Tuesday, April 24, 2012

A Very Cursory Overview of Apparent Death

I had thought to make this final paper a bit longer, but that still would not have been enough. I will rather let these few, I hope well written, pages speak for what little I have been able to bring to the table in so short a time. I hope that any reader finds the material, if not enlightening, at least entertaining.


Apparent Death
Defining Death
            The concept of the “apparent death” reaches into every crack and cranny of the romantic ideal. Whether we look at the quick, and some would proffer shallow, tales of the first Greek novels or at the stories of the King and the Corpse and its cohorts from the tales of Hindu myth, apparent death finds its way into each of them, rearing its ugly head like some vast cosmological Titan bent on the destruction of the heroic ideal. At least, Death appears to take this form. The audience, after all, growing up in a world of brevity and eventual demise, would at first see the Death as the same dastardly figure that haunted their own lives, the same hooded, or more precisely, invisible personage that came for their parents, or worse their children, before finally coming for them. For most of us, as for those audiences, the specter of Death remains a frightening and mysterious concept that we can little understand. Death is the mystery that neither science nor mathematics has yet to understand, in spite of the fact that each has helped to define much of the known universe to this point. Science explains everything from gravity and the vast workings of the sun to the minutia of the atom and how the tiniest molecules of our beings work. Through mathematics, we can calculate gravity, the speed of an object, or how far away from our own Earth the nearest star might be. Yet, neither of these amazing constructs of man can penetrate beyond the veil of mortality. Neither can give us an answer of what happens when we die.
            The question remains however, a tantalizing morsel just out of our grasp, a dangling fruit that we long to take and eat. We have become, then, much like Adam and Eve, in search of a knowledge that it would appear is forbidden to us. We are Tantilus, doomed to reach for food that we can never have and drink that will never touch our lips, no matter how close either gets to our mouths. We long to taste, if only for a moment, the sweet nectar of understanding that would give us so much to work with, a lasting peace that we could at least embrace with finality even if it were not the answer we were looking for.
            Yet, perhaps we are looking in the wrong place. Perhaps science and math, in their infinite understanding of what they perceive to be the natural order of things have missed the most crucial of ingredients in the understanding of finality, of Death itself. It should be understood that Death is no more a vast cosmic working than we ourselves are gods on Olympus. Death weaves its fateful web about everything in its turn, yes, but it is in many respects a condition of what Paul Weiss calls the self[1]. The self, he argues, is beyond the physical. It comprises the innermost workings of the individual, built of no less than the most basic and fundamental components of the individual. The self cannot be measured. It cannot be seen, and yet it is there, as real and substantial, Weiss argues, as the physical body. The self is not limited to the workings of the body, however, and when the body dies, the self does not. It simply moves from that confining shell into a greater existence within the world.
            Weiss’s arguments are, though, while enlightening, not purely what we need to understand the complexities of the apparent death within Romance. As its name would imply, the apparent Death does not fall into any sort of physical demise as we so often see in the real world. Rather, it implies a sense of illusion, a sense that what we have seen is not the truth of the matter and that we must open our eyes in order to see what is truly happening. We must gaze upon the death and see it for what it really is if we are to understand its basic necessity within the arch of the story.
            Death, then, takes many forms in the myths, legends, and stories that our culture knows and thrives on. It can take the form of a disappearance, such as that of Haroun’s mother in Haroun and the Sea of Stories, where the person believed to be dead has quite literally left the family structure or group. As with Haroun’s mother, those who abandon the main characters are, for all intents and purposes, dead. They cannot be seen or communicated with, and so they have passed out of the realm of possibility into an unknown world, a world much like death, where the main character cannot follow lest he too become lost in the labyrinth of the underworld, or so he thinks. Thus our first understanding of the apparent Death comes simply as the belief that the loved one we cannot see is no longer with us, that they have somehow or other met with a terrible misfortune and are now not only physically beyond our reach but emotionally as well. Such fears pervade our every thought, invading our dreams and waking us in the middle of the night to call loved ones and make sure that our nightmares have not followed us into the waking world.
            This concept of dreams hits on a second understanding of death: simply put, the sleep. “We are such stuff as dreams are made on” Prospero tells his audience in The Tempest, “And our little life is rounded with a sleep”. Thus Shakespeare gives us one of the truest understandings of death in this Christianized world that of the impermanent sleep. In Romeo and Juliet as well, he gives us a glimpse of this feigned death with a poison that allows the drinker to pass into such a deep sleep that he or she will appear to be dead. This play, however, does not end so happily, as Romeo, truly believing his Juliet dead due to some very unfortunate circumstances, kills himself, and she, in her own turn, commits suicide as well, this time no longer feigned. The motif remains, however, and the audience, or reader, can see other examples in texts from Callirhoe to Sinbad where characters are said to feint as if dead, falling into a stupor that the other characters see as a brush with death. Callirhoe contains a very violent understanding of this form of perceived death. When Chaereas believes that Callirhoe is unfaithful to him, the young man kicks his bride so hard that she passes into a state of near death. The family and the lover are appropriately aggrieved by the actions, and eventually the woman is laid in a tomb where her lover plans to join her.
            In both of these manifestations of death, we see a connection between what is perceived to be real and what the reality is. The stories leave us with an understanding that death is in the eye of the beholder. For Haroun, as long as his mother was gone, she was dead. When he slept later and flew to Earth’s second moon, he was also dead, but only in a sense that the outside world no longer existed to him. Thus perspective is very important to the concept of the apparent death, but still it feels as if we are only grasping at the surface of the lake, letting the waters pour through our fingers as we try to grasp concepts above and beyond our understanding.
            Perhaps the most subtle forms of apparent death, however, come as simply that: forms. That is to say that the apparent death, if we see it as a skewed perception of the actual reality, can also be personified, or rather interpreted, through the lens of the metamorphosis, or changes of the body into something that it is not. The reader may see the change as something as grand as the transformation of people into birds and trees, as in Ovid’s Metamorphoses, or they may see the same concept in the simple disguises that men and women characters wear in plays in order to deceive those around them into believing that they are of the opposite sex. The comic scene between Qamar al-Zaman and his wife Princess Budur certainly comes to mind as a wonderful example of this same idea. The point remains that, within this last concept of death, the characters within the novel or story still consider their significant other to be quite dead.
            So far, we have seen a physical representation of the apparent death, and for all intents and purposes, this death is indeed physical. Yet, there remains within it an aspect of the spiritual, a connection to the self, as Weiss would say. While most of the stories and romances conceive of the apparent death as a physical thing, or sometimes a lack of the presence of the physical, what we are most interested in is not the physical but the spiritual. As Northrop Frye notes… “From the beginning the poetic imagination has inhabited a middle earth. Above it is the sky with whatever it reveals or conceals… There are four primary narrative movements in literature… descent from a higher world… descent to a lower world… ascent from a lower world… the ascent to a higher world” (97). In other words, the major themes of romance deal in at least some particular way with either the ascent or the descent. This paper is more concerned with the latter.
Thus, the motif itself deals with an aspect of the descent, of the body or spirit, moving from this world, or even a higher realm of existence, into a lower one. The apparent death drops us from our prescribed place in the world into an alternate reality, one where we are not meant to be but where we must reside until we can find our way back to the place from which we came. Thus, though the apparent death can be seen as a simple image within the larger scope of the narrative, it is in fact much more profound than such a simple understanding of the motif would imply. That is, we must dig deeper if we are to understand the true meaning of Death within romance.
            Death, then, is no longer a physical manifestation but a spiritual struggle between us and the demons, or more eloquently desires, of a lower world. Death abandons us on the plains of Tartarus with only our harp as a weapon and demands that we make our way through the very gates of hell before we may climb back to the peaks of Mount Olympus. When we finally begin to comprehend the death, not as a physical manifestation of the events within the story but as a journey that the characters must undertake in order to reach the ultimate goal of understanding and enlightenment, we can begin to move from the first level of the knowledge of death into its murkier and more dangerous depths. Thus Orpheus’s journey to face the mighty Hades, Persephone’s own abduction by the same Hades, in fact, more stories than can really be listed in such a short paper, each harnesses the understanding of that same journey into the underworld as a loss of identity and a subsequent necessity to understand one’s identity more fully before the return.
            The apparent death we shall define, then, as a process by which the characters of the story are metamorphosed, not only physically but internally. Through their many journeys and close escapes, the characters that we first become transformed into newer and better representations of their former selves. Yet, the understanding of the apparent death cannot be defined so easily. Rather, we must take our own journey from the very beginnings of the heroes and heroines into their own understanding of a need for change and on to the paths of the dead before we can finally return to the concepts of death, change, and, perhaps the grandest and hardest of all to understand, immortality. It is my hope in this paper to start any readers that may read, on the road to understanding apparent death and its necessity within the larger scope of the romance, not simply as another contrivance necessary for the author to push the action along in order to give his characters something to do, but rather as the main catalyst that spurs the action on willingly, drawing the reader into a world from which they themselves cannot return unchanged.
            The important concept to understand, however, is that the reader, himself goes through a sort of death as he or she reads. The outside world slips away, and the person who picked up the novel or story no longer maintains a connection with the outside world if, like Haroun’s father, the story teller has the power to weave the magic tales that we so desperately desire. The death that we may be looking to comprehend, is none other than our own, the death we each face every time that we pick up a book and loose ourselves in the adventures of Haroun or Daphnis and Chloe or even Sinbad.


Meager Beginnings
            Whether we wish to believe it or not, the heroes that we meet in each of these stories are imperfect. While their outward appearances may reflect a perfection unequaled in this world, their internal structure leaves much to be desired. The King in the quite aptly titled King and the Corpse, is a man that believes his rule to be perfect. He imagines that he has nothing more to learn and that he is a benevolent enough king, deigning to listen to the pleas of the common folk each and every day, and therefore has no need for spiritual growth. Yet, soon he learns that all his perceptions were mistaken. First, he discovers that the fruit he has been discarding each day for the past several years is filled with diamonds. Later, when he has followed the apparent ascetic priest’s orders to come to a graveyard at night, he does so to find in short order that he is being deceived, and that the priest is really a necromancer bent on killing him and taking power from the underworld in order to rule the world of men. Only with the help of a possessed corpse is the king able to overcome these obstacles and truly become the king that he is meant to be.
            Zimmer in his book that bears the name of the tale I have just related, argues that “We are not we are not wholly or perpetually the kingly personage whom we present to the gaze of official circles” (219). Rather, our outward appearance is only a partial manifestation of our inward appearance. In another Hindu myth that I am truly sorry I could not find and quote for this paper, the god Krishna, disguised as a chariot driver for the mighty warrior Arjuna, tells the latter to fight his foes. Yet Arjuna has his doubts. He begins to question the need for such violence and bloodshed. In many ways, he is a respectable even admirable figure, questioning the edicts of his god. Any man can be certain of death for challenging their deities; yet Arjuna stands firm in his beliefs. It is only when the god reveals his true form, his ultimate inner being that the mortal Arjuna can begin to comprehend the vast complexities of a world that not only contains aspects of death but also requires it in much the same way that, as we will later see, death and life are intertwined.
            In a very similar way, the mortal King of The King and the Corpse must come to understand both the mortal and the divine within himself. It is to this end that the specter within the corpse challenges him to answer the riddles set forth one after the other as the two trek across the graveyard. It is no coincidence that such a place would resemble the paths of the dead because, in a way, that is precisely where the king has found himself, trudging back and forth along the lonely road of mortality, his earthly burden cast over his shoulder, trying to understand both himself and the purpose for which he is there.
            The corpse, despite its no doubt haggard and sinister appearance, remains a guide figure, much like the ghost of Virgil in Dante’s Inferno and Pergatorio. It brings to him, with no better way to say this, life puzzles that the man must either solve or remain silent. However, the threat of death remains because if he knows the answer but does not proclaim it, then his head will explode. This leaves the King in quite a precarious position, and, time after time, he answers the question that the corpse brings before him at the end of each story only to have the burden leave his shoulder and fly back into the tree. It is only once the corpse has completely befuddled him that the man is allowed to continue with his burden. Yet, this “lack” of understanding, hides within its core a fundamental truth that we can only begin to understand in the echoing vaults of silence. Zimmer puts it quite more eloquently saying that “[guilt] and innocence are rarely obvious. They are unapparent, interwoven intimately with each other in a marvelously convoluted design” (224). Only when he understood that the deepest and most profound concepts of human identity were beyond classification, beyond the simple strictures and designs that men could create, could he truly begin to understand himself and subsequently make the metamorphosis into something greater than he already was.
            The King is lucky, though. He did not at first recognize that he needed to change. Rather, that necessity was shown to him on his walk down the paths of the dead. He does not at first recognize his own lack, his own incompleteness; yet, the story moves him along anyways granting him that knowledge as he walks the lonely paths of the dead. For other characters in myth and story, the knowledge of their division comes far earlier.  I concur with what Northrop Frye labels this concept as, using the term “identity” (Structure of Romance). Much of what Frye says enlightens any half clever reader that can take only a fraction of what the man is saying to heart. Frye notes that “divine creation and human self creation are one” (157). I will be brave enough in postulating that, in this same sense, the hero and the heroine are one. Perhaps the artists and dramatists of earlier cultures did not know how to express such an enigmatic concept, and who could really blame them. Regardless, the fact remains that the male and female counterparts of the romance can, and should, be seen as two sides of the same coin. It is why they desire so desperately to be married, to be joined in one flesh, as the Bible and other religions profess that marriage accomplishes.
            Of course, such a realization of the happiness of unity cannot possibly come for the characters so early in a tale. After all, where would the story be without the tensions of a lost love? Love in this manner takes on the conception of a unifying force of the masculine and the feminine, or, in other stories, the secular and the divine. Once the characters understand that they are incomplete, once they finally see the wholes within themselves, they can begin to make amends, to move from the worldly, down through hell and on into a greater understanding.
            In much the same way that the characters are meant to understand their incompleteness, so too are the readers and audience members. Zimmer notes that we, all of us, are kings in our own right, confused, perhaps more accurately deceived, by the belief that we are other than our inner selves. The story, the novel, can be seen as the guide on our shoulder, the specter enchanted corpse probing us with story after story to try and make us understand that we are more than this shell, and we must find that part of us which is incomplete if we are to ever take the paths of the dead and return truly whole.

The Paths of the Dead
            Now, perhaps we begin to get to the meat, the crux, of the situation. In every ancient culture, in many modern cultures to be more accurate, the deaths are lead along their path to the underworld by a guide. We have seen corpses and books guide us into understanding that we must take this path, but we have not yet looked at the actual process of following the paths themselves. In Greek culture, Hermes guided dead souls to the cave down which they would descend. At the bottom of the chasm a ferry waited that, if you could pay the fee, would carry you over the river Styx and into the land of the dead. This is all rudimentary myth, yet, it brings us back to an important point. Why must we travel the paths of the dead in search of knowledge? Only three figures that I have read personally before this class have literally passed into Hades and returned. The first is Orpheus whom I mentioned a few pages earlier. The second is Heracles who was charged to tame and return with the three headed dog Cerberus to the world of men as one of his twelve labors. The third was Dante himself in the Inferno. Each of these men had either incredible skill or divine will guiding and protecting him along his way. That being said then, why would we be charged with traveling the paths of the dead, if it is impossible?
            The simple answer to this rather troubling question, and one that I am sure will anger no less than several of my readers, is that the paths of the dead are only a simple metaphor. Many of you now cringe, perhaps dreading the simple, logical answer; yet, it stares you in the face. I can only beg that each of you continue reading. We have already mentioned the descent as described by Northrop Frye. He does a fantastic job of painting a picture for each reader of a being either fallen from a heavenly realm down to this one, or a being from this realm who has fallen to a lower realm. For the purposes of this article, the first description seems to work best. That is, we will not look at a fall from our world into some nether realm but, rather, a fall from some higher state of existence into our own.
            Once again Zimmer seems helpful to our current objectives noting that “the human king is an avatar, an incarnation… of…god” (234). In other words, the king that we see in the story is little more than a piece of the greater manifestation of the divine. It is only because the divine cannot exist in its purist form in this lesser realm that the king is at all made flesh. Yet, this same concept does not really do justice to what is going on in the tale. The king, if we will remember, had forgotten who he really was. Only when the corpse had pealed back the layers of illusion hiding the inner from the external self, could the king recognize that he was more than he had at first appeared to be.
            In much the same way, though perhaps on a less profound note, Daphnis and Chloe deals with a very similar concept in that the two main characters, aptly named Daphnis and Chloe, find out at the end of the novel that they are, in fact, born of wealth and prestige. They had lived their entire lives believing themselves to be sheep and cattle herders when actually they were the son and daughter of rich merchants and local lords. Once again, though, it is the necessity of the revelation, the pulling away of the veil of mystery that allows the male and female to become who they were born to be.
            Interestingly enough we seem to have hit upon a pattern here. Both in the story of Daphnis and Chloe and in The King and the Corpse, we see a necessity for the revelation. In Daphnis and Chloe this newfound knowledge comes rather quickly, almost like the ripping off of a bandage. However, in the other example, we see a slow revealing as the corpse tells the man twenty-four stories until finally the truth is revealed. It is no coincidence, as has been noted before, that the man continually walked through a graveyard. He might as well have been sauntering along the same path that Dante took with Virgil. While on the path, the cobwebs and dust of confusion and secular normalcy are burned away leaving behind only the truth. The purpose of the walk down such a dreary road pertains, then, to the necessity for the destruction of all that holds us to this world, all that binds us, ironically Marley’s own chains bound him in Charles Dickens’s A Christmas Carol. We walk down the road to Hades, not because we wish to return with something of this world or that but because we want something grander and greater than we already know. We must, in Plato’s understanding, remember what we had forgotten.
            In much the same way that the hero and heroine must come to understand themselves better if they are to live, we readers must also achieve that goal. Our path lies not on a journey through a graveyard, hopefully, though we may perhaps be so lucky as to find a wealthy parent waiting in the wings to welcome us with open arms. Rather, we must move along the path down which the story takes us, guiding us, through the experience of the characters into a new understanding of ourselves. That we are the heroes and heroines of our own romances and that there is within each of us a spark of the divine that must be uncovered if we are to truly achieve the greatness that we so desperately desire.

Death and Metamorphosis and Immortality
            Once the paths of the dead have been crossed, once we have been stripped of all our preconceived notions and shadowy understandings we can begin the process of the transformation. While the previous section held the keys to our understanding how to get to such an apotheosis, this one, I hope will allow each reader to see that the ultimate goal of that long trek down the dark and cavernous paths of death was necessary only because it allows us to, much like the caterpillar. I know that those few people who have read my blog before will recognize the metaphor. Yet, I think it a good one. After all the caterpillar eats and lives based on its instinct for a particular amount of time before one day weaving a cocoon around itself. For all intents and purposes, that caterpillar is dead. Yet within just a few short days, the caterpillar emerges, no longer its earthbound grub eating former self. It now flies through the air and eats the nectar of flowers. Interestingly enough the concept of wings is, I believe, another concept of Plato who perceived that man had once had wings and, through knowledge and understanding, could grow those appendages anew. The other, and perhaps more convenient link for this study, is that both butterflies and the gods of ancient Greece consumed nectar. Thus we have almost a perfect representation of the apotheosis of the human, that is the reconstruction of the mortal into the divine.
            In The King and the Corpse the king, upon understanding his divinity sees the descent of Shiva and the other gods to the place where he stands. There they reveal to him the fact that at the end of his earthly life he will return to the heavens and rule the domain of the dead for many years afterward. It is this divinity that the man has, perhaps without knowing it, been searching for his entire life.
            In much the same way, we, as the readers, find ourselves woven into a story that we did not even know existed. Immersed in the story, we, if we are careful, can finally become aware that our wholeness, the unity of ourselves is not simply measured in the number of atoms that make up our physical being. Most of what we are comes from within. It is only when we open up the story that we can begin to see this reality, that we can finally understand that the ultimate road to immorality lies not in the cures of science nor the numbers of mathematics but in the ebbs and flows of the Ocean of Streams of Stories. Once we dive into its depths and begin to understand the vast panorama that surrounds us, for we can only truly begin to comprehend it, do we truly begin to understand the immense, immeasurable, immortal complexities of our own being. The story is a mirror of our internal selves, the glass that we hold up, the all seeing third eye of Shiva that burns away any identity we may have assumed for ourselves and leaves us with only the basic, true, and what can only be called divine aspect of our essential being. We die, as those in the stories die, “apparently” so that we may truly learn to live.


[1] See Weiss’s discussion entitled Immortality to which much of the next part of my discussion is indebted.

Monday, April 9, 2012

Horror as Romance

In my previous post, I left you all, or at least any of you that found the post interesting, with a sort of teaser, promising to reveal my understanding of a horror film that I had watched the other day as romance. The example that I used was a rather poor movie called Dracula II: Awakening, but I think that by breaking this film down we can begin to see the pattern throughout each film and move on from there.

1) First the story, which is perhaps the easiest to explain. The movie is of course related to the book Dracula by Bram Stoker and, through that connection, allows the audience to place itself in the midst of the entire gamut of vampire stories modeled off the first. Each story brings to the tale its own characters and places, but they all weave through one another in a delicate pattern that provides more depth both for preceding and succeeding installments.

2) Remembrance. The rest of the details of the romance are hard to argue unless we look at them from the correct angle. Using a seemingly minor character from the beginning called Luke, we see him transform from an unsure EMT into a confident and self-assured individual that seeks to not only stop the other characters in their endeavors to control the vampire Dracula and use his blood to cure mortality. He is then revealed as a heroic figure, a man willing and able to step into the line of fire and fight the forces of evil.

3) Quest. Once again we must look at our friend Luke who is attracted to one of the other characters though she is in love with the man attempting to harness the vampire's power. We see the quest in the young man's attempts to alter her perceptions and later to save her from the disease that she is falling prey to.

4) Apparent Death. Though it is hard to see apparent death in a film that involves so much bloodshed and murder, if we look closely, the answer becomes apparent. There is a religious aspect to it, but the answer is there all the same. Each soul in the movie is absolved through the forgiveness of God, granting them, in the end, eternal life and not the death that we first thought. This even applies to Dracula.

5) Happy Ending. Perhaps the hardest to explain, especially considering that the hero does not get the girl (at least not in this film) and Dracula is not yet dead. Yet, the film ends with hope for the future. Neither Luke nor his new mentor is dead and the two have a mission to not only absolve the soul of the first vampire of all its sins and send it to its final rest, but Luke also seems determined to save the girl that he has always loved. Hope is always a happy ending.

I realize that this may not have been my best work, but it's not fair to do all the work for you guys. My challenge then is to watch some movies that you may have never thought or considered in the realm of romance and see if you can find the patterns lurking beneath the surface.

Sunday, April 8, 2012

A New Perspective

I realize that I haven't written much of consequence in the past couple of weeks, and I'm not sure that this blog will be able to make up for that. But in the absence of any real inspirations, I thought that I might indulge myself in a kind of retrospective blog. Basically I've come to realize that I can no longer watch movies or read books without connecting each of them to the concepts of romance that we have been discussing in class. Every time I turn on the television or work my way through the pages of a story, the five keys of romance pop into my head and I begin to analyze the film or text for each of them. Is there a revelation? Is there a happy ending? Is a story told? Is there a quest and, most important to my own perspective recently, is there an apparent death? To my surprise and, I have to be honest, somewhat to my discomfort, everything does indeed contain romance. That is not to say that I dislike the fact of romance within everything. I find it refreshing that so much hope can be unearthed in even the seemingly most despairing.

Today, for example, though I am not completely proud of this fact, I watched three different movies from what would be considered three different genres. The first was a romantic comedy and can be stricken from the record of examples simply because of its category. We expect such things from a romcom as it were. The second, I cringe in typing this, was The Matrix Revolutions. Watching that movie through the lens of romanticism that I am now able to apply allowed me to see not only the path of death which the hero had to travel, but also the revelation, the happy ending, and even the apparent death. All were present in some form or another. Yet the movie that caught my attention most was probably Dracula II. As anyone who has seen the movie, or anyone who is familiar with the genre, will attest, the ability to argue for this version of Dracula as a romance is nothing if not a stretch. Yet, if we look at the appropriate characters, the romance becomes apparent. I will not bore you with the details now. Suffice it to say, I'm tired, and I just got done typing an eight page paper for another class, but I hope to prove in my next blog that a film that many people would label as "horror" is nothing more than romance in disguise.