Flame in Hand Flame in Hand
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Claude Monet, “Springtime,” 1872, Walters Art Museum/Wikimedia Commons (public domain)
Experiences

Flame in Hand

Kamila Dzika-Jurek
Reading
time 10 minutes

She changed me at every stage of my life, transforming me into a better, more conscious being. She stepped in whenever the world cracked and crumbled under the weight of difficulties. A patron of the uncertain, yet receptive; queen of the wise, yet doubting. Her name? Literature.

It was back when I probably still couldn’t read on my own that I heard a story, told by my mother’s mother, about a mythical bard named Orpheus, who made great things happen with his music and poetry. When recalling this myth, my grandmother Olga placed great emphasis on Orpheus’s therapeutic power. His music, along with his skills as a bard, were capable of pacifying the angry, or bribing the guards of inaccessible realms—such as those in the underworld of Hades—as well as calming the raging oceans. His songs made trees bow, boulders crumble, and turned predatory animals into benign creatures.

I don’t know where my grandmother heard or read about this remarkable offspring of the gods. Most likely at school, as the popular Polish book on Greek and Roman myths was definitely not on our family bookshelf. Besides, she was not a diligent reader. Or maybe she just didn’t have the time, needing to take care of a bunch of kids—and later grandkids—as well as a house perpetually dirtied by grandpa’s enthusiasm for all kinds of animals. Most often she would simply steal a moment to read whatever newspaper or booklet fell into her lap. She also enjoyed overhearing stories. Whether it was while waiting in line at the grocery store, or on the bus, she’d eavesdrop whenever she had the chance. She would weave together all the stories she gathered during the day into an evening tale for her grandchildren,

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The Hero in the Labyrinth The Hero in the Labyrinth
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illustration: Marek Raczkowski
Experiences

The Hero in the Labyrinth

The Pioneering Work of Joseph Campbell
Tomasz Wiśniewski

Joseph Campbell, the most famous mythologist of the 20th century, played the saxophone, surfed, and above all, read. He believed that myths from all around the world are the language of the soul, in which an epic human story is told.

Ancient stories or those collected by ethnographers; fairy tales, folk tales, and legends from across the globe; the Old Testament as well as Aztec, Egyptian, and Indian myths; The Grimm Fairy Tales and One Thousand and One Nights. Joseph Campbell searched all of the above for hidden patterns, timeless and spaceless forms of the human imagination. He developed the idea of the spiritual unity of human beings when he discovered the existence of universal motifs and topics, such as the virgin birth, the journey into the afterlife, sacrificing kings, and the resurrection of a deity. As James Hillman aptly pointed out, Campbell belonged to a generation of intellectuals born shortly before World War I whose works were created under the influence of 19th-century models of scholarship. The American’s incredible erudition and diligence stemmed from his ambition to create a total synthesis of human spiritual life.

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