The Hero with a Thousand Faces

Several of the brother gods vainly tried to rend apart the heavens and the earth. At last it was Tane-mahuta himself, the father of the forests and of all things that inhabit them, or that are constructed from trees, who succeeded in the titanic project.

His head is now firmly planted on his mother the earth, his feet he raises up and rests against his father the skies, he strains his back and limbs with mighty effort. Now are rent apart Rangi and Papa, and with cries and groans of woe they shriek aloud.

“Wherefore slay you thus your parents? Why commit you so dreadful a crime as to slay us, as to rend your parents apart?” But Tane-mahuta pauses not, he regards not their shrieks and cries; far, far beneath him he presses down the earth; far, far above him, he thrusts up the sky....^[37]

Figure 60. The Separation of Sky and Earth (Egypt, date uncertain)

As known to the Greeks, this story is rendered by Hesiod in his account of the separation of Ouranos (Father Heaven) from Gaia (Mother Earth). According to this variant, the Titan Kronos castrated his father with a sickle and pushed him up out of the way.^[38] In Egyptian iconography the position of the cosmic couple is inverted: the sky is the mother, the father is the vitality of the earth;^[39] but the pattern of the myth remains: the two were pushed asunder by their child, the air god Shu. Again the image comes to us from the ancient cuneiform texts of the Sumerians, dating from the third and fourth millennia b.c. First was the primeval ocean; the primeval ocean generated the cosmic mountain, which consisted of heaven and earth united; An (the Heaven Father) and Ki (the Earth Mother) produced Enlil (the Air God), who presently separated An from Ki and then himself united with his mother to beget mankind.^[40]

But if these deeds of the desperate children seem violent, they are as nothing compared with the total carving up of the parent power which we discover recorded in the Icelandic Eddas, and in the Babylonian Tablets of Creation. The final insult here is given in the characterization of the demiurgic presence of the abyss as “evil,” “dark,” “obscene.” The bright young warrior-sons, now disdaining the generative source, the personage of the seed-state of deep sleep, summarily slay it, hack it, slice it into lengths, and carpenter it into the structure of the world. This is the pattern for victory of all our later slayings of the dragon, the beginning of the age-long history of the deeds of the hero.

The Poetic Edda is a collection of thirty-four Old Norse poems treating of the pagan Germanic gods and heroes. The poems were composed by a number of singers and poets (scalds) in various parts of the Viking world (one, at least, in Greenland) during the period a.d. 900–1050. The collection was completed, apparently, in Iceland.

The Prose Edda is a handbook for young poets, written in Iceland by the Christian master-poet and chieftain, Snorri Sturluson (1178–1241). It summarizes the pagan Germanic myths and reviews the rules of scaldic rhetoric.

The mythology documented in these texts reveals an earlier, peasant stratum (associated with the thunderer, Thor), a later, aristocratic stratum (that of Wotan-Othin), and a third, distinctly phallic complex (Nyorth, Freya, and Frey). Bardic influences from Ireland mingle with Classical and Oriental themes in this profoundly brooded yet grotesquely humorous world of symbolic forms.

According to the Eddic account, after the “yawning gap”* had given forth in the north a mist-world of cold and in the south a region of fire, and after the heat from the south had played on the rivers of ice that crowded down from the north, a yeasty venom began to be exuded. From this a drizzle arose, which in turn congealed to rime. The rime melted and dripped; life was quickened from the drippings in the form of a torpid, gigantic, hermaphroditic, horizontal figure named Ymir. The giant slept, and as it slept it sweated; one of its feet begat with the other a son, while under its left hand germinated a man and wife.

The rime continually melted and dripped, and there condensed from it the cow, Audumla. From her udder flowed four streams of milk, which were drunk for nourishment by Ymir. But the cow, for her own nourishment, licked the iceblocks, which were salty. The evening of the first day she licked, a man’s hair came forth from the blocks; the second day a man’s head; the third, the entire man was there, and his name was Buri. Now Buri had a son (the mother is not known) named Borr, who married one of the giant daughters of the creatures that had sprung from Ymir. She gave birth to the trinity of Othin, Vili, and Ve, and these then slaughtered sleepful Ymir and carved the body into chunks.

Figure 61. The Murder of Ymir (lithograph, Denmark, a.d. 1845)