reality presents us with a mystery and leaves us with a conceptual gap. The problem is most obvious when God is acting in person, so to speak, as when he creates Adam out of a scoop of dirt and then Eve out of one of Adam’s ribs. Any attempt of ours to picture this will be false; what really happened is literally beyond our imagination. The same problem exists, in fact, whenever the infinite intervenes on the finite. No matter how many artists’ renderings you have seen of Elijah being swept up in the heavenly chariot (2Kings 2:11-12), none of them can possibly be accurate. The event is beyone the grasp of our finite minds. Elisha saw something, but he could neither fully comprehend it nor clearly describe it, any more than Ezekiel could comprehend and describe the manifested glory of Yahweh (Ezek.1). Ezekiel’s best effort comes across as dreamlike, hallucinatory. Peter and John were similarly overwhelmed when, on separate occasions (Mark 9:2-8, Rev.1:12-18), they saw the glorified Jesus. We who trust in Jesus will be glorified with him one day (Rom.8:30, 1Cor.15:35-57, 1John 3:2), but until then we would be equally brain-overloaded and descriptively challenged if we saw what they saw.
Bridging the Gap
An understanding of mythic truth may help us bridge the gap between our finite mental horizon and God’s infinite reality. If it doesn’t explain the mystery, at least it may give us a better way of approaching it. The stories of Eden and the Flood are poetic in form and language. Most of their elements, while historical and literal on one level, are also evidently symbolic, and in accordance with the way symbolic language works, the main meaning inheres in what the symbols represent. The Tree of Life is Christ (John 11:25-26, Col.3:4, Rev.2:7, 22:13-14). The talking snake is Satan as well as the prototype of every smooth-tongued deceiver. The ark symbolizes our spiritual deliverance through Christ (see 1Peter 3:18-22). Meaning expressed in this way is mythic truth, which, especially when inspired by God, points directly at human reality—the truth about what it means to be human.
The same literary feat, or at least a similar one, occurs in Homer’s Odyssey. The very disparate levels of experience comprised in domestic normality (the hero’s home in Ithaca) and in the poetic imagining of supernatural (or at least paranormal) beings—Calypso, Circe, the Sirens, the Cyclops—are integrated by the power of myth into a unity embracing the full range of human experience. This unification takes place not only in the poem as a whole but also, in a beautiful touch, within the poem, when the shipwrecked Odysseus is given hospitality in the palace of King Alcinous, and after dinner the blind poet Demodocus (generally and reasonably thought to be a self-portrait of Homer) sings some epic poems and transports his domestic audience into the same world of heroic marvels from which Odysseus has just emerged, exhausted and naked. The difference between The Odyssey and Genesis is the difference between supposed supernatural powers and the real thing. Odysseus angered the sea god Poseidon; the pre-flood human race angered Yahweh.
In Genesis, mythic power works to unify the supernatural and the historical in the service of spiritual truth; and this truth pertains to us because we are primarily spiritual beings, created “in the image of God” (Gen.1:27). From the beginning of Genesis down to the Gospels, there is a process which C.S. Lewis has described as myth becoming fact (using “myth” in just the same sense as I am using it). As the Biblical narrative proceeds, it gradually becomes more recognizably historical in form and content. When we get to Abraham, our confidence in the historicity of the information is reinforced by New Testament testimony but not reliant on it (as it is in Genesis 1-8), since the meaning is primarily conveyed on the literal level. The mythic truth and power of Abraham’s story, however, are still immense—think of him obeying God’s call to emigrate from Mesopotamia, believing God’s promise to give him a son in his old age, and then obeying (until forestalled) God’s command to sacrifice the son of promise. Continuing on, when we come to the Babylonian Captivity, we are reading about an event heavily documented in history and archeology but still loaded with mythic truth: This, the event tells us, is what happens when God’s people ignore him, scorn his prophets, and lust after worldly values.
Jesus Christ is the person, and his coming to the earth is the event, in which mythic truth, spiritual truth, and historical fact at last become completely integrated. In particular, it is the Incarnation, God and man being united in one Person, which closes the gap forever. Jesus is God, and his miracles are no more capable of natural explanation or subject to accurate picturing than Elijah’s fiery chariot; but he became a human being, and as a human being he was—and remains—fully knowable. And since, in Christ, God and man are united, in him we can know God. Through him, belief and knowledge have become integrated, so that Paul could honestly write, “I know whom I have believed ....” (2Tim.1:12) This knowledge is both intellectual and, much more momentously, relational. Because Jesus is alive forever and has given us his Holy Spirit, we (like Paul, who had never known Jesus during the Savior’s earthly life) can know him in direct personal relationship. Granted, this relationship depends on faith, on trust, but so does every sound human relationship. And as with all human relationships, the growth of our relationship with God through Christ depends on steady mutual communication. In giving us his Son to die in our place and then rise again into indestructible life, God has made all this possible. The great story told in the Gospels, while verifiably historical—multiple eyewitness testimonies, unparalleled manuscript attestation, major historical consequences—is also, obviously, of supreme spiritual import and tremendous mythic power.
As long as we are in this mortal state, a degree of mystery will remain concerning Adam and Eve. If videocameras could have recorded those events in the Garden and we could view the tapes, what would we see? I don’t know. No one knows, any more than anyone knows how God got those polar bears hale and hearty into the ark. Our answers even to whether there was a historical Eden or a historical ark with polar bears and koalas on it will be answers given by faith or unbelief, not knowledge. A generous share of intellectual humility is appropriate here. But if all the truth we have about the historical Adam and Eve is mythic and spiritual, is that enough? What, exactly, does that leave us with?
Actually it leaves us with all that we need (and thus one might suppose that the limited nature of our knowledge here reflects what God thinks we need to know). We know that God is supreme and sovereign, the Creator of the heavens and the earth, and of all earthly creatures including man and woman. We know that all of humanity’s woes stem from our decision to go it on our own. We know that the possibility of independence from God is the Big Lie. No creature is independent of God. Satan himself, whatever he may think about it, depends entirely on God for every moment of his miserable existence. We know that when God created humanity, he had already planned our redemption; Genesis 3:15 tells us this in mythic terms. And we know that God will judge the human race. Later Scriptures (for instance, 1Cor.4:2-5 and Rev.20:11-15) tell us this explicitly. But the fact—or more exactly, the mythic truth—that he has already done it once before, in the Flood, gives us good reason to take seriously both the Last Judgment and the great deliverance from that judgment provided for us by Jesus Christ, who is God, whom we know.