Home » Posts tagged 'spiritualism'
Tag Archives: spiritualism
Society Neglects the Importance of the Dream World
Since the Industrial Revolution, scientific and technological development has progressed at an unfathomable rate. In a little over a quarter-of-a-millennium, the Western world has gone from a superstitious, agrarian society to a scientifically and technologically sophisticated one. The price of this remarkable achievement has been our alienation from the ‘dream world.’ We have lost our sense of wonder, our sense that there is something more substantial to existence than just mere crude matter.
The lack of spirituality among modern man is largely the result of an overreliance on materialism. For the philosophically challenged, ‘materialism’ is not a reference to consumerism, but to the philosophical position that regards physical matter as the fundamental substance of nature. Philosophical materialism posits that everything, including human thought and the course of history, comes as the result of physical forces. This is a philosophy which has no room for the soul, for divinity, or for God.
Philosophical materialism likely harkens back to the pre-Socratic philosophers. Epicurus, for example, believed the universe consisted of invisible and indivisible free-falling atoms that randomly collide with the world. For all intents and purposes, however, it is the Ancient Greek philosopher, Democritus (c. 460BC – c. 370BC) who is credited with the invention of philosophical materialism within the Western tradition. Democritus formulated the theory that the world was composed of ‘atoms’ – invisible chunks of matter – existing in empty space. He theorised that these microscopically small atoms would interact with one another by impacting or hooking up. Change occurs when the configuration of these atoms is altered.
In modern philosophy, materialism is referred to as a category of metaphysical theories. The French philosopher, Baron d’Holbach’s (1723 – 1789) book, Système de la Nature ou Des Loix du Monde Physique et du Monde Moral (1770) (The System of Nature, or the Laws or the Moral and Physical World) argued that everything that occurs, down to human thought and moral action, comes as the result of a causal chain that has its roots in atomic motion. The book was condemned by King Louis XVI (1754 – 1793), meaning that it was the job of the hangman to locate every copy and cut it to pieces on the beheading block.
The modern world likes to see itself as fundamentally materialistic. Being seen as “practical”, “realistic”, or “down to earth” is considered by many to be a great compliment. However, this view is largely mistaken. In reality, it is ideas, referring to the ability to think and feel and imagine, and the ability to implement them that has truly made the human race what it is. In a letter to Guillaume Gibieuf (1538 – 1650), the French philosopher, René Descartes (1596 – 1650) wrote: “I am certain I have no knowledge of what is outside me except by means of the ideas I have within me.”
It would be a great mistake, then, to suppose that human beings are naturally rational or civilised creatures. In reality, people are far more irrational, crazy, and destructive than we like to think. Modern science is really only a few hundred years old, having its roots with Francis Bacon (1561 – 1626), Rene Descartes, and Isaac Newton (1642 – 1727). Therefore, the basis for modern society is not, as often supposed, science, but religion. This is evidenced by two facts. First, the existence over thousands of years of civilisations that have their basis in religion, not science. These societies and their corresponding religions include the Japanese and Shintoism, the Chinese and Buddhism, the Middle East and Islam, and the West and Christianity. And second, by the numerous anti-science movements (most notable in today’s world are the social constructionists) that have come to the public’s attention in recent years. We are able to live in an orderly and rational manner because we live in a society that has moral rules and legal boundaries, not because it is something that comes naturally to us
The relationship between the mental and physical worlds was of great interest to the Swiss psychologist, Carl Jung (1875 – 1961). Influenced by the German Idealist School, Jung believed that “metaphysical assertions… are statements of the psyche.” He would comment: “it is the soul which, by the divine creative power inherent in it, makes the metaphysical assertion; it posits the distinction between metaphysical entities. Not only is it the condition of all metaphysical reality, it is that reality.” The central idea behind Jung’s metaphysical system was that:
“The premise that all psychological processes are necessarily conditioned on innate universal structures of subjectivity that allow for human experiences to transpire, and that these processes participate of a greater cosmic organising principle that transcends all levels of particularity or individuality.”
– Jon Mills, Jung’s Metaphysics
In his function as a psychotherapist, Carl Jung observed that western men and women often suffered from debilitating feelings of inadequacy, hopelessness, and insignificance. He believed that this was caused by a kind of spiritual problem that, even today, threatens the stability and liberty of our society. The result is that we limit ourselves only to what is socially and economically attainable. As Carl Jung wrote:
“Man feels isolated in the cosmos. He is no longer involved in nature and has lost his emotional participation in natural events, which hitherto had symbolic meaning for him. Thunder is no longer the voice of a god, nor is lightning his avenging missile. No river contains a spirit, no tree makes a man’s life, no snake is the embodiment of wisdom and no mountain still harbours a great demon. Neither do things speak to him nor can he speak to things, like stones, springs, plants and animals.”
– Carl Jung, The Earth Has a Soul
Jung noted that this problem, and the consequences associated with it, correlated with the declining influence of Christianity in the Western world and the rise of mass urbanisation that came as a result of the Industrial Revolution. As the individual surrounded himself with more and more people, his feelings of insignificance increased. The result is individuals who are highly insecure, unstable, and highly suggestible. Furthermore, the rational and scientific mindset that rose to prominence during the Enlightenment has also fooled many politicians and social reformers into believing that the same measures can be used to address social and political problems. The existence of the totalitarian systems such as fascism and communism, genocides, and mass murders that characterised the Twentieth Century stand as testaments to this reality.
The problems the West faced during the twentieth century are almost entirely spiritual by nature. The communists killed tens of millions of people in an attempt to achieve a worker’s paradise, the Cold War was as much a battle between opposing worldviews as it was one of political and economic differences, and one would have to be blind not to notice the religious overtones present in Nazism. Even today, the conflict between Western civilisation and fundamental Islam can be seen as having profound religious overtones.
Jung believed that the unconscious mind could be split into two distinct categories: the personal unconscious and the collective unconscious. The contents of the personal unconscious is comprised of both instincts (Triebe) and archetypal or primordial images. It merely refers to the memories, emotions, and knowledge that have generally been conscious but have become repressed over time. By contrast, the collective unconscious, one of Jung’s most misunderstood concepts, is distinguishable from the personal unconscious in that it is manifested separately and is therefore not a personal acquisition. It symbolises universal culture: the anthropological images, practices, edicts, traditions, mores, social norms, values, and beliefs that embodies a culture or mythos. The collective unconscious, therefore, symbolises the space that human-beings exist in.
Dreams are considered to have great psychological significance. They use mythological narratives to allow us to naturally express our unconscious fears and desires. The average person dreams between three to six times per night with each dream lasting between five and twenty minutes. Jeffrey Sumber, a clinical psychologist, has spent years studying dream mythology at Harvard University and Jungian dream interpretation at the Jung Institute in Zurich, Switzerland. Sumber argues that dreams bridge the unconscious mind with the conscious mind. “Dreaming is non-essential when it comes to survival as a body”, Sumber concluded, “but is essential with regards to our development and evolution as metaphysical beings.”
Active imagination exists to give a voice to the anima, animus, shadow, and other areas of the personality that do not typically hold our attention. When the individual engages his active imagination, let’s say through painting or writing, there is a transformation of consciousness. As Carl Jung wrote in The Conjunction:
“Although, to a certain extent, he looks on from outside, partially, he is also an acting and suffering figure in the drama of the psyche. This recognition is absolutely necessary and marks an important advance. So long as he simply looks at the pictures he is like the foolish Parsifal, who forgot the ask the vital question because he was not aware of his own participation in the action. But if you recognise your own involvement you yourself must enter into the process with your personal reactions, just as if you were one of the fantasy figures, or rather, as if the drama being enacted before your eyes were real.”
The collective unconscious manifests itself most greatly through mankind’s proclivity for telling stories. As the clinical psychologist and cultural critic, Jordan Peterson (1962 – ) explains, story-telling is an ancient and innate aspect of human nature:
“You know, we’ve been collecting stories as people we don’t know how long – hundred thousand years, maybe. There’s been creatures like us, indistinguishable from us, for a hundred thousand years. And we know that societies that appear more or less as archaic as those old societies tell stories, have rituals, have mythology. What do they mean? What are they good for? Well, imagine this: you tell a story to your husband or your wife about something interesting that you saw. Well, imagine that you could collect a thousand of the most interesting stories. And then imagine that you were some kind of literary genius like Shakespeare and you could take those thousand interesting stories and boil them down to a hundred really interesting stories. And then imagine that you had ten thousand years to gather up those most interesting stories and average them and you could come out with one perfect story: the best story, the most interesting story you could possibly tell. Well, that’s what a myth is. It’s the most interesting story you could possibly tell. Virtually every story you ever see has a mythological structure, that’s why it’s compelling to you. And when you meet someone who is charismatic or who holds your attention or who you’re interested in, the probability that they’re acting out a mythological fragment is very, very high. That’s why it is that your attention is captivated by them.”
Myths are really psychological in nature, even though they are typically misread as biographical or even historical. Myths, much like dreams, emanate from the unconscious thoughts and emotions and gives a voice to the innermost fears and desires that underlie most of our behaviour.
The purpose of mythology is to provide the individual with a mirror which he can use to assess himself and his relationship with the wider world. It exists to provide the individual with a sense of history and of his place within the cosmos. Whereas the world of fiction has to work in an alternative reality where the facts of that universe are considered irrefutable and correct, mythology works by taking the metaphorical or metaphysical-cum-spiritual truths of existence and gives them voice and meaning through the medium of a story. Therefore, it is not how factually true a mythological story may or may not be that is important, but the metaphorical truths it imparts on the reader.
There can be little doubt that the modern world has produced marvels. The price of these remarkable achievements has been a form of perverse arrogance in which modern man likes to believe he is somehow a different, more rational, creature than his ancestors. The price for our arrogance has been the loss of our sense of something more substantial and wonderous than ourselves. As a result, people limit themselves only to that which is socially and economically attainable. Seeing ourselves as eminently rational and pragmatic creatures we have managed to produce a world where the individual feels worthless and insignificant. What is required is a revitalisation of the dream world. A return to the knowledge that it is ideas, our ability to give a voice to those aspects of our personalities that lie dormant, and to venture out into the chaotic unknown and return triumphantly that makes human beings great.
I Wandered Lonely as a Cloud
This week for our cultural article we will be examining William Wordsworth’s (1770 – 1850) 1815 poem, I Wandered Lonely as a Cloud.
Biography
William Wordsworth was born on April 7th, 1770 in Cockermouth, Cumberland to John Wordsworth (1740 – 1783), a legal agent to the Earl of Lowther (1736 – 1802), and Ann Wordsworth (1747 – 1778). Wordsworth came as the second of John and Ann’s five children. Richard Wordsworth (1768 – 1816) came before him and was followed by Dorothy (1771 – 1855) (who would aid him throughout his career), Christopher (1774 – 1846), and John, Jr.
Wordsworth attended grammar school near Cockermouth Church as well as Ann Birkett’s school in Penrith. His love of the natural world began early stemming from his childhood living in a terraced garden house along the Derwent River.
Wordsworth experienced personal tragedy early in his life. In March of 1778, Ann Wordsworth died while visiting a friend in London. By June, Wordsworth’s beloved sister, Dorothy, had been sent to live with her mother’s cousin, Elizabeth Threlkheld (1745 – 1837), in Halifax. The pair would not be reunited until 1787. As if that wasn’t bad enough, John Wordsworth, Sr. would die in December of 1783 after being forced to spend a night out in the cold. Following the death of his father, Wordsworth and his brothers were sent to live at the house of Ann Tyson and attended school at Hawkshead. It was here that Wordsworth first began composing prose, an enterprise that was greatly encouraged by his headmaster, William Taylor.
In 1787, Wordsworth went to Cambridge University to attend St. John’s College as a sizar (an undergraduate student receiving financial assistance from the university). That same year, he published his first poem in The European Magazine. Although his academic career was unremarkable, Wordsworth managed to graduate with a Bachelor of Arts in 1791.
During his last term, Wordsworth and his friend, Robert Jones (1769 – 1835), embarked on a walking tour of Europe. The tour would prove to be a great influence on Wordsworth poetry which started in earnest while he was travelling through France and Switzerland. During his travels, Wordsworth was also exposed to the ravages of the French Revolution, an experience which his inspired his lifelong sympathy for the common man.
Between 1795 and 1800, Wordsworth and his sister, Dorothy, would move three times. In 1795, the pair used a legacy obtained from a close relative to move to Dorset. Two years later, they would move to Somerset where Wordsworth would become neighbours and close friends with the poet, Samuel Taylor Coleridge (1772 – 1834). Finally, in 1799, the pair would settle at Dove Cottage in Grasmere following a trip to Germany with Coleridge.
In 1802, Wordsworth returned to France with his sister to meet his illegitimate daughter, Caroline (1792 – 1862), whom he had conceived illegitimately while living in France. Upon his return, he married his childhood friend, Mary Hutchinson (1770 – 1859). Together, the couple sired five children: Reverend John Wordsworth (1803 – 1875), Dora Wordsworth (1804 – 1847), Thomas Wordsworth (1806 – 1812), Catherine Wordsworth (1809 – 1812), and William Wordsworth, Jr. (1810 – 1883).
In 1813, Wordsworth made the Distributor of Stamps for Westmoreland. Years later, following the death of Robert Southey (1774 – 1843), Wordsworth was made Poet Laureate. He died on April 23rd, 1850, in Rydal.
Poem
I wandered lonely as a Cloud
That floats on high o’er Vales and Hills,
When all at once I saw a crowd,
A host of golden Daffodils;
Beside the Lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the Milky Way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced, but they
Out-did the sparkling waves in glee:—
A Poet could not but be gay
In such a jocund company:
I gazed—and gazed—but little thought
What wealth the shew to me had brought:
For oft when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude,
And then my heart with pleasure fills,
And dances with the Daffodils.
Analysis
William Wordsworth is credited with ushering the English romantic movement. Accordingly, Wordsworth is remembered as an intensely spiritual and epistemological writer whose poetry moved away from the grand, moralising themes of the past towards that which explored the purity and beauty of nature.
I Wandered Lonely as a Cloud was first published in Poems in Two Volumes in 1807. (The version analysed here is the 1815 revised version). The poem was inspired by a long walk Wordsworth took with his sister, Dorothy, around Glencoyne Bay, Ullswater. During their walk, the pair came across a “long belt” of daffodils. Wordsworth became inspired to write the poem after reading his sister’s diary description of the walk:
“When we were in the woods beyond Gowbarrow park we saw a few daffodils close to the water side, we fancied that the lake had floated the seed ashore and that the little colony had so sprung up – But as we went along there were more and yet more and at last under the boughs of the trees, we saw that there was a long belt of them along the shore, about the breadth of a country turnpike road. I never saw daffodils so beautiful they grew among the mossy stones about and about them, some rested their heads upon these stones as on a pillow for weariness and the rest tossed and reeled and danced and seemed as if they verily laughed with the wind that blew upon them over the Lake, they looked so gay ever glancing ever changing. This wind blew directly over the lake to them. There was here and there a little knot and a few stragglers a few yards higher up but they were so few as not to disturb the simplicity and unity and life of that one busy highway – We rested again and again. The Bays were stormy and we heard the waves at different distances and in the middle of the water like the Sea.”
— Dorothy Wordsworth, The Grasmere Journal Thursday, 15 April 1802.
I Wandered Lonely as a Cloud consists of four stanzas with six lines each and featured an “ababcc” rhyming sequence. The poem has a peaceful and tranquil feel to it which is expressed through simplistic language, figurative vocabulary, and subtle rhymes. The first three stanzas of the poem describe the narrator’s experiences. Its first line, “I wandered lonely as a cloud” serves to personalise the poem. Likewise, the reference to “a crowd, a host of golden daffodils” describes an ideal place, a form of euphoric paradise which the narrator experiences for the briefest period of time. The second stanza gives the impression that the daffodils were majestic, even other-worldly in their beauty. The narrator even compares them to the stars of the milky way. The poem’s last stanza details the poet’s recollection of his experiences. He describes how his recollection causes his heart to fill the pleasure and “dance with the daffodils.” In the end, I Wandered Lonely as a Cloud reminds us that beauty can only be found when we are willing to slow down and take notice of the world around us.
THE PROTESTANT WORK ETHIC
This is our weekly theological article.
If there is any philosophical or moral principle that can be credited with the prosperity of the Western capitalist societies it would have to be the Protestant work ethic. This ethic asserts that a person’s success in this life is a visible sign of their salvation in the next. As a result, the Protestant work ethic encourages hard work, self-reliance, literacy, diligence, frugality, and the reinvestment profits.
Prior to the Reformation, not much spiritual stock was placed on labour. The Roman Catholic Church placed more value on monastic prayer than on manual labour. Much would change when the German monk, Martin Luther (1483 – 1546), nailed his ninety-five theses on the door of the All Saint’s Church in Wittenberg. Luther railed against the Catholic Church’s sale of indulgences as a way of avoiding purgatorial punishment. Luther asserted faith over work believing that a person could be set right with God through faith alone. It was Luther’s opinion that an individual should remain in the vocation God had called them to and should work to earn an income, rather than the accumulation of wealth. This belief stood in stark contrast to the Catholic Church’s philosophy that relief from eternal torment came from Godly rewards for good works. By contrast, the second great Protestant, John Calvin (1509 – 1564), believed that faith and hard work were inextricably linked. Calvin’s theory came from his revolutionary idea of predestination, which asserted that only certain people were called into grace and salvation. It is from this that the Protestant work ethic is borne.
As a consequence, many Protestants worked hard to prove to themselves that they had been preselected for a seat in heaven. A result of this extreme predilection towards hard-work was an increase in economic prosperity.
The French sociologist, Emile Durkheim (1858 – 1917), believed that capitalism was built on a system that encouraged a strong work ethic and delayed gratification. Similarly, the German sociologist, Max Weber (1864 – 1920), argued in The Protestant Work Ethic and the Spirit of Capitalism (1905) that America’s success boiled down to the Protestant work ethic. It was asserted as the key idea that would encourage individuals to move up the social ladder and achieve economic independence. Weber noted that Protestants – particularly Calvinists, were largely responsible for early twentieth-century business success.
The Protest work ethic is credited with the United States’ economic and political rise in the 19th and 20th centuries. As the political scientist, Alexis de Tocqueville (1805 – 1859), wrote in Democracy in America (1835):
“I see the whole destiny of America contained in the first Puritan who landed on its shore. They will to their descendants the most appropriate habits, ideas, and mores to make a republic.”
A study in the American Journal of Economics and Sociology found that nations with a majority Protestant population enjoyed higher rates of employment. The economist, Horst Feldman, analysed data from eighty countries and found that countries with majority Protestant populations – America, the United Kingdom, Denmark, Sweden, and Norway – had employment rates six-percent higher than countries where other religious beliefs were practised. (Furthermore, the female employment rate in Protestant countries is eleven-percent higher). Feldman explained how the legacy of Protestantism led to increased prosperity:
“In the early days, Protestantism promoted the virtue of hard and diligent work among its adherents, who judged one another by conformity to this standard. Originally, an intense devotion to one’s work was meant to assure oneself that one was predestined for salvation. Although the belief in predestination did not last more than a generation or two after the Reformation, the ethic of work continued.”
The Protestant work ethic is one of those Christian ideas that have helped create Western capitalist democracies in all their glory. It is yet another example of the influence that Christianity has had on the modern world.
ROCK IS MASCULINE
This July, Elvis Presley’s first single, That’s All Right, turned sixty-three years old. For the youth of the time, Elvis Presley’s arrival marks the cultural shift away from the Bing Crosby and Doris Day mentality of their parents’ generation to one that is centred around youth and adolescence. The repercussions of this seismic shift can still be felt.
Like all cultural phenomena, rock was denounced as a passing fancy at best, and satanic at worst. And like all cultural phenomena, many have failed to grasp its masculine cultural symbology: while there have been some great female rockers (Grace Slick, Suzi Quatro, Joan Jett, Deborah Harry, to name a few), rock has primarily been the manifestation of raw masculine energy and lust.
Rock music owes a lot to the myths and folklore of the past. In his book, the Secret History of Rock ‘n’ Roll, Christopher Knowles postulates that rock music is deeply rooted in the mythological figures of Orpheus, Cybele and Attis, Isis, Mithra, the Druids, and so forth. Knowles writes:
“What did the Mysteries offer that other cults of time did not? Almost exactly what rock ‘n’ roll would, thousands of years later. Drink. Drugs. Sex. Loud music. Wild pyrotechnics. A feeling of transcendence – leaving your mind and your body and entering a different world, filled with mystery and danger. A personal connection to something deep, straight, and impossibly timeless. An opportunity to escape the grinding monotony of daily life and break all the rules of polite society. A place to dress up in wild costumes and dance and drink and trip all night.”
Nowhere is this sentiment better expressed than in heavy metal. A genre whose thematically operatic power is drawn from themes of violence, madness, mythology, and the iconography of horror. Central to heavy metal music are fantasies of masculine virtuosity and control. According to Robert Wasler, author of the book Running with the Devil, “metal songs usually include impressive technical and rhetorical feats on the electric guitar, counter-posed with an experience of power and control that is built up through vocal extremes, guitar power chords, distortion, and sheer volume of bass and drums.”
Originally, the term ‘rock ‘n’ roll’ was an African American euphemism for sexual intercourse. Blues music, one of the roots of rock, contains a plethora of examples of the raw masculine aggression and lust that later rock music would allude to. Muddy Water’s Hoochie Coochie Man, for example, utilises the theme of masculine self-mythologization:
“The gipsy woman told my mother
Before I was born
I got a boy child comin’
He’s gonna be a son of a gun
He’s gonna make pretty women’s
Jump and shout
Then the world wanna know
What this all about
But you know I’m him
Everybody knows I’m him
Well you know I’m the hoochie coochie man
Everybody knows I’m him.”
In a similar way, Muddy Water’s Mannish Boy, itself a response to Bo Diddley’s I’m a Man, continues the theme of masculine self-mythologization:
“Now when I was a young boy
At the age of five
My mother said I was gonna be
The greatest man alive
But now I’m a man
I made twenty-one
I want you to believe me, baby
I had lots of fun
I’m a man,
Spelt ‘m’, ‘a-child’, n’
The represents ‘man’
No ‘b, o-child, y’
That spells ‘mannish boy’.”
Sex forms another important theme in blues music. Waters’ song Got My Mojo Working features themes of hoodoo – an African American form of folk spiritualism – and seduction. Other songs, such as Screaming Jay Hawkins I Put a Spell on You, focuses on the raw, animalistic qualities of lust:
“I put a spell on you
Because you’re mine
Stop the things you do
Watch out!
I ain’t lying, yeah
No running around
I can’t stand
I can’t stand, no put me down
I put a spell on you
Because you’re mine
Watch out, watch out
I ain’t lying
I love you
I love you
I love you, yeah
I don’t care if you don’t want me
I’m yours right now
I put a spell on you
Because you’re mine.”
Masculinity and sex have always been themes in rock music. These themes manifest themselves most peculiarly in the quasi-religious experience of rock concerts. No one who has seen footage of Woodstock or its darker equivalent, Altamont, can fail to notice the undercurrents of tribalism present at these events. As one observer noted: “one of the most interesting developments in the United States in 1956 was the behaviour of hundreds of thousands of mostly white, middle-class girls, who screamed, danced, and sobbed to the point of ‘enthralment’, ‘near hysteria’, ‘mass hysteria’, or ‘pandemonium’.”
Rock songs of the 1960s, 70s, and 80s contained a plethora of references equating masculinity with sex. Dion’s the Wanderer is about a cad who roams ‘from town to town.’ Bob Seger’s Night Moves refers to a woman’s breasts – a natural object of male desire – as ‘points all her own sitting way up high, way up firm and high.’ More darkly, the Rolling Stones’ Brown Sugar contains themes of slavery, rape, interracial sex, underage sex, physical abuse, and drug taking. Then there are the music videos, many of which were banned from play on mainstream media. Duran Duran’s Girls On Film features nudity and mud wrestling. Queen’s Fat Bottom Girls features nude women riding bicycles around a sport’s track.
And, of course, it is not unusual for rockstars to enjoy favouritism from the opposite sex. Indeed, sexual prowess and adulation from women form an important theme in rock lore. Groupies of heavy metal artists, for instance, are not just female fans but are seen as extensions of the musician’s artistic identity. Women and access to sex are almost gifted to the rock star, much like the harems of the Ottoman Sultan, the mistresses of European monarchs, or the concubines of Chinese Emperors.
Rock music is the modern reincarnation of ancient myths and folklore. It relies on the same motifs and themes and therefore has a similar effect on the human psyche. As a result, rock music and mythology and folklore share many of the same tropes. Rock music glorifies masculine energy and lust through symbols and metaphors. It raises the rockstar to an exalted position and then confers benefits upon him by giving him greater access to women and sex. This, in turn, gives the rockstar an almost deific quality. Feelings of unity and tribalism are expressed through the quasi-religious nature of the rock concert. The long-lasting popularity of rock music arises from its ability to give expression to ancient symbols of masculinity, and in its capacity to provide an outlet for the more repressed aspects of our nature.
King Alfred Press 