- He had tumbled down from his childhood Olympus and was no longer the son-hero of a divine mother. His so-called fear of castration was fear of real life which refused to come up to his erstwhile childish expectations, and everywhere lacked that mythological meaning which he still dimly remembered from his earliest youth. pg. 68 Archetypes and the Collective Unconscious (ACU)
- *if a*...man's experience of his mother has been positive...he is either effeminate or is preyed upon by women and is unable to cope with the hardships of life.
In other words, this dysfunction serves as a coping mechanism that gives him the capacity to take on the role of the mythic hero. Rather than paralyzing him as Jung finds is the tendency in actual men, our mythological figure is actually aided in the sense that he is able to withstand more than most men can in actual life.
- But there are other hero myths in which the hero gives in to the monster...Jonah and the whale, in which the hero is swallowed whole by a monster that carries him on a night journey from west to east, thus symbolizing the supposed transit of the sun from sunset to dawn. The hero goes into the darkness, which represents a kind of death. pg. 111 MHS
- Christ...Osiris, Taminuz, Orpheus, Balder...they belong, in fact, to cyclic religions in which the death and rebirth of the god-king was an eternally recurring myth. pg. 99 MHS
- Both in the Red Horn cycle and that of the Twins we see the theme of sacrifice of death of the hero as a necessary cure for hubris. pg. 106 MHS
- The typical hero figures exhaust their efforts in achieving the goal of their ambitions; instead, they become successful even if immediately afterward they are punish or killed for their hubris. In contrast, the novice for initiation is called upon to give up willful ambition and all desire and submit to the ordeal...He must be willing to experience this trial without hope of success. pg. 124 MHS