YEKJONilL MYTttOlOQY

Also by David Fetil!lstein and Stanley Krippner·;

Rituals for Livin.g and Dying (with re.g Elliott, in press)

Also by StaOJley Krippner:

Human Possibilities: Mind Research in the USSR and Eastern Europe'

Song of the Siren:

A Parapsycholr}gical OdJ'ssey

iJt('ul1!working: £low to Use Your Breams f@r ("rfjfJ,IIlIIJ Problem-Selving {with Joseph Dillard)'

JJ~(l{il'lg States (w~th Albe,rto Villoldo)

U, I~ealms of f!ieating (widl Alberto ViUQldo) IJ,· 'am. Telepathy: flLvperiments in Noctur.nal ESP (with MontagUle Ullman and Alan Vaughan)

I.,

JO L MYTHOLOQI·

The Psychology of Your Evolving Self

I

I

J Using Ritual, Dreams,and Imagi:nation to Discover Your Inner Story

David Feinstein, Ph.D. and Stanley Krippner, Ph.D.' Foreword by June Singer, Ph.D.

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JEREMY P. TARCHER, INC.

Los Angeles

Distributed by St. Martin's Press New York

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Wh'l'e:! ~l~c i1'lSltUC1111.lJ:llS ask for a 2Q.se,c@Jlld pause or longer, these 11'1.,' 'sUI1U\!~cs ubat are most tusefiUll for reading the instrueelens to a u.'OU'!J. H you are w@ld:dmg alo))l!e (l))f VViitJb. a partner, it is 'best 11:0 say C'I'HlISC" or use a chime 011" clicker at these points, Then, if you are using I lHI)C, Y0U can simpl$' S,t!i>P it Fol' these pauses and resume whenever.

yuu m'e ready Cal hall1dLheld reIil1flt~ switch or a microphone with an nu-off swttch is ideEJ:l~. If you are working with a partner, establish a hancl slgna,l rna Indicate when yeu are ready for further instruction. I\.IHt)j a:h aliJJj' poit!l1i where you. need more time to carry out an instrucllnu, freely, indicate this to your partner or stop the t~pe_

Pacing the program. Th€re are several reasonable ways to strucIt 111 ' your t>ime as YiJ)\i work with the personal ri tuals presented in the PI' gram, Orne recommended way of pacing the program is to allow Y(Jtlr'seH €Ine te two weeks to complete each of the five stages, U is usually best be grv through eachchapter in several sittings: each typically reqaiees tour to seven hours. these estimates will vary, however, lh:penddim.g UWOfl l(i)ur natural pace,. whether you are workingwith a partner, t11,e all10unt of attention you give to explori~g your dreams, IUld how much detail yeu choose to put into your journal. Another wny to pace t1he program is te go oM for a few days and plunge into ~l. intensively. Yeu also nJ,ay go through the; prcgram anll number of times, each time exploring a different area of your personal mythology.

,

An a'Ctitude toward resistance, The same resistance that may 8C Fli1 such all obstacle to personal development also may serve as a t)OWedl!il11eache1i'. Recognize that resistance is natural in the face of change: it is one 0f the vv:a:ys fhatwe maintain our equilibrium. There may be good reasons that a part ofy@u is resisting, We encourage you I~I m)Clp:reciate ~he resistance and &PIDroach it with an 'attitude of curioslIy and the sense tlihat if you ean penetrateno its core, you wtll gain 1.(1' eater self-understanding, Perhaps you fil1d'Y@lI!~'self £ritterihg away IlJ.111c you lilClfV>e set aside fO!ll tThe ptrQgF.aniJ., OJ!' keep losing yourjournal, HI' Ihld that you ave unable to CO'Fleelilt~a1.e when. you sit down to work.' • tj Jq unintentional actions can PJlo~ide Y011l. with im.formatjoll, a:botlt n prU'tt of yoursellli ~ba1i has been outside Y€JUf awareness, Perhaps ¥(i)'u UI'C pushing yourself tOG harcl, or trying t@ eban,ge qual~~ies about your cl r that hold symbolic Lllleaming you have not recognized, Oli yeu 11' d 1rt;10r' 'lilJl~ 'to I'cJax rfl\~ihet tn:!11 to undertab ancther eoncentruleel 1'uI'lk. Li!l:tc.!llil'lg Lo wliat the resistance Is aUeJ1llJ}!Itil1f:\" t@ tell you

For Edith and Sol

FOREWORD xi

PROLOGUE: Expanding Y@Nf MytholoWl 1

Beyond Limiting Cujtural Images

CHAPTER 1. Into Your Mythic Depths 17

CHAPTER 2. The First Stage: Recognizing When a 415

Guiding Myth Is No Longer an Ally

CHAPTER 3. The Second Stage: Bringing, the Roots .75

of Mythic Conflict into Focus

CHAPTER 4. The Third Stager Conceiving a 108

Unifying Mythic Vision

CHAPTER 5. The Fourth Stage: From Vision to 1.38

Commitment

CHAPTER 6. The Fifth Stage: Weaving a Renewed 160

Mythology into Daily Life

CHAPTER 7. Your Evolving Mythology 185

EPILOGUE: Tending to the Mythic Vision 212

of Your Community

APPENDIX .<\: Enhancing the Program l33

APPENDIX B: A Primer for Working with Your Dreams 239

APPENDrX C: Wh€n the Program Becomes Unsettling 245

NOTES 249

SUGGESTED ltEAD[NGS 255

INDHX 259

____ ~ AcknowledgmeFlts

Discussions with Rosie Adams, Sharon Douhiago, Joel Bikes, Riehard Evans, Steven Goldstein, Joel Heller, Jerry Jud, Steve Kierulff, Don Klein, Ron Kurtz, Danielle Light, Bill Lyon. Gene Mallory, Rollo May, Reid Meloy, Stella Monday. Paul Otis, Tiziana de Rovere, Virginia Satir, Chuck Simpkinson, Meredith Spencer Foster, Katherine Yates, Carl Young, and the Wightman Meo's Gathering all contributed to our thinking in ways that are gratefully acknowledged. Dan P. McAdams offered many wise and productive suggestions 00 an earlier draft of this volume. Peg Elliott, who has been a constant source of perceptive and buoyant counsel, has contributed more of substance ttl this 'Work than we can measure. Mad Davis gracefully offered spiritual respite along with her twinkling spirit. We also would like to . express our gratitude to Rita Rohen and the late Richard Price, whose generous hospitality permitted us to write parts of this book in the beautiful

surroundings of Esalen Institute. .

Jeremy 'Parcher has been a compelling and imaginative force in this effort to bring the ideas and methods presented in our seminars and professional writings to a wider audience. Our editors, Connie Zweig and Ted Mason, havebeen generous in talent and good humor.

The love, understanding, and Inspiratlonal presence of our partners in marriage, Donna Eden and LeHe Krippner, are appreciated beyond words.

ix

~~ FOfeWol'ld

Personal my;ths are not what you think they are. They are not false beliefs. They. are not the stories you tell yourself to explain your circumstances and behavior, Your personal mythology is. rather. the vtbrant infrastructure that informs yeur life, whether or not you are aware. of it. Consciously and unconsciously, you live by your mythology. In this remarkable book, the authors challenge you, through the use of rinial, dreams, and story, to become aware of the mythology you are living, to confront it. and in the end to gain some mastery over it. The book is an exercise in the "evolution of consclousness't=your consciousness and the consciousness of the culture in which you are embedded.

To live mythically means to become aware of your personal and collective origins. In the process of learning to do this you will discover" or affirm. that you are not an isolated independent being, but the end product of the millennia. of acculturation and maturation of the human race. Personal mythology is but the flower on the bush: the family m~k is the branch, society's conventions form the stem, and the root is the human condition.

Personal myths structure our awareness and point us in the direction: that becomes our path.H we are unacquainted with the contents of our personal mythology we are carried by it unconsciously, with the result that we confuse what exists objectively in the world with the imag@ of the world supplied t€l us by our own distorted lenses. Based on an unconscious personal Mythology, or a mythology rigidly imposed by our social group, we tend to see only one correct path, We do not see it as our way, but as the way, and we do Dot see that it could lead to disaster as easily as to contentment,

The book has its roots in a research project at The Johns Hopkins University School of Medicine in which Feinstein compared several emerging systems of personal growth therapies with more traditional therapies. He found a common denominator: each therapy, in its own way., attempted til) in£1.uence how people eonstruct their urrdesstandins of t~elilil,selves and thdr Jillaee hI the wurld. He used 1ille term p,ersol'lu:i mythology to describe Ellis "evDlving ~enstructiGn at inner

xl

xli

1'(}j\1! ti' ru.,d to c.mlpitaslzc.: that ul! hum. In I'IIIUII'W 'I UIIN III' I cnliry are I nyl'hologics,

Kril)pt'ler's role in this book has been (1) , of' (I(J'cring inspiration and in:-;igJtt to the primary author. He brings to the collaboration thMy::yeal:S of pioneering research 011 human consciousness, particuInrlY'· I,ls studies of dreams" healing, and altered states. Over the past dCI;':"lde tlul authors have conducted workshops and developed meth~J(rfl Ilm:mgh which people can become aware of the mythologies that Imveg;ulcled them in the past. With that understanding, it is possible to move on to guidjng myths that are more vital and viable. The Jl))'OC;"SS Is-systematically arranged and comprises the major portion uf l'htsweFk. Step by S~~Pl the book sets forth a guide to persona] 11'hn~fc)1·rt11'ation tht10ugh explanation, participatory experiences, and ,:[1111 • HJl1l,t1:I'ial,lt not only provides the necessary conceptual Informa- 1,111)(1 ~t11 belps the reader integrate the knowledge through rituals and PCfl, 1I!ol ,') iHud thea a'ppiy th.e new awareness to' everyday life.

Au urtll!tl~Mht :th'at delineates five stages of growth is offi~red, The

,11,,11 lU" blJfIDr:trred by sources encompassing marry schools.. all the

W,I fl'lJltl nl'loie1J}t Greek philosophy to the methods and theories of 1'1 "lllllnn R,me! JUngian psychology to the practical approaches of t:OJ]It IIlpl~j'tU,\! behavterlsm and cognitive psychology. Neue of these sysIIlln j 1 .(!)!lrllecl uncritically" and the authors have managed to trueW III.' II . '~ll(.mel1lt synthesis 0& a tremendous body of psycbologieal '111'1~11t V 1'1~lo 1 hcil' werk,

I'll" 111' t I hree stages echo the Socratic thesis. antithesis, and synI h. 10." hi .(' One l nvolves recognizing and defining one's OWIl 1!'et- 11101.1111 ,lIvll mel dilsl<0;veringl!Q what degree this guiding myth [s no lUll} ',\J, ItH:y. Stage Two requires the identificatjon of an oppvsJf,lg l~rrl.jomd m fh, rre thattili:.J;1ea,Ees a conflict in the person's psyche, The I II !II IIIl' 1 11 I" Ol,Ylli1s are breught into focus and examine€! to. 'see hew I'll h ~J IhdttlO toO the past. The person will soonreeogaiee that the 1II"lllu, "If dIU,·H\,ood .are rarely appropriate to serve the ad.ult.

S,tA.!,!,t! 'nU'{' ., synthesis, entails conceiving a unifying v,isi<">tl, Here 11\,l~ uld Hlyi'J1 und the counter-myth 'are brough; int@ eoafmntation, Tllry JlllIy he personified so that the conflict can be worked out 'as a dl'/IHliJ 01' ~11Q)_ Jnner life, and so that, as FefmsteinaJild Kr'ippIl~r so I d cely pkd, l,kl It does not have ito be "played out on, the rack of Ji.fe,'i I fl tIle process, obstacles to harmony are re-visioned as oPPQrto'm,1lies

I'm' growth. .

Slag,e Four begins where man:l" modes of theraJl:Y eNQ.lt j,s"caJiea ~II"lJ'tfITl Viislorl to Commitment," Here is wbere the iJ5l.sigh~sal1e tested end ~'Ili I~lotacd ·150 that the ptrocess ~n"'isig!tled ~1i), raove ji,I'\;IIH "he:

Auf

hVIWl!~ll'Lcth:nJ (l)r IrmaAll~1I.1 rqllim hue vl.:tc Plhl\!:I~ f.lC hltel'l(,jfl)1!l und tliltlJlI IUlIOIC.tiol1J, ,stage l~ilVe ,entails- weavimg the 1'l.Cl'W' '7I1yL'hololfiY 11!)~(jj 11m, 11!.'IIiU a sed.fls I:JF practljieal 's-teps is ~M'ggested wheJ'eby uhe ll:lrlell.1lt1'ansfOJJll1a,tion calll be cle:o[u~m:strated in fihe wIDrld, The b-ll\ttej;lHy 6:l)ir;1l!:t1ges From the ch.rysrolis iil'mcl liS [and! lOS f:):1!),t) a 1il.1i:W igeing. if~(u!I:Ji rl'l1ere l'1l:n, tlt1a pl'o'cess I!OH-tijpues bo~h as j'n-'n-elI' WBFk ami as Ul\lij.liJ,g in the wotlcl. ina new wa-y~ lIDOFC bo_t of the cOl)stvic~i:on5 of u.nconsG10ws assU:f.i1IptieJilS"

!Pe,rSf.iJl:l'aLMythfJ.lf;Jgy's gt!eat eQnttH~ut!io:n. it seems to. me, lies ifF} the :way it ifaeiUtcates indiv:iotu}ls in fe:cognizing t:he root C3CI:ses of theit dHfieu1tie-s :a'no then taking res,p€lnsihriTity for t'heir 0WJt h~~Hng pro· cess, In thls age, Informatlon is m::IDre accessible to mose people than ever before, and ind1-viduaIsa-rebetter fnf6r.med about what is needed Ito gain and tp.a~ntain a healthy 'state both physioally and psychologic,ally:. (?ollsequen:tly the phy;sidan, the psychiatrist. and the psycho. therapist are- no i'enger held up as the only people who can' lead us to better health. In many sj:tuations it 'is, possible and also desirable for individuals t!D' :ttak,:: r,espollsibi1rizy for their own well-being, This -is done thV0Ugh such praofices as exeeeise, good. nutrition, and mainraining a variety of interests, Feivs-teh,l and Kri'ppner point theway and provi€le some V~f1y g00Q guidance fer attendins to one's psychoJoglcal health and develoJ!)rneiFJ.'E, E~ch 'perSOFl who reads this book is challenged to undestake itillt iourne:y in whatever way is ~pp.lib:priate: alone, with a partner, with :fr:,ie~'cl.s! or i1n s. group committed: M a growth pllocess,

At some pOint a!il:Iug the 'Way. personal myths converge with. cultu:rtalmyrlls- 10' govern e\(ieIl}:' human activity. 'I'here.eornes a time, as -we work en our personal issues, WB!'l'Jil. we r~aH~e the degree tID which our pi::rsoB:al concerns twe -0£ limited signifiean(;e, The "independent i:ndiv,iilual" is a m:Y1ih _gone ba[.)ikru;pt, We have ~nways d-epended upon others hw 0Ur mast basie meeds: foodf:shdt~r. -seeurity, all'd,affe,cHon. IroVii' much more do W~ need one another to supply all the 'complex requirements of life todayl You arc a prarticipail.t in the oreaden :of w.hatc:v.Qr wIll halllpen next Gtl.this,lplanet. L@oking.towardthlilfutur,El{ 'the auth!1l~s woint out that a' rigid natioaal'istp, "the fiercely indepenoent ~gjF} writ large:' is losing Us fea:si.b,itJ.tyas a social form., In the emel'1g.fng @lebal VuHage, as Marshal Mc:;;Lullan called it, ahlegiances tramS6f11'l01'eg;iorra;i, find 'cuntu,r2\l bI!iUllC:1"ades. Informati,Ol'l'. k>usinli:ssj the ad's, the media, tbe news, aN kNOW 110 national Hmiifati¢lrts,

"''Me can n0IDnrg~r'sepa;t;ateolJl>lI!sd:ves f,r0,l)J<the des-M'n¥ af~h_e'Plru:t:elli be ill a gJ0bai SC!lJiiiet~j_1ll,";hill!:bJil,e0Jlle m.ay ~ive,mmu,t1!taa trust an.cl.lhlgh J)J'ociuGti'Vity,oF nu'c±earaill,~lijlll1l'la~i{Hil.1i"he nex,! (.,'R~blenge, w'1llieh i1teifl.· .!I1:C'il!l aJ~dFCri_pr>nerl"aisc in cltljslng~ is to ali'l~)lyto the human C(;:IlJil1'l1U"

nity the ,P1'b1utl,lcs dcrlvi.!d from nbsGr"ving' the way im1ivlduHI~ I biuk. m"YLI~iCiaJ~lY, c.a:t~ the me'!1hecls the authors have presented fOf dealing wtth lQItraper's€>mai coroUet be used in dealing with the culturel myths that foster intergrQup and international conflicts? As in any open system, the solution or one series of problems, opens the door to wor.king with a set of h,]gher-level problems. That challenge may well lead us to the next step in the "evolution of consciousness,"

~UNE SINGBR

____ -----:- ----(,Prologue

Expanding YOlJt Mytnol@gy B~yond Limiting Cultural Images

MytlJic images •• , are pictures that'involve us both physio,lqgic~lly in our bodUy r,e(:lCtions to them and spir:itmilly in our hlg/t,er (houghts about them.' Mum a pers@n is aware of living mythically. she or he is experiencing life intensiv~ly and refieetil)e.ly, -",\A'O,M:I, GOL.0ENBERC1

To be aware of living myth,ically is to understand your life as an unfolding drama whose me,alring is, Iarges ~ha:t1 your day-to-day concerns. It is to. nurture a ripening appreciation ,of youii' cultural and ancestral roots. To' live m:ythieally is to seek gu.id'ance; from' yoar dreams, imaginati~n, ~nd o.ther re;flections of yOWl' -ifl.ner being, as well ¥ from the, most! 'incspi!l'hJg people, practices, ana institut(on.~ of your society. T:o H:v:e ni.,ythieaRy is also to cultivate an ever-deepening re[ationsh'ip With the ,u.niv:ersel ani!ll its great mystei"ies.,

Smce the rnid-f 970s, we have taLight. some t:wo ,thousm~d ~eople a system for learningto live more, in;ythicat.ly. In this book we present that syswtP as a series of '~persal;),a:]. ritlua!:s" de~igl1ed ~e bri'ng greater

I '" I . I

awareness to the. submerged m:ytnQlpg,y tbM shapes yOUI' thoughts,

emotions. and behavior. The'qtilet g;1,l'idance Qf'YQ.:ur personal mythology gives. meaning to every ~ituation you meet and determines what you will do in it., Your personal mythology acts' f.tS ~ lens that colors your perceptions aycordipg to its 0~vil assumptioris and values, It highlights certain possibili.ties and shad@ws others . .Through it. you view.the ever-dhangb)g panorama of your expesierrces in th~ world ..

People often live their liv~s with very little awareness of the lens through which the,y fITe looking..: According to Jungian analyst Frances Wic,k",s, ":ql0dkrn man is unaware of, the myth that [ives itself within him, of the image, oftenlnvisible, that d~mamically impels him.

,., II !lNi\I MV'J'IJOI,()tl'l

,LeWOI,d citJAictl."~ III ,Is J!l()sdble, h0wever, to stel~ ~uck "l\~d beGin to l,npeCl the lens. the mythology that is ciil'ec'ling your choices, For Wickes, the art of liNing is, ill essence, a development of the power of dm:twardGhoic.e. She believed this to be "of all creative arts the most diffi:G!u1t and, the most distinguished/" Developing the power of inward choice is the challenge this book sets before- you. We offer this challenge 'With the conviction that examining your personal mythology will strengthen your ability to make choices that axe more creative and empowering.

Much of the psychological sufferIng people experience is entangled ttl personal myths that are not attuned to their actual needs, potentials, and circumstances. Attempting to follow a personal myth that is 110t ill! harmony with who you are or with the world in which you live is painful, and a mythology that is unable to serve as a bridge to deeper meanings and greater inspiration than you can find in the outer world is often accompanied by a deep and nameless anxiety. As you develop greater awareness of your emerging mythology, you experience increased intimacy with your inner being. To "know thyself" in this. informed and substantial manner inoculates you against at least one strain of the generalized anxiety of the day by engaging greater support from your deeper self.

Your personal mythology is the distinctive, although sometimes imperceptible, self-psychology' that guides YQl!lf behavior and pre,pare£ the waY' as you evolve in the world. Personal .Mjthology: The Bsy'Chol"OfW; of Your Evolving Self presents an integrated set of psycho~ogiea:.l pdnc'ip:les and procedures you can master for promotingyour personal development. The bOIDk can help you examine, revise, and revitalize the prieate theories that shape your life. Kurt Lewin. who was distingQisl:J.cd :For his ingenious application of psychological knowledge to social problems, was fond of pointing out that "Not~ing is as practical as a good theory." His observation is valid net only for scfentific theories, but also for the private theories fir personal myths we all hold. Such theories are mere than just intelleetual constructs; they are ingrained models of reality that determine how you see your world and understand your place within it. When such models are flawed or .out of date, they lead to unrealistic expectations, poor choices, and emotional distress. Whel1 they are serving you weU, you have better access to your inner wisdom and greater understanding of your environment,

Myths', in the sense that we are using the term, we net. legends or falseheods. They are, rather, tlhemoclelsby'whic:h hum'a'l1 &ehrgs cede and i)r,gruaize t)h,eit peF.cep.!ti.efls, feeli.tlg-s, thCDug.htS. amid actions. Your

E!K:pa'l1.ding Y our Mpt1}yo10~ BeyonB. LimL,1l1ng GUJlturallma-ges (!Mir~th. Wi:WiJft·D,il IlHake_)

p '('sol101 mytholCDgy; is teo ted i,n the vers glioum~ of your being, and ! L is a~so a refleerion of the: Nly;thology held by the culture in which you Live. 'We all ereate Nl:y;ths based on. sources that are within us and sources 1.Ihat ate external, and we live aceerding to those myths, Psychologist Henry Murray thought of myths in this way; myths serve to inspire, generate conviction, orient action, and unify a person Qr a group by creating the "passionate participation of aU functions of the personality iindividua! myth), or of all members of a society (collectivemyth). "5

Through your personal mythology, you interpret the experience of your senses, give order to new information, find inspirationand direction, and ordent yourselfto powers in the universe that axe beyond YC)l:lJr understanding. Wi.th0l1t Y0lJ,r mythology, (Your experiences would be disjointed and chaotic. Myt!;Js, in this broader. sense, are not properly. understood as being true or false, right or wrong. l1h.ey: are way.s of orgarrizing experience that mJl)' uhimately he Judged as more 01'" less effective fior the well-being amd performance o:f an individual or gr()ju.p~

ORr approach is organized around three basic premises:

1. My,th-making, at both the, indlvidued ,and the eollective le¥eis, is tihe ·primary though often unperceived psychological mechanism by whieh human beings navigate their way through life.

2. People in tontemporary cultures are rnore, capaDie €It C@;Jl.stt'bu;H.i;'1g c!l.:istil'lctively per-sona' mythelcgies and ref.l'cpting upon Iih(l)se mythologies than in any previousperiod of histOJ{y~and the need to become conscious of the ~Y1Iholog:ies we a~~ liv:illg Otlot ts more urgent than ever before.

3, By understandjng' the principles th~t'gever:Il y'ou!I: uBd~l'1:ying myths, YON. become less bound bytl)e mythoc}ogies of ;your childhood and of yOW' culture, and you tnay' hegiJ;'!, to influence patterns in your 'Iife that once seemed predetermined and went unquestioned.

MYTHOLOGY IN A CONTEMPORARY CONTEXT

There recently has been a resurgence of interest in mythology as a path to a richer inner life and a more sophisticated spiritua] @utlclpk. Bruno Bettelheim, Robed Bl~; Jean Shinoda Bolen, Joseph Ca'l'hp'bel1, Je~ !Halifa.x, James Hillman, Jean Houston, Robert ~QhnsQn:, SaJl1Il

Keen, !tollo M W, ~l'nC'lld MindeU, IJsul l~cl\1illoL, Wi1lim'1'l h-win Tnol1lilps0.ro., and 13at'bwa Walker a1'C ameng 1111." ~Q):).to.:nporar:'y figures who haee :t)flleJ;ed! more "ita I psychalogical pef'8pectl~es by eamn,g upon myshology. W'e like to think of ous work as also helJ.i)Itllg to revive this powerful, ancient concept and a;Pl!lly,ing it ~n a c00tempor(.\.FY and somewhat novel manner, Besides suggestfng that myHi.01@gi~s fbUlc" tien in the modern world as much as they did in earlier ti,mes and that they operate at personal as welT as culturallevels, we are emphasiz~ng that it is possible for you to develop a set of skills for revising your personal mythology in ways that will benefit you. When you alter a guiding myth, decisive changes in your perceptions, feelings, and

behavior follow.

~our myrhology is, to an: extent, your culture's mythology in mi-

crocosm. Everything you do and every thought you have bears the distinctive mark of the mythology. of the. culture in which you were raised. Even activities that might seem natural or universal are die" tated by the basic assumpttons and underlying images that are reflected in your culture. What you eat and the way you eat it, what you wear and .how you wear it, whether yourthinking is oriented toward the present or. the future, whether your experience of the moment accents thoughts or feelings, how you greet strangers and receive friends, and how you acquire, accumulate, and display material possessions are all fashioned, in important ways, by the mythology of vour culture.

" Today's myths appear in less distinguished guises than the elabo-

rate stories and, exotic rituals of trtbal and ancient peoples, The spirits and deities whose authority was unrsvaled in tribal, classical; and medieval cultures have faded into antiquity. Now we find an abundance of mortal heroes and heroines, both real and imaginary, in novels, comics, movies, and television stories. While these images are less than venerable=erather than reaching back through the generations, they appear suddenly and fade abruptly=they are disseminated through powerful media and leave strong impressions, The lyrics of popular songs often provide compelling: mythic messages that may later: ap,pear word for word in a teenager's protestation of love, statement Ojjjf defiiallce, 01" suicide note.

M;ytb.s permeate alt areas of m(llaer.nloife; They are i11stleeted in and Itransmitted ~hrough stage, screen, and song; education, r.eligiQn, and p!]lH,bsSi l~te!i'a~ure, art, and ar,chitedbJ:re; a dv:errtis'i1ng. fashion. and clesigE. 'Fhey are itl1l.tertwlrnei:l wi'~b £l1il11 child.rliladl1g Wjl'ac~i€esl sexual I1nl'1m. and sooia~ sys~('lnls. They are ma:in.tffiJi:ncli l1)l1Jhe 'S.lalllt of '@l!lli h'lstory books 11 d new ,t9rit:s and cxpe eel by the salary di:ffe'f1ellbial

b tw -n u good .en ohea h r nd i\ good I It1nn t I' t I The mythR npc:ratlm,g h~ medern sudetic. I ml In ~1!Pl)ru \ In I 11,,1 I'll' gross aed tllle Ci:lG,I'lfu,-ole£ n~t~o, r,atl1\l~I' tlulII 1'[1(" I ttUIll'Ull'lll lind pm.'''ti'il'llltl 1'1 wl,th. natural c~cles tll~l~ chtm.\c~cd",· 11\1(:.W~ C;1~1~.' cal rnytb,olegles. Beeause teehll.01@g1.cat[& orie:nt01!l1 CU~I!H'I'OS Ihavc discoueted the nwth01@giGal dimensinn that underlies the material rea1m. we: have as a s@dety 'fuIec([)m€ less adept In our cornmeree with the deepe« lew;eIs of existel1!G(l',

The logic of Western mytho}(i>gy, according to Sam Keen, has been djetated by "the et0t1c obsession with the rnachine.'" ae, identified some two dezen artlcles of faith thatgrow out ofthis,ll1ythology, such as: n.satiGn, intuition, and feeling are primitive, Immature forms of Ih,Ughll; ffem.ales, like nature, arc '0 be controlled and excluded from pt.l51tiol'ls of power] human l,ire is organized around the laws of the murl<et; and ,knowledge and power are the twin pillars of human klcn Lity. 'Phese axioms ate now being chaUengeci as they are followed by a u'alt 0f in.Clleasingly hazardous ramifications.

A priA!lil'l'Y pole of m:yth always has been to carry the past lint€) the I'f' c.mt. Through thi·s, bi,:hdimQef time', a eulture's accurm.JJatecLknowl. I.l.Qgc ~u d wiscl0ID ave brought to each DeW gefl~ration. Today, f1ev.'l'\I!"II:lite eivcm,ID·star'lcesror which our mythologies mustpJj:Qvicleguilii~ nuce are ohangin.g at an unprecedented rate. Long-enduring m~thrs It ive been cracking under the strain of abrupt shirts in the very'fouIilJl1~ioR!s 0F social organization, such as oVt;!rpop1!11ation, driminishing, rio! 'ouroes, a,n.d inc:pea,sing jeo,~a:l!dy for futtili're gen~l"ations. GUHl!l~Jll 11 yt~s have been drifting toward dbselescence more swiftLy; :si')j).ce the Rllicl,lCeilt'llEY than in any previous period Of htstory, 'L'he ba:lf·Hfe of a valid guidillg myth has never been briefer, and we see new myths boin@ lliammeI1ect out daily on the anvil of people's lives"

WritL~g ab01Jt the expenience of heing a ~Ol'Jllg Arnertesm i,n the 19S(ils, Wancla Urbanska observes that the boundaries of imagitlation

were

d.efined by the gr1ilTI prospect of worldwide nmoleal' anmllilat'.on, liL0t the sense €If a better tomorrow ... , We' g;reiW 'tip '\viflh' the d i,iigrace efVi.etnam and Waterga~e, nat the sta:biU:t1y (if the Ei.seIl~ fm)wer: presldeney. Wegn:,w up with the odd urgings of the Mo@nres and the fear 0f poHtical terrorism and airline h:ij~ekings, nat ~lhe certainty of church orr Sunday and AmericaFl: supFemaey.We s,r€"W up with punk rock and MTV, not the Eem.n~n: Slsters and "I<fatilber Know:s Best." ... We ave it generation raised on J3Jck·±n~ t~l,ei0J30X hambul'gersand :Diet Peps], not h0111l'1 ~o~khi!lg a.n.d whl))l~ 0l,Hk,7

7

'1Ih(. tliGiiJ1lg vahies and eher~she l!l(>nli'lJcti0I).S of recent generations are (If ten all but useless jn dealing with C0F-l!tempO:tl2!:'r"y issues, The myths that supported large families were not concerned with overpopulation. Expectations of continual upward mobility with larger homes and greater consumption assumed a boundless supply of natural resources. Cultural images that exalted the compliant female defined her as an appendage to the male, The belldgerent foreign policles that W~17e traditionally thought to convey a nation's streng,tlh have created a Damocles sword of nuclear destruction that reverberates i,n the nightmares of children and the disquieting suicide rate €If ad 0') esoents, Guiding myths that were w:orkable in recent memory haxe lost their Via~Hipy a~ a djzzyin.g pace. As Mstory has adI013:UG€d ntore rapid1W. S~ Nas tihe tl.€ed te beeeme m@Fe fiacile' in revising the myths thet gllJ.icie lIts.

The diveFsity ef the mythic images we encounter bl~F0lJl.gn 'dectrente and ollhe11 :rmedia cat! alse be o~el\whelwhag. Pbli' mest 06 tIle histery of ctvHi:oo:tion, iihe myl1bg held. by I h il1divid!\Jnl~ in ~ society were ndlati,vdy.- lJlliliform, aUowing for litH \ lU 'tiOi (1)' v 1'11\11(11 , To sta,tI!d out tl"ltas1!Q ri8k censure and eVI.:Jl dt:fn);,. Ane 111 mYI,hoinllh::, were boum:d by tl~ad1t~(!)liI OJ', p<whar)~, "L red by a . hllllltlll'lI "m'l tJ 1 vtstnn. However, no sh11g1e u!l:ufy,il' I f.01'CI.! It') l,oduY'l, I I Ill· II)', I tions is powerful enough to ptles~rve llf'l h • .. io n lUIUr d I h mill II 011 Itlt' III contrasting mytlt.!(l)t0gi~s people are sx,l).)S d! IlOW.

It is likely that Y01!J.or aUilwGle.s and va~ILl's GJlH r l'rOlfl YOIII' 01111 II bors' in. ways t-hat could not e:ven hi3,ve OeCI1L CllH'lOclvloli.l III lrilml (,,,,I tunes. In additieer, you have been ab1igecU to Itlai n h.GW 1,0 l' n ,t J1 the fit between your mytJ;,:samd tlae, si~ua'tl(j)l'lS YGtl er;l(;lOllrtLtH' wlilil more agmt:y than your parents or ehe generations llltifo)'l;:! thlJln. Never have so man)' visions been ava.ilable 1:0 choose from; (lor has there been media so capable of parading Iihl1lse v.isiolilS ia f110J.ilt G1i you. Growing up is no. longer a matter of following ill the weB.tried footsteps of ancestors Wh0 may £flr generations have been in the same trade! held slmflar religious convictions, and considered the tradition-bound roles of men and. women to be part of the natural order,

The need to unshaolde ourselves from outmoded myths is becorningte:ver FJllQre pressmg. Rollo May has commented that "tne 0ld myths and. s}il'mhdls by wN'ich we oniented eurselves are 'gone, Ho.ociety is :rampant ...• The inablhill'a~ is forced to turn rnrWa>l1d."8 In eur disiUusitr)m wi~h :Iihe spe~lbJ.ofcIdlng cultural images '0£ the pas~, e01liloinea w1l!h the ci'iIpacit;v €i:fj IDlJliI? i.m,aginatie1'll ta sear ~eyoFI!;l the il1cal.ancl th~ Filesem. we C8I,m, eac1l. envision a range of I_')IDssHJilities vor ourselees whose ~UOPl! was Pl'CVi(l)UHly 1II1thinkable, In sl~(1.1't, mylUlo( IIY has becorae a.m

n I n I. Itd.tI nf Ih dl lingui bin Ih~ ",1(* • 1 wh ch th II d y Inpm"nl , ' D' I rlll r ,

W' ire II II '&1 upon tu parll Ipil n lecllng, rcal'lgnlng, III I I g Ih • my1h' thet W ~ rolluw. This book oullin a I rn r r h' ,hing ur 1(10 - In re d pt in n:1e: platinlyourdirecr tic II. W' II ve that a w 11- _rliculated, carefully eumined mythol. I 1)tY ,,,un of thmost eJleeUve. devices fmr oounterina the d.lsorientinl

.·ip or n w rid in mythic turmoil. Such mytbology also polntslhc

h. Ie 10 th deeper world of the psyche. Bccaw;c you arc less ble I",. 1. _ n lh mylhs of the pastor of the sociely in which you live. you r ,mlpell d to esbbUsh a gr~a'er dqree of selfftlianc:e.. People hll ar' olJ lI'1e at Whal they do :instinclivcl,y use creatively co&. v d III 1h5 to deal with tbeproblems they fa.ce. The renowned If r R. Buckminster Fuller.lale in hi life.. d Ii lite sigpjfi· t Uti( L"' hi, y, rely impai~1 eyesight as a small chUd. B¥ rytbiog II I Y wm\ litlremely fuzzy until, at age Four. he wasgiv neye,gl8S$C!!S

nd W !I nMounded by bow lbe.wor,ld .suddenly came Inlo focus. This 1111 ern Renaissance thinker ~Iated tII.a1 receiving those aiassa,

t" hi • 0 unled for hi lifeiongcon'Yiotion thai ven iHdcu d

J Idl ,t hlp seemed ~ I him al :6rst. they w ulcl nefttually beIIIto chmr. Thut was, :for bim, a posiUve, effective,. and. realistic. SUIc£.II II v.h.

y u me mere w· 'e or y ur dcv loping mythology, you

lw . I m apablc of finding c;reaUvc guidtm From within and

uldt .whlM d 'pend blceonclusions rrom the lesson of yourpersanal . IK'riC' Ill"· " mlhcrthan bel1ngcompellcd to foUowanltq.uatedbelicfs. I Itt I ad • or cultural images. GaJn'lns. a measure of autonmy 11'1 lilt tlmiting mythic images of your cuhure aad from Gcherearly

n [flu'" • ilD I ·ases your psychological r--reedom nd streqthens lin II nlty t cope within a rapidly changing world. This book offers II -I 01" 10015 to help you better undel1lta.ad and eQnstructivel), w ric It. V ur ev r volvina mythology.

Nil MYTIIOLOGY IN A I LOGICAL CONTEXT

nlydlo/OD ' I If I g til . \Voy I • I lUll u ·un· iou n r II, I.

cp m~h logi I imill . while. simulum IlSly bei t h ))Cd by th mythology (lh~ surround'ng culture. Unlike term u h '$.n;rlp/~

4t1i'~ or belie/a. myth I ble to e co ' ~ th h lypaJI di

sion of lb un.c . ~ ious mind, which transcends rly e ndl.) n n and cultural seUing. A m~lbic otldook also reminds you that you prl of ill larger plcture than your immediele con rns, Br1nging a nT,Ylh.ologieaJ per peetive (0 psychology yie:ldsB framework thai is m re potent in Its facilily with uncon 10m prec:esses, In i sen . i~ vhy to cuI'ural. orees, and in the dignity ille cis to I.h act of eu.nainiq lh hum n lory.

Tbe term penrJlJal mylh w first Inrroduced iJ:no lh.c psychiatric lire (ureln 19S6.by ·rlU Kri_rwhouscd' llodescribecertainlu Lv

J men 0 human rs 11 lily lh 1 PSYChoanal)'5IS must ccou~' ~ ~ II the eJfecrs of therapy are to IaUng.' imilar 0 III p', ho.w r,

n be found in the work of I ua Freud. Alfred Adler, and CuI JUDI· Freud Y(ilS·lV;inalcd by myLhol .KY.. Iec::dng the Oedipal myth 10 portray tliJ pi tal dil mma In human developmenl. Adlu believed lh t an Individu _'5 ear]y II lion r v eel a II rh~ t my I 1 o ," The strikin paraUt"1 found by Juna in eire _ • w rn 0 rt,

nd cuhural mYths led 10 Iti penelrating stumes of tbe p ychologicaJ rclcvanc:eof ID)1holDgJr and he discu55ed his awn "pcrsonal mYlborin his a tolbiography.'

Th~ psych therapeutic pp ~~ b _ that If; ce di 1.1)' ck to th work of Freud. Adler. and Ju.ng are coli lively th ught or as d plh pchology because of U1 ir cropbssi on unconscious pl'OCeSSe.$ • Depth psychology, accordll'lg to James Hillman. is "looay's form f traditional ytbology, th great CQTner of the I) . traditiOD. "II

Iltn!SSA!!S Ih 'm lark Ii· psyhe in IS own langu ; the)'

emoUonaUy. dramatically. nsuously, n.tastically."U plh psy. . hology O.ors framewor ad method for examinLn the human

psycho-the· "urgan" or psych logica lif • 0 ting boUt w1thin lh

~cld of con I U5, W ~nC6S d Car beyond i • Iml ncbl nnum 18.

hie desires, mpul , . d intuition!, nd capable of cxp • g i ~If in ~ ges. . ,llnss. lh ughts. and etlons, The proQli ~ of depth })$Yo cllo1ogy is thats you become more CODV,e.tSftD1. with yOW" psyche,

u ce nsciQ:lls impul5CS become I . mm c n.g nd uneo .ious w

dem becom mo cecssiblc.

While psychoa» lysis and oth d pili J>51 ho h ra J \¥ ini-

tially tbe property 0 the privileged, wid r nteres in nd fi es:.iblt. tty 10 approacbes thai promote n und ~ I ndil1l& or uncon ·OU8 In

tiv riOIll June: now me n

pted rr 1

PeTS< ,lIl1 rilll.ais. A 01 U 1 i

lhips, r commcmorol. un event or a PI'

the eommunhy' life. Human Ig:; r rdln rily 0 ible,

all socieli hv cr reel riru I I ho.I hape th individual's de 1 DlDDl. a coenli feat in hum n engineering. Character t 'IS, thai served the needs or the cl 11 rould be fostered. and the lndividJ· oal's pusioD5 0_ spiritual aspiralio uld be directed to benefil the cotnmunity"

RJ tunls may slre.ngl.h - IJ.I'; ppor with the rbyt bm of nature, de.Jin&> ale tbo tasks 0 indi1lid I t or mmunUy de elopm , er I.ablish a connon wltb aspccu of Lb e that are held to be sacred or divin • A rltu I can be centurte old or devised for a contemporary

OIl.U II might be performed regularly, occasionally. or onl

once. A ritual D be carr! 1llt privately Dr with eth A private

rilual might oo,nsillof wriUn farewell leu r and cet'cmon·ously

b rying or burning iL blle ri WlI5 are typically pnrfnrmed In a p - -ibed m oner and in a eert in order, such. as g du liom. dins. or fuoentl. They Illay be conduded. by a family. a small grau • or an enure communit • RituaJs y or may not be accompan cd b VI I'd • music, or mind-altering techaiques sucb QS lite whlrli DS dan - of Sufi derdsbes. Native A.merican peyote cer monies, or lh d Urious frc.n.q of a nx;k concert.

Modern peo lie crav fresh rituals, attuned to the tim JIld 1:8 •

bl.e o.f respondi.ng (0 lb ~r highr sensibllitits. A SMwil1,g; number of innovative appmacbes are h.eJpins ind viduals Bod cemmu ties

rediscover mcienl cer-emomes,nd create new ritual&~lJ Our r h

becnOD dcve!opingll5Clore.ssentiaJIY privnI rillllal.lo~ tcmaticall SUfde you- 10 identifying a core cantlict ill your mY' holo . and finding a resolution to that C:ODfUeL Tb rituals ln this b ok \v;iU also ,h Ip y u make contac:t wiLh th.e inner symoolism your p ehe is centlnuall generating. Robert Johnson explains that when we experience such i'mages, "we abo directly experience (he inner JO rt of ours I es rhat

are dOlbed in the ima& . IOU· Bach of the ritual p nted ill th

E'oUowina ehapters buildonlhosc Won: i4 so it is impo nl to CITY

11.";":R a l1ernmu/ i(mmal, I·~y h(l1u,oIiM 1m Prog pion r III

"lntcnslvc j, iurnnl" as u luol for us. .. ili!ln people in working with th .k

nn '.' liv's und di . v- rln d 'pcr Iev I of mc.:anin In their experi"lie 's.n You will be I!IsLngo pcrsonal jeurnal throughout the program. Thl' inslru lions will guid you in recording )lour expell'iences with (II('h of I h ri lua Is, s \¥ II as your reO _ lions upon lh m. M.ost people u~· II spiral notebook or an ,oC5lhelicaUy pleasing diary. and some use I'" rSf "',ml 0 mpulers. Describing your Lh.ousbts and feelinp, in a JourI I WI" h 'Ip you 6x your insights in your memoJY and foster the

unlnldill of uneon ions Pfi into y.our awar~ness.

Yuur journal will provide a record of y.our discoveries and your I nWlh during the program, and you will periodiQI)Jy be asked to rev "W il as ),011 proceed. As you en,pge yourself with your Journal, , I 'lid our xperinee beyond the ritual you are describing, Let your jculllUlIl'nlrics emerge in llIeir own way. Journal worl am lake you 611111 II d p, contemplative slate. Give voice to your imagination and pUl11 an usly descrfbe the associations you have to your memories

"III I tins, and ideas., Sense where your writing wants to lead you and lull.,,,, it: This may :t:eel awkward or forced alfirst:, but you will eventudly be 111 to uncover deeper .feelings and contact earlJer memories.

lie \Y y U r j urnal work to become a process unto itself and it will "IIJri< h your experlence in the program as weU.

(,IIit/ed imllgery instructions. Many of the personal rituals take

(ttl on "guided imagery" journeys_ Some preparation is necessary for Iin'st· 'x ertenc • You migbl. for instance. read lheinstructionsinto , lup" rc order and let the tape guide yo II through the experience. You might lrtalllge 10 have another person read the instrucUons to you. Or

nil might tho ughly ramiliarize yourself wilh the instructions and nlln,,", ,Your memory to lead you lhmuSh the rit1llaJ. You can also Illlrl'illlM: a D ue recording that has the inslrucLlons for lheseimag('I]' journ 'ys, along wilh medilative background music prerecorded

• ( I

II U, 'I'" ~ 269),

If you ."PC the in!illl'u lions y urrself, we suggest you follow a few ~lmm)lt' gulc.l 'lincs, If: 'ud the inslruclions slowly MId deliberately. Whll( II Inn be n I ,sury 10 c pcrimcnt a bit with tone and tempo. III ' lI1u~1 f,'I)lJunun ," r mr i~ lu r 'ud 100 rapidly. Wh n J II r d th imd .... di illS Inlo 111l" l"lx', II If yllll Dr' rClIdln them t a partn r, 1'111 I rot, lheml I II -cond I h linlt' ttl come 10 the wurd "Pau ,"

It h Ii... vou t·o... t .. Ih rnd nf pn Ir sph, md n r h word

Ih I in tip I" I It rs ( n: ", .• hr Ih 11 d 111. ONH, TWO,

'IliUm, FUUR, PIVH").

Wh'r til Instru 'liunN m~k fur 1I 20- and puu . or tong r. th • I' slillllol lhal rc m . I U ·rul ~ r r adln '. th ' in lru ti os to a I tUp .. If yO\ll Dr working al nc or with a partner, it is best Lo soy "I'iUlSC'" or usc a chlmc or ellcker at these poinls" Then. if you arc us'ing linpC', you can simply lop j,l for Lhese pauses and resume whenever v II Q~ ready (a hand-held remote switch or a micropbonewitb an 1111 off switch isidea1l),1f you are working wilh a partner, establish a II md signailo indicate when you arc read)' for further instru.cUon.

IMJ .• at. any 'point where you need more lime to carry out aD msttu4> I Ill, r reely indicate this to ~oW' partner or stop the tape.

I'ucing the program. Tbere are several reasonable ways to structur your lime as you worK with the penonal rituals presented :in the Ilrogram. One reeommcnded way of pacing the program is to anow

ourself one to lwo weeks to complete eacbof the five stages. ]t is IIsuaUybest, 1.0 go througb each chapler in several sittings; ea b typi'ully requires four to seven hours. Tbese estimates will vary,. however, depending UPOD your nalural pace, whether you are working with a partaer, the amounlof attention you give to exploring your dreams, und how much delaH :you choose to put into your journal. Another way to pace the Pfi08I1Ull is to ,0 olf for a few days and plunge IIno II intensively. You also may go through the program any number or times. each time exploring a different area of your personal my1holqgy.

An altitude toward resistance. The same resistance that may seem sucb an obstacle to personal development also may serve as a powerf'd teacher, Recognize LIrIat resistance Is natural in the face of change: It is ODC of the ways that. we maintain our equiUbrium. There may be good rC8S0ns that a part of you Is resisting. We encourase you to, appreciate the resistance and approach it With an attitude of curiosity and l.be nse tbat if you can penetrate' to its "ore, you will pin greater self·und rsumdJng. Perhaps you find yourself frittering away' lime you hay set aside for the program, 01' k.eep losing yoUI' journal, or 6nd that you are u.mabl,eto concentrate when you sit down to work. SucbunintenUonal actions can provide you with information about a part ,of yourself that has been outside your awareness. Perbaps you are pushing yourself too banl. or trying 10 cba:nse qualities-about yourself that hold symbolic meaning you have not recopized, or you need more time to .. ·.ax rather tban to undertake another ceneenll3tcd la k, U I nln to whol Ihe resistance is attempting to teU you

thul is. lin lIPJK.'I~n~ J~c:uC.'r!l. (1111, In: ", .. bren thinK de: ply. UNIl. 1WO. TIIKEI!. FUUR. ItlvU"l.

Wh~rc the Instructi,nns ask for II 2D-second pause or longer" tb.e5e In~ c:~limnle5 lhol are most useful foer reading the :iU5IrUctiOD5 to a K"UUP. U)'ou arc work~l1g &Jane orwitb a partner, il is best. to say "1'.l1usc" or use D cbime or cHcker at these points. Tben .• if you are using II ~upe. ),ou can simply SLOp it For these pauses and resume whenever YOUlIrc reildy (a hand·held remote switch or 8. microphone wiith an un.-off switch is ideal).. If you arc wo:rldng witb a partner, establish IS hnnd signal. 1.0 indlcal.cwhen )'QU pre ready for further instruction. Aim .• at any poilJt where you need mor~ time to carry out an instruo. lion. rrecly indicate this lOyout partner or stoplhe tape.

Pacing the program. There are several reasonable ways 1.'0 $lr'Ue> ""IN your time as you workWiIh the personal rituals prescnlediinih.c program .. One recommended WBy of pacing lhe program ts iloaUow yourself one 10 two weiks 10 complete each of the 6¥e stoges. It is osualJy best te go tnrough eac;h chapter in several sitti.np; each 'Wi. Ily requires (au.rto seven hours. These estimates wiD vary, however, d e -pen,ding u.pon )'o'ur nD'luml pace. wbether you are working wilh a par~nel". the amount of attention yQugi\le loe.xpl.orins your d~ms. ond how much detail ,),011 choose to put into your Journal. A1nother way 1.0 pace tile prognun is to go 01 .for a few days and plunge inlo I.t inleo!lvdy. You a1$O may go '1hrough the program any numbeli of tlmcs,Gach Ume exploring Q diffefCDI aua of your personal rOYlholQ8Y.

All altitude tOM/wa resistance. The sam.e resistance that may seem such an obstacle topenooaJ. dev'idopmcmt also may serve as a powe.rful teacher. Recopiu 'that resistAoce is d&tuml in the face of 'change: it is one of the waysihal we mBinlain our eq.uiUbrium. There. rnay be good reasons thaI. 8 part of you is resisting. We enco~ge you lUI appreciale lh.e resistance and approa.ch it witb liD altirude cif curiosI.l,and the sense thol il you can penetrate to it:; core, you. wiD piD Mrealer sclf-·understanding. Perhaps you lind. you.rseH 'frittering away lime you have sell aside for the program. or keep losinS your journal, or lind lhal you are unable te concentrate when),o'U sit down to work. Such unintentional actions een provide you. will1lnformation abow .1 port of )'OuJI'SClr [hal has been outside your awareness. Perbapsyou

II"I! rusbing yourseU 100 hard. or Irying to change quaUU05 about ytnll" If I hnl Imld symbolic meaning you have nal recognized, or you 11t"Cd more lime 10 n:llnx rather Ihon to undcrlnke ,another eoneenII' IIt'tl lask. UM('uiI1K 10 whar .lIl' re,.1 Inn e is DucmplhlN 10 lell you

C 11 rC'\Il."nlllt"w undl"'fiIlnndlnMN Ih", uliimilldy .,nIUlIIl',,· the IJruram. ny .. ",hIK rl.'~IM'U1U:, .'" il RUUH~ 111111 .1"lilll~ In "rc.'IL'i (J'f )'our lIrl" .hlll are In mOIL'" ur ~1't'alrCl' nUcnlioll, h bcc:umc.'S D lcoclu.:r rAther than a tyrant.

Wurl'i"g willi your drutns. WorldJl£ with your dreams is a !oullplC'nl~'ntnl)l Iro(:k IIu-oughoUl Uis program that can 5ubstantiaJJ)y l'Il' II II your \.'Kpcrknc:c. "'Quare encouraged to record your dreams. Wt' h 1" .. - I'uunt! I bOI Llhc dreams people .spoiDlaDccusly rcaill as tb~

nlh.'uul_th lin' I,rogram often paraUel themes reJevaJi'l\ to the stage of III 1114) ,I nm in \vhtichIhcyare w(lirlOag. Bacb smge of rJJe program IlIdlldc.· .. um' 01' ,1\Yu"drenm foous" in5ln1cti.ODl tbal will suggest you 111'VIl w '(nul 1(llIfnnl t() lind themes in recent dream&lhaL mate, 1.0 that

I"ttl uri lit, EH'uJ¢I'nm. 'rhc ~dl'eam focus" segments also provide LB· ,II III !l1111 lUi (Ulul'MlnM dreams to clarifY specl6cquest.ioDls,a proc:css • H. II "dreum ill,,·ubulion."Tbese. are optional illSlruct1ons. and the I" It Il i 11.III.c.(',1 ~) I nm the personal rituals can stand alone, with no

,.. .1 ,Ul'utlrm Hlven to your dream life.

/1" ",',I1","i('I..... The 'three.appco:dices are to be consuhed at. any ~'41IUllll ".11.'1 \vul'i. Appeodb.A oilers speclficsqggestionsfor enbanc.. In 11m ,u"pmnl. by building habit palterns lIlal ancoo.1I' and support 1111 \\1m k. n"'ulinf!, an Inspirational seUml! cngogin.g otber !XQple in \'11111 I ,lIullII.. U!>hlg relral settlftg5t and int.enslfyiftl 'Ille personal ritu. ~ i . PIl4.·nd i,l 8 provides a primer foOr remember:iul and working witb ~h c· 1111:-;, II NivC!& an overvIew of som.e of the most useful spy-roaches ,,,co hnVl' round for 'InvcstigatJng the significance of dreams as:r~lated I ,. I'lC'r~onul mylh5. Appendbt C pr1)vid.a ~.-c:st.tomsfor you In the ('Will Ilml ycmr wor-k in the plr~gram arouses painfulfeeUngs OJ' other rmnbliilng emotions. Please skim these appendices before start.ia& the' I" "R1"Dm so (hal you win kmow whajihe), eonbin and can co.llSult 1)1 '.TIl when Ihcyw(luld be most useful.

('hllilier I p~esenls OUI' haslcassumptlcms OO:DeemJnglhc nalu.n: ul ] I'ym:d myth.s:, how they evolve. and how theyaJiect people. It also I, uil:r. you lilrough two personal rll.uak that Initiate you into lhe pro. "' .. UII, ChnplC'r8 2 ikrougb 6 wil'l guide you throlllgb our liye.stage uu.dl."l, one 51I1GC per cbapter, Chapter 7 provides a theoretical frame\\lUll rUi' nndcn;(ullding the oogoing evolutl,onof your personal m)':. I huhlllY .md do· 'wI. II a review of the program. The Bpilogue' plaees lit. IIIlm,,1 iulu I brooder oonle'Xl by expiorinBjts impUeatiODS for IInd('I'.Hlndtnlt and workhJl.t with mylhi,c processes at the cultural 1"",·1,

_________________________ 1

Into Your Mythic Depths

M~/h is tile SI!l:NI opming Ih1't'.JUgh which tIM inuhtlUSlibk ".rergiu of '"~ cwmos pour into human cultural ma.aifulQlioflS. J

II has aJ\WIy.t been· tIM prime /rmclicltJ. at mjllhology Q1ld rit4 to supply 11't! symbols Ihllt mow tlte ItwntHI spirit lotward..'

--J'OSJ3PJi CAMI'OBLL

Througb yourpersooaJ myths •. Yo1!l interprellbc past,lIIndersland the: present. and find guidance for the fUlure. Your DlylllS address the broad concerns of identity (''Wflo am 11"). direcU:on ("'Where am I , inl?"), a'nd purpose (''Why am , lOins thcn:?'),

This chapter will present our assumplionsaboul Ihe nature of personal myths and how thlllY evolve. It opens with an imaginary Journey back to your ancestors and wnl men im.Lroduce }lOll 10 some pc'uplc wbom. you will come to know lh.rough the m,ytbs lbat have urc:hcstrated their lives. Issues that ari5e' as people altempt lcycbangc Iheir myahologl.es are diSCtJBSed, and several pre'Uminarics to war,kin.g with your own O'I-ytholo8Y are addf'essed. The chapter doses with a rUuallhat introduces you 10 your "'Inner Slmmoo .• ·' a \V1se companion I rom Lhe iovislble world who wlt1assistJolII,as),uu make tbis,journ~l' Inlo your mylhl~ depths ..

A JOURNEY BACK TO YOUR ANCBSTQRS

We begin with a pef50nal ri.tual that win give you. an ,experiendal

n of how personal myths operate. You wHl be usingyour imagina· Ilion to II aID the roots of fOur own mYlhology inth,e mythology Pll~ down through your rami Iy. P·erso·nal myths ar.e·laden with the Impel and dbwppolnlmenls of prior senerati:ons, Your mythoIDgy is

1'1

yuur It'gRey hum Iht' PRill, us well as n !OUurcC' Itf au douce nod lnsptratlen fur the rUIUn', The ramil), is lim ceu Ible .ill which genetles an.d nlllnrni mylholugy arc amal.gamolcd into 'hc' unique m)':thic: framew.urk Ihnt sha~'i pef,sonal development, It iSlhe institutioD charged whhcreilling a pc rson-sized mytbology for each of its YOWlI. Family mVlhs evolve as they are passed from one generation 10 the neJt!t, and Ihco dcycl'opmcot of the indJvidu.aJ's mytho:logy muse be viewed:

IlCnill!t1 the backdrop ,of the famiIYs mythology.!

Personal Ritual: "Rememberlnl" the Mytba ,of Your Ancestors

rill" uptOn Ius, .'Uual will make it possible for you to understand your IIIIN ,·ltl.lfU nlions in lhecon.lcmt, of your forebears and the mytho,logy Ih.,y Illtrili(.'d down to )lOll,' Read the 'instructions in:lo a tape that can .ht'll Icud yuu througb the experience".or have someone else read die in!'llruc:Uons 10 YOg, or familiarize yourself With the insl:ructions weU ("!louyh Ihat you CM perform the ritual from memory wilh. onJy Mlnnccs: al the book.'"

."it fUel whr:re you ClUJ move several feel in any directiDt1. Piad D "m"forllJbfe POSiUlT and close your eyes. rue a backward step and '''':'I};IIL' that you are stepping into t.1Je body aDd the being of your 11,,11,-,. if you are· II mnn. or 01 YO.ur mother 1{,YOu an: II woman. (II J'O.U ""'fr lldopl«t make D choice between JIOUF hioJogiCillpanJlJI'and your "/"1""'(' p;m:nI for tJlis cxperienc:e.) Th6J lBke a few momenlS 10 gel , .. r· ..... ' of whal # mun hsw: kll like 10 be in' this body and' thig I "~m Illy.

n,ke lJnoiJ1cr step backward and step Into tire btxiy 8m:! heing of I 111/1' pllnmt's parent,· your samo.sex IJTB1!1dparrm,t AItt!r sensing this Slolml,lllren'l for lJ few moment$, rake another step badwnrd and rll'It'" the body and being of ,your same-sa gn:.!Il-granclfN,fl"t:lJI.

Finally. loke another step backwanl to become yo.ur samr>st:X NfI.·JI,·great·gI:lJ1JdparMl. You miJ1l1t be a JSf6.sevent«ll1ilH:t:.ntury f"r1l[tSn18n ~ wife in dOJVnto1vn Lon:dotk a foot' soldier in the army of tlK' c- .... .or .. or tbe Malle of a tobacco farmer ill VirginiB in 'be 18JOs..

1'4,l'sically ilssume the posture dJat you imagine mighl bave b«n

·!'i.!'t' hUll UII (Nlw.' 21f1\l r(~r Inrmmallot1 on nroorinK p n'Conlc.'tIlQPell or .Ihe j!llltk.'(! ~11I1.J(t·1 Y ,iILMtl.M;'litm""

Into Your Mythic Depths

(Comdor a/tile temple, Madras Ramcsl1waram)

, ph ,/ 1t(J.<tIlln' fat' you« tlT'f:. ""crt "gl1lm/pm'f:IfI, I)n"m,'f~.c Iflls pd."ilurr: IInlil it bt-sin",'u mboli~e """:III you 'mo...,,,nd imagin bam rllll' {'C.'.rgm· Ilft-. Y(Ju will be n..n, '11'8' vpon the persJ:Jn's pei"t:t:pIlCJ1JS , If .'iCll,cm 1/;',(Jll'tll'Hlt. and purpuse~

IJ VL·'llboll.8h';l is '1IIlikcJy Ihal you .vOl hsvtsccess 10 m'e ratlS lhat n'fJlllcI nlJolII you 10 ansl¥er lh~ 9CH:SlIons with ClHtilinfYt t1w iUJ· m'('rs urgrr:nf1Jl't!1l'.grandpnrrml gBlIe ItJ lbem sbap«/yo,ur lamUy~ IIIvt/Jology and ho in your own psycbc. A.ssu~ tbJJ' I1Jese ecJaocs

• 1"'~ n istcr;.:ri. deeply in your betng that the answers pl.!' intuition IIIT"I'S lit,,,,, will, If nol factually pndse, be ;nslrUctJve as metaphors tor (,111" t"Ullflcrs.lsnding your,herltage. Consider the folJo'wingquestton: 8..8 if you 'Vi If! your IJIY18t1J"fMll1randpan:ot.·

I. Wh I r your major concerns?

What or your primary sources, of saUsfact.ion?

, II w do y u undcrstand your positiol'1, wilbiu your socictyil" 1Im.ilulions. privileges. and l'esponsiiblUties?

· If you I It 10 a nonh.ulDiUJ aULhorily to explain human des-

III y. what is Its nature? [6O-second pause]

u hove answered the four questions. lake a step forward lIud ume a posture thai you imagine 10 be typical of your great-

• .• nd arcnl when b.1! or she was your current age. Dramatize this ~!i.ur until it begins to symbolize what you know DID.d.imasi ftC about .hi, I 'r" n' life.

'on,ldcr the same questions as if you were your great.grand. ',lIrt·nl:

l. Wh l re y ur m~Qr co.nccms?

· Wh lore your primary SQ\U"CCS of sa&isfacrtoDl

'- 110\\1 do ,YOU under Land your position within YO!.lf 5OCicly?

• If you look (0 a nonhuman aUlhority to eJCplain human desliny. wh l Is its nature? [fIO.second pause]

W'h n YOIl have answered these questions, lake an.other step forwnrd nd assume a posture that might be typical of 'your grandparent \vh n hI: nr she was your eurrem agc. Dramatize this pasture until It IX' -ill. to Bymboll)",c whal you kmJ·wand imagi1ne abo'llllhis person's lifc,

in, III Id r lh fourqueSlions as if y u were yourgrandparcnl:

I. WI I OI'l' YOUI' mojDl' C n crn51

Wh u are y UI' I rlmnr JUI' •• ~ uf Ii fnd un?

2'1

J. How d() yml ulld r , nd your po ilion within your society? 4, ar y u I k to nonh man Du,hodl), to explain human de&lin)" wb t 18 I n.Jtiure1 (60-second pause]

Wh n you bave answered these questioDS. take another .step ,ro .... ward a: d assume a posture that represents your parent when he or s.be was your CUlT'ent age. Dramat.wA this posture: uotU it begins to symbolize what you kno,w and imagine about his or her life •

Again conslider tbe four questions as .ir you were your parent:

I. What arc' your major concorns?

2. What are your' primary sources of satisfaction?

3. How do you understand your position within your __ 'clY?

4. If YOU look to a .nonhuman authority to explaiin buman desUny, what is its nature? [60-secoDd pause)

Now. step forward: ioto }'ourself. Find 11 posture that represents Ilhe statement your own . e is making. Hear this, atemem as an actual phrase or seJltenc~Say it aloud.

t your poslure become animolcd 85y01J. continue 10 repeal your .atement. pl,ore and e:xpcrimenl with tbe movement and the state.ment, If you have a sense that you need a pealer statement or expanded posture .• slnl.ch yQ111" movements· or your words 10 represent Ods new statement. (60-seeond pause]

When you havccxplored the stat.ementaJld the movements to your satisfaction. come to a resUag point BJ1d re11m on your observations dl!1ring this ritual Firuilly, describe your .:xpcriencesm your personal journal.

As you identified with your progenitors, you may have begun 10 sense how they perceived themselves. how they understood lb ir circumstances. and what they yalued and trust~ questions a,t the heart of your own mythology ,as well. By reOectins on how they mlgbt have; related 10 these issues. you are also opening yourself 10 new in ighls about the mythology you arc living out,

n you see patterns that have been carried 10 )lau from your p r _nt'_ • eration? Are you lik. ly to pass these pattCI1l5 along to y ur bUd-en? AI Int, ynu m y wish t repeat this exercise, !It pin in' the liv of y- u uppo ile' x part~nl and ancestor:s, or. if y(u w 'r doptL-d. I pping lntu me life r I he biologic I or odopUv

I' 111 who lit ou did nol "Iort' Ih • III. I I lin ,Thill I '01·

t un It tlu' III tho.

WHAT IS A PBRSONAL MYI1D

nlJll'ln~ Ihe vLh lO your forebears, YOli began 10 explore the relation·

hlp am nR personal myths. family myths. and 50Gial change. You (' I I Ide: re sev rat questioDS that are at the con: of tho mythologies an ,Ie IIY • Here we will ,examine in pealer detail the ch racteris-- 11(' Ilf I' na) mythologies and the way they de" lop.

11m n 0 recognize a personal myth? W uld you see jt in

." Would It come through as thoughts lhal, tell you wha'i 10 do?

WUllld V"llf henrt I'D.CC if it were challclIgcd? Does it unfold like a "lUI v' AI,' you the main chan.cter in lhal. story:? We want to take you I"lulh mind or a single individual, a young boy, todemonstrale how

n I mY1 h. d V lop and come 10 be expressed in all of these ways. '.'" Itt.)· :\ &I bundle of i:mputses, cxpcrienc;a, aptitudes, uncertain" I " • s, fC':lJ'S, aad longing. He depend UPOD model &om ,hi" III 1""< rltHohelphimorderthi hlghtycba:rgedintctrio:randgive II Itl Iii' 'lion. Til cultural h roes who louch him em tionaUyare I" I Y "r II nJlu nees in helping him organi1.C his ute. U tbe boy was btlill u III UnlLcd States in the World War II era, DOC of his mythic lu 11K ~ wou.ld be the :ruggedly individualistic cowboy, personlfied by I. lUt·S Ntu:h as John Wayne. Thls strong, cough. ruI conJid nl Image "'OIh atilt core of the personal mytbslbal showed innumerable little

. w .~ wh re no,win positions o~r leadership. how to behave and wbat In 'XI • r themselves, Many little gir15 abo iJuemalized the John W YIi1' im e. but as ,D model or what to expect in a man and what I uvol I· their owo behavior.

Our liul boy will mimic the heroes to whom be is most !lronsly dl' IWn,. How does h incorporate the John Wayne image into his o,wo dcnl Iy? Be -u~ of tile human capacity 1.0 muccomparisons, he will ~ •• Pi'll JUli.c:! between the imlge portrayed b)" JohnWllymcan.d hil u\IInlilc:. lie will (ll1dor,createopportuniUos. often unconsciously, for h vlng ccording 10 the image. Wbetl be acts lo~b. bravo, or indoI nd nt, eng-gjng a ituolion the w ,y John Wayne would nave. 11 ' ft"1 am, In d f r baving liv up 10 h !\ ILl at. Tille: quulill • nd behilv,

he ,.: iu, with J hn Wo n p I ld .~ llS h

II , " n w rid.

Inn: he' h l'o in 'un "111' lhill ima " huw 'V or, h -I orurolled by if. " I1sid~I' lunl n I Ilu tl 111 thall he find.- due. l nln& such as en-

,unll-rin' th· 1 _ bully. e m y ~ 1 ar and un rtainly. bot 'the imu e s tron Iy prohibits such fee.liings thai h - represses or denies

.hem. may Yen become ruthlessly agressJve iD an uDconsdous

attcmpt t (c I his fears. Punished forhaviog:injurcd Lhc.bigcr boy

with D fOC'k, he defiantly responds, "Nobody's going 10 beat me upl"' Unnamed myths may decisively shape our feelings. thoughts. and behavior.

TIle imDI' at the core of s personal myth is generally far morc mplcx than In the John Wayne example. Rarely in OW' diver

uliur I with its daily oDs'aught of media 6aurcs, is a pcrsGasJ myth rganb:- round a inete image. The boy has probably been ~ flucnccd by the qualities of other heroes 11e bas admired.-;pellp1e ln his life as well as media figures-and he will modib the Jobn Wayn image to blead wilh the models they provide. The model will also be chaUensed and altered over lime. Since 1h.c boy was 61'St exposed 10' John Wayne, in fact, the Jolm Wayne Image bas been cbangi ng within him. interactingwi1h ether models ,and ideas,ndbecominl 'taUored 10' bis unique character and cir'CUmstan

Whal is it that makes some imas,a m rc aUf'; clive to the boy than

t hers? What early experi,eo.ces would preeli hi'm toward J . I1n

Wnyne? Figures that are idotiud by his n d VI!! rated by the' "myth.maker machinery'" of his CIIlrure have powerful appeal. More personally. perha.ps he resents an ineJfeduai father and has desper·, 11Icl~ been looldng for someone he: can admire who is as different from his Father as possible. o.r maybe be has already Intemall?ed tbe cullural mesAl thal mea are to appear brav and sLrong, and he se17.es the John Waymeiroage as a model Eor his attempls 10 manU t .hose ideal . As he makes the model ms own, it guides 'his ac:Uviti • and he measures hlmself against it

However, what if he hos learned to pt his fears and show bis

. _ n live side? Wh I If he is l'eFulsed by pretense. andre" do' The John Wayne image may have little emotio:nal appeal for him. He will Huunder Wltll he Is able to find or invent olber models. Ideally. his '1111 \II w.ill be bountiful in providing ,construc:thrc alternatives. Today

the runge of 8y,ail hie heroes to leach him aboullitre:nglh extends r rom Rumbo 10 Gandhi. The culture's spotIish~ however. persistently him .... on the tigu" rh tare more dramatic lind arroganL A sensitive y find- him If in Ih mid t of dlmcult ch I

Y JU 'n • lI)w uulqu ly pcl 11 lour - ·th& n m • You

do nc I 1111 I ,d pi ll the myths r u ul'IUr. Anell myth y u

"hHld 1'1 t'\' .I\, uh urne. he be, " m Ihulo will ru h h

b ' \i 114 I b Pion lu h I wh '0 h 8 I!I In ,. 'urdan wilh th J hn W ,yn nm ., Inl • porI. or It will be !lUppUJ tt:d lid olhe. wll:l n I. I,'rltll,' his lun hn .. willit him tnl fiSh . Ir h· wins &he fighu. he' III I lllupilh' imog in I!vC!n grealr detail Ifhe loses, he may SLop

t lin M IlIU h. but alsc experience an inner crisis as he is forced to I UII I, (IlL' diM:fcpancies between the way he feels he ls supposed In I '~I .. d vlw he i .. We all rag: mllny such cn5C5 during our lives.

M .h 1111 . l!n d ribed as .. the dramatic l"eprcscnlaliOD of our

d 'rl M hi Unc:lurll Ilf ..• capable of manlY cOnfigurations, pon wh l hili' luirullr opinions and attitudes depend ... • At the core of AI I III I m III i I C 'ntra) theme, You organize Dew experiences

.. nul !lotI h ahelne., Th theme serves as a template. a bare motif. 8

• r. c.oIt.'IfUl \; Uhout Besb. But riCh imagery. complex bell fa,

• II • I -linC!,,· d powerful motivations, attach tnemsel"cs 1.0 r. '" V • k nd II in Its c:baractcr.

I I rI"II1 mylll is a consieUation of beliefs. feeUnp.. and images U 'I i", at ·nd a core theme and ad~ one of Ibe dQa .. \ uh n wit cit mythology tradilionaUy f1mctiOJl& Accordins: to .,.1 ( IlllbL·lI.these include.:. (I) tbe urge to oompbald lh,e natuJ I Wet.ltI II 1 In 'uningful way; (1) the seardl for a marked pa~W8fY II .. h I II ' -.11(" 'ceding epochs of human Ufe: (3) lh need to labllsh

lllli' 11111 fullilling relationships within a communUy; and (4) the III u hit! II 111u", onets part in the vast wonder and my tel')' of the I U\llms I 1"" _ni'l I I "hs explain the world, guide personal developm II. In uvlde htJdnI dirccUon.and Bddress spirituallonsings in

111 1'1 1l«:'1 I h II is mmlogou5 to th way cullural myths carry out tbDSe lun II 11 lor cmlre societies. Personal mylhs do for an iadiVidual

h I l.:ulltu"ll myth do fo1' community. .

. u t r pI'n'fJlltlf mYlholq:y may be though. of as the syslem of eomI'" III I I I Y and onlradiclory persona1 myths that orpnizes youl'

n . ,r I ,will m d guides your actions. The the-meat tbe core of a I , n il n th i . mposite" usuaDy built &om many sources. Bet lUi • th Ihem' l symbolic and abslract, it is \'Craat:iJc. It provides a II m'l r 111:11 nJlowsimages reD«ling the tlUllw'e's diverse mythol~ I blend sd with the varied impressions of daU, experience and II. h'd iUlu lh uniquely personal mj'ths by wbich you live. The

tlUll • 11 Jvid:d b y ur culture, from John Wayne to Mic:hael Jack·

II. re "\I Ilu'll'ti Dnd rg niv.ed rding 10 your ~jng m)'lhi

1111 'lUi ,M di In. • mny dd w rcalure or cv n h nc 111 1I t" Utili II wlti h \II" I Ihol, will de\! In I did .hc1 , pic II' d d I Y IlIll I' I nl. re 'h I • Uflt! 'rs. Y u pc In I m tit

r ill, I' ~I .. nn I I I Ihe .. ~w .'d nnd punl hnlClnl y U 1'1.'0 ive (or 'If III' brh .. JJior I '1111 ssranee. III addition,.mg Lh I orlglnalcin the il· p. .... I' II 01' your bel.n may be rcnaded In yOUI' mythology. Such ill I m he r rclgll IQ! your previ us experiences., ),el they often pi vide Ul pi lion Ihat. issol.md. creative, and durable.

Oft n our personal myths wUJ be im conflict, This undcTlylng

r n I" fnay m -Yident when )lour ·be.Uefs do not match ,oaT

hlilf or. MUIlY peopletbiDk of themselvES as lazy, even though they 'nn!Oi tcndy pusb t.hemselves beyond m,e point of exhaustion. The h ICIT cnls: th y rn.ake to tbemselves may edlo th words of a parent \"hu f :n8!1g was fn.tsl.rated with them fo.r DOt being morc responsive In Ih p renl's desires. Tlte, enormOUI, sua tive power of a father's or 1111 th ·r's motionaUy cbarsed remarks leave io ellble im IS. Perhop • be use of a Fathers goading, a boy works diligenUy and as an .

nil a COD'llplisbes more than might be expected of bim, 1m ugh

Ihvny with the whiip Dr his father's admonitioos. now intemaUv.ed, c,' 'huing al his backside, His image of himself as lazy may be eounI I':d 'bY!molher model Lhat is outside bis awar ess, That model may ptlrlroy him Q being capahle of pushing through his a~k.nowJeclged "In:( ness" and workin, prodigiously, Bv m lhough he cannot rticuIllt • Ihis mode! and continu '·10 think ,of himself simpl)' as lazy. th

I ew madel may be J'wuling the show and drivin,g him to berculean L·flults. The personsl myths with 'whicli we eonsciously identify iU"e

1 l ih onll)' InDuences ill work.

n;onatmyths are intimately conneclcd with de p feclings.lf you lr ) about. politics, reUgioD, or social chooscwith a friend you lui kly begin to sense that personal .myths tUn much deeper Ilum I f.." ratio.nality.You may, Jn fact, have 10 conclude that the emoI iuno) dim nsilon of your friend' passionately lleld mythology oarrI III u~· weigh I than the. rules of lope. AhhoUlb your myths wiD i.neviL8~ Ill. . t m quite nsibleto you, at least until you have reason to chal· I '( ~. ell ~m. lh y re complex products of y ur cultuTe, cxpeticno " IlItlll '1lIper m ru, You. may have such a strona emotion inytmcnt. In Ih In th~ I it is difticulll even to ntertaineKplanatlons and possibiU~ I • lIuaI re ba 1II n diff rent premlses, TheJ1C seems. in fact. to be II l1l'n I' lUiv!'!a1 lend 'ney lo den un Hmylb as falsehood from the VUI1Ut ·.polnt r II riv I m lh."· Under landin.8 how your own myths hunlfun h('lp~ ·ou relal_ mo • productively witb family, friends. t ultt'n lie,. nd dVI:I'''lIMCfI who • mylhology ma in impnrlant ways

!UrN f.. In Y(l1I1" own.

Tn "umlnari~.l'I, Yflur (K)J'SClnnl nlYlh~ ,ddres!i them ' 'Iv' . 10 Y u

11 I. IU III" lind hJlIlI'C'. "'" Wl)tI £I' I YUill' id nlilv and pil ' In

1'1 NAt. r.!,YnIUI.JXJY

----~~--~~--------------------

lit wurld.· 'h 'YI'i' lIy p.:nll· outsid f your warcness but have n pu\yt'!I'ful ·(ft,.>cl on your Fce'Ungs, thoughb. and behaviors. They are i rJ n I n y ur cumulating xpericm.ces. the guidance' provided hv uur' iety, and visions that arise from your unco,nsctous mind..

\If ,', , nol my.hili rcncct your wJture's myths, yet they am be

r 1 tiv -I ind -ndent (rom them" At the core or a personal myth is I lIIullf I hOI' It pe. .. your :percapUons. guides your development, esI Ihll h ' YOI r r le in society. and helps, you find spiritual meaning 11 ronnc lit,tII. T'QuJ' mythology fuels your emotions and shipes mit Iil'!rs. A y u come 10 &IlJ1d rstaDd the pri.nc::iplcs bJ which your

" .t! I III 1 hole oper tes, you will become more able: 10 con-

uuli! I'lflh:oi,'''l in its development.

-r ,11 11 myths that arc central in your Ufe lend (0 be self·f Ullln II Ih . n what you are drawn to live out (heir tIJIlderlyiog Ih me . If prcml of your personal mythology is tbal you are I, hi. 'i)U I likely to . se your in'cllectual Cflpaciti more (l'Il«I vr<ly than j( you bcJlieve you-are dull. If "'disappoiDtme.nl in] lovell is • ,I"mln nt molU in y u.r mytbo'ogy. you willl- d to select partners

IIId III k' chol lbal b:ring h your way.

,'u 'h Inylh. Jnh hh your dew lepmem, Others. which once pro-

• II lIl1cl guidance. be: me outmoded. Wh n thqy do, your psyche

114: III II ·tdlillute allemative mythl.c images; This process, a nalu.ral ,II I _ r p y bologicaJ development. is usuaUy gradual a d III ,wly UII('tJlll. iou . The 10Uo vine stories illustrate bow people"; In II. hape II ... " tlons, and how new per nal myths can emerge .11 \' 11 kns poilu - in lire.

Ihm Onn. Wll' mtddJechUd.lne second girl between an. 01 cr

.~l nnd I ungr broth r. Her fatber was tOMpicuous Em his Inter· , ",d ,If,,· 'Iie n Co.r hi older daughter. The brother aroused tb 1IIIlei !o j ·,dDUI'IY, whll Dana .simply did nor seem toelicil much DineDhon r ... II her r th . She longed ror b· aft'ccliOB. how vcr, nd nI 1111)' wilnt. ...1 the spirit d r latlon hip between er rather and I ter.

.hr in h r [ III "'5 impa toned II 11,0n," look pleasure in receiy. Ing lJt'CJwing number of appreci the words and &lances. This ri> lI('wd me of h _ desir for d per conlact with her father, but be :tUl wondered if somelblns was wrong with her because she nevel!' r .. ·;v xl lh rapl auenuen be bad for h r sister. Dana co'Dtinued kt

Illd ways to comfort her father. and ev n if he seemed disinterested in her ~ r herself, he was ElnaUy receiving some: of the attentiOD she ved, She became dept at comforting others as weU. II made her fc I good to maketh m feel. good.DlIlna ,found great solace in Su d y hoof stori about the life of Jus. Lite Jesus. 'he lh ughl, die would devote' herself to [Dying o1bers without expecting Uly\hing in return.

When the older sister became a I nager a d attracled the a'leolion of boys, the faLb -I" turned hls fond 0'\\1 rlures Inlo an irritated disapproval of hi oJder daughter's activities. Dana had developed an unusual capacity for empalhy, and she sawlh alllUl b. of ev ryone in,vDlved. Sh could SCII5C how each of them fell, and she tried to • spend in ways that would comFo.rl them. She was partiClliI .-lyaHen,.. live to her falber. No mauer h w cross or unreason .c he might be, she always could understand hj feelings. veil wh . n she was very

oung and he would spank her,s.be would Lhink. "Peer Daddy. be just d ott know any tter,"

DaDa could listen to others with such compassion thaI they would inspired to share with her th r m I latimate th ~ts and r 1· Ings. and sbe would contimually 6nd bel' fin the middle of .heir problems, Sbe: might he the confidant of two girlfriends who were 111 msclvC5 in the midst of ad. greem nl. Arter talJc::ing With Dans.

aeh wouJd feel aflirmed in her own reellnp and posiHon. Thco each \! ufd fBel betrayed when it beeame el that Dana also was c:hampi nf.!g [he ether, The only lruth that mattered 10 her was Ilc one thal

I way pain and made people feel good aboUllh. m Ives.

In romance. Dana felt at home wi,lh men who admiriXI her for bow

ood she cowd male.e the.m feel. This milTored b r - perienee with h r f th r, and sh would further ensure the patter by 8ftliding r -10' lonships with men who showed too much romantic interest. Thir 0\1 rt r collided wi'lh her mythology thai mothing abo'HI her

·.mld evok a good man', pa&ion, and she was never drawn 10 Ihem. H I' nff -lion W 8 mo. t . iI elicit d iF n waaln n of support und Uml'm, Ilnl . ~h' ., ~ nc Ihhlg in r ·1U1·n, amd h r relation hips Wrn' r Ia rkcdly one. d!tl.

1m. I d OJ 'ul Iry nun It

olh n w 1m n h h I w II. ncJ "II w uld onunue I hurt untll he hod hel ~Ilh' oth ar IWr~.,n ~ el ~tI r; Wh t he did IIPI 1.1(1 w·n w 'I ltmus, Sh lie ~lecl - dr f "besl fri nd. !' wh r Vi.: • h lived. On there wcr so many peopJe clamoring for hrr 1 II nlion l· I be actually moved 10 ill new city 10 avoid their d 'm ndll wilhmll h vlng 10 hu .... thJr feelinp. , lJlya.hology enLan-

I c.I h d cply in their pain that s.b.e could see D.O other way to get

onl r rom under the impossible cxpecUidoti people pla.ced U.poll h .

D 11 t,. rsonal!lf Will overrun with !be needs of the ml1DjY pea-

I • who depended upon her. She was Icnuincly valued in her commu· n I, nd wid Jy u8hl II resource, but she 'Was always overinvolved IRc.I eft xed, A man who wa interested l'n marrying Dana nearly ) .r. her. prDI" ting lhut there w 100 little space for him. He eem- 1110 ned, i"hcrc are five hundred people· in tills (own wbo thlnk you

n ,II '1" besl friend'" A series of events, including mnfrontations w III him. D health pfObl m, and cO'nllnuaJI iWlaustiOD, caused DaDa

I I n I'd nlifyjiDlt e dysfunctional elem49lts in. her myth. She: TO-

J'OrlNllhe foUQwing dream as a lurniq point as she begalilO recogn"l • nnd Udlion th mytll that had beeR governing her relalionsbips:

'n. dream wa horrendous. Spq espeople forlhe world come

In 111(' wilh a plan. They ~~ they ha\ie a way to heal JJ the peopJe n II . \ 0 Itt ••• and tbat if I truly lo¥c unconditiollally. 1 wm go I" tUN with II. Tlley'leU me lhey have an a:muing formulla lbal can In k· m body rf.'! d Ivcryon . They want me to give IlP my life and • mild" i 'to white bread that could feed the mu.llitudes. Th y ~ IIIIW huw to boltre "Dana Essence" and they plan 10 squirt ODe ,1,1 I j nlU '''I 'h loaf witb an eye dropper .. Then ah the people would ht' Jl ·aled. This, they .y, Is a much better plan tban lhepresem

nun In pi whure I am using up mycssencc.: by slTe~chingmyself Itl thin ond frying to help too many people:.

I u'rc 1,0 II th m kin me "mercifully:' as they put it .. The h 'dul sd lime fory killing is 10:30 A.'M. But at 10:15 I know I n', w nl 10 ivc up m,), lire essence to go tDLD while bread to feed I he nud. i 1 ud -. I go te this w boulIC to see if T can call 011' lile luUi., . I he r poop) lalklln~ and 1 know thai it Is too latc. They ha t: Ih lr solution to the world's problems, and they will not lilleD 10 Ille IIUW. I t el in uch dan r that I hide in the wBl"eh . use, not kilt win ~. h r, my next I",O\lC wHi be.

I d ln'l kn " v hpw th d am wuuld h Y' "udell III' II I h It l'tul l' \ Uh n • "I ' .J. ,I h d d f 11 Ih Id· llf mv IIIl IJtUI lin tilli

2

ftt. . It ~ om r wand blood was squirtIng out of il, t l1undin m uflhe b1ipn tao I c:ouldn'l stop lhe bleeding for a Ion lim. Fin _l!y, wben it did stop, my sheets were:red wil.h blood.

Th dream left Dana w th iJnaSes of Jesus feedi:nc th multitudes.. · h· vividly recalJed a scene from the musical Juw Christ Supenlfu In wb.ich Jesus screams at the crowd, "lIealyourselvesl" She played ell r:eeord over and over thai morning, a d it W85 as if he were · peaking for ber' as weD. Tbedream was a stron,g stimulus for commit· ling herself to chaqe the Wi y she r~lated to others.. As. sbe painslak· Ingl)' ltaced !.he toots of her interpersonal style b ck to her reJatlon~ · hip with ber falher, her accormnodalin responses to others became less automatic. A :new personal myth gathered strength, which as, -ned tbat sh should l"es.,ond to her own eeds as well LO ethers, that people are best served when they are bJe to take C8fIC of th .m·

"'e6, and that sh.e is worthy of p . onat as weU a appr laLiv int.erest.

Michell& While growblgup in an Ilpper-mlddlc.cI8S5:family with

n. alCDholic fatl1er •. MichelJe was unhappy. By her mid-l ns .she had run away from home: numerous: limes. After her parents discovered Ihal she had been sleepiu8 with ber-boyfriend and smoking marie juana.lhey managed 1.0 have her involuntarllY'comlllittcdto psycl1i. utric hospit8 •

Michelle (lOuJd hardly bell ve whal was happening 10 her. She became disruptive on the ward. screamed atth nurses, and was shrn medication thal sedated and oonfused her" The experience was like

nightmare for her, and she began to wonder if h was indeed goIng crazy. On h r last day there. she overheard on of the few ~liIff memo hc:r 'he had come to trust leU meone.,"Peopre who hav been in m nt I hospitals aJways return 10 them.'"

Michellle was released from the hospital after Lhree weeks. T.here

w. .ne vidence that her beh wior had been a sign of m.ental Illness. Bul the I temen], "People who ha.ve been ill mental hospitals always return (0 ehem;' stayed w,idl her. Sbe recalled it whene" r She beard

f III r Jgp of anyon~ who had at one lime undergone psychiatric Ir tmen t, Sh remembered lbe wonb whenever she read newspa;per unUi< of form r rn nl I paU nls wbo had committed acts of vloI-'n • and h w _ plnSlIl . .od by fears that she would h ve a bizarre

1'. y hUlk hr 'uk in which. h ro I ont II r he h8\1iDr. Any lim

I r II d pr~. I h" 1.lr \y~ H c: mpl al'd by her ftorlf Ihnl ".

boul '( pilln mill hlllunity. WIn.·1I he IlUII 'tI oUl or II r dl'I,rr

nn, sh luld h If that thl WD probably ool,y a temporary r

."". h • t menl 'by the atall' member bad become a. pcrso,naJ In .111 1(,.' Mi helle.

M icilcUc w every emotionally dUficuJl period of her llfe as furI h I _ yitl lice or her impendJogm.DlaJ brukdown. She was certain It w 'uld nly a mallei" of time. She began to co'DSider her poor memory. her low 'Iolerance: for stress, amd her penchant for day·

r min • further p,roof -of her tendency toward insan.ity. Each Il1dicalion r menlal problems, no matter how slight. was thoroughly .t; Ulllt ned and ao l~ for signs of her loolDina crash, thus I'Il8IgnifyIn& h r ·1 y cd tins sWCSs. Michelle noticed that be bad bqun to I eke r; w r emotional risks, RerrowiQ.g her scope of activiti by avold~ inlt "'iluali n that m,igbl make her uncomfortable.

II r belief lbal she was mentally unstable was causi:nS h rIO increa~ lugly. 10 behave as if sbe were. After tem years of contel'ldi:ng with Ih. ~ , eh consulted a psychologist, She was given a battery of p ehological lest which revealed. Ithat she had a high capacilY for imuginn! I n and superior h1t.clligence, but no,sip:scf a serious, men· t I di. f. As Michelle began (0 acknowledge that th 'preponder"IIIL"C' or evidence from her life showed a basic emotional stability, she

~ ~ 111" I lake comfort in her strcnstbs and to relax the ceneems 1111 I had for a decade been keepil]lg her anxious Boll limltliog ber ,hOve"lul'm nt,

Ift'd. 1.lke many men born in the fir quarter of tbe Iw ulieth '("Illllry, Fred W8!S a stern, bardworking husband and fatber. His perIII I my 1 logy, the product of a youth .speDt tn the rura1 South lilt 11!' th Depression, held 'that life is serious business. He: believed Ilml" em cl what :you earn. and you earn what ,ou get~!!i He reasoncdJ loll. bC~l not to too positivc Icst you set up expectations. tbat wiJI '-'lull 111 d! ppoi ntmem," For Fred, there was little room for emotlon I 'I' I~'''' . lings lceep you tram what is Important and make you look "Ik" nUk mallY of his peers, he had no use for relicion. He was Ilm.'r aboul his early cbW'Clh expcrlcn.ce5. and be found no assurance

n proml: f on af1erHfe.

A. lh l'8' of n(I,)'.6,,", Fred had a heart attaok and was bospital· 1;f.l:cl, In rhe bnspilol, he hed another massive coronary. His vilal signs

II I ',I 'i hi Ii •. ahOI h w ellnl II, d , But he was revived

fl '" th .. rimd t'1"15Od h I Ie fa rt'lmnrkabl

1'1 I I \ h Ult ll" I' III ,. il It II UK III r lI' II k me, I IlI'llr I u

I,.,.. Y"",I M 11" 11fo/"'"

31

hu ok, "Wh I v r it i-, I don't WOlDt itt" but n body h rd me. Suddenly, I Wo.li W Itlng oyer It bridge wil.h a dry riverbed llDdcrncatb.

n th • nth id • was an open field. WaJldIIS to greet me was Bart

(u childhood friend who bad dIed in his early twenli~l. I was 0\1 "Qy,,"<1 Ito see Bart, He gm:::1!ed me: wa:nnly and lold me to obrv 'V rytbillS. But he said tbat I had to go' back" 'WbyT tasked.

"USC you haven·l learned tbe mo l important thing, Fred. 'Y;ou 11iIVCD~L I ned bow 10 love."

As fired became aware of beiDg back ill the hospital room. he II n his yes and mellhepze 01 a concerned nurse. The words "I _ you" eame eut of IIi mouth. He'd. "[love you." to each nU1FSC and doctor 10 ttle room. One doctor. B«:a.rdins to famil)' legend, In omfortably replied, 'Tbat isn't ncxessary." His family was llm:&l.e(i, His c:laughmer plains th l Frd did nOl Hnd it easy 10, ~, "I love you," to auyon,e. He would sometimes waikoul of the room wh n a 'RgOD tbe radio or a program OD televi 'om"G t too ushy."

For the remaining :sixteen years of Fred's nfe, he seemed lobe IU lUng up for lost time in cultivating an abmty to listen. Ul'kinS an ina '11 interest in the 8VC5 of olb rs, !:mvelh. ~ Mvely LO othell' pill1 f t he world to try to Wlderstand people from differenl[ cultures. t • log amend for the.pasl with his intimalesJ and enaoying Lilt 'onlpany of his grandohildren, AI hts memorial senrice. the theme III lit dwell upon was the loving spirit Fred had deve[oped in the lalLer pari of h s ute.

Ina h of these eases. you can sense tb role thaI carlyexperiences pia iin fashioniDg the person's myLhology. and you can see bow the ,"ylhology then hapcd subsequcnt dcvelopmenL Dana's resourcclUl 111' h [or winning her father's att ntion I.Dltlally focused on his n lionnl _ In, bUI it grew lnlo a compulsion to respond to tbe disIr or nnyone' around her. Miebe.Ue·sself-Umitlng mytb, formed OD

I'" bn.1 of comment overheard in an Ilmpressionable moment, 111 dnt i ed her long.5la.nding belief that she was on the edge of Insan, Ily. I't cau&.oQ her 10 choose ber goals and activities gingerly. as if ,b.e

",,·r,· indeed dona 'r usly unslabl • Fred bad, emphasized the value of h:m.l work but. 110111 his heart a.tack, had systemaLlcaily nc&l ted IJpul'lUnlli ~ or loving ontact,

"h'ln til 11 I' Ih ID n ,M II -Ut.and re h d n livin,goul

l't III d IUJ{i ,,110 them, Kjwn thL'1I CJl.I I nee ro th I polnl of (heir

hv .• tul in I rl ,nl ·liI. nr wI () III y W or,', ltd WhDl1 rh Y might

t nn w re l in, 'nhlhil d. A Ill· "n 'II. It h r i.

I 11 II In, • h r" Jm,1U1 i .n I lip,"

h moll )11,1 sumlin • ""J ll!i I' r '(I Nf It) It< rn dbuul I .. v -Ih 1'1"

I \I,' h~ n~c:d I ord nMly,

IIANGIN(i YOUR PERSONAL M'VTBOLOGY

III luulil r vital penonal myiholDIY is its capacity for rungc.

VIIIII mylhuluk)' Is regularly challenged to incorporate informatio:n I" I I' "t !ldie. i prcmi . to adapt to new CirCUlD5lBua:5, IIIld to C' n I lis yuu matur and accumulate new blowledgc. There are 'IUIII w,,. in whteh you con tlOnsciowy participate in and cultiyate

it . IIullun, UD' people. however. spend a lifetime attempting to

II\' ..... rdlu to cultural Images that never quite lit them. loSl!pb 1115' lid r:lbes the dilemma: ''Whenever a night of the Grail .,.1 , .... II .. w a path made by so,mcone else, he wen. altogether I lillY. Wher&: rhere is a way o:r path. It is someone else~s fioo:tsteps. I I h It Uh h md his own, way •••• Nobody can p¥ you a I chili.

!:It I lui u, our "r-ogram is to teach )'01111.0 participale mo cfl'eoII ,I . nih' vu'ulion f your mythoJogy. both iuyour inner Ufc and III I'.,' I H'~" on in the Qoter world. We arc:·tlot, bowever, suggcstlog tlml I I '(Ml Nib •• 10 eomrcl or even JuDy underst nd your mythology. "lilY. u~,'en 11 ummarlzed the stalemate that is inevitably mel by

III h "'fllrls.: "The totality of me psyche ean Dever be grasped by the lnl ·11, I '1lnn ,"'0

" I1l1'bl 1m r depth p~choLhcrapy is to brins the conscious ego

iulllll'fcl'laed accord with the deeper Ierees that undergird it. By lin' I 'I in· "roc fer awareness of your intuition. feelings. and inner IIll ,"OS, :ynu In II more complete view of lhe mythology that lives iii I,·U ",I"hiln you. That is tbe vantage point we ask you 10 seck illS ,you ',aI,', iltl J 10 program. Weak lhAlyou bcpn to n:cogni.zc your hIRer

I U".I l II poetics of mythic themes \'yinS for expression.. James Hi II. 1111111 h 'S!lU .~ tGII: "Let us reimas,ine psychodynamics as mythic Lales

jl.I .... , Ih 111, phy ical processes: as lhe rise and faU of dramaeic litt'II1" .... m. ·o·alogies. fIS voyages and contests and respites, ,ul,nter-

'I· .. n Its. ur S. "II

n ," hi n irna gin lively and persisteDtly toward your lum-most dt·I'lh~. u open a door 1,0 " moreprofol1nd view of your daily con~

lorn . Yn I b. ad n Ih horizon of y ur lI.knowledge. and you tap 1111 I W r tMI'nn If n't rm you. Rrich Neumann, the greal lunpilm a nn'Y"I, u1Tt'n'CJ an linn· rur the 'ow j urne)': 'Th di.

., Ih' ... Iii . .,r Ih 'Jl h.:un-· fM1nd!O l " Ih rr -In or Ih

II ,I nd.II une rthlu rtf th Ire 1 III "" A ynu wurk will uur pe mAl mYlhulngy. Y'it upd ue I I '01·11 $h tur 8p for "lUI '8I,h'n" 111 Ir it u .. r ur own p II.

Th • jUUTP 'Y I' ·qLdrc.s f'fort. While .he n,ylhie world within you is rieh in y "boll m Ih t n inspro and motivate, we mooem individu· nJ.. 'nlhr~ lied 'IN tb ur new-found individuality and maslcll' over nature, hAy n 1 been as aneative in tuming into the deeper mythl.c tcvd5. Ali a result, we bave become Icssversed In this 1m and ha,ve

Unatcd ourselves &om lt, 00 the otllelt' band, .in more anelenl 'times. when eenseiousness was st~ped in lb. mythological dJimensioD. lbe

bilUy to reOecland maintain obJectivit.y h d, DOl yet been developed.

Inhabiting ooe's rtch innr world with \loUd" and seU-awaren was D. possibility reserved only 'for sagcs" shamans, and seers. ,Now til rc is Dpportwlily to mOe lhejoum y into lh interior even more cXll'aordlDaty than, had ever been po '!hIe as you use your rational capacities to reflecl upon the mJracle or your unfolding mythology.

Mydu That Need ID Be Chaogcd

y understanding how your personlll myth Jogy devel d, '!i l!I can

recognIze outmoded myths Dod you can acce,pt Ih:al IJt if season bas passed. WiLll.out th reee ni,tlo.n Uta.l a :parLieular 11lJlh is no lon~r . mog you. you are Ukely to dissipate 'yoW- enefJD' with misdirected trort as you cootinu -to live acoordinllo its guidance" You also bring about the problems bred by a ely f'unctional myth. With the realizn-

• ion th t th myth i-deficient, and a compassion te und rstanding of how it became thal way. you are mOM able LO marshal yourcilergics f r changing n rather lhan to squander them on scJf-condcm.nation. To move forward, you arc best xncd by appreclatinB rather lhan rejecting your past.

The desire 10 chang an impo erLbed myth may' be: strong.. bul change does not occ:ur in a vacuum. No 0 's mythology or behavior

.lS in isolation from, Its social and poUtical WDLcxl. Many people are trapped in aircumslanCII so ovcrpowenn, lhat they ar blinded 10 11)' mythology bUllhc onelhat dominates in their silualio:n. They m y rem in in an unhappy marriage. unfulfillingj,ob. or oppressive

ial role because societal conditions preveDllhem from oonceivhlg or. no less moving (oward, other options.

ven wh~r xl rnal change i not possible. more _phisticated It • ,d . j y lues, Dud philosophies can help you persevetein a difficult 1I" lion. Dnd Qften you do. have freedom 10 bring about change.

Int h.. be n d mcd the" late of mind you eqoy when you

U' ,,\\lllfe r. hole an(1 have rh pow r to CbOOsc,.'IU Yo,ur aware-

[I . fir dlnin' im'H' ..... 0; In pr'ufollndwuy wht'n )' m 1'C:c.'olu1izc thai. unLl\'simhh: In'lI~rn5 In yuur lire are i1t>iIllIlUPPOl"h.·d by mYlh.s you hUll lUll prc-vlou:-Iy qucfiH.oned. Very early In ,our life. y.ou (x:pn 10

r '01 ' It l11ytholoGY 10 cope wleh your unique circumslaoc::cs. U you ,·ltml· 10 bt!1I~vt' Illal Ihe world is a IfJ,Ye:icss p.facc. you mBY. fOf'selr. Ilmkcllon, hn'" . scruliibJy avoided inLimacy. If,. tIS an adult, you a.rc IbI 10 rc,)cogIl17A: Ihat you are living a mythology lbal is keepIng you "'Ilmlionolly iliO,lqlcd" you Ihen have a cboice. If youcbaUcn,ge the

myth :lind opcn yourself 10 SJ cater closeness, you mal' be struck by huw mony more opport!)niUes Eor choosing intimac), seem to come your way.

now do you know when a myth needs to chugei" On occasion. Q /lingle powerfUlI eKpCrlcnce will deal a mortal blow 10 a limiting mY' h, but more often a series of less momeotouB eveDts leacJs to. cbDngcs. Sum 'limos Ihe feedback thal a. myth is mol working is quite wbtJe,. I 'firmrU~paUerns that keep recurring tn YOW' life arepali'Ucularl.v l1ulc\Vunb.y. Undl:r[yingmyths tllat play tbem$C)ves out repcat.edl.)f' muy Ix· round ifldifficultieswilh aulborilY. explosive love li'elalio.l'I. lihilui, nOlendency to arab ranun:: .From tlleJaws or-success. Ofie," the I'lCnlupl(J or Q parent's .Iife sets a ceiling on a person.'s llIyLhology rejl::u"dII1K success 01" at:hic,vemenl, lind breaking through rbal barrier is;

III imporl.nm part of maruration. 1£ you can recognize the mythic IInwn:.jr,n or rmUcms you wish 10 change. you will be more eJfectilie hi \'V1I.'klrlgwiLh Its dee,per layers..

'('hi!!. l'CIulionsmp between early experiencCI and patterns in adm.1 Illf' II! . QUined Increasing rrecogniUanl1'l recent dec4des •. Adull chU. tlren nr a)('tJl'oHcsare articulatingeommon (he.Q:les. suc.basaa unrea. ,,)ul'd need 10 please: a remote or ,abush,c partner. Women are idenLi. ryllI~ fit· wayan unfulfiUed longins for tll.cir farher's, ,love IruIi)I' bave I(·n I h. rn addlcled to me.n wllo are em.otionally unavailable., Men arc

olng how Ihe models provided by the culture, and more specUicaJI)I hy Iheir flnhcrs. caused them to despise and repress vulnerable feelII • Adull vicl ims or cb:Jld abuse are 6ndin,s ways, to control their , ""'o'nubut-livc impulses. There ls Freedom in r-ecognizing undcrlyir1g Ih,'fPC:s. RII1I!II' Ihanautnmati.cally livi"" oUllhese patterns, people

lin tlC'vel.cp Ihe ability to ref1«l on them and find new options. ·Psy .. l'ImIDRI~ISi hove described numerous e0l151enalions of thought. fedhl~.ilnd bchu"ivr .hOl are arranged aroumd a nuclear ,Ihenl(: and L"IlI'i(." l"'ubI"ms in people's livc.," These pallerl15Urc oOen callL-d com"1,.,,,,0;,

I; 'ltlJ Imld II Ilht' ( d1ruJr; I."t.l~lJlI"·"j mwmEv.cd amund lilt' thL'ln • nf lilt ft{JII' t"lUI)li'IIHIJIl wUI,lht· 111111'1 In .. Ih· rnmh"r' .'wlit Ift~ •

1U1I~1 he: rc~d"'d H he i~ IIJ Ktl "" h) hcaltlily re] lion hip& nd_ nOllmol1ll '. Alr~cd Adler cmphu5i ... ..cd the "lll1fudorit), cC~'QpIGJtl Dnd th··"puwL·r cOn1ple~es" related lIO It Hemry Murray referred 00 the "learus Complex."\4 In the Grm myth. Icarus. sunol Daedalus., bad lin in,nBtoo e5limale of his capac~\ies and Dew 50 close 10 the sun. lhal the WM on his artificial wings melted, carrying him Lo Ms death. The "fcM'US Complex!' leads people. parlic:ularty ),aun.adults; to reach 100 rar and expect too much, uD'liJ they foll Dod become. psyclliologieaUy disabled with feM' or apatby. The '''Jonah Complex," IDconlJ'llSt .• was described by Abraham Maslow t.O porny the 'fear or .anaimlnl one's full potential. IS Justa! JOllab~ in lhe biblical accounl. mn 8,WBi)' rrom his caU r rom God and ended up in Lh.c belly of ,a wElaJe., many indj.vid;u~ DIs avoid their iDOU callings and find that their vi.lruity bcgi:ns to atroph,. Cad Jung, who inlmduccd tbe term fXJ.tnp'lu to psychoanaJy. sisj, believed thai. each person has ,a number or COR complexes that

grow oul of QonJ1iCIS con(l.Crniqg archetypal (hemcs.. _

The program you are aboutlo bqin wUl help )'OlJ id.mtify patterns of lh .• ' magnitude in lh.elao.BUa,ge of your own psyche, understand them hI the contexl of your past and )'Out aspiraLioll5. and initiate changes In 'the service' of your mythologysevolllllionary oapac:ity.

How 'YourMytiul Evolve

Our mos~ fund8menla1 myths may be glimpsed through dreams and other products ,of the uneenseteus •. and they are particularly evi.d· nt during lhose.lifc crises tn which our ways of unclerstu.cJing Ihe world Dod tfUrecling our ac:liollsarc failing us • .If a lragic UIDess occurs 1:0 SOnlconcwe love we may red i.o despalr,bewUdc"ed by questions we canDot W1SWcr: ·Wbo" did be do (0 deserve such agony?" Embedded in t.be,quMtion is the belief '[bal those wbo are visUed by grave misfortune deserve it; those wli10 arc WD:nby will be spared.. Thal.ll1.Ylh once gave us comfort and ~urity, but whe:n it docs not hold up, our sense Qr balance In Lhc:: world may waver as 'Well .. Your pef50naJ mylh.ology chnnps both thrQugh • gradual evolution and more' dramaticall,), I hrough suob crises,

A gradual rennin. of JOur mythology grows out of Lhe mevitable conmctIbu.1will dt::Velop between cdsting mythic structures and. new cHlwr[c::,nccs. The IwoesLablish a feedback (001', Your !ftI'lCI' m.odels Huide Y01ll toward parllcularaclioms, and Ihe.::onsequenc:es of those n ntHS Uhrr reinFol' :c or challenge, the original modeL A married 1111 n who r.t."C'rcnly bellcvc!a he is a C8sanoYD diwrccs, begilDs t(J pursue hh; rllll:l'Usic~. lIml is l"UII~isu~llly oobul1l:d bYlhc women be tries to I:ur '. Ill" 11'1 IIkdy It) iufT"r unweleeme shirls in the IJ1lKJcl h~ bulas

n lind Ittt' old ~IOt .ll,c woundln or Ih I»-y.:h - by llk UlI'gc:rSlory is 0 cri b. uf mmense pro tlion. The rger Story is infused with hlghr IPwpose. ond "' ~·halt.er ch rl hed values that were pre_.. sum d I the: old story. n demands wor1hi.eJ' involvements than were imaginable within the old story. and It embraces parts of the psyche lhot lh old story fearfully COD5igned to die shadows.

Tho I..a.rpr Story is immense bey nd comprehension, 50 the en is thal assaults an old. mytb does nol n . U,y leave a new mythic i mJlge in its place. Jerome Bruner observed that iIIwhen tbe myths no longer fit the internal pJlghlS aftb wbo require them. the tran Ition to newly acatcd m:Yfhsmaatake the: rorm of a chaotic voyage into the inte.rior, the cerUtud.es of cxtemalizalion repl eed by the aJl,I1Ilisb of the i'utemal voyage:'I.

But, according to Houston" 'the wounding "becomes sllcred wb.en we arc wUlilill to release our old stori.BS and 10' becom the ve.hicles

brou,gb which Ie new story may emerge intO' tlme," Sbe poiDts out that. in the Greek. tragediesj Ihc sods forced tbcm.sclves into b~ll conscioum WMIl tbe soul had been woanded. l'Wound.inj opens the doors of OUt rsensjbWl)' to a larger reality, whl.ch Is blocked 10 our habituated nd condi1ioned point of view."·· If w cannot open our· sclves to this IliIJ1lCr reality, we conUnuaUy repeaL Lh old lOry. Too slruMle LWCCD the prevailing mylb that keeps you tied (0 Lh old story, and an C!merpng myth that is of len kindled! by sllmpscs into the larger reali.Ly. is tile second way your myth.ology evolves.

It is at the poiDts of conRic::tbetween prevaiUng myths aod emerging myth 'thal the. most dmmaUc changes in yOW' mythology are possible. And. i,1. is at these points thaJ yoW'mythology is the mo51 ripe rryour attention. The old d the emeqpog typically cnlag, in a

Im.le deep within you. B CQ·ntest tween the dying and the unborn, or the d.omi'nance of y ur perceptions, ValuC5,. and motivations.

WhUc the 6rst flighls of the f1ed.gllll new myth will probably be ned outsideyourawarcncssJ as its stru8lle with the old m~b Intenslfies .• it beginl to break inLo consciousness, often thro~lh dreams, fanlaSie!. Uinf: miliar im,pUlses, no\! 1 Ideas. or the emergence of a budding "subpersonaIlty. "I There wiD be much Ln Ibe old myth wo.r· lhy of preservation, and lh.c emerging myth will hold promises abal are not altalnable. Ideally, a synthesl between the old myth and the

merging myth will iJlcorporate the ma 1 vital clements of each and poinl you in new directions Ihat afie bltb reaJisJ;lc 4114 inspired. By brlnRlnA: lh PI' ~' to your awareness, you have a greater chance of wurklng out the ounkl ali drama ill your inner Ufi ralher Ihan h I\lhl h pin II .ul (m .h,· t' k .. r II~

P Ielp «I In ,h" E'volutloll of our Mylh [

I 'V I pili I rr In 'W rk If, flh nkln about yOUl' n I Ylhol-gy • !low yuu l p.lIrt· pal • rn rc cere IiV' 1;V as it develop . YO\llIlIe less, Uk 'Iy to lln lu an uldal d m lh if you are able '0 envision the ,)tUt'lll 01 V'uIU(l or cbanging il. You are less Hkelyto naivel~ or desperuih."lv 111. at untested alternative Imageswheo you are able IDappreel. 111 • th 'onllll'ticliv • fundiollls the old myth once .served. SUD. th re n . m 11)' dUemmru in attempting to revise one·s mythology. When

upl' nl I" psychotherapy, their presentiins problem is of\cn formur lnt . I a.c ord I ng to I h· p'rcmises of 'lite old m.yth. Rathc:r Iban speculatin III llh oJ'd myth may be failing tbem, they assume thallbey are nul dh 'ring to it closely enough. When the conquering Spaniards I i \VI te to Mexico in the carly sixtccntbcenlury, th . Anecs rel'l lbal h I I filed to honor their gods. and the)' increased the number Ie 'I if" ,I h Y sacrificed.

In Ie " world, a long·, :tanding ml'lb miehl in truer a woman te Itl II 1\ f I ndly,cbccrfuldisposilionatalJ limes-submergingher I I I ' u b'Otions and resentments, her minor irritations about iii,', ht", I' • ,lOn ,to injusllce, and senernlly creat.l'Dg ad lI·like c- ri~

lUI" t who she reaUy 1 IE people do not treat hel' with respect. sh

IIhi ' lUlI'llIde thal she is not following Lh old myth c1o.scly e.nough. II ,_ .... ·11 ','l'lli j unsand her motiva'liop for'·self-improvement'" may be, dl.: h'd toward perfeolin& herself in that image. Sh rna)' become

·V -" umre Q'I'ceable. more passlv • more falsely ch rful. regardless, uf Ilw personal cos1$. Like the Az~ befere her, she may remain uhl"in rs lu the foibles of the old mytb and scurry ba Ie to whatever P \It I,. logn~nl Sl:curlty it am offer.

W I think of conflicL or shortcomings in people's myths as the I · .. dinK "'ll or their p YCbDIQlical development. As you reach n.cw ,I "·s i 11 Y ur own maturation, and as your circumstances change.. III III that cncc fftRd effective guidance may become. unworkable I II I .y' d h'U live, Dlfllc;:ultJIcs ill m."klng a decision •. umfamUiar I 'Ut ur ,anl(i Ii ,lM}lf onlradjclions .• puzt;lillj; dreams. napg eenIu i ln, an .hi III-ne , nd v "physicaJ symplom$ may signal my.hie

cmfli 1.11 iPdn rh ens r y ur ut where you are bavin,gdifficul\Y tI e IlCl .... 1I 'in' di IISrn'II n (hal work \vilb y ur personal mythol.

C' i Uk I. It h v' the m st Inpo l.

n .. \VilI:! atl r u of the p gram involv~ identify n

II h II" l .. hl ... puts ill UI' lit dt.· I Intt mYlhlllo • Y u wm Ih n be

,I n n, I 11 h 'I' 'I. he w I wm'k \ hll on .. • .. r th', ' . h, 'n 'Willle

• Ii '~Jlt't'I.-f Vtlur lI1ythuJ • you nl!lO W n be g,ainln basic under-

tan ding of how ur mythology opera. ond how to continue to

, nlf Jellv!:ly involv )'oursc:lr in its evolution.

'h the ",ext five chapters provides guidance through one of

in theprogram.ln each chapter. you will bcaslrcd to .- rry . ut tween five and seven structured procedures thai we call "personal rituals," These rltualsrallp from crentlngB symbolic shield

nd going on ~ided fantasy journeys to writing perSODai '"Fairy Tal .. and stasing the enactment of a desired penonal myth. The rituals wi II lead you through It systematic and pr:aotical exploration of your personal mythoJ 0, We turD now to II pe --- riluallhllt willi inlroduce you to your "Inner Shaman."

MEKI'ING YOW :1NNEIl SHAMAN

Just as cultural m.yths may bring out the best 01' the worst ,of 3.D entire people, personal myths afFc:ct each of 115 at this most basic level. One way of vo.ldng your deeper' wisdom and hisher possibilities is 10 culli.V8te what. we call Ib "Inn.er Sh..aman:'I[ Shaman5-Lbc spiritual leaden. h.erucrs. and "Icc.hnic.ians of the sacred" of tribal cultures-h vc been receiving increninRott.ootioD n rccenlyear&. ,[hey provide

model, roolcd in nODt.eclmologigpl !OCicties. for guldil!l,(l the Weslm mind back to Its esbranscd primal roots,!1

The haman"s powers and ecstat1e visio.ns provided guidance and explanation, to tribal peoples for natural events Ibat were oLherwl unfath . mabie. The. baman wa an artist in relation to the cuJlure' ,

·iding mytholOU. adept al guarding. tnmsmilting. and transforming it.D As myth-making hasbccome more highly pel'6OnaJi7.c:d. mod· ern lndlviduals are called UPOD to become skilled in developl"1 uch foclU1Y with their own personal mythologies. To eultiv Ie th Inn. r

haman is to develop within your\ If lh skills for becoming thoLlghtful aFn' of ),our owo evolving reaUty. Your Inn r Shnman n be a guJde lotbe hidden and unutterably rich Iand5CUPC of YOW' It nCQl'Iscious.

The Inner Shaman has lhtee essel!lliaI responsibilities. Tbe first is 1,0 maintain a conduit between the waking consciOUSD.e5S of "'OrdinaJ'}' Rt: 1I1l II and the hidden reality ohhe 1i00hcrWorlcl& "Tribal SbamlU1S &Ii'v dUll people orcinnllcn d by tbe nimalspirit.s Qr the HLower WOI'hJ" (un's nnimnl nature) nd the godly plril of the "Uppc W. II t" (f Dr', ~)1irIIUDI nutu ). JUNI !l5hDmo"" regu' rly on.C'r~d Ih

C III r World. " I r In willi., w vi. iurl IIntJ ,nr("t'UOIl [(,)1' .heJr 1 lIt,l, Y urr Inner Slunmm UIJ 'I'V' ~ guid' you lake per od .

.. ," r 1 purl) ''/ I th th er W rid. .1' _ lilly tu u k ch low rd

III'n yt. III be d v&:l!up:d, nd p, nlral feature or this program

Inyuh,/(' pnwtl • In cCt!SSinS and using those altered. .states of COD~

'j()U n lh r. be reached through deep relaxatioDteuided visu.

.lIz uton, nd .mag ry w rt.

The: gtnd l"csponsibilUy of the Inner Sbamau is to creatively

- nd ~rr dvel)' bring new circumstances Into accord with your luld· '1110( In (hoi • Trlditlona1 hamens used their powers to influence phy I Illnnd social events toward outcomes lhat were harmon.loU$ with Ih' cullurc's exlsdng myths. The Inner Shaman taps into deep In thi' ui nee for approaching life's demands and opponul1lties., I'll v r cqull' an ability 'lo sc1cdively apply and adapt the ~stiq tnYlhuingy. Th - Inner Shaman is able to impartially observe your I I )I 01 mvth -logy tid astutely bring its wisdom to ch1lll1ging cir~ (11111 I n C~.

Thinlt our Inner Shaman guides \be evvlu1ion 0.1 your edsting II ylhe I v; Th lrl'b I shoJlWl bacl to find Ii balance between cstabI h'd cu I ms and cultural innovation, scrvills as a guardian of tradiIllIn. '''h I lso Introducing new mythie vlsiom to the society. Flaws

n h e L ling m.YtholQIY may have become conspicuo'u . or 'the my· 1111111 ,m y net hav- been able to adapt to Dew clrcumstances, New II vlh • Irl'lnS s were pc:riodieally required. Sometimcs. 1he she_man', vi II In Ih • ther Worlds resulted in a new and inspiring Yision-a

III I' . ur tI • Larg r Slof)'i.-lhat r fined or repJaced an existinS IIIvlh. tim vi Ions and InsighlS encountered in altered .stares do not II 'n.'~ Irily QD51iLulc SQuad mythic guidance.. the .'nn r Shaman il It lIt'u edl 10 bring you informed and seasoned judgment as you ht 1,11 'rd your mythology's development.

Til r)lX m p • nled here calls upon you to develop and ~

l \I ur b illY I carry out atl thr : of these rcsponsilbilities. The 111111 r,shnmlll1 opcntcs rrom the po ilion Lhauome psychologistscalJ Ifll' "0 "I' In Ofl and ,hal meditators often refer 10 as the "inner

,.. ." WhiJ Y u wlU not a.'ways need to invoke y ur Inner Sham Illu\YtJrk. electively wilhYQur personal myth.ology. drawing UpClQ I h In ncr wit nc.s will generally be empoWering. There will be ,Dumer· ,,, I:m 1111 I Y u m 'I II upon yQur Inner Shaman for assistance in I11llnl hdn ,II pa~" gc."Wuy between your wokioS consciousness ud lit Ulher W rid. [c r I 'nllvel d~,wlng upon del' my.bi w

II I'" l UII IIll' In", Hu linn. find I r ..... '11, r r fininl y ur dev I· III III rn hulu Y.

4'

Pe M -Ung Y ur

Uual:

er ham •

Th • roll wi n8 personal rhual will inlroduce you. 10 YOlJf In.ner Sb. man. The In truclions are arran_ged so lbat you may hve someone

d them to you. make a tape. or become familiar enough wilb the w rds .hat you can lead yourself through the ritual from memory .. As with aU.be inslrudioM in tltls book, Feel free (0 modify the ,following in any way that makes it more useful and appropriate for you.

Wheo ,ou meet your Inner Sbaman-wh the .. in the guise of a Wise Old Man .• the Barth Mother:. a known Master. a Celtic prj tess. Jesus, Confucius, or whoc'Y r else emerps into your awareness-il win be a sisnificanl m ment iJl your Ufe-II b probab.le I.hat your Inner Shaman"s appearance will sUB8est a spiritual connection, perbaps through, a ceremonial selling, ritualistic objects. or by beins Sutrounded in UgbL. The scene wHl be markedly different from the muo .. dane. Your sense 0.£ security and comfort wiD b"ansceDd (he ordinuy. Begin by finding a comfortable position. silting or recUning.

Allow)'Our b1"t1Dlhing to ,bcrctJme .slow nd dt:t:p. (Pause) Relax «Jm/onably. lkgin to release iJn_Y teJJsion in your 6ody. [Jfi..SltJC(Jnd pausc]

Brina IrJ minap«JpJe who baw: been insplri'ttg 1TIr:xJ~Js 10.YOu. sud lIS IJOOd I all"" lvise Irlimds, or /JJ.Jcntcd It:adcrs. {Pau ~ Focus on one or lwo ,,1 ibt!111. {huseJ Consider lire qUlJlitl'es mal made these indJvldus/s imporllWt models (or you. [JO-s«:ond p8US1J')

Now move more deeply into your spprecitl1ion of ,tnese ligures Mel, sc:arc:hlng yoUFOWD VlJlnerabiljli~ discover ycJur need for inSlnJ'Ctitln ud pro/celio.". A01rm to youIWll your resolution to tllke IbisjourDey Into l"MilfJ8 t1J I nre usually bidden from .JDU. Your ef. fans here sre earl1i..ng,YOu the rWbl /0 BCCeS$ deep' wi'Gt/'om.

In II lew mQmen(£ you n~1II imapne ytJuJ2lf bI!comina vezy $malL You will lindyoursdf stllBdJ.ng on your own stomach. You will tJol be troubled by dJe ordilJary laws of physics n:gzudiog ~ sP«d. grtJvil)'. the pl'f!SeDM of/1gb' where;t ;s llorDJJJlJy dark or yourllbiJily 10 r:xi t inlWl) {Of1fJS simuJlanc:ous/y. Wltb your llext LAroe b~ ~ u will begin 10 ,become smalltJl' UlJUI you lind .J'OUl"Se.l' standi. on

ur own stomach. Pw:1 )'DIJ.l'SeU'b«oming smaller DOW. ONE. TWO.

TIl R 'pion: your Slonrn _,,! Pind your aB'vel. It is 8 magicsJ ~n.. Ill'IIIt tu ')ur In'n r World. /lf1D6lnt u~Jf limblll(limid your hi. {,. Ihl IUj:h .I"rJUt n. ~ .. 1.

1'1

ron 1\' in •• '"I1t·It '\.\ 111(1 c/,nllllUkt< rt.:olIJ .0; If ts dIrk ilto YOll r. ./ I',m " .. 'w •• 1111 flltIW hru v,"Iy (antiart! utd dowllward UII .1 fNJlh "'''''''J:(,~,'I .. ",IJi:J'r It) YOIl, Nt I~ • 0'1'" ·11 ,1 ns nod fcc/illS In llIi II ,,·m lifmry n'l,'il r. HI ''II'h • de pI n ,you bt!come more conrlortabit "('w.

"Oil men ... · (onvlJro for a/o.ng ,vnile. Yo,u an: 'SlllI'kly aJon~:. lackiBg /mlt/Illm Ii.· ... (1_ lit ~v 1I1VOrt: of your yulnt:rabiJity .. nr:«l; and hopc.Witb· Jut knowing f1iJw.)'ou lindyou hove come/a a monum:en4 and OD II .11 (·lllt·I1f.'iien. lUJd ill/un lions by which yo.v haW! liVt!d Read one or nnn . uf IIi 'm; l.lI1d recogniR thlll tbcse h . VI!! been your commlllld. ". 'ul.. 7, kc lime to considr:r wwv. {4S-second paUBI!}

J.'"lIt'" 'lIurcouI'IJf{C, for you must enlcrcvcrman::d«p1ylnto the .JurI.: /11m'l', .. ,U,VOUF bl!ing. The challenges' make you worthy of the ilk/Ifill t' • fJ d i, , The InlJfH'ShIU11BIJ is ooJ revealed 10 the unpreI" I I' '11 'UD't S(.! ker. Moving beyond the motJumeDI, YOH e ~nt"..

III Ihlll .• 'tJIlt11C1f on B .stone promine.llt.V: overlooking the Valli!J' of ) '(I' , mu". Your slsht nncl hClIril16' are strong Dnd you fr:d oompss· t /I .... ,t. II survo th emotional world of your childhood. Without I II fin·, m •. idl rtb lClTOJ'S, depriva1ltJDS, confusjon~ aDd bJessin.tJs "I )1'1/1 t';"'{1' !CJI~. Do n01 Rinch Dr t:oD'dcmn. for your IssIt. is 10 •• 11" III 1'f IIi' • Imn;no in having sWlIlved. /4$.second pause)

c , 111111",· to mo,'t'; ODe slow stt:p at IJ time, rmtil you come 10 _ I 11'.11 w"III'l'tJu'rldcd by/ush gretm pl:mts. AllIs «lge, the branches of 111,,1 l "N" 11'1: ',f; loudll1nd' form an arcbway. Yo.u knolV thaI 011 the f 11"" ...,(Ii~ or tJm' rrhway Is the sacred setting of your Inner Sbaman. 111m, .• I • III lIn'ta;,,'op, a d't:s:rtt B temple, or a forest. Wall' 10 #he " ... mrl not Ice how they form piDsn for llJt: 1ln:JrIVo lY tha. leads to III .. ,IWt·/Ii,IJ! plncco of your Inner Shemlln. Now step Iluough tlJ'Nlrch· .... 11' imd bc/~ kl; (JO-Sl!COnd pBurJ

H .V'< ~llul{v walk up to nd gTCel your Isner SbsmlM. u~ your "_,, "' .... ,., (Ii. ' Vt',' ",hnl au CMl of th appearance aDd lemperament ,./ 'h/A "')'P-J,"'/UIJ.<: it,dividunlIPause] Thsu/c your J11DU Shaman/or 11111 til m.', • u. u.""~ words, tp:$fUJ, Dr silent inluilivr: COmnJunica, Ill. II.wNl." R 'Mlli7.; - 'pOOr" Shaman's bollomless aHeolioIJ lor you • flU} " ·lid ,,, IU~/r I _rtltln ss .... PI {(Jun'd sile~ fl11/s upon ,IIDU as

JfI 'I' 'II' ''UlIr ~1ln'm"" uld.rour Shaman IJD$cs 8( Y0l./.

~, • n.' qUf!!O,l'tm tlflmptJl t" about your lifr:. You m lvell

, ,'II' un un .... Vpt 11(/ .lIIsU r./6JJ..w; nd pDl) 1 Now II ""bou'.' .,,' I IfIt:rI,(J(' '111m, )'Ollllt't'd 1(1 h<'IIIt/~ In vl, .. ', J'our'hnmoD I Ivfll. ur I '/ul'll ""'.11 ,,'/1/ ".. 11("\4 ,.111('1110 mil tn III ... · IV.,_" In wluf'/' YOlJ 1'''.lll'lI I .. • 1",,· I, '11'''' \'''1 "'"J:."''''''''''', r , Itn.we·rv. RC''''''",1 '1111OIlh ts« ,I mIl" ".·/,1" .... ; '\ Itl m I 11'1'1 . h"Il' hIli 1m,... l I ."11,, lind

J

ur av. ,. b.., '" b vlsunlizl11;6 ,11 . pa,hs.)IQu h vr:jusr lai«:nl by using the sound of IIIJQI1JJ, 8 rlluall_ 111Dvt:tnl1nl, or wIth /be n:petitiOR of n Ii WchOSt:D IWJrd£ NO'I", IVJth your Sh4l1JM1~ nssurtulce that you can return, R:Ceivc iUsIrUClioIJ for bow to embark 0:0 your n't!X.t visit. J6tHecond pawc}

11 is time to come back to Ordinsry Reality. lJt: ccspcdfuJ in your l't!aJlelJJlting. [Pau~l You will return in your OWlJ manner, Pc:.rh· rps you wiD retrace your s~ps wJIh the speed of /I ronnina eli r; pa$S.;1l6 the VaJlt:¥ofYcwrChildhood, tile monumeO'l:; ond ootrUngup throUgb you.r tJB'reI~ Perhaps you will n:lurn b'yBnolh -T roule. Re.tur-n DOW. {2tJ.s«on4 pIIuSt:] Now IblJI J'VU an: bacJc_ you: will lvil_h your next thJ'el! blWJLhs return 10 your normal siu and your ordin .17 reality. ONE. TWO. THRBB. Coming into waking consciovsn 'II pnlJy ~pen your ".YC& Record lh experit:llC'Jle in your )'ournaJ, emphllSiziDg 1Spe'cislly th melluxl you will uS¥: lor your .am visit.

Here is lhejournalaceount of Meg. a woman with whom you win become quit.e familiar in the foUowing chapt rs:

I greel him with "I knew you'd be here, and lam mosl BJ"Bwfyl, You are revealing the path 10 me, reiucl8Ql M rYe n 'LO roHow It." He' ,smiJin t me. 1 don't kn w how 10 feel about being ,loved so much. I"ve never fell such absolute ace 'plance for wh I am. Hieyes are remarkable. They are Infinitely wise a.nd )'oung and eurtousand 1.8ughln,& and ,forgiving. Tbc:rc is notltin,g for me Ito prove. No,thing is asked or me. He has said nothing. but I know th lbUlgs in all my senses, wordlessly. M.y words, are pal fa Om les of tbe up!eliie'Dce. I as~ "'Haye I permission toreturn to y u'f' He makes a gesture, D ShruB with upturned palms that I read as "Of course. silly,," ] sense a playfulness that enjoys my rnUveLc!. mimic bls m.ovement and hear myself say~ ''Though th path be dark, the goal is light:' I don't know where these words came Erom. but they seem like a great leaching. I somehow know tbat repealing the ph and the Ses1.UTe will be. the riluaJ. for my returo. For a timeless lime I am in lIle C~ dIe: of my own center, in healing mmmunion with my Inner Druid Shaman.

On (uS( eOn

11hc fullowingh IHI,'." ,r" 'nl or rully rr nsed scque or rllutil II hal wil.! I, h YUII htlw In undenlund mere uruur lire IIC the III Ihi I· .1. • 'II" 1m r Sh:UH l' w II n, I'MI uu I v Irill I 1'IOI"t!'l

"''''UI()NAI M ntlnfJ)OY

~--~

along Ihr wily. Wt: invlte yuu to lake Lhis journey. I!:>, way of rituals. Murie..Ii,ldcas" and dreams" ((lI.he inner reaLms, where yOU.J' ,myths are mnde. In the proc-css, you will have an OPPOrtunity toC.onsider new pcnpecUvcs on rbe myths that guide yOW' lhoqghts and acn.ioll~ and ttl apply these insighlS towoM a more ,mytbfcah'y inIonn.ed life.

-~----------_2

The First Stage: Recognizing When a Guiding Myth Is No Longer an, Ally

Em:J, is just as important a contihion of life's progre.ss as truth. -c. 0', JlUNG~

We open this 6rs1. stage of the program wltb a series of personal rituals thai. wiUtake you mlo tbe pas, and help you 'uoder:SU1nd your unique: history in terms of your cvo[vi:ng mythology. Prom this, perspective. youwiU begin 1.0 idenUfy areas o.f)"Our r:n__ytbology Ihal are not serving you weU. While these personal myths mal' alone tim,e have been the best inne:rplidance conceivable for facing the dilemmas, that eonfron.tedl you as a (bild, lbey a-re no longer aJUes. By.be tlose of this chapter you wiD have selected one of these areas for your auent[oD. and illl the remainder of the program you will be mobilizing your determinatioD and creadvity as you transform that part of your my. tholoD. ThelBsk of eQpgiIIg yourseJf fully in thls process wiD be challenging, perhaps at times disooW'llging:yet, it .holds tbepotf!ntial of y:ieldins novel hwshls:, pcatcr m.eani.ng,B.l1d fresh. direction as you considercenlral questions ill your Ufo from a,larger perspective.

PERSONAL ,B18TORY ".OM, A MYTHIC PERSPECTIVE

P,'(!ud showed' how the past creates the present; Erik Brikson. one of FI'eud's most ~nnoyative successors, showed how the present reoI"8&" Ilil.c!S the past.' Our self.identities, accorcUIIl8 10 Briksonf are formed ,,~ \111 ~ come to i nterpret experiences Fmm the past in. light of lh.cir ll}Co,n UK rur flur current lives. onlOeiuu-ly nod unconsciously. each nr u i5 ('onllnuully ,'reAllng on Inner I\lory tocx.plnln the pnlU, under

lililro the III nl, nd Il\lh'll"ll(' whlll Ih[' r u Curl' nlll' huM.

fI I II • b" b.,f \lour Itlt-I\I I • Y lin Sf.'l1hC ( r whu you o' Wit '11, n 11 ph~I' I, ynu u)( k n imBaimU'y xcul'yiul1I IJ k tu Ihe UI' n !lInt., Y IU W e (cg)nlilrucling hi-tory a Ortlina 10

ni ... hh, Iue te; nd t.msi Ibl onjL"Clurc. We all GontinuBlly re on-

. Il1Irl UU • I' nol histod • as we incorpcralc new cx-pe:ricnces iato It. nl. Y I we mna net reaJiy.c th powerful inf1uene exerted by the y, ty WI: con L uct II past on our current convl:ctions, doubts. and \l1~w or eh· uture, Arlic:u1alilll yow- past From a new. splriled, and m .hi nlly inFOI'med vantage point allows you to bellin to rewrite um'li C SIOry In a manner that beckons to yout high,er possibilities

h .~ 1'I.·tdhilicDfly accQunting for your Umitations.

M n., lnotlfs Irom classlca1 mythology. such as Odysseus' heroic IUlu'n' , P I'scph ne's descent 10 th Underworld. tbe quest for th lIuly fl, til, the tale of Psycbe and Bros, or the dialosu,es of Krishna 1",,1 Arjunu n th BhllgllVad Citll, peak to d.i1emmas tbat are still K,'III'm •• lu I he modern psyChe. Aoyof tbem CDuld provide' a structure II I Vc IIId be meanin»ullo most readers for reviewing tbeir own I ,I 'J Ilr ftl' sram. draws upon the motifs of "'Paradise'· and "'Para~ II . IAL~" from th Ed n myth to structure an illiUaI examinatio,n of v ~ Ir III • .l ,. LDter, you will be telling YOIW" story with your own In 111,huI't hut w have found it useful to begin by orpnizing the

Iri" nd the timn! images of this fundamenlal culhllralmyth.

hll uJ;h our pragmatic. materialistic culture has tended terede- 1111 '!Pnrmli .. In lerms 0' worldJy rIches, most of us ,arc aware of til" I ' Ion inc' Atta.ining a pariicular v:ision of Paradise (HI:a\'eD, Nil "Ulla, Volhl'lll I Kamaloka. Devaeban) is the ulti mate goal of m 11)/ rdINiuu~!I t 1115. Not only do scriptures descrlbe some 'ilcrsion of I'm u.li I they also allempl to explain wby ute OD earth does not lllm',IMJI1d wilh tNt'( visioD, along with what believers must do to

iu 'I' .hron h Ih celestial pies, Adam and ve's stol")' is, of COW'SC, 'n!lllb ~mbedd d In rh deeper recesses of the Western mind. The III HH'l'!'Islun fr rn P: IlIdisc to Paradise Lost and then toward a vision III I' I'· d 1M:' Reined. t the core: of Judeo-Christian tradition, is also

Ill. Ihul 'Kic I repr nLali n or a fundamental theme for the Ind ... viti u !'~ p cit I ie I dellclopmenl. And it providt3 a f rille onlc,;l lUI lh- lin' of x forBlion y u a about to pursue,

'rh '""'oylh.· uJlslh 11m in h mnily's dell I prnent before Ul I villi I .( J\ .j u. nco pro r ed QUi r n idyllic id nUficoLion wuh II I' at nd II I ~. of th body. Wit), the fall from lnnocen ·e • lilt' n awnk .)lng.,I',' 1/. on , In!>§;; pnid ~ r, III wever, wllh un n hili n elf -. n I ou r om ,:onununiIY nnd from Ih nlllumi

.... k. f III til. Lt ,1n'OI'j, whu IUlVr noted pamll .. ) I IW " Ih

Rc::cognizi n Whol D Guiding Myth 12i Nu LQIl er DIn Ally (UnwinR bv mlr'w I II)

•

c: I)',. . .. fhuman!! '.-dcvclu,IUl1.enlnnd Ihechlld'a.p!:I'wmdd velI)I)U~ -ll h v II I rln' '. ·d th' cn 51 -lUry a "ychologically repre 'nl It th' ndividunl"s "faU" rrom Innoccl!1cc during the journey I hrou II hUdhuud.

A - th human embryo typicoUy develops In an CIlvlronmcnllhal 111 ,\lid ~ I' "" h$ w rmth and ~ty needs, 50 100 do infancy and hlldE,ood fl n provide long stretches of time blessed by Innecenee lmd w nder. Even in those soci I and economlc classes in whicb

hildhood is bardly a carefree idyll. boys and girls (lft,en enter into run.a - worlds thal provide, a measure of security ud hope, charged 'II' 111 im ges aoout th lives of children that are found in stories, 1·1 'W ion. and movies, Progressively, however, a disquieting awarerll' .. of separation from the RUr1\u'lnl eDvlrorunanl and from the rmutls ' nsues as the child matures.

'rhe Infont's realization of separateness from the mother begins a 10"'111..:0 of differentiations IlhaL extend thro'ugb the early years orUfc. • ' Ulu.·llmca these scpat1'alioos arc e~ienced 85 the achievement of ;mll'rcndencc •. and they briq :satisfaction and joy; at other times. the

, -" 111 • .is a source of arodel}' and grief. In either case, the increas'l1g .'\V, I ness of eslramgetnenl between self and environment is part If mwlng up and bas been .mythologicaJ]y liken.ed by Rollo May to, '1Iht' Iii l' whcll each child re-enacts the 'fall' of Adam.".

BUI m -.hs of Par$:lise ,Lost are C(lompalJied ~y visions ofPara.d.ise It • • a n -d. I he promise of recoverins It securc and tranquil position ln I h • nrd -r r things. People adhere \0 images or Paradise Repiacd ,U :'lion • Iy and, for the believer, th y reveal tbeLarpr Story. Some (1. h l gists have equated the powerful motivation to pursue .Para· n' R lned, the religious i.mpulse, with a primitive lo.DsinI to , ,. uplur - II sense of wombUkc. peace and union. Otben have argued ch m 'ntJ Ih l to under land Ithis passion in anything but a broad I riluol unlexl is blindly reciuctionistjc.' Whatever t.he true sisni6~ III ,or lhls I.onging may be, the great myths and reUlious $)IsteQls fir dlv r • cultures have porlfayed it 85 the soul's yearning to awaken If) 1If1. conn - li:on with powers that arc hc)'ond the visible world~.

IUlAn linglh d pllongl.dginlo Dcvel'-fIUIlurinS''Y1i Borhmtil . R"S In·d ill 11.0 IlltJlllII~. 11 inspill d understanding of wher: you ar, headed nd why you are hcadecJ (here, open you I(i th· I Iller SI. ry nnd kt:·p yom' joUl'll!!y en .. m(,,'\: hl:'unfi fl Ih. f!luOOr!lling "lid uf1portlnft "II h n v1 jnn iii 8 Jl YUlnJ ~han n • (01' ClUf Jk"1' InU' 11 Ylhuh

In II " fUlII' IImal u( Ihi 'IMI.It'I. \11111 will ('''PI 1 c the rolt- Dr

..

ynu WI 'hildhood lon of P radise (or its absence), your P Il f om th It buU;yant mom 'min lime, and lhe Ouest you have pursued (or' bond ned) tow rei n dimly pcrcci:ved o:rweU-vdc:ulated vision of P radi.sc Regnlned.

Personal Rltu I: YOUI' Lost "p:aracliae"

SIu.mberin,g in your unconscious m'od mny be dim r.ecoUections or a lime prior 10 your aworenessof separateness-ll. period when life was

rhapsodIc dream. And you may recall chlldhoed c:xpe1icnce5 that w re perm ted with a dreamlike sense of joy. security. or wonder" 'n1(!- purpose of thl fipersollal rilual is to lak,e. you back. [0 your m mory or imaginBl.i n, -to these pristine eras of Innocence.,

Wh e the in (ruction do nOI bring actual pictutes 'to your mind.

I:rcate the expericnce. as if JOU are tcUin(J yourself a story For specl.f • i 5 your memory i unable 10 rem ve, embellish whatever you do r lleet with your Imagination. U you are unab! to readl any serene or pi rable ear~y e :perienots. use your capacity 10 prelend. Treat lhis as an ~rlm,e:nl ill how things might haw heen .. Fant '¥ i "metieru tool in work gf' this nature.

Decide which of th mclllods lor leading younc:lf through a guided hna wY exercise you will use (askin" somcon (0 d th in trueIon LO you. reading them in.t.D a tape, or becoming famiUar en _gb \ lilt Ibe instrudi.ons 50 you can guide yOLU".Self thro' gh Ih m rrom l1emory), Also, r~1I that whenever you come to the end of a para.

gJ·pb. to the word "PauR.1t en to words written in uppercase, a deJay nf bout len scco.ncis .is needed. Por pauses of twenty seconds, o.r morc, n dcr u illga chime. ellck, or a phrase Indicating that the tape h uld be 1l0Ppcd al tbal point or that your partner ' houJ.d stop r ,lIthng until you arc ready lo continu .

After cbaosinS the method you win use and making the app,roprl· t pr· pa.ration • find a safe, secluded space wbere you are unl.lkely ( intcrrup, close your lOy • take several deep breaLlu.an.d h ~in Iv lox:

.... " lIle Into fhi .k. w'C'spol, /ot;UI 011 your breathing.

It. '1/;11 It .1. • , ,,, ny II "1' of Ic.·" Ion In YOUT body. (l'iU1S:) Lislcm (or md h: '/ ,'., ." in-b ' ':"IJ.uml ,·"dJ (luI·hl lh, {Pml 1 Noli ' II,. bell UI I c ·/,C·,\' ""f"N alii} frilling. ,r. III I t'our b,"t":It"/"-Il bt ~mrt· ... ·Iow

P8R50NAr. tmJOlDCY

51

)

.md JC}'t'P .1.. u MtUC mQtr and /DOll! completely willI t:8.cb of JIOur ''n". i {il • hrr-nlIJ . we. 1'Wq THRJJB. POUR. F/VB.

1'horvu,;hl reI. xed,. re.cnwlc in yoarmt:n1olY ~ur la _1 exchange I • I/' : .ur Inner Sbaman. Rt!JCR.IJ the iasUUCliolU you Ivere CJ"vetJ For mnJallB JJnother vls11. Follolv th~ ia$JmclioM DOlI', [3tJ.Sf!CtWa IIJ " ". '1 When}'Ou bal'e found your SbamlHJ, "Change rcsJH!Cf/u1. sf.. f( .. fI(),"I1ICgreeliJJgs. In }'Dllr SblUlWJ"s fXJmpalJy. .stm.Se tin: rigbtness ,I hc."JIfI logether and D'Uend 10 ~ sound~ colors. aDd Forms in Ibis

-~ 'tip/a ..

, . Y,,,,r S~/Rmfll11~/'s you knOIY tbal a pA 'IUtlnt experience swaits u,

• ou :I/t' bid 10 prcplltr: )'OUrself lor ajourn' tv to an ear/Jc, tim~ ",11M "0" nt Unles.ltN/" Infl(J(;e1Jl, ana rt:ceplive. YaurSh.aman makes an " "JJ/, , • tun: and you re lI'aQsport«lln time bock .to D plaSI!UII

til m,?, of c/rildll·rJOt/. You view ihe '1vorJd from the h fght of B child .lflll • 'lib Iflt: curious oyes and inquiring' eJlrs of Q child just COme to 11r,· II,\(' uf Inngu. snd questionIng.

1f~1I (J~reviait'jng Ihe liou: oFyour rery lintjoJ'-lilJed mc:rnory.

H I, ~ I. "'lib you. Feci tlu!ir louch. So/IF UlllJ.$/lllltledly 111e good odon

m,mq l'flU. Seose horv rigbt 11 is' lor you 10 be alive. Mo~ $/up" lm ',or roll With the unfettered obandol) of ,YOu/II. Expl'tm: your II frill. IJllei'H"'" ious olllm:at. lie fuJIy,pmsenl with this earl,y experj.

• t1~ " (li()..'S('COnd fJIluse) ~ ~

"U. A""l~S "fht: mDSl p1fJlJ.SlJDI, pcG(;CluJ fce/illlJs In l.hsi scene.

I} Ir /.1 miT IJlf:nllu/W inlO them. aJlolvlnglb m to inlell5ify Dod liD

f III btAl{~·.1i1 o:llc:omcsloliFtNlsth ejJQSitiJtr:fet:fi'/llSlnvi'.tJora/e

, IIU fuml he:uJ 10 toe. (PaUst/ Xb~ feelin,p become dC!Jiclo.I/S/y virid

1.\ II,,:,· IIItnu If) build. {.JO-. 'lld pausc]

"(1ur tUlman has lJ Il!SSDn for jIOU about tbls peciod 01 YDur liFe. flihl.lIIll l"'/i pt»;ill.'C feeJiIWS. lV!Ceive. You will rem:Cl7Jber In mind , n J I., K( .... l o..~ nd pau . '1 TlJk~ one last /DOIe a' your SllfJmlJ1l tlDd f 'W"".mILt-.ll· Dn,)'lhlllll-'Ou wlsh. {JrJ.si!coud pause} II "$ time to llJit:

I..,. If mUT hnmnlJ. .. 7' ur farelveU.

Ih"l"-In..· IQ rt'flJrn to tour .'mlring t:On iOUSll • Counfil'l. ~. fmm

II a " h" .I.t It) Oil I nu ..,Ii/ bt· lIh!. to rectllI II you need of fhl. C". peri.·n.' '. Wit -n .tvu hL'IIr .IIe nmnbc,' I • .Iou wiIJ ~ '/ ul,,.n. IY!/o;rr.cd. ntld wit "/"oJ.:J'. ;f Il'Ilk'"K (rtlnl .~ u'ondC'l'lul nnp. /·1 'Ii,. 1Il0l'L' vtll' Ii". '~"I .'~'~I us». /. UR, .11'1-1,"11, IIr II Juldcl .... IJL'C'it. nuJ (lin- 11111. -If 0 ,/UNI·1:, ,.,A-tO I dt"qJ '''"COlIf,. TWO. h,'II1H,UlfUlJUc'11Iimrh,',d in' ,h

I ., lilt tI I~: "I IJ, vonr ',,'c - • I( .//"., fr 'fit I, .r/,·rt snd fu'~v t JIlII I,·'ft I. '''''C'' 1/,c' I ll,io·"wn,.\ uf I',m,' Jm',

In your journal, describe the scene you :focuscd UPOIil and. the bodUy nsa.tions you experieacecl Cons der the degree ~ which th - sense 0 an early' Paradise was ava.ilablt! simply by Te8.Chins inward according 10 the iuCl'ucti.oos. ReOect on bow sucb early experiences. or the Ik of tbcm, may have inOuenced YI)U1 Ideas about yourself and about what you cou,ld expect fro.m life. Tb ICSSOR offered by your ShDJ1HUl ma)' have loucMd upon this <l,uestion.

Man,y of our clients and worksbop partielpaots have, overtbe ycarsj ~nl WI copies of tbeir journals. We·ve looted an aocounl that is particular y lively and articulate lo:sen' as an example as you lead you.rself througb tile program.'

Meg was a fifty.&ve.-year-old freelance writer .wlle? sbwcnt through the sequence of pe1"SOnaI rltuaJs presenl.ed .lD Lhul book. Excerpts from her journal will provide you with a preVIew of each ritual y u arc about to perfOrDL Read through the instructions for._ h rlluaJ and the exampJe following it before you perform ~h. ntuB!. Because. Meg Is II prof_onaJ ""rlt.er, ber Images are especially vivid and her joumalis U:RUIlUlI in lIS literary meril While her writing lends rleh example. be forewarned mal it is nOl p.racnll!d as a st8ll~ c1ard for comparison. The only rele.vllnl rc:q..-lrement for your journal

is .he degree to which U ales from your deeper selr. .

During the Pnradi - fantasy. Meg relumed to a happyc~jJdhood memory'. She used th first ,person, presenllen' • to record at in her journal:

[ am seven and I am running around on Point Loma. There are no houses anywbere around me. JUSI scrub brush OD the dills above the ocean. I am limber and s1rong. with no sense of my own, mortality, and ,1 m recklessly clamberimg d WD the cliff to th ~d rocks below. Myjolntl!i move freely, my hands are strong in JincUng crevices to grab onto, and my bare feel 5eCk and find toeholds C!.asUy. The ocean is calm ~nld the aiIr is salty-sweeL The temperature i in the mid·10sand I amoomfortablydressed in pa_"lsandT.shlrt. Gulls are Dying above 8'nd a line of pelicans surf the air currents.

oYer the Incoming waves. _

1 wlk out on th rocks, my tougb r ,unhurt by the barnacles ned mu ·Is underfoot. I see the 10vel,Y Udepools;_filled with riches in n mon t ·h r , and h Ils, r pause and dJ5ICOver perfect .. hulonc shell, The OUl ide of II is nlgged and rocklike with seven I Ule vent h I'N in .hc cd e wli1ic.·Ii1, wit ~n he cr ~ IUiI'e was olive. -url "" r , III • n Imng 'nl on .Iw I .• In ick' Ih 11.:'11 ill

"I I hm" uf ""UII. t II dlv r. rm I de 'III .. I r 11m.!

l:UIUJII II pullc.-rll • I hllvr nrv._'t ~nnn)'.ltinK flU bc-~ullr ul In my 11ft'. TIn' Ilbnlunt· Nhroll IlIlhe lilt! I pu'dull PutllieNion I huvcc¥!:[ "lid, and I hove no .OiLnll.,lcs Doom loklnll it [rum Ih lidcpoul and kCI.'ping II For Iny If. I am "lane. Iwpp~. fr und unmindful of nllle'. demnnds,. Il1e ,XUll, or lh" ruture.

111 U'll 1111, the inOucnce mis event had on her sub$eC)ucn.t Iifc:.Mca wllt'Clcdl

The underlying theme I have carried fanyard from lbi5 early l'!'i'(I~dcne is the sense that there Is always positJ\'c diSQlvcry uliC'ad, Illot unima_gincd potential Uesin the duUest"appearing objr I Qf c:II'L1uJnstance. AI'so, my sense of myself as a participant In IInlun: fIRs never been lost.

II uinS on ,this brief journe.y back in lima. Meg was left witll a lillie I t'le! l'Olrlldlse haas~ drawn fro'm her own cblldhood. Sh.c r.ecalh h r t'~'lpn(ll" on Point Loma as an ea1!atic union of body. mind, '('drnl(, lind J)iril. The' lilUe girl is alone, contai.necif excited, yet there ,,, nu '11...'101: or relationship with anyone else. Bach mOlOC:lIltprovided lIIurl" Ih",nC'l'lough Sllmulallon 10 teep ber happy and enpged. Witli .Iu· ldlillune hell. she bad, in her estimation. acqUired aperfecl pas-

"~tl In. 1'hip; Incmor,y reflects, PJl bllernalized model that Meg c:arri.es wnhln her, a sumdardagaioll which she may now unconsciously IUrUMllr ... II .. : quall.ty of her experiences. As you wUl see, the abalone hell dso bucame a 9'mboI 0111 her PusonaJ Shield.

Pe:nonal Ritual: ereaUns Your Penona) Shield

w. 1t)\II IU\lir- you to cons.ruct a "Personal' Shield.'· Many Native 1\111 I' C'tln ullul'cs used PersDllalShiclds for p.rolcc::lIoQ. healing, and n·VCHmcc. An image rcceiycdin D powarfuJ dream or durinHa vision (IU '!Ii I' nlhcr purl6anion C' rcmony mlShl be iDierprclcd by thti II Ibnl.llnlu- n r nd paintL-d on Q circular hide. hUt18Wilh fen.hulI'S. fur Illt ls, ol·~hC'nB. The symhol on II,,: Shield wid who lItt: prr~(ln wn Jill'" Wll1l1 II I nvt"tl , (i."llrt."d. or dr1.'Dmc~,

1'(lrlhls I'illioi. your fJl'r~lnlll Shl~ld hUldd be rQUntl,1I1 Irnl'tl 1m '"d'l'" II dllllll"IN,Rtul yuu 811cmld hr hit:' In th'uW Uf poiII'I UII h. OUt"

WV If tnnkinK n Shield is III I'ul while unbl'.':Ichadllllllslin in an t'mh~'Clid~I'Y IUlul' lind u~· ·mb.'uitlery .~'ulinu.. '~m"ler mel hods .Ini.'lude cuUllng D while piece of cnnslruc:Uon papcr tr-ua a circle or usi:nS II II • bad. uf u lilrut: paper pia re, You will need several colored crayons,

fdl-Ilppcdpcmt; or a pain I. prucnc. _... _j .. .•.. ._._. ••. ._

Divide your Shield :inlofive equal seclions (draw.n.s five spokes au!

I rom Ihe cenler) and, on the outer' rim, labe.llhe secUons: ~aradise, "r"radist: LoSl," J'Paradise Regained:'''My Ouest ... and "A Renewed.

Visl.on." . _

The FoUowmg instrucLtOnS wil1 evoke the lmilgcry thai you wiJJ be druwinB OD your Sbield~ Pirst reread YOUII' Paradise' fanlas.y. T&.1I1 lIl:lk.e preparations for an.olhu suided fanlasy ,experle~ by arra~l· i ng to have someone r-ead the iDSl~CUOU to you, tape-recording 111m. 01' fllD1iJiarizlns yourselF with them well enough so lhall'DU can Icad )'ourself _through lbe C1l~rcl~ u~med •. Find a eo~blc llOsid,on. keepiDB your journal, ),our Sfueld. and t&e drawms Imple- 11l(m,ts nearby.

Me st:VU81 deep bn:achs. [2Ih«oad' pause} LooK #1 die section o{lDur ShjelcllllHl«l '7'anJdis:. II [Psusc} Clost:your CJ'CS and rccJlll YfJU.F Paradise lllnl~y.

. TbinkJngof your Paradise rtuJtM~ notice themostpJeasanl sensalinR5 in your body. [Pawe} Focus 0.11 yoW" positive feelings. BlWlthe imo thein., ollowing I.hem to' become'more vivid. T'bepositivc St:fJsa·

Ilmts 611 )IOU. .. . .•

Pocus on the parr of .roUT bocIy in which tile pltMSlUlt $eosalJons Slt\.'tJ1t! moslintensc. See the coJor oJ the senmtJo/ls. TmceUlilbyoUl" fingertips or in yo.ur min.d the sltspe of these {wings jlJ yrJUF body. NOIf: their r!Olor. Explore the interesting textwc. (JtHecond pause} In ," mOfflcntJ'OfJ' Iltil1' setJ or sea6C II symbol cmeqp'ng .out of 'he shapes {JIJO ctJJDf'&~

Watch as a symbol BppeRrS thst reprsents II lime of personnl ~nrlldise for you. {PIlUSI!} You msy BclulIlly see tile symboJ lJJ~S form.. til' ,you msy simply sense' lIIhlll it is. (PauseJlt will further evolve over tl,,: 11"'li:lv nt'oments. RtdllJ( as it becomes f:ncrcasifta/JI dear.

On", you htJve come upon a 6niD8 SJ'l'Il~L ()peBYO~ e~ IIBd 'lntlt' ;'/ on tb~ PLJ:mdi~ portion of your Shield. If afler liSI9JJ1g to ,11l'sc illSlnlCtiODS.,rou sUD have no sense of having had (!venmomctu« rJf llllpptness In ylJ.ur .chlltflJootI, lind a symbol 'lra~ rr:presenl.S "-/Ull "rill nr' (C"Clingorrrmcmbering. /1,-r:o l'envfl1lJlbe ParaJise poT. lim~ (II JllNll' SI.it • .'ld bllmk ".JIll bt· .. r prmrcl'fut .<;tnlcmcnl.

11.fIt"~ "'nil ht'Hin tt, r/l7nv .1'0111' $J",rboJ •. JlOU mny lind ihnl it i,

l'I""'lli'nJ: , ... &~." ft.'f )'rJ.IIlln· Ct't·ntll~1I it. ,.,' 111111 )'Uu IItt1'f: IlIUI • Ibanone 1m. /o.tlr:llt!. Qr (f1l IItkJillulIlJllllJBge may CH:Cur Ie )fou wbile ~u .tlJR1drawmg. Dmw whlttt1VrJrCfJmcs to you. Do nOI#Jeconeernedaboul ~t may be ~estbcUcN or 'bQJft€;'/. #I As /OllgllS t1Je drawing is tDea~ingfW 10 you,,Wu am doma il !VAL, IU j'D,U arc rad~lfrhC2 insJru~, ti__tJJJs 1'1110 II tTJpt:, add': "Now turn o1f tiJe IRpe UlltiJ you hsl'e liafslJt:d

drawing )7tJur symbol '1 .

. .Alter .YO~ have completed drawing you.r PanuliS!l! symbol or sym .. bo4 Jooi Dt the Paradise Lost porlkm of }'Our Sbi~/d. ./pauSJej Close }'Our~J't:s BlJd mOM: fonvardlD lime to a point wlictmtlJ1! bJlppiness rep~l«! Dr tJj~ PamdiBe portion Myour SlIJ'eld w.u interrupted. lPRuscJ This may Involve ~ chll1Wf: inJ'Ofll' circuf1J~lAn~ II 6clrayaJ' by B Jovr:dQJ1~a peJ'SQnm lrirlgr:dy, or» IDcmo!'1lbJe failure. [Pausc/ F«I your bodys IUponse 1'0 litis cRUll.

• Focus on. the part of YOUF body in whlch)TJu f(Jt;/this loss. Dnce wl'iJJ your HlJGerlips Qr in .YOur mind the sitlJpeo of the$: ff:elings in FOUl' body. . }iDIC tlMi!rmlor. &pIon: 'heir 'exI~rc.l.1o.sacol1d pausc) bJ .11 momCJII ytJU will Sft or sease a SJ'1J'lboJ emerging aul .01 Ibc Mllpes IIml colors.

WatcA 8$ a symboI4P/2J1l'S thnlfor,YDu ,rqJn:seolsPanltlise.LnsL [PallSt!l¥ou.~y ac:lualf;y $IJC' ~he symbol wkcform OI',YOu may Sl~pJy st:I1S1! wbM It IS. [Pauselll will lurtlJel' evolve oVCU' .Ihenexl.rew momr:nls. Relax 11& if becomes iJlt:If:llShJ&Iy clear.

Oll~ youhav.e. COme lIPOIJ II $Ymha/Ib., "p~nl5lhis period of

• t'tJUI"i{e, .open)'Our c:yes and drs,,,, i/ on the Parodi. Los, stJCtiOB of l'tJllrShield..U you did not see a vivid1mage, Cl'tNJte the S,J7nbol as)'Oa '.vll~pl"'e tbl~ secondparlion 0; your,,!Jidd. [0 YO,/J am rtMtIiog 11JftSl: m!ftn1i.~.llons.lRto II tape, add: Wow turn 06lhe' /.apt! until you have I 'Ulllplr..·(:r}(J dl3wiog your symbol. '1

, Nun- tbot J'fJ1J nDve drawn a ParadIse lAst 8)lmbol on your Shleld, .Jllnil' .JtrJl1rsc/f tOCODtiQ'Qus!y brea.the out JlD,Y uDpJusant bodily SM. ~lIlrJtI'&.l.1f1.se.cond pause}

tlfli~" adjllSlilJ6 10 a di$llPPOiDlm'COt or rile' .k1nd depic/t!d an the ':<l.II"I.UII6(: I.usl. stNJliQI1 of.l'be SbJ'eld, I\e graduaUy Iorm,u.lal~ ldMS and "ml'JI&'~~ fDr l"CStoril16ihe stmSb of ptUlctJtmd t:ontcDtmtml86SOCiaJed lVI,,, ~mdjSL" Look al tbc IeCliO:Jl of your Shield labaJr:d '?nrodiS/l Nl'{IlJmr.vI. "C/~ your~ lmd ~Ilm upon Ih~ ideals or im:llJJr!YO(J fur IlIrd,niJuUllne wnYJ'IJU WDnu:d )lfJw'lifc IQ bt'('()mt!. (Pau-IAs you ~?' '0 ld"IIIIIj~ th'e ldcnl'or imRj}C$ Yoll h'lut: PUl'SUtv. sInk inlu'jY1ur h't'ltn/lS . o,ml th"lIf.

l<il(·,I.\,iII Iino/Jarl of ITlUr b(ll'~I' III 1IIIti('" th,·.'l<' ""("''n".~ ilJ-r lUrl.¥/ ImrllM". Tt~,.·~ "''''' yom lilll(I.·''',/I" f" III' I~ffl:r ",;,,,/,11 ... \'/lIJpr ollllr . ..,. fN'1/lIg.\, N,'II'lhl"Ii ." .. 1.),. 1.'1(1'''''((' till" (" "'I'It', I III W'I"f)n,1 pm '1 In

II IfImlll 11.1 I'"U Ivill M'(.' or scm .. - JJ ~ymboJ cm(.·rging out of Int! shapes

mId ,1 ani. ~

I . ;II, '.11~.~\~ ., .;;ymooJ appe.'lfS that lor you rep~l& YO.UT BSPl/'B.· lifl,ll!oo, ''tIW [1(.·I'SOt:(ui version of'Pamrlise Repined. [Pause) You 1f1~Y I( 'l'lllily $<'(.~ tile symbol mice form or YO,IX may simpJy unSIJ what I( ~ IIJlw.~ J I" udl/ f.w111cr r:"IDlve over the neJfl./ew moments. RellUt lIS It

1,,·twmCJI IncreasiDJ1lJl clear. .

Onn,: POU hlJ re come upon ,8 $.YIDbol or a set (l{ symbols r1W repre. wnt» 'he hopes and aspirations mat hBvt:guidcd }'QUI I'l~ O_1Je!l your t',f(' Dud co.mpletc tlJe PBrsdi5t!t Repined portion or yourSlJield. !U l"rJU 1II'tl readJn,g lhllStJ JnstrucbolJ's Inlo IJ tape,sdd: "NolII/tum aD'11,,: ..

"'1'" untilyou have oompJetNl drawing'your symbol. "} . ", .

Luok at fhe p~on o/symbols on the ?nradi~.· 'Paradise! 1.,,, ... 1 •.. and "'Paradise Rt:8llinl!fr 5t:CtiDQS of yow-ShJeld. Now look at ',,"c- portion of )'OUT Sbid'd labeled "My Qua,:- {Pau~J Once more' ~·llJ.'it· J'O.UI' eyes; Move FolWllJ'd in time (tom the l'ara.dlseLcsl puI~ ul "OI~U' lift! and t:oDsidl!r the path .}'OuJuwe Wen tonflD'd ParadIse' R~ined. Tbinlt.SDout wilat yo,u bave done to IJI(empiIO ~t your li4· beltc~ciivit1es you have earn'reI ,(JUt, ,Pclsol1'1l1 quaJilies JfDU hm··· dcw:Jop,"d, IIccomplisbmulSyou blJ'vr; altllined. {PauSC'} R'CIlctl ou th" dilemmas you .W!eIlI!! fsr:Jng, what ~u attempted 10 do .aboul IIII'm, and the OulCOml! of t.h~ setians. {JO.ss:ondpause}

Pocu« on' tlJe; PM1 ofyotu' body in. wbieb yo.Ul' feelings about ~ur CJtI~t are lbe most intenae. 1hJcc wllnyour./ingenjps or in Y!'UI mind lilt· a/tDpe .o( tbe.H' kdings. Nol'~ thcil'color. &plorr: th":lr ,texture I '1k"Cfmd pBUstlt) In.s momenlycu wilJsetOT8tmSCa symbol emcrg-

;''1 ()IJt af the .shapes and colon. • .' .

WOlcir as a symbol appeiU'S lhal~ts J'O.w actions. In the wort,l. [Pause! You ma;ysctaal/y set: the symboJ Wee form or ,au may ~i",ply sen.!iIC IVhatlt 1& {PauscJ If will fwt1Jer evolve on:r me nat few

IIlQmcnls.· Relax as it b«:omes inCNtJ.SiJJgJy clear. .

Once you hs've CORle tlprJlJB symbol or a seJ of symbols.thal: .treP~ ,\(.'''':f your Ouesl~ open your eyes ad draw ibis on the section of-!"UT b'lllclcllobdm '"My Ouest. II This drawil1ll of your personal 0"_1£ dJt:

la"" Jrmvi"8 for now. . . . ".... . . . ... ..

I(you wo.uld like 10 sdd details 10 your SlJieJd, OJ' 10 pllWtC ~ers

WI 't. m: In tJmbclJish itwiJ'b some other decol"lltion such H le.thNs 'If ht.'o'"i"i:. dn SlJ ,DOS". T_hea sit bad IInti in$pI!:Cl )'Dur' Cl'Calion.

'l'ht' ,;ymhol on I hc.-Pnrlld:lilC poriJon of Meg's :-lhicdd was of the h Ilnll" hrll "hl" hllli 51 n In her l'lInldilOC ranl",.y. Ul"r rorndl~ I.u t '01 hul WU"I u h pudrrllll vrlnlt~, IIrl 1'lll'lwl!I(' I:tl'Jlllhlcd Ima~wn!t

th yin y~ "L' mho], n divld'd i.-de usc.-d in ancieot China '(0 repro. "14 II Ih' Inlt'rpLy of (.)pposinS lendencies. The symbol be drew for bCI n I OU • I \\Ill a sm 11 ooal-of -arms with the words Freedom. S/R'''Utl" (;ood. nd Compelent written in iilS quadrants.

In II c full win perSOD' I rituall, you will' 'be inLroduO!d to a tech· U.'lu~ r r I I iv Iy ex.nminios thepc:rsonal mcming of such sym.

hoi. and m will the signilical1,CC:' Meg found in each oflh

vJl1bol~ on h 'r Shi ld,

PenoDai Rltu :

g the Meaning of Your Shield

Imo . 011 1"ll~1 unt' mOOI from your Shield for dccpcrcxaminlion. hKII p'llmlurl n ymbol tbatevoke discomfort. sadness, amp .. , Itl ,Ih.',· 1111 .. 1 .1 1111 ~ :d'llgs. Bxamine the symbol and then begin to I I~ d.\ i/ II have becom~ that $)'IIlboL Give it a voice. You a.re the )' nil: tI .11 .. · 0 fin the prese:nl1ensc and in the fi:rst person.lo nth' )'mhull of II rowboat, you might begim b)' stali:nS; ·1 am a

llii II I tlwhun., f 11m blu • and [ am on a slormy sea." Then continue lu II lit I ut relun If a rowboat. lei your wordscome's:pomtanoun lv lid ullr Ih '. d. If you are worldn, alome, yot:l may want to

c' '1' I.' .1 I h I It as inta I pc rccQrder or writing your thougllts till' '11 1I1l. UI r journal. If you arc worldns with a partner, your In lin 1", juh I Imply, list_n. to gently remind you if you wander nw.IV t.-om ,htO fin;l person present tense as you identify with the

\'111 lui. ,,",I lu unllQ roBe )Iou tQ go beyond the tirst few layers of 1 .... Id .. u Ul .... Uisr.-u !OI n houJd wai un11l1aflcr you bav explored the IIIhul In iI. own vol . as fuUy as possible.

\ h"11 t.. 111 finl hed, skeldl the symbol in your jourual and nunu I'I?' 'll . \VOt) ld nlificd with It. Commenl on the meanins 1111' '111001 't ms ,., hold for you. Meg summarized her associations \ Ilh III InUl ur I), sYll1bols on her Shield:

"""'on Shell (Paradl:n:): I am an u.nblemlshed aOO.nne " II(ft'IKKJI un 3111 unflpod d· t, It. glorious natural ph~lII m non. a Ihln Ilf bl·~lIl1y. I am all -!'I)' unltludled JI Y IT "4:.11 i~ 'lcll lhill tht' It u d r xl r ulm n1 •

dendly. d pending on the use made of me.. WheEl Meg was a ehUci. be knew m both by observation and use. She saw me puldnB mClrpMnc and adrenaline. IIlcernately. into hermolher' body. S. W II tought to u me to save h r mother's life. I am indifferent bout who uses me, r hay no morality. no sentiment.

YI".YGqSymbol (PlmI4_R4pifl.edI: lam a symbol .funlty.

All cootra:5lS are r nal ed within me. I reflecl Lbe Tao, the One, th principle of unification. I encompass, without prejudice. am r tiOD and 11 time. I am One with All: Godlike and HumbleJ Creator and D.issolive:r. Whole and Diffuse.

Coa'-of-Amu with the wordslrudom. SlrMgth.. good, an,dcom" iH,en" written in its qu.adrants (the QU'eJtj: 1 am a slromg_ protective

ove.ring, made of leal her and oak. designed to protect Mellin her journey through life, Very few weapons COD penelrate me, and Meg rarely lays me aside.l,C8.n")' the emblems she values, ev n IhouSh lihc rarely Ilves up '10 them fully, Wb.a.t cannot be. seen is my patCh.ed and 3habby reverse 'de.

I speak of "'fre.edomtl-f recdom of tboullbt and actlon, freedom from convention and orthodox: llinllalions. Behind me, however Ion the back of the coat-of4rmS]. is "fear" --rear of censure and allenatton, I keep my back side wen hi:dden.

One of my sections is designated "stronj'-strong in purpose. bodY. valu.es, courase. The Rip-side of "'stron~ is '"rigid' -unwiU· lngness. inability to yie.ld without collapse.

Part of my &Ontis "good"-I want 10 do good work and have a ood heart, good will. good life. and good death. Good is defined ill belns' a positive foree, OD tbe back, however,:l ills op ite:. •• ·If·serving.u

My 'Iasl. quarter is for iftXImpelcnce" -development of my kills md facilities in a Darrow range of aetivi.ties (my artwork, motherIng, writing-aJl easy stull for m.e). On the back is "1azlness_ and " r -nslvcncss"-bei.ng unwUUng to cl1alleng myself wUb difficult u horing tasks and unwilling to admit my incompetence at money If1fln emenl, al m n)' human r lations sltuadoll5" or al pbysical 'h II n •

"mnk, thlrt .liy ,YC:llr-old Inv- -1m nt ooun!iClor. used this te b. tin' 10 c.·"plnrc the ~ymboll m or IiNI h • hod drown on his Shield:

Tltt' ",ymhulln IhC' lin ',uh

r fl I Ir'k I n ru C

WD. rour nd n hnlC, ,k y, J urn a 65l. I m lenched~ Jam, mo,vlnll v f)' rapidly. J bAy anger in me. I have incredible anger in 1II1e. Thai Gnger just :wanlS lo exPIi itself. Wants to hit DU1.. Tutuiger is sLron,g. And tbcre is &hils kid playing witb ray toys. I have an excuse to pUI my ~aer: right ialo IUs stomach. And 'that's what fm dol_ Wham! That felt good. I fed my power-llIS1Ud of my usual hel,. ICSSIl.ess. J feel contacllnstead of Isola'tion. I feel d'om.l.Jtanec instead

of ,fee'liQg d.omin ted. .

Going from the warmth and safety of a .o,w."" DUrturing. and lSUes5•o\' rly prolectivc home iDIO kinderprten was totallY' ov rwhefmmg. Inev seemed 10 know WDaI was gomg' on or what was cxpec;ted of me or ho,w to reJate to tbe other Idds. One day. one of the tougher boys was playing with a wooden t In set, He went away and I started lOI play wIth il Now r wasn't certain he was through witb it, but he bad left II, so with. B. shlade of Ircpidatioo I went over and pl~,.ed with it. BUlt he returned, saw me 'PInyin! with th~ train • and Without II word. belled me in the stomach. I don"t think I eyer knew al'lyl~ could hun that mllch_ AD my breath wasje ked oul of me Bnd [found out what it means w en they y

someone" stars.'1

II n:ev,er 0CC:1lm!d to me Lbat it was wrol1g for him to ,have hi. me-l always assumed he was justified because ) slloufd have known he was coming ba k andshouldntt have been messing with Ihe 10~s he was u8ing., For me. thai list repr'CSCDtcd an arbitrary

uti )nl)l tbal has always kept me in my place, 1 couldn"t cempre. '1 nd what was going en when, J got hit. so , just look on a sort of .lIlcIUcr;( ened sense fbeluS oppressed around strength or authorI • I nev r re 111 thoqgbl about what was ,on (he olber side of the II I.

~'I~ minI" the fiSl humanized il (or me. [ believe that D'IlY as-

. 'Ull ns to l.he ist may havC! bcenvcl'l' :similar to w1lat was going n for that kld. WllUe I dOIl'1 remember thInking' of bis fist for 'cudC!l, I beli ve it represents a sense that t IDWlt be ovcrlycareful, kind r If-oppf'eSS[oD lbal r carry wlth me 1,0 Ihis day. Somehow I oolv~d I w s bad because I was plt.ylng: With lhose loys.So I

'cpt d moml restricdons: lshouldn'( ever break any rules: 1 mUll .: \'\:11 abide by unwrluen, imperceptible, and Inyi ibl rule . So now J PUI 101 of energy into sceond.p . sfn whee rni -hi R I_d lifUnc.

• n I 'Who. might c usc '10 Itl II \ ilh 1ft nd I w nd

lip !iiI "in II fIOn' "",lly. und Ih 'n I'm • -

Ill-' 1,lt,.

I II d I' r h rd It v r It " " IIll' I )1 III P hldPJ I or

59

Illy d t !tmntC!'!i I11ml III m ,and I !itllliry nOI to make ethers, even h III ,,-"NI un 'liy around m or 10 give them any reason to judge 11 e n .. d In .' I lhins WI'ORg. Wbal a burdenl What's striking is h w I v th kid that bit me 50 much authority to j dse m •

Vnuan 'e ho\v Frank's claboratioD upon this simJlle 5)'111bo! from h 'hidd began to reveal a persistent. self·Jjmiting aspect 0 his per-

u I n1ylhology. Since QbiJdbood. he had given olh people' 'opin~ I til!'; U warranled autbority in determining his g,wn self.evaluations. In. ni \1181', tbe ways, he imagined people might reacl to him caused I III ,n, I rnly police his spontalleJty.

bl method, w.hicb begins with "ib£coming" a symbol and dmmaII/U1R II, is caUedct'Mliyeprojecli.on. 'Weencourq you to pracliceifs u • Ii) ~. ploring any symbolism-dream or waking-that emerges I", ugh ul the program. Creative projec:tion is also D valuable tool for ." r Ii ing your reactions 10 artis 'c, spiritual, orolher cullurallmI'Po .• Por example. If you have access to A Tarot deck, pick II card, find III mage on that ·card. that you respond to' roost sLroogly. and use the

I • live projection technique to explore Us symbolism. With. thiis ·techII que. - OU can develop )'our capacity to llnk symbols thal move y u ud Ill' personal meanings they hid.

Dream Focus. "My Ouest"

'I II 'vents that make up the Parad1sc and the, Paradise LDs\ portion , •• your Shield ()C'(lurr«i in tII.e past. The OU t segme.nt of your SllleJd YI I 1i1.es an ongoing story. The following optional dream instrucI ion In"y provide further insigbt into your personal Q:ue&L

If u have been rccordiQI your dreams, scan your jOlll'DaJ 'Lo Itl"nllr IIDY dream images or sequences that might provide a glimpse II Jlh nnlure of your persol\alQuest. Reflect on lhesedrcams. Ify u \ 'mild like n addllioaal dream that might reveal, more ,about your t' I, u .. the following in lructions to ":incubate" a dream tonight t r re "QlnK to Jeep:

.. h '" "n·hf. 'Uc 1 II)'JOD ihtJ. QIlt'."1 p()J1/I n I "Iil.. 'U. ,,;mft<> , , 11111 wi",' "" ,. IJn}lS you I,a, about .r",,.

I, th • .'f.r"~f'ifJ" .• '/' ffI I Hco/Je". It , J YfJIII If. or (JIll

I",lel, teu I II\'m Iitn"s,"J ,viII dresm about my Out!Sl •• I1d J will n/I m un:oms."

prepared with your journal and a ptllil or tape recorder to caplure y ur dralm as soom Q, you awaken. If IhcE'e is no dream, lie r ptive 10 yo r early morning iI,sight$. The importallllConsidera· linn in allemptill8 to incubate a dream around a particular question is net necessarily wb dIer you are given such a cI.:r$m_. Most people

n Incubate a dream only en oceasiOD, If at all. Hue, and in, aU the d - m Incubation instructions thai follow. the priInary int,enl is to h vc you invite insights from the deepeT realms of yout' psych and "",mIDn alert ror what comes through in any form-fantasies, sudden in IlblS. early morning tboulhts. or nisflttime dream

Also, do nOl be concerned if the rll!IationshJp belW n a dream YO'LII re II and the qtl.C$lion you asked is nOI reatlUy apparent. Often, you will find s you examine abe dream that i1 did tOllch upon your questif n In ways thai were not obvious at firstllance. You may U5e struetur dream interpretation techniques, such as those presented in

PIJl'ndl B.IO' gain a decpet' understanding of the dream' meaning.

M ',II: I - ,rd(.'CIlh.c rollowlng dr in her journal:

I am at a 'beach. The dry sand is white and d p, but slopes "ile pi to the shore, Ills aelear day and the Ude is low. My nusba'Dd, b u le'p on the blanket beside me and our baby is expJOMS the wn.c::r ~g • I look liP aDd see a line of huge swells comingLo-the

d ha changed ,abruptly. There is no way I will be fast enough to race d wn Ihe sho~e and ve my baby. I scream to Ron to wake upl Wake up NOWI He does and races toward ahe baby~ l'm still M:l'eumlng for him IQ hurry when J wake I!lp. my heart pounding.

u. d Ih ereativ projCC1ion technique to explore several of ·1 em nt from her dre m:

A.r. r I woke up, I remembered thai tbe dr om blld e me In

n~w'l" In my III 'dl'lonon on rhe QuOit poralon or my Shl 'd. wnh il ~ w rod • ""'(Y'dO"'f S,r, ",1" OUtI, {m"l ,,,''''. nltl nil mornln I'y . n5Cd Ih t there I n:l lun II I -IW I." . '1' I and th 1m" .~ n III ,lr .. am •..

"1 aim Ih~ h b\' Ix '\I. I'm h edl wurld \lmle'l .IIC' \Y III hrul "Y" III n

,Iurin In

nt've'r 1 11

hurt alit! I huy no n of d nger. 1 bnvc no sense afmy own I tnlilQllon:t ur murtality-I am rr· hand aU"e. I am Ireedont."

... am the rising tide. l'm irresIstible aJild subject 10 the laws Q.f hy les, 1 am moving forward, bound 10 follow my own d ·ny, Jbj 10 the pull of moon and sun. remote fr:om human conceras. lam NUlUN!-Unsentimental" life-gl¥inU.life.extin_guishina. harmonious, primal. I ,am smmg and swirl,"

"I'm R.on.-l've been ripped (rom relaxed slccp to complete mehllb.alion-l have the speed and determination '0 save my son &om lhe sea, 1 am mortal, butI'm rising to the chan ng- as if 1 had no limits. ( will be successful. because to do olherwise· to lose what maners mosl to me-my sense of continuity and purpose. I am the essence or good:tuss. II

., am Meg" rm acutely aware of my senses on thIs beautiful beach and of my ble5$lngs, as 11k at my beloved husband and

Butlful cbUd. My oontcntmenl is shattered by 'lh annihilating danger approachiD& and I am suddenJy suffused \Yi\b lerror-I feel lhe heaviness of my legsf my I ell of a&lllly, and know my com~ t nee to protect my innoce:al child is compromised" M¥ child wiU die lit 1 canOL mobiU7J! Ron 10 extraordinary effcrt. I am faced with the monality of all lhal love and of myself. My own competB1a dt.1JCnd5 upon IrcaJgnlwng t e powell" Dr the nalu-:aJ forces Ihal

W' und me. I must lind my pl ee 111 NaluJ"i nd not looU hly decide lhal my mind makes m immune r rom th c:'bangins of .he lid ."

Meg elaborately linked her dream symbols with the four words th I were ol'lihe "'Qu· ,. portion o.f her shield. Usually, su.ch connectil n' are not this direct, nor is it necessary that lh ,be spelled out

III r lIy. Yel just as Mets initial creative projection with the ~. ur wurds n lh "Quest'" panioo of her Shield revealed tbal each word

'fli .Iui nGd ib anUthesis, this exploration of herr dream also deepened IIL'r understanding of these rout qualities in her lire.

Penon Ritual:

Your Shield .. Autoblograpby

mr lOry into 'PC: r rder w"'lc it til yo 'I' J urnal.

, fur . YULI be in. rev! w Ih Id "tili lions you m de wich th ~mbot T m your Ilicld during th previous ritual.

M wrolc her storydirettJy Imo her journal. While space does net lIow or h r entire ag;oUDl ID be reported, the r, 110,wing excerpt.. which focuses on the hyped rmlc syringe rr m tile Paradise Lost ~utl ,n of her Shlel.d, lUuIlrolCS the pr0CCS5:

I feel very youna when Ilhlnk or Lhe syring. [remember my m ther vomiting and cryiq out '10 my poor father for an injection. "PIc: • &cn. just one shot. jj She was in withdrawal rrom morphine th t h d been medlcally proscribed. he cycle seemed en.dless. She w uJd choke herself' 10 unconsciousness with ber lbma. be r 'lived with adre:oaJine, become hyperactive, brought down wid, morphine. and jnstal1dy become addicted.

I have plenty or fccUf18S for the IJ.t.Lle kid. f;owermg In bcd, lin omFortcd. who heard this every month, for years. [ have cven Inore empathy for the 'd 'Who learned 10 give anirijec,tion at age nine, Th crowninJ horror of my childhood was the time I came h me (rom lhird grade aDd found my mother. at 3:30 hi the afteri 8' rawled across ell kitchen table with her 6ngers in II cup r 1 ofTce. I did as I hadl been instructed, filUng the syringe with Id I!no,u-e to the .Sec mark, pr ins the plunger carefully 10 reI . any air bubbles" and then dealing with ber as best I eeuld • III mbcr. That was tbe bardest part. She was unconscious nd Ilthol.lSh she was not a large woman, ] was olllly nine •

• pushed her back ln the chair and opened her robe. I had neve!i .' 'cn my mother's brusts before. Wb.en I was Instrucled whal'lo ao j n n emergency. they showed me on my own bony chest, demon. t u nl now (0 count tbe ribs and bow 10 find th place beside the - 'mum to push the needle. They bad me practice on a lemon. I r und th t pushing the needle iDIO herhod:y was infinitely harder

III 11 Iinto the lemon--at one point I was afraid. thai the needle \J uld nd 011' break. Bur I did as I had beentold, Within a few mlnul sh revived e:nouah to De en the couch, Within an hcur or

J Dod wasthere, and be'caJh:d the doctor, who came over 10 help my moth r Il& betl h could.

I te, Dati I(Jld Inc I h dna "brave lillie soldier" nd Lhal I had d ne well. I d n'llhink I ev r cri

I fI "th.lI. I'v - In d.

bul t I' hltd 1111 I

.,,,, n,., ,",'If

far lnl ally III, ing .1. '111'1'1 ,111111" • and I 'u.'heroU5. lim basi.

.11 .1 MluC811 sh er 11. I've n able to t kccate of my Idds \Wh '11 Ih Y W • .1 k, nd to handle emerg n ies and birthin itua-

I em • but J' III lIy sickened by illness, I~v IIDled myself when

I'y n III" ialing il witb my mother and h r wretched belp.

I'~n - thot (unl ntcntionally, of course) disloned my childhood md my fa.her's IiCc with her constant need for nursin& unUi she til ~ Ih month I turned twelve.

. _ he "brave little solcUer'" theme pem ted as Meg grew 'up. It came

• both serv - her and Umit her, Wi is often the case with perso.nal In lit ·lhat were iniUally developed 10 lve speci6ed'lcmm duro f ' hUdbood.

Your Shield symbolizes" in a highly condensed manner, many

,specrs of yout persenel history and unique mythology. You may 'Wish to display it in II. special place wh re you ,can see It rrcquen.tJy. 11 ",UI be a companion as you go through the remaining personal rllU I in Ibis book. and you will be sbown how to use it as an InstruIII 'nt [or emotional protecti.on as you movetnto uncbaJ'lcd of

ur personal un nscious. 'Yo1.lrn y I ,from time to Um -: wi5b to u'd a new symbol 10 your Shield or to examine oxist1:nS &ymbollsm lurther by usin.g the creative projection 'techni e. In chapler S YOIiI \VIII complete the - tion of .he Shield labeled "A Renewed VisioD." M 'onwhlle, you may find your Shi,cld .atm. on grcaler meaning as vou proceed through the following c;h~.ptcrs.

I f)BNnFYING UNDERLYING M ic CONFLICT

u Shi ld nd III ymbolism provid ' broad survcy of the events th I hov haped )lour personal mytholoay. Here me program shifts III 'mlC nl te on aroas of your mythology thal are no longer serving 11 I lies In YO\Jf development or adjustmenllo circumstances. As your und"rtUu.nding of yourself and your wor.I'd increa5e5, Jour myths are , nllnually challenged and revisecl By the end of this cbapter, you will hlW' id nl ifled at le I - ne guiding mytl1thalls causing difficulty

(mv()u.

I'll

lh I are the m 51 primed for change rsen I olin ,t. - Ullr iun over what Is y 11I"1 !lId dir • ur df'orl' 1ft brinS

y ur It nlion 10 • .nol myths that are limiting you. Irrational t 'n~ " sen d'cft:ftling behavior patterns, disturbing dreams. or meoni len I ootw :en word and deed m_ay also r Reet parts 01 your myIhlogy Ihal ecd alLenlion.

J~I for instance, you find you.rself frequently compJainin,s about h - w busy you arC!! but keep overscbedu.ling every opportuniit)! for free lim. the personal myth with which you consc:iously Idenlify may have liUJe to do with your actual behavior. At the same lime this myth II directing you to ,sl'ow down and ,smell tb flowers 8 di1f'crenl myth.

!"Vi1ll8 purposes that are outside of your awa:reness:.may·be BovernIng y ur ebotees, Such unrecognized mythic confliCI can keep you 'nllr heel in dysfunctional patterns or thought and behavior. W _ n yuu b Ina: lhe conflicllnto rocus, h. - ,wever, th opposing myths can be

r " nl,.od nd a coBStructive resolution becomes feasible.

, Ill' onlinual search fOT approval. for instance. may be Unked 10 , If de ling personal myth in whicb you require validation from

ull.urily ligures wllo, at an unconsci'ous level, stand In f-or your r.llh r. If YOIl arc able to ideliltify lhe myth lhat perpetu t the pat. It"I'n, 'Uti have 8 chance to make changes io iL Perhaps you longed so Inlll'h ~) "m manon from D remote father lbal you made evry 1,1- 1I'1I111111n mo.d )'ourself'lnto the hugeof' wboyou thought your father

Iml 1 y 'U l be. yen as you Few up and your father was no longer 1111 "Iiv heracter in )'OUl" life, you might have comtinued 10 make "'" llul1l(ll"llal trortl to pin approval from sy:mbolic subsUtutes who r "rmdn de Id and dls1anl. Psyclloan~ysls use the term t'epeliIiDI1

'fJlllPl"l'lolI' to speak of "the blind impuJ5e to repeat earlier ecperi~ 'm"s & nd Ituatiolls quite irrespective of any adVaHUige dun doing so mlHlll bring from n pleasure.pain pelot of view ".II By,syslematf,cally YI I'.king with your personal mymology. )IOU wiD become Icsa cem-

I ·!I,·d I I'~ t d lructivc patterns ahal are mai 0 tamed' byoutdatecf

r ol!lflilin persona] myths:.

on I Ritual: Aues -Ing Your Conftlet.

In Ihl. ,rilmd, II wiU CI'COI I) broad ummary oflhe points r nOl t n VUIII' Iir~. Wrilc til· \\Vo d eml/Tlr" SI," althe IO-p - f" frmib PUKe , , yc ur I In 01 uul dl id the I1Rll" Into 11m' • hJrnnfl. I bel I'" -'11 ".' n·r ·r(.·ul 11~ Ikh I\riol'''',"''or oubl 's{ m "F lin s," Dild "ynlbo'!i IIf '",1IIl',"

J )uk II I h fir ( . ,lullIn mid II ink • ull t tnt "h, \' r .hlll

CUD 151ently (ailiIO gel you what you need 01' waDL Identify :rccurtioa habits u seem unuble to cbaqc. JIlisII.abs you seem destined to r peat, or deei5ions you seem unable lomake. Describe these self. defeating behavior patterns in the firsl column of your ConOict

urvey.

hen tum 10 the second column and think a,bout .el110doDaJ pal,I rns thaI U'C diftiwlt for you, aucb as unrealistic fears. inexpUcable unxiety, Wlwarranted dissatisfaction, persist.ent ambivalence. or iMPl'lropnale discomfort. Describe these troublesome feelings in the &eO-

nd column.

In the third column, Symbols of ConfliCt. describe 'or dr'aw any images, from your dreams. fantasies. or artistic creat1on. Deb. as)'Our

hield. that seem to rcprC5C1nl- conOid in your persooal mythology, W also suggest- lbat you considcrstress-related symptoms. su.cb as . houlder tension or digestive problems. as symbols of possible conniel in YOW' underlying mythology. Psychological con_ftjcl and st-ress

re rleD implicated in ulcers, beadaches. amd hyperteqsjbll-, and .hare is increui:ag evid.ence of thetr involvem.ent in other illn.esses as, w 11.11

Be speculative. Wb -never you recogrUzc an area f underlying . nOiet, you ar-e lakin! a step toward partidpatJD8 more eonsciousl,y in .Il resolution. We sou t tM,t you carry your jOtmlal - - und, with ou 'for a few days and dd new ideas or symbols as they OCCtIr 10 'you.

Here is a sampliDg from Mets chart of oonfUets:

I. If·nereating Bchaviorao

• I seem fated to be stupid in money m.anaacmcnl•

• Somctim I reaDy sl\ouJd back down on, stand I've taken. and 1 don't know how to without feeling lib a jackass.

• I become overly defensive when 1 think someon.c is puttins: mething over on me or talking over m.)' bead.

• When I'ln ick, I either whine or withdraw.

an escape from somelimes

• I often bave! a d jr (- lle or cone al any unpl,easnnl truth aboul myself. DOl trusting others to have generous j\l411- meats aoout me.

• rm uncomfortable In the compaD)' of well-groomed, middl aged women who bave Hpaid lheJr ducs" and arc satisfied wllb lb ir ooDvcntiooaJlives.

• I see the effects of the aging proc OD my body and I am

ashamed, as if I had commUted a great crime.

• I'm honib,ly selfish and possessive, unless U's ea.sy 10 be graeioU$.

3. Symbols of ConOict:

• In a dream, I have a bidden treasure. I don't know wbal It is, how to prolect it, or who the n my is.

• The h)lJl)Odermic needle from my Shield.

• 1 feel Ute a fraud when identifying 'With 8aytmug bea,\ltifuE, Elke the abalone shell or the yin-yang symbol

• My back problem. When I am overloaded or feci I m tlSl perlOrtDt I have characlc.risUcaJlystiffenedmy ~;ne and by now have structuraUy damaged myself.

The survey Identifies an ,assonment of conflicts afld provocative issu in Mq(s life. M people can readily II l several cO'DOids or concerns, If you are naving dUlicully findi I'Ig areas that iii fO.1I" you, uk for a dream or consult )'our Inne Shaman. Find a setting in which you can become deeply reIa...xed. md agaio draw upon the techniqu your Shaman instructed you to use when you wish to make a visit. Ask your Sbam8.D to hdp you r~ behayjors Dr patterns of emotional response 'bat arc self-d rating.

When you have co.mplefed your Ii of conRic:ts, put a staT next 10 • he items ,you consider particularly probl.ematic. By Ihe cnd of Ibis chapter, you will have seuIed on a single concern. The foUo:wins dream sugcstions and personal rituals will assist you in bringing it Into focus.

Focus: .A Conflict to R

Dre

Ive

our d m j urn II .' r· u n idl:llliry any r nl dre m mholiz • ,111\ at ." ur e nfll,,' f(t you. H unlne onlY. U h dr lilt I inK I ~'Ill'hll d drt· Ih c' rlnrnrhUl te '11I1i'1U (lill'll U! Ihu~ .,n

nl ·d .n A 'ud x H). tr IIU wl:bh If) incubate 0 dl"CJum (hat highlight

:l l' S f I,m I th l migll11bc IIInl: r r y ur atl atlon, review your (nun! t urv y fort: y u go 10 sleep. Then ask yourself for a d.ream Ihnt '\f' I n ar of conflict that would be a particularly useful If u Co.r you in. Lhis program. Repeal Ie.D lot,wenty times before (ullin a loop stalemcut such as "I will rem.IJ a dream IhaI show me .U1 01','0 or my personal myaho1ogy that i5 ripe for exploraflon/' Have ':I. ur journal or tape recorder nearby. Use ,at 1C8$l one dream ~loraI on nlelbod with auy dream )'ou recall, even iF you are not inltioU, sur il r lales in any way to an area of conflieL R member also that. wh Ih.er or not youl'CC811 a dream, you may awaken with fresh in-

i he about your question.

'Pe· aJ tu:

Finding a S)'IDbol for Your Confll.ct

Tilis guided imqe.ry ritual is designed to lranS£o,rm the feeUn you hay been gen faling aboUL your conflicts iOIO a single symbol. If you r already fairly certain about 'the conniel on wlUch YQU wi5h to nncentral.e', the ritual will add to your understanding of its m.a.ning n your nre. tr you have not yel ·uled on a coniDict, it wUl colLI y ur u!1:f:omcious mind to he,lp you eboose. Begin by findinlg a omforla,ble poBi lion, elosing your flY: • taking several deep b ths. and starting III r lax:

As you ~ttle into this safe, Si/£ure $pOt focus OD your bn:slbing; IIc.'l:{in' 10 reJl!lI2lUJy.areaS of l~nsiOD in ¥Our botIy. [Pau. ~ Listen tor ~l lid teeJ'eacb in·bretJliJ ud ad oulolJreatJi. (PiJUSI!!j Nolice your beJl,y .md hest rising and faJJing. [Piluse) Your breathi11l becomes slDw '" { deep liS you re/u man: and mOll: completely wft/J each of your' "".\', Due breaJ.hs..-()NE, 7'WD, THRBJ!, POUR" F1VI1.

111tnk oboutthe areasofcoIJOid yDu hSfIe baM surveying. /Psusel ~ 111' r turD will' be of particular concem. Feel your body's EeSptJlJG:e III IIr breath;. musr:l~ and temperature. 7hlce with your 6Qgerlip, or in yovr mind Ihe shape of 'he pIIrl ol.your body /.bat responds '"t' m I '"-)I)gl" Not ils color. Ibtplore its lexture. [JO-secood IJJtlJSt'/lo a nJwnt.''1l/.l'lJlI ,viii see 01' sen IJ symbol emarging oul 01 t/, ~/JnI'" 'lIId cokn».

W. Ie" .. ~ "~"mllol "f'''''4'~ IIrlll n·"lT'SI"rJl~ nil lnuc'r NII,OJ I Ihm

"I

i~ I""-" mJl ("I" I. ~JIJliun.lPI,.,. 'i You IrIDJ' BctuJJlI)' • th'_' s mbol I like' ron", 01" u mil simply sen whnl it is. {Pau 'i II lvill furlher r ""/1.'(' IUlC'r IIII! UeJltl few momcnt.' Relax as ,II becomes mClT:llSiIf/l!Y "'/,·Ir. Yoo lnlujti 'ely recDgTlize t.be me.tuJi'ng 01 your $J'lt'lbol. 7htsl lilllllurlbcT 'f}IOral'ion oflbt!qmbol's signiJiClUJce will be va/,usbJe.

Pr'CplIf'C to rr:IIUIl 10' your wa/dJJg tXJIJscioUSIJeSJ. CDooling from fi,'_ ba It 10 Dnc; you 'ViP be IIblt: to rr:caJJ 1111 you need ofr.his experinc'(". When you bear the number J" you will fed alNt, rr:laxaJ. aJId m~ /Jed. as if ,vakiqg hom II waotlerful nap_ FIllS, movc,YDUT 6fJ-

• . unci toes. FOUR.. stre1cb your shoulders. 11d" and lace muscles.

TIIR rJL take lJ d't;.cp breatb, nva. brilW your IJttcntiolJ baci into Ib:e ty)(Jm. ONE. open YOUI' e~ kt:JiDg ICfn:shed. BIeri" BJ1d fully com/» ,lI'm 10 mcel lht! requiremats 01 YOUI' day.

row Jr describe the symbol in your journal. Record any in jghts d 15 you may have about ib mewdng. You also might find It "ulthl t use die creaUvc p~jection technique to explore-the mean. mil or Y ur symbol fur1.li)er. The imaae thai came to Meg was faulty

'lIh" "qulpmenl that tbreatcned her life in a dream. Frank, the in,-"llm'nt uneeler, wrote:

'rllinking about my conJlid brings me to Lbe paiD of nolliving \vhh 1 I' . passion. The bodily sensation was II! tigh't oblong hI k lIri:D. slaning in my neck where iI was the. wtdcst~ and going down 111 • nl r of the fromt of my bodYf perMps 2 inches wide in me place', When it became a piaure. it was a giant jaw and B little

r ion of me was caulhl In its grip, nol harmed by ils teeth.. bu. t t 111 pinneci. That ill'Ulge mirrors the {eelinss of heiDI stlOed and J nhlbtl d lhln I so 10Dg to be free of.

. er:IODaJ RItual: btdlng the Roo of Mythic £on8Jct In Your .. t

ur person J his-

u cJl."iJ k In lime 10 on' rty '''perl enee nun .50 related to current

,mn UllLos in your Ufe. By . nr","<lling pr mt feeUn,p 10 past expcri-n ,you will in gr lee appreciation oflhe.source of underlying cunJli_:llrt your mythology. Stan by findl:ag a comfortable position, I . i ur eyca. end iaklna several deep breaths.

lis you SIJ,lle into thl'S saFe, sa:ure $pDt .. 1oclJ$ on your bJuJthina.

Ot,-gin 10 rcleastJ Bny Brt!l1.S oI'rension in your body. {Pau.JUsten (or mMllt:t:l eac:/J i:n-breaJ.hIJ:nd esch olJl-btea.lb. ,[Pause] Nolic.e your bclJy :md cns; rising.and falling. [Pause) Allow your brcalbing tolH:comc ,r:/",v lUJd deep sSyOfJ reJu JJJOI"e completely with etJt:h of your OMI Ii Vi brealbs-ONE. TWO. THllEB" FOUR" FIVE

Rt:ClIlJ your symbol from the previDus rilua/, or ffyou bave a dlnt!FCnt WilJ of IhlnlcJng abo,ut the conDiel you wislr to explo.re. bring ;t 10 mint!. Notice your feelings about 'his 5pI1boior thought, (Pause) If 11JlY'e ts more Ihan one feeJin& C(Jncenlraie on the keling tblIt Is th most do:min4111 or UJ'lcomiorlable.. [Pause} 11)011 are .havlng d1Dicf,Jlty lUning into a oon/Jict. focus on BlIY persislt:lJ1 troubling &11ng.

Keep In ~ur,awan:ness the f«Jing'You aB'w lclenufied lind notice ,h part of your body in which you t:Jtpt:ricDce it tiH: most fully. Bring vour 1I1IcntioD 10 thai fIIIrl ol)lOur body. [Pawe} Ift.heleeling;s ~ imngin yOW'St!lf brr:athif1/1 intD it and intensifyin8 it. If 1M IceJingis

'Irang Ihal it is dislmctilJ& imagine that your lJext lew exlJBIllliolB .lI"C bn:.albiag au/some of the Intensity. As this {et:ling absorbs your alt"nl'O~ observe, Ihe Wi!y yo.ur bodyrea.ct3 to it. Ft:t:i your body's " • rpon .in your b IhilJ.N, your muwes, Dnd your temperature. {Pausej Pind II ulOrd Jh I dl'SCTlbM the feeJJns

You will use this fedlng to 1~lJd you back 10 an earlier period of t IIIr life. Nollet: the RO'1 of sensations tlmlmakc up dJe fet:ting. Now

'fl.-ate Iht! ima&e of D riveT 118J1tJ1J continue to focus on your f.ung.

Tllink of your feeling sa tbe- river. Imswm. yourse.lfin ,. !oal on tbal river. The riVf'r D'osts you bsd iD lime. SJj[rNy and tXImfortabJy" 10 ODe uf the' fiJ.'SI rx:r:asirJI1S Qn wbleb you experienced we feeling YO" just

" It·",m ,

On the bank ,of Ibe riflffr you sec, lIS i/ on • s~ youn;:lf Q.t-

11(·,·/t·1I ina rh me feelIng, bUlln a seen" Ib.1 occurrt!d JIeIY early

in ." u« /iii. {ltlL. '1 Enler the stJeDe.

/fOil' (,Id 1Jft: . u In tIlls nt!'Whnl rc yo,udoing'J When' )'Our

"',·"'flr, (Iot,_" nul o.m .. ·r IJIl." -rs; YUill btl. imllioll lVill. What do 'lJU 1(,,·1; Jill,.., Wb It an: II I oari"G' Who: ;f lin IIC, Is ..... 111. )'Ol/.' WIIe'I .m .",,,,.' I 1,..~' m' ", • ,,,,,,l'tlwull"JI~''1 I ~,.II ,.;lllhrs. till""!.. In:.;1,· , or

me·lI. Ju ""1 C. 1 ri 'lice} WilDt, ape ifi· // , blvugJr, _bout .lh h JIftH.? It 'nIl OI'lmpgJnf! B 'mnJtY delsils of Ihlll earliutimc ss you ClJn.

/4 ad puu.·:]

Rcl1f.'C'1 on SQm~ of the decisions you might haw msde lIS a rtlSUJt

(Ihi puicflCC and others like IL [Pause] Wi1a1 condusiollS did you

tVJ1JJC It) shaul )'Ourself and your world}· Whalmle:s or cocIcs of cot» tl", did YDU adopt? What sl1Jtudes lOward other p«Jple began to ,'mel 1 WOOl vie"" of lhe world? Wllat pbilosophy ofJlIeJ /4S-st!contl IJllU$,:}

PrcpDI'C to n:ll,lrn to.YOur waiting conscloumcss. ColHJl;ag From H,'~' 1m 10 one, you wm be abJ~ 10 r«BlJ all you Deed of thjs f:xpt:ri· an:. When you bear the numlMr I, you will feel ale,." relax«/, and ., .,., • '11rd. as if walcing from a wondarfuI nap. FJIIB. move' YDlJr fin·

,~ .lI1d IrxtS POUR.slRlcb your shoulde'rS; nd~ lUItI face musdes.

Til R IU;~ Inke D deep breath. TWO, bring ya·ur attention bade illlO the I lOIlJ. ONE, opeD your eyes, lcdlng rJresht:t:l;. Blere and fuji col1Jpt'JI III In nJcoel the ..I't!!N/uiremenl9 of your day.

SlUlUllllrize lhls ~perlence in your journal and reflect on the fol· l'lwln n

I·, Whot was th conDie or symbol with whlc.h you started?

What was the negadve emotion, or unpleasant reeling it 'vok d in you?

1. Dc > 'dbc the scene :you went back to in as much d lail as you n recall,

. Wl1at rules of 'behavior and codes of conduct did you adopt b sed Oil ex peri. nees: such as the one to which )Iou returned? In wh ,way mi:gbl such experl nees have iD8uenced yOW" sense or your own capabiJiUes.lJmilations. and personal destiny?

I low do (hese rules, attitudes, and philosophy alfccl your life al thi timr1lIow might lit y be related to your current eenfll t~i' Have Ih y beoomc oUldoted fllr YOIl?

'I'h' III11iW'r .0 lit· - qu jon wUl r '\lcal m n <IWlIiU' ~ f r"'i nil my1h ynu mighl have d\"vdolltti ~1'ly ill your lire. 110 "'xnmI, n I - pi,· r,.11 .w I" r \I Of' h. t nlUm .ri .f IIIIP": u I lIlk"rit'Ilt't' W 111 CUlt' nt' bulh 01 Ihdr IUU't'I1If1, A II ull "r.1t Nt'

71

r Il'C. Ih Y rni ht re liz th y d Id d never again 10' do "yIhing tit II \lId pru bty ri k the loss ofapprovaJ ~rom one they love. UII, • in Ih m cir umst n • mi&ht bavedecided neVel apin to Irll_'t 111 l I'J3r nl or other intimates.

u h attitudes and y lues can sometimes be condensed int.o brief

I " lhatreprescnt u nderJying themes [0 the person's life, sucb as.

"I • m I weak and depeDdenl perso:o": ., must make great sacri1ices 10 &:amlovc and attention". or, ..... he wortd is a jungle and people

.~ "flOI be trusted:' II is quite probable Lhal evn if such preml.scs J'r teeted you at one Lime. or solved real pr blomB, the decisions you It!. 'nLificd durl ng this particular ritual have become WI-Urniting .. The m ,holoD tbat was sbaped by those decisions comprises one side of Ihe underlyill8 mythic «Inflict )'011 will be exploring. On the otlIer

ide, as you wiJI see In lhc .foUowlngchapter, Isan e:mc'rgi0l fQyt_h that you have been formulating, perhaps outside of your awareness, to , ddmss the pr:oblems and limitations caused by the myth you just Id Iltificd.

Meg went back to a lime lbat is aliso' :vmbolU.ed on her Shield. ""Jhl:ft she was niDe and bad to live her mOLher the shot of adrenaline. SI e reOeded on the: regulaUorui and eod.es of conduct sh adopted for II r· If as a result of that ex.perience and others Uke it:

I lcam d that I ha"c 1:0 be cool. maiolaio myself, do thal which ~ r pugnanl tome in order 1:0 justify my existen", I have:: to per~ rm rar beyond what is :reasonable to exped from one equipped I am equipped. But 11e.a.m.ed that adopUng this beh vler CGuld m genuine heartfell praise from the mo llmpo:rtant persoo on arth-my Dad-for beins a "brave little soldier." I didn't know what to do with my panie, bUll decided to hide It lnce it didn't fit the ·program oE be.ing a ~rave little soldier."

I have learned that performance justi6.es existenoe. and I hav

. ached the conclusion lhal my own performance is a1ways suspect, at best. and hypocritical at worst. I lei people think fm 'brave. while underneath there is reaDy a scared, hladc:quB'lc UUle kid

_ h moo to admit that she's mad as bell at beins put in this position

by her pall nts, by the doclnr, and/or by God. 11 doesn't seem fair, b l h n", admU herfears without givinguptbe pJeasuraofbeio, 'n It "brave lillie soldier."

e n p n r m belie II lin I cv 1')'onc can look rigbt in my eye HId Sf!.c Ih t my rn '. d ur m '. n is constructed or words and

• tures, 1101 o( . ub". nc . Annlher· I"Drl n me vehem nlly dl

I \ I (III lam, unlit: ntit' lIy. u'llpnhk. llmld h ned, tJ ut

7

wom .. " I ny qu lin Ii~' D5 m' n wh . 'k' Iu II lI'tll . ", ut

hd,p nyo wh d • 'nIt appr I te and acknowledge m)'

". In' .. ,ht. • If people don't respond to me s a "'brave littl Idl -r," I deny them duseness and intimacy.

With these reneclions, Mea was ble to complete the first slqe of .he program by articulating a basic coaJl' et that seemed to be calling fu hr uti nlion. Her "brave lime soldier" theme emphasi1.ed a strong 'nor, once in abe world al the expense or lenderness and intimacy wilh lh. who mighl recognize her w1nerabiUties aad lend support. J u .t ~s sh had helped her mother, she 'felt compelled to nurture those 11 need, Out inside 0 ber was still an "angry lilLIe gid" wh· wanted

'11 tlC." nurl_ d and. al the same time, wanted to be en as a "brave hili· ~Idl r!'

W h ve found this "river back in Lime" tecbniqueU 10 be anffc» t I V • \11', f r connecting current difliicuJties with experiences from. the lUI L. 11 'oplc: quile reliably go back 10 a time WhC.D they were forming JIll tude j \l'alue;s.. and codes of conduct rbal have come into conflict ~ i I h In , recent understandings. The decisions liUll shaped a myrn \ I I h become outdaled can ihu be ldentiGed. RcpnUess of how nit nyu use it. the "river back" technique can continue 10 be a useF I 11I1I1 Ior uncovering the mythic: roots of psychological comfliet.

I Ibis point, you may be wondering if you haY idenlified (he "Il hi' conflict or outdated myth with "Web to work. Uyou ha.vc I 'ton lr:eliDing; 10 lind tIle Cocal conDiel in ur lif,,* we suggest that

( U " la, Jet go of the pJ'CSSure. and know that there Is no "\nong'1 w I 10 do lhis. Whllc fhe 'choice you mate at Ihls point will previd •• [oeu for the work lliull is to follow, we bBvc found Lbat as peep! . u ,llong in the program. the i IJCS tbey need to face tend to surra nnyw •

W' refer lo thls ph nornenon as lhe .thol FOpblc principle" of ",',':-.on I myllu 1 y;y. Bach part of hologram contains Information ", m v ry 011 er part. In a similar manner, w"hDI vcr personal mytb y • su Inny be 'lC"miin ng in some Iundamemal way embodies your lnlir'myth fiy!;ICm, Work. n Ihrouah flnc: area mal' have rcpcr us-

"Inn on m my are 1\. Th rc~r " it I fal' I s hnporl. nl thol you

Il' 'I , hot. on t'tIfintllll'y dedu 10 bt, ah • t'id "I" 11m "Ihnn til: t III "it It· 'I" ft:, f I' \Vh It )11 h ....... nn )"!iJlg. Your \\1 )rk wllh Ih I I I IIi ,( \ II I ... 11 in I hi IlIlu nlht'r iI , of your IIIYlhul(lN,

h I.mrc,

U In Y ur hi Id For Emotional ProtecU D

lIn II . when y u request a dream, initiate a faDlaSy, Of attempt m _ other wily of contactimgthe unconscious mind. you will expt:ri. 'nee un HUng feeU~. In addition to the mstruetio:1l5 ofTc'rCd in Appendix C for laldlll, care or yourself if the program becomes distLlrbln~ we recommend the .method iUuslraled. in the foUowlng ease for using your Personal Shield as a 'resource In protecting yourself.

A woman in one: O'f our worksho followed her conflict back in tim to a long-su.ppressed, childhood memory involving sex l molesIlulion. It was very upscttina for her (0' have this memorybrak through, and she was not al aU prepared t.o address it in the worksbop. We asked her to find a symbol for the 'molestation experience. dra'w II on the Paradise Lost portion of lIer Shield. and imagin sending tbe Inumse emotions she was experi·enc'ng dir:ectly ioto the symbo'l, ~hel'. lilly trllD5femngthe em Uons from her body to the Shield. By '!«d posling' bel" fcclings into title Shield for safekeeping un~U sbe was ready

to work. with them. she was neither denying the expericnc nor forci ng' herself to work with It before she 'was ·prepared.

¥ou may usc y ur SbleJd in this manner at any point where dr am or om: of the rituals, trif.QJCrs an u. lliog memory or anyatbr Ic Ung you do n l wish 10' work with III the time. Allho~gb it will

metimes be necessary 10 draw n IN .symbol on your ShicJd. one of th . symbols ibat is a.l:ready on the Shield will often be suitable. and I he fcolina can be focused directly into it. 'First, draw or select I.b

, ymbol in wbich yC'U wills.ore the unp.lca_sant feeling unlil you are no' d, to work with ilmore directly. Second, .hold the Shield in rront .. r you at eye level. Third, aJ low ),ou If 10 experie.nce the fe ling. and

nvisage the eoergy of th emotion bela trausp0l1ed from your body IUlo your Shield. You can Imagine doing this both t.hrough,YQw.gaze nd by c:xhalio_g dJret::lly into the 8)'l11boJ, like a dragon snorling fire.

Wb n you feel somewhat clean:sed of th feeling (aIterperhaps a .hull or (WO)f set your ,slUeld aside. tun"e into your feelings,. and

vn Ie with Yltr journal. You. might want to compl te til p __ with

I h PI (p' ive 11 iallC.Dtion procedur described in Appeodj~ A or Lhe ,. 'S! elca Ie lmJque in Ap_ ndlx C. You might all50want to SJlmIJoU II "Sll kc out" any unwonted emotional residue with rapid free III lV 'fI1L'ul (If Y UI" hllnd!'; and hody. P~n' lIy, you might consider 1 •• kil1l! .,juuru 'y In \,ill.l, YClllr Ino or Shomonlodl uss Ih experience.

On 10 818Jc Two

AI I II" pul nl, some pt."Uple f e -c:l d.i scou rased, believing tbat the negative beh Ivior pnllcrns lb.ey hove justid'enlified will be aknost .i.mpossible In ctumge. If you are recUng'that way. rem.ember that you have been

hllu yourself i.nslrucUQIlS that invite areas of coniruct to reveal tbemselvcs. 'You are taking an aclive and courageous step toward Impl·uv.ins·),ollr liFe. Whitle it is never easy to d.eJve into·ooe's own dark side, .he instructions have been lorm.ulatedlo eii.cit aspects of your 1)l'ntul1al mythology tbal )'OU are ready 10 deal withproducUve1y. Tine Il~ IK.'G'1iS of making needed cbaJil,gC5wUJ be energidn. and .lnsplrllJig. AmI, i£ issu.es emerge tbal you arenol ready to work with, usc yoW' Shlrt"ld for protection as just: described, or find other suppo:rtu dis"U'ist·d in A.ppendix ,C.

()nee you have idenlifiedan area of your mYthology lbat is :1iI.O IUIIH"'" serving as an ally. and have begun to Wlderstanc:llts roots in VI un l~roona.1 history. yO\ll have completed this firm: stage of our prorm1l. In the second Slap. you wiD further crysta11i1.e Ihe outdated 11n'vnUing myth, the emerging 'myth that is. ehaIJengi1l8 it, and the mnmllhol simmers between them.

,

I

I

____ ~~ ~-3

The Second Stage: Bringing the Roots of Mythic Conflict into Focus

n'd las' is to ,0 Jupl, 4S pombk into .he darlm.m, 10 name t~ptIin thai one finds IllN#!, .QnQ th ITUM of onA!:t perceptions. and to tmoge on the o/her sib. with J)lrmisriOR rD' name une!sreaii'tJI/rom om:' OWlJ poinl QI view. ~ANTHU FRANCINe'

Wben }'OU come-to recognize an arcaofyoW" mythDlogy that is failing you, as )'ouba:ve done in t.he first stage of the program, you also, begin to sense that this particular mytb is: not th.e only way 1.0 organi7.e your IUe. Sol1ll.'!times the faIlure of a IQng~stal1diD!g myth. and even the pain involved in that failun •. opens us to glimpse the I..arpr Story. The myths we follow o:ftcn are challellsed bypercepUons and realizatiollS ~hlll grow out of greater maturi~y and. more recent experiences. WheD o'n area of yOW' personal myt.hology bas become ouldaled for )lour circumS:tances or level of psycholosical development. your psyche is I.i kely La generaLC alternative mythic imqe5. whlch we 5peJlk of .as "ccrunter-myt:hs.··

Even before you consciously recos:nizc me shortcomings of an oM myth, yOW' psyche is usually'generating a oounlel'l.m}'th lo campensate for its limitations. Freud believed mat a funcLiollof dreaming is tD gratify wishes we have been unable to satisfy in OUf waking life •. COlJlnter-mylbs also have a "wish-fuHiJlmcm:t''' quality. "bey guide us tnwa:rdmceting needs, fuUUHnS desires, and reachins t.oward pas. !dbU il les where theold myth was ineffective. But like dreams, C(nlnt~r· mylbs: ore often removed from the requirements of the rea] world. '!'he tenskm belween un old myth, whose familiar bullimilm vision grew nul or furlil'r urI: &:xllCrh:nccI. and a Ctlunl~r.myth that promises l llIun f('rlllr hut un" led rulur", flo a bailie bctwc:'(.·n Ibc: past and Ihe 1t4.~~lhl IIml h. WII l·tI wuhlll ('Al'h of 11\

....

Yourlask in this second stage is LO distinguish In )'01.11' OWllr "ness the old myth and the counter-myth that are at the basis of the mythic conflict.. you identtlad.~n the Iirsl Slage. In lbeprevi.Qus chapte.r. you began to descdbe the old mytb in terms of 8ltltudes,valucs, andcedes of eond.uct. The persona.1 rituals in tbis chapter will lI.elp you to fur· tiler delineate the oldmyllJ. and articu'late Lhe counLer'~.mytb...Beca1llSe oounler.mytths are formecillqely in reacLion to (he shortcomlDg5 of prevailing myths, Ibey conlainLbeir own dislorlloDS, end it is inevha· ble that cOIlBict win exist between. the two. T.he counter-m.yth is, in fact1 characterized by this intimate but oppositional relationship with Lbe prevailing .myth.

Som.etimes when people msl n!CQgni1.e a counler-myth. they adopt it abruptly. Nonbelievers may convert to a religiou5 orthodoX)' in momenl5i college students often renounce a lifetime of religious observance in the space of a semester. AdoJcsccol rebellion .• sexua1 experi mell1latlon. and. Lmpulsi.ve divorce may each be tbe expression of an tmlergiiog counte'r-myth. ][n Ihls program,)1OlII will be elllcouragoo to recognize th.e strengths and the shonc:omiD.g5 in bo(b the old myth and !.hewunler-myili, and to ]patiently ·cultivate a third, new mythic vision that incorporales themos' vila} aspects of each.

In the fmal rItuaJ of the previous chapter, you identifiedapersonaJ myth Ihat has lost its efficaqy. and you lraced lts ,Origii!]! back loevenls from your past. Even as the Qld myth is losit'tg hs hold. the c"J:perience may hove helped you 1,0 beuer understand the clreumstanees tbal brough •. you to adopt it. Sucb insighllntoLhe persc:nal, family, and. cultural forces that shaped the old myth permits you lo more rea.dil.y aceepl the psychO:logicai death thaI. is involved as itgiv(!S. way, and to appropriately mOW'.D for it. It also allows you to wort for change in a more sel'f~aflirD1i ng manner, nu.her thWil l.o becom.e enmeshed in self~judgment5 tI.bout prcvi:OU5 beliefs and choices. By :paticntly CJtrun~ ining these ,processes,. you eDga~e your "iD'oer wiLn.e§' rather than Q. Fault.lindlng attitude as you come to recognize the problems 'b.e old mJ'Lh is generating.

Counler ... mytbs m.ay be modeled la:ra:e1y after the myths of others who bave an influcnceon you,. may bcrootcd in a deYeJopmentai readiness to accept more advanced myths from your culture, or may be patterned after an inlUilivepe.rceptinn of al'Cherypalimages. Pre,. vailiDg myths are diOicuJl to identify beeause they are the psychologi. cal medium in which we llve, as imperceptible as wa.ter must be to a fishj coWllcr-myth5 pre difficuilio identify because they do not. enter awareness until tltey have attalned.[1 cerlo;' .. c.-meal mass. Stili. they InOY be RoV"orni ng (JtII'Ibt_'I'"\linr Ik,r,,1'(' WlO an' .. hit' 10 n .. 1 ic'ulniellilen1..

141 inKing the: Roots of Mythic Conflict into Pocus (1"t" /<'(111 01 Mall; A.lbrechl DUrer)

'or' I pl. fI1 n whu hu. n a dedJ.calcd husband lUI r the."has I fJ. with a w man h IF his age. When II later enters psyoholher- 1 tc Iry til pi '-the the shambles nella made of hiS life. be l, I kt Iy I di ov or that, he was, with, liuJe self-awareness, acting oul I unl ' r -myth lhal hallengedi 1he stifling efFects of his preoccupaI n wilh bicvemenc and l'ieS)K)nsibiUty. Coun,let-myths provide us

~",ilh n impetus to expand ourselves ~ond lb,e limitations or the I11Ylholr. we nove been living. They cam basten our d~velopmellt or

v C OUI' t bility. dependtna upon the awareness and sJdJl wi1h whl 'h we receive them.

Allh uSh count r·myths often operate outside of awareness, they bru.k Into consciousness in dreams, dayllreams. art. slips of the Inngu!!. and other expressio'DS of lhe unconscious mind. Tbe eoumer"IYlh i often imaglnativc, inspiring, and forward.tluustinJ-yetlackIII I IU ueueal realism that anows it to be UvecI out in the same form

n which II emerges. By focU5ll:l8 your 8tlentioolon it. you are bIe t,o be 111 m: readUy aware of its inJlucncc and 'to participate in con-

,it II. Iy d ve)opma: and refinjm,g it. You will6nd thai through lIr use nf Ide: imaScry. Slor,ytB'nd focused contcmpJaUon, the porsonal r lu I that follow will sbarpe.n your understa.ndiog of emeralDg di. • I n. In y :ur life.

,THAT CONNECT tJB MYTIIIC

SAm K· n D d Anne vaUey Pox bave observed:

Su loog as: human beings cbanse and make hJstory, so long as

hUdren re born and old people die. th.ere win be; tale$ to ex· pll n why sorrow darl£.ens the day and sLars 611 the Bight. We: Invent stories about the origin ud conclusion of life beI.."'IU , •• they help LiS find our Wily, our place allbe heart bf tbe Illy: lery.J

.11 ~II ",J women hov ·V loped the c pacily LO form idenUties sepa-

UI r (.)111 III . pr 'bed by II tribe or nalion. Anthea Francin:e obscu'vcd Ih I .he "rev lations O'f th Divine •.• we once round lev 'nl ~ nly in lh form of myth and fairy tale, we must naw seek abo in Ih lory of uur own Iives."'J WeavinB: your memori'e5 inlO a meall· I ngrul SC'Quenee of slones about your past can deepen your relation.

h p \Yilh your own mythology and place your self-unde tanding fn u richer context.

Psychiatrist R.ichud Gardner has developed an approach that apph the pewer of slaryl Iling fer beJpinS troubled children." He asks the: child to tell hlm a I.ory that 'bas a begino_iIlI, middle. end, and 8 moral. As, Gardner liSleos rOT the psychologi.cal dlemcs tUl run Ihrouglilhe story~ elements of unresolved ~nni.cl arc rc\'calcd. Gard· n ; in tum, tells a story 10 'the child tbat also has a beginning. middle" end, and a moral. His story is built around lb ~choloe:ical tensions Ihal WCTi portrayed in the chil'd's story. In melliD! the story, bow'ver, Galid er has th cllSrBCLen, find betler \Yays to bandle me core, onfUet By speaking to the child at this mythic level, Gardner creal '

• n pportunU, for th _ child to adopt a new personal mytb thet may more effective than the one that has been operalling.

Gardner describes a SlOry \Old by Manin. a withdrawn seven-year.

Id. wilh bitter. self~iod1uJ,gent moth r who was sometimes warm md loving, bUl p.l 'olhel' limes o~y expressed her dislik 'or her son. MurLin's sl.Ory was about a bear who was trying In valm to get hon y f rom a beehive wU.hout ootl11 Slung .. In hi rftPOnse. Gardner's slo'ry ,1150 reatured a bear who cmved boney. Gardner's bear kn ViI that bees were IKImctim friem.dJy Bnd would give him a little bit of boney. and Ill: ,also knew thal al times tbey were u.nf riendly' amd wuld sting him.

l these limes. Gardner's bear wouJd go loanothor part of the forest wh l'e he could obtain maple syrup from th maple lrees.1n thi s1o.ry. lurdn r offered Martin a mythology for acqUirill8 love from hls • 01 b . r without provoking her hOS1Uili • ud for discovering abemau es of afFectioD to compcn&alC fOT 'bis mother's defioJcncies.

In this chapter you win learn to tell your own mory and, in so d I 011. I identify critical points ill the devel.opment of your personal I I ths. You will n1iclpalc dir ·ODS thai."., be em .,png, amd rete- 1 nb: . n"O f d r n - tbul need to be more fully under.nood and [1\·,'h til hid. VI win YO\J_· If 5 tbe heroine or hero in Yol.lr own

1!1C'" uud I" r bl II \\I, you-unlike NR~ is: U$ pUv8,tcd wilh th

r ·n~', n If h ~ .\ ... n urlu -t' In " "'0 d ply inl I n tu ~

n J I RIJl"rr 'hit • III I" I\~II lht" wnndc.· ur rhe 11Iun n d rnn a II .. , It [c I In 4 UI" I" .. I" 1m

.. ,

I' 'I iudl' Ily rev n and de Islons In lerm oflhcir

mylh'" .lInlt'nN_on mak It possible for you 1.0 grasp tbe pattern of the :;IOry nd eff- l cbAiigel in its plot. Castln,g the developmenl of ILlI' own life in the form or a fairy tale 'is DOC of the p:rimary devi~ iI. n ch .. chapter to help you briDg into focu the prevailing myrn ~llId the merging cOUDter-m}'th that are allhc root of YOW' Iro'nflict.

ME" NEXT STEP

ThiiC\, • ond stage of the program wiJI be ilIll5tra1ed by returning to Meg's cxpcrl n es as she brl nBS her pr~v4ilin8 myth and, an CJI.Ierging mUnlc'r m 'Lh Into sbarper focus. From Lhl5 poiDt onward, .Meg's cxperlene ore presented toward lh beginnlne of eaeh chapter to p,rn\'i k an ". rvjew oE tb personal ritual co'mposing that stag of lh

.. r . '·()lIowJng the in tructiOBS for each personel ritual, D second J'lrr I1'S journal entries wm iIlustratel:hat particuJar ritual.

Tilt- SL-cond adage of the program begl'ftS with the areation of lart (hIt· of three-part pe:rso,nal Fairy Tale. Meg reviewed hoI" Shield and 111I'lIn ilcud lhisory.:

Oll1,ce upon a time there was an Island separaled from a: contiIIt'lI1l by II wild strait, impassahle,hy boat or swim£LrOke. A Uttle girl. .run iln Margaret. lived upon the island. She was busy from dawn It durk with her tasb. Two lim a d y She went 10 wsteh the tides

11_ 11" -low the ellffs. She che(lked the quails' nests Cor eggs and u 'W chicks. She mOlllilorcd.l:hc polliwogs 8S'they mqiadly became rl'n ~. lind she gasped In wonder as Lhe bulterflycmerged from the 11 nd unfolded Us wings. Sbe spent tim lD gathering sour

N bouqu lS and driftwood dr ns, She ate loquals and mulher ..

I ~. Ih t grew OD the trees, and 5be' gathen:d seaweed and mussels rromlh~ rocks by the sea.

he k pl an orph ned ground squirrel, II lame coyole, and nest 4 fw lI()w to her v. The'squirrel taugbl her about seeds,lhrift. lndust: ,ron."5ighl. _ nd piDDling. the COYOle showed her the value or pull n , lil.:ulth, and supp.leneu. From thcswa'llows she leamed or,J Ught, lIw;till ,ltnd rre«lom. At nighl she IcPI in a hollow she'd "' ul,· mhe n -I h r IHf. foclnglhe unsel, at III d or th sen.

'rh . moon and 'til _:lc')rms w re hel' n It"."nl mponi 11 ••

JII mild M Ie rei did 1101 kn W Ihal , he w In xii • • I un:

10' ,"1 , nom Irk hi", In 4I1I1'mli .. l'jlNNing woy, In the pc pIt un III III inl nd, TIH "''''.,' I>lhy. IIH,.III "\II. ryluK r 111 Ihi!'! 1,1 Iu • hl I J I I C' •• lIul1 ,hUll' I' 'I • an I 1'1 I r "Kin Ihr..'

III

I( Ih·· nd lit ,I 'xp_ _i A • iI Uvely mQCllng oDe another in

nn.lnuing; proc. of con fron.tatl,on. seduction; dcceptioD"

d ·nlol. lormeol, and illusion, Her wholesomeness offended Ih m.

No on mm'beral exactly who had pUl Juanila Margaret on

the i Jand but the InI1h was that the)' had been 81ad 10 get rid of her. They were uncomfortable when th.cy saw tlmt. she would rather climb the cyprus tree Iban try on an. w dress. They became upset when thy w 1ha1 sh was loud. demanding, curious" and unbampercd, They were anoO}ed with her coarse, Daturalistlc behavior.

hey kept scndbJs her oul8idc, to pi ~ so lhal lhey could read their ncws,apersand magadncs 1m peace. One morning she climbed into an old boallo play; a term came UP. carried ber away, and sb.e w s wasbed ashore OD the island. When h never cam back. everyone seemed relieved,

One day, II man on the mainland took a tclcscope and looked at Juanita Margaret's island. He saw how ma.ny wond.erful fNit trees grew DO the island. and bow clear the water was on the narrow ehes below theclUfs. H thought. '1 muld put. a r n there and ke a million dollars," BeCOR Jong, engineers scudlcd the strait between thCl mainJand nd the isl nd. They put in a bridge anda

highway. They look oul tbe Joquat and mulberry trees 10 bu1ld the Orchard Motel. They put hilSIe loquat and alonel), mulberry . inlO polS in th lobby. They cutSlai inloibe clifts and made them a permancnt Wi po lble with eem - ot and steel handrails. The' 'I rosh elmS overflowed.

Some men came and saw Juanita Margaret. 51 Uing' behind the bu hes m the. parkins lot. eatJI\8 scrap food from, b thrawn out of cars.:3 0' didn't go 'with them willingly at fint, hut they oft red her warm IQOb and cinnamon roll and. In the end. she agreed to relurn to the mainland.

J _ nl Margaret went to school, lcavin,s her squirrel. c - yot.:"

nd swallow frieDdslo save themsely if they co d. Ieeause she didn't know whal else 10 do. ShewasjUsl a Uttle girl., Inside, s:he was ru Inul at Ihe changes tbat had come inlo her Ufe. and al the peop]'e bossing her araund without ukln! her opinion. Now she had to

I·cp In n ,wash In a tub rather than theoecan • .speak softly. be

r'spc Iful, I every 11 pr4ud. nd live up I her potential. She

W ' wid Ihal ,. m Ibing arc:n'l nle to talt about" and "your I 'tIIlK'r will he lin' deruh of you,""he 'NO [Insulr rot B bUDSledjob or ~~oJ'I1 wnI,'k 1""11 hip w,' ull i,"won ,. nl h." She WDS learn-

II . \""Y r I •• In pn IX' YOUI lod .

My r.I(;C: rEels n~hed~ oposin,g mysense or inadequacy" My eyes W:UII 10 look de6uoll:y or chaJJellgi.ng. I feel resentment ln m· ,noulh; ,light 111)51. sel jaw,controJIed. br_lhing. I can ideDtify! ~mUII'Ii1Cl ,Ioo!.p sort of superiority. I sense these feelings in m upper lip, with a kind of a sneer pullinS' 411 my face.. .,

Sill! rc:ncck:d ODlile pel'SQnaJ lSi,gni6cance of these fcclinp:

. II:mv('ulwaYI r~Qted,lnteDSCb, any bintor mockery or pauo. ni ... ,"u. I n~ \lcryqruck to JYmp 10 thccoDClusioD thal lam being In Ill~' run of, and I amrulhless in defendin, myself. I'Vc'wways bad j h·IIC't·uc:y 10 create scapegoats, gcoerall2e. and: 1.0 reject anyone or

,IIY ItI'nUIl' whom f saw as bg,ving,hewherewitbaJ to put. me down.

I... bc-cll :lbsoJutely unWilJUnclO be vulnerable to sucll.lToups. I've Ill"~~ dunnml (aUnre whenever circumstances Mve put me'inlo 11U'dllnll5 where it would have been pontic for me to -ask permjs""~U' ·iv".- unwanunted strokes. beIitl1e myself, OJ' cenlo.11TI to .stu.

fdd ImrcDuclI'nlic I:'Ur~, p.rotDCOls, and standards. .

.. . Wh 'I1Me~CO~Sid.ered dle way Juanita. Margarol WB5,aJwa)1sbeing .... ·111 unls de 10 play" because she was loud, curious, atI.d unha:m.)1t'I\'d, lihc rmliccd thal

.,my slelm.ach is tense. 1101 'Upset, bUlmuSClI1arly Iigll'L My breathI II", ih ClnnSC1o~.oontrolled" and slow. I 'feel rock-hard and unmova. bll', I"IHILIfumyieldlnl, and violent in my delenniJU1:tion to bold my MHtUnd. I rccton 14'1 won'," in ,my neck,jaw, and eycs., ,

"11 pt:I'$OnsJ mea..ninp she undiluted lQ these obselValions in-

,,,lndCl''':

I m:v~I'letlrned 10 give in gracefu.II,. r,,~ (onlos£Z«I Inurdcr ~n ntlfllir;m, • nd nUl,Uolion , I've c'(lUap!lCd. I'\'· gone dawn. fiGhUng~ ~ ~~ JDmf'_'.cd duurs. I'w nC'~lI'ly ~ui Id~d, I have Juarncd hmy 1.0 sRy J rn so rr V !'Iltr't.·ly, hUI not how in bm:k dmvn from ., slund J sec UI'm,· ~Ir f",1 n,,'1 111(' . I ('Oil 1I111f1I·Ulllbot· o'mel be " Ican. Itlll}'r lU' I'UI 111t'r 1111 IUIIK I~ I tJon', ft'rl 11111 lImvn III' nil 11'8"('(1 lu Vllc.-lc.l II

prindlll: , "y.: t '~'n hypcn.t'n!l.,lv(' In inl\ull. cxpt.'Cllng Iii and of len ,lId.II1M II. Whnlndisluslerul n:uliul'llunl Whut a losinG waJ' or d:niUR bu~in'~ I

Wr see rrilm tli1ese commen.ts. and frDm 'he 6rs.1 segment D'f' ber Ph)' Tole', Ihol Meg Is on a highly indlvfduallstic Quest. R.ecall tlmt in hC:1r origlna1 vision of Paradise. she had, been alone. You wiD see • hoi her vlsl:on of retu.rn.ingto Paradise llegainedis also an Isolated, Ouest. While she does want to nurture, and love. it must be on her own, It'l'OlL

Her alter ego. Juanita Marga:rct, did quite: wen when she "auld nurse wounded am.mals and homeless bjr~s. When placed ln a social ~ontext. however, she scavenges food fllom tbe. bote •. trasb CDl1S, aDd meanders Ihrough nfe without pec!l1I, pllaymates, or&:lemos. Once off her tsland, !here Is a re~1Iiou5llle:ss tn J'uanjla Margarellilal seems to be dlssonanl with lhl iOe:artb child" whQ had befr:lelldcdlhe ~lURS or nature.

After having ereatedand examined Pan One of your Pairy Tale. you win explore eJqJeriences from )'our past that m.igbtbe important, as you create f:art Two. Pan Two of the Fairy Tale Is to represent an idealized, Quesl for a retum to the Paradis: ,Los.t of Part One. One of the rituals you will. use in preparinl yourself 10 create Pan Two is to, iniliafe the bealing of DID early eJnali.onal wound ",bose elects mill' lUll be interieriq with your life., You will focus on am area of your old myllh thai you. find pamcuJaiJy difficu.lt [0 coDslder @J¥Jog up. even (hougb you may see Daws In. its guidance. You wWbe instruc,ted on how' to identify scnsal'lons i.n your body that you. associate with this nspecl of'yourmyt!JoIClgy. all1,dyou will goba,ck i:nyoW' memory until

all idcm'lifyan incident .hat seems relared 10 those sensations. You "UI can opon your Imler Shaman toassin you. Meg bepd:

I find myself with. It very light neck, so tilill thai Icann.ol tum roy head. I ean.oruy look' straight ahead.. To look sid.eYtlaYS farther than my eyes will roll, I mUll sbifl my wbole body. My nook luarlll

I remeraber my grandfamer"s hardfinprs digging into the back ur my nr:c.k. burrying me .alool faster dum my tbree~year"Old less wUI carry me. I stwnble:and besa..ve5 me from falilng bytlghteni.n.g hllll Kl'lp on Illy ncc.k. Th.e pain is t.enibl.e. 1 cry and am. cuffed. in. the fn 'I: for maki nB 0 racket. I can hear his vo-lce nstll'lB m.y si.ns: I bave len u tl1CS8 wl\1!c ploying Wllh wood chips and sawdust. in hls ear(""nlL" hlUlllj I h 'Vt lied nbuut beiuglhen:; 1 am disobedient and hl~ul·nl. II It. ell'flr. I deserve what I am BCluinl. bccnufiC I'm so

nndNJu I lind .!tlovcnly. I hud II or n l "I')' beeau • Ihul will ju

urn.") nd In II Y ~howl,,1' me: IU be a contempt Ibl rein Ie

wl'ukJ 11M.

M:y bl"Qughl her Inner Shaman ,into her imapry;

My Inner Shaman IOl!lcbes my neck wiLh finpr:s so soft and 'Ntll'ln they feed like a warm washcloth laid on the contracted tissue. J I fells me ! am a normal, curiOLIS little girl; that I haven·' J I I 'ulI'n d the diH.erclilce between imagination and lying: and that my 1111u"!l. ad spirited etioJl5 1.0 ab!ilse and aCQJ5llt on are noc sins, 1)111 mlsJudgmerus aboul my aeeuser, I feel worthwhile after all

ltd I notlee that there is much less tension in my neck. .

An ~r uppealing to you .. Inn r Shaman for an emotional hcaJin& 1111 v II I. ke another imagery journey to [he past. But this time, • Ilwr til n bcglnniJl,S with the uDpleasant rce~gs you associate with 4tllf 'nl1nkt you wiD begin by imagining the fccUnp you would have r I h «"HI 'I were mqicaJly resolved. Meg generated tbeac CeeUI!I8S I y 1m 18 II "K I he CXI I opposite of the emotions she associated with It .. " uUIlJi I:

,... uJ1ptJsHe of unser is serenJly and the opposile of defiance is 'pum ~ . When I thoushl of serenity. I w an image of my . ludun' 11'11. 1 returned to the c:Uf)'s" oxplorec:l the: tidepools. felt my °lr v gOl' . . and r kless, unaware or my own mO.ll'1aUly. The

j(lIld~ m und me are or th water. wind, bird cries, and my 0WiI1 hn~iJlhinG·1 feel no fear. no eeed to achieve or compete, only to be \ hvlly PI' nt.t savor t:h ~eeJlJ1S of discovery and freedom. J like III . nile Ih; I r am alone and there 1. no limit 10 the number of 11'.-V&:! I h II experi nee. 1 have no sense of Hmitotio".

or conduct .hal

8

Il' 111;, -I Udlli, bCldi • • I'¥C! r iSI::d cOl1lrlvuc;:cs. strictures. conve:n~ ton ..... do not r J at home in CTOWds. board mectfn85!tpoUtical

th ring.. Idall partl i or PTA meetinp.l do feel at bome1out

of doo • with boou, and wilb inti:mu.te -groups r Uke-mi:nded

uls. I h~ ve had 10 compromise all my lifean,d I've been in a state of ccnlinual rebellion. r bave :not been graceful In lceommodalins my!U!lf to the world. I'"e thumbed my nose. and had it pushed into my own e;ye.. I wonder how one Jearn.l! to be vaccful '0 acoommochuing 10 stuilifyimg reaJit)'?

Meg: drew upon Ibis experience 5 e wrote Pan Two r h _ r , airy T:ale. Part Two will reveal new solutions to the d ileromas encountered by the hero or heroine of )'our Pairy Tale :in Par1 O,ne:

Juanita, M8J'g1U'e1 was sitting O.D tile mainland bench one day. llooking across the nasi nB stnUulhat separated her from Iller ntined isiand'. Sbe saw tbe barsh bridS ; made of iroQ and asphalt. bristlin, with cars. Uke busy ants 00 t.beir bill. Sbe was wcanng a lovely pj ok ruffled dress, but sbe had soiled II by playing with puppies, and there were pawmar.ks blemishing the rums. Imagine hll!r surprise when a porpoise. swam up the hallow surf and called out to her. "Juanita Margaret! I'v come to rcscuy ul Mount my back. and I WiU take you on a greal j W'Iley."

tie was smiling at ber and his voice wu as vibrant aslh ruby throat of a hwnmiDgblrd. She wenl. of course. and climbed up on h;s gray-blue hack, grasplnB his ribs with her legs and cUngiogto hi dorsal fin for balon.ce. He moved across lbe water in jubilant leaps, arching his back an.cl singlns joyously lIS he lra.veJed. Ju nita Margaret forgot that sbewas odd and fore1sn. ndins porpoise across the waters wearing h r dainty pink dress.

'"You are 1CiU'Dlng a gteatlessoo. Juanita Margaret. in the wy YOIII learn besl-by doins. Do not forset lhis lesson: Tak 'time in your life Lo be spo.ntaneous in nature, wlthollltagenda, without tim n aints. and you wit) be wrested fJ'iom your complaints. I am l.ald n ., u now to visit some other teachers. Fear not that harm wiU orne t . yau when J dive benealh.lbe surface. You are equipped for .urvlv I nd your faitb wIU protect you even in an alien eavtronmol."

Mying •• he porpollk! DlJ"Cbed high Inlo tho air and dove be-

11' th lilt.- surfa '. JUlInill' Mar r I ~ upon his back. T worfd

llK' • eh th .. 'U W . hin. ri. M wllhr I and -(lId n n-hl, Ih

hil . ltd luy In nil, meunds, 'mdlll til ftlre 'lor kelp Kf'W (rom blo md" • 'I'll (JOrpol. m into the ro est af waving plants, . th Inuvln indcpclld ntly in tbe: eurrents, "'Y,ou see the Ilexlbility

r these, tern. lJnd leaves, II'csponsive to tbe RlOvill1 waters? When rni hly.1 rrns oom~ through thls part of the ocean, tbe kelp rorest i whipped from side to side, scoursed with drivennd, t_cd to II limit. Only the weary, old. or poorly rooled plants are lorn loose 1.0 be cast on the shore. The plauts tbal have gripped the stones with th ir mots. and that have put their growth into sturdy trunks. are: _urc and even iaviS rated Iby the storm. You sec it is possible 10 be firm and still move With lbe cu.rrenls. whetb r cncligCdc or 8 -ntl ,.. -be thought sbe undersaood what be was talking about.

H took her to a submerged reef. and she saw that it wasen~ crusted \Yith abalone. The shells, were as black as tb reef, domed like OY,DI cups and (lO'vered whb volcano barnacles. ,hermit crabs.

nd sw. Ictluce.lf sbe badn'l sean them long 8g0, WhCl1 she had her

I. land to herself. she wouJd have 1houSh! they were just bumps 00 the eek, The porpoise told her to speak to the largest abalone in Ihe cluster .. "Hello." she said, lentatively.

"Ii -110., yourself," answered theaoalonin a slow and druggy vult " "What brlnlS you here today?"

". think you1nc supposed 10 leach me .something."

·'[)o you have any idea whal it is?" The abaJone sounded puzzled UI n 11111· .., ~nlfuJ.

"May r you deseribed your If and your Ufe" J might let a 'JUt', Righi now 1 just think you're pretty much a dun and surly '("lInw,'· Juanita Margaret had the habllof saying wbatshe thoughl w' I h ul much considcnnf D of how II m1gbf feel to the pell'son she w l ... I~dklng 10,

'I'h' balonc was silenl and the bubbles commg from his vent h ,I&:5o m:arlly IOJl)ped. When allasl be spoke. II was with a distant , a. If he didn't much W8Jll to hs\'e unyt.lUng to do with her but ~ II obll d t answcr."1 am, as y U y. dull. I have been on this (kI1 rur many yeal"s. It is a good spot because th eurren I sweeps

101 Qr plunkton my WD'y and I have nourilbed. It 'is true thaI I am

I ul "luiII ling r- Ralily, th I I all) pcliticaJI)' isol I , thai I

am dr b -and j k· rapl r who • hay pfund no prb nd hoy

111"Wcr be 'n 10 w r. My body muscular; my personalll i~ wn, lUlU my nllitud • i 10nD .tll 5" I fl' r nly thl: III mudlng51DI'fi b who I Ix I II I sn nu, I t1 In - II, ble II rn m,· cdr III I 'k nsl elll II

1'1

"1111 " • U • 'I' '1. II10Uh. JU~I,"lul M rgnrt:t. Ulld r my drab Bnd 1111111'C!1"0 'z,NIIl . .: t~l.llIl, I m il greal arlisl. I &0 nowhere. cngage

in 11 . i I Uvitiea, even family reunions, beeauee l am at work

tin III Nt lM:aulirua seulpture-paintln.a-architecture imagina,ble. I urn pr -par Ing the inside of my shell, hidden from sight, as a pel manent memorial to God. To learn from me. you muSl be less

ncerned with your everyday outer shell and put you care into m k'ng the inside as beaudfw as possible. With me. ,my secret beau'y will be concealed until my'death. Witb you, who kno~?" With tha.t tile abalone let 1(J().Se a long s:pout of bubbles and Juaruta M rgarel knew he had said what he had to y. . ,_

As if in a trance, J\&anila Margaret pondered what she bad learned from the porpoise. kelp. and abalone. She promised herself

he would lake lime r rom h r duties to find berselr io N 'lure like the porpoise. to Oex in the currents of life wbile maintainillg her roots, like Ihckclp. and to be unbotbered by the plainness of her CXlcriQf while: privalely, withcnll fa.n.fare. cnricbin,g her in.criof. like the aba,lone. The porpoise d .livered her to shore, and she found she had a great deal to think abo'ul and ev _ n more Lo do.

Pan. Two of Meg's fairy Tale contains the wish-fulfilling motifs of an androgynous PelOT Pan. character, who Ire WiCS to adopt a gend r r '. or 10 grow Ulp socl Uy. ad of "nau.hl,)' litlle girl" who dislikes Ih Ililou,ghl or interacting with bumans for fear of being forced to behave Uke a"good liUlesoJdi.eJ","U the Fairy 'r~le ended with JuanU.a MorJPlrel and her porpoise sailinJ SleefuUy inlo the sunset. it rniihl h ve h d tbe ring of bappi!y-cyer-after. b",t it w uld do Meg a dlsser· vi • for there is still mucb for her 10 learn, as you wiU see la'ier in Part Th !C or be., Fairy Tale.

CRYSTAI.IJZlNG YOlJR OLD MYTH AND Y011REMERGING MYTH

We can sec how Meg was able. through Ibis series of personal rituals. lu c!'mrly ide ntl fy opposing myths competing witbln her, and how she

• h ,J ' tlve on th pia: f eaeh in beT life. YOUI' goal in this

ond (0 or the prosram also is to articulate both sides of the "ylh I I'nunll'l you idrn.m In the previous chapl 'r and to deepen v tU IIndt'r!ll~antlhlR !w.ul eh.

M IitMJN..u Mm,Ut nur

----------------~~

PersoDaI Ritual:

Part One '0' Your Patry TaJe

\'?U Imve ulrencfy wartred wlLb many or the raw materials lbat you wdl be wcavinSinlu JOllr Faili")' Talc. Part On.e will.symbol1v.c your Vel" Y IJCftiOnal Fon From Paradise. the way you dealt with that sudden ur progrossiv loSS:, abe Yision )'GU adopted of F:aradfseRegalned,- and th Ix.-gJnnillgsof yOiur qUl!Sl toward it. En additio'D 110 your Shield. f"lllu~"C8 of PaIl One may be pat.temed after the earl, nalc:s of conduct lind ,hi! sophy of life youldentlfied on yourjOUntey back in dme or e IlnlUcllilhat haye; appearecl.in your drealllS. You migb' want to pause IIt'n' anel ('cvlw your jounJal' entries describing your Shield. momel. p,Y,I"h",I~, dreams~ and joumey back jn lime.

1'h~' st.'lllng uf your ~aJry Tale-can be an lucient kingdom. a futur.

~I.{ lllYI it rar-awa~ ~'axyt a land of elves and pornes.. afamify of tI.·t·.·. 4.·hll'ln~unkli:! chImpanzees, or sea oIlers,. a primitiive culture, a 1k'11r1l1 of hls:(ol·Y.· 01' an)' other' QQutexllbal might, occur 1.0 },DU. l..abel II II IKe' or YOU.' jOW'MI "Pa:iry Tale-Part One .. '" Compose Pan One 0.1 "rm. Fuiry Tale using one of the fo.uowina: aPJroBchu Find a. CO.fIJ,. r .. llohl,· ~lll ingand qllow tbe story to emel'8l! In yOUl imaginationj tdl 1111' "hit)' In lUI ather person as you are creatingil: or talk it into a tape I "l 111 tit '~'. R Drd or summarize 'the story :in your journal. Before )'OU brillu. !Ilk,,' lime 10 center yourself OB the' aJI'DS of Part On.e: to meta. I'lu, k~llI.v POl'lnty an innoce.n.lud hopeful tlme from your child. h .. mI. 111'1 loss .• and how you set Old '10 make up for Llmt less,

Wi.' IiIlN8e5l you 5tart with tlte words "Once upo.n I time"a:nd L'utuluu' 10 folk or wrilc,aUowmg the SIBil 10' WlIfold.lIis not Dreess.U'J 10 r·he-one. lei. your sponmne.llylUe the: $Cory wherever ItwUf K.ufl.~lIingllndinlerpretation can come later. At thO paIJl,!. do nol Jml~I.,. wlnu emerges:, YOII may be surpriseda:l un,expeeled 'twists in the

• ,Int ~)I' 01 new eharnClcrs .ha't may suddenly appear on the seeae, We 'viU~nllow ",",~~, l~e inVe5lmen.1 cou!lKlor, UheprogR:SSeslhrough Ihl' Il'malnder 01 'he p.rogram. Part One 01 Frank'~ Fairy Tarc read:

•• Ont'(.· ufJU,n o. !ime.rObS long ago, 'in .p ]and far away. was D 1''1n' . whu hv(,'d lila beatui'rul castle with his mOlh~r; the OUt.'Cn, md l~lf' (othel', (he Kin80 and all fhe members of his (on1lly and ~hc ~UY'I~ 'Hurl. The I(lng lIod Ouc.-c:n dearly loved Ihirson, Prln~ r'rmIL'IM·U. nnd ~J1cn! nll (belr [ret' 11m playlliS wllh him IIml in. llul"fn~ hlln. Ill' Milt. III" 1Il1l!ll rUII.htYing boy 111 ,Ill' Kin ~um. IIr r ·1. ".' r " "Ilf(' tlmJ tJ '.,IV IU\lnf. HUl' d I)' I hI' Ou IIIlnll.llht· 1','11 C

Ihw, ImrlhinH very wond ·rrul Wt1'tltOOut 10. hnppem 10 111m, Cor he wu 'U)~:lIl1lu bt:l(ill :M:hool. TMs mode hl.m very happy because there wen: n(Julher boy.s or glrlB his Dge living In lhecaslle:. and hehlld nlwny~ hollto ploy by himself when IhcKins agd Queco were of Inking cntu uf .be K.iqdom.

The fi.nt da)' tIIel biis mother escorted him (0 school. Prlnre l;nmlSClO was quite. exeiled. unlilm one le:rrible: .mo.men.lbe real· b.cd Ihnt the Queen was Dot going to .stay with. hlrn, but was golmg I'U I'eavc him in dlis stramgc and foreign place. There he was left •. and wtl II rnOfie e.bildrcn of bls own age than he .had ever seen, And Lhal day he found out a most Upset1ing Ihing..-every one of lhese c.hildren bad ICings and Queem for pm"eDls. If everyone was a KIng or a Ollccm. theD "King'" or "Quee.m·· must DOt be very importanl; it InIHiI be kInd of ord.lury,

But what was even worse wastbat tbe teacher' 'Wotlld teUtht: ci.llS"q what to do and everyone would. begin 'to do it except bim~ lie would hanS his head in sbame and COnfu5iO:D.t for bco.ever ~'I:med to undcf.stand, an)'lhing the teacher said to the class unIcs,,'!1 she: also cxp.laln.cd iL speclaUy 10 hi.m. Not surprisinglytLhc: olh'r children in. bls class began 10 make fun of him and stay "'''10), from him. So he had to rea]lze that he was ,just am o.rdinary buy on (his first day of school. and he had to sulJCl' the bumilia· lion Qf noteven being very good at being 8111on:ll:nary boy. The: nlher children wouldn;( even address him in the Royal Tone that Illude him know he W(IS Prince Francisco. They just caIled bLm F nkie. if they used his name at all. The worst shock was the next morning. -whCll. be. found oullhnl he had to return to this wulfing n:lghtmare call1edl 5Cboo~. and tbo. he would ha,ve 10 return IiIny ~rter day afLer dillS- Ife WM sure iQQle evil splnl had pIQc(..-a a I'L' liblc curse upon him •

Pl1Inkie rut!.1f'nOO to lite school. ondevery day he was mel wiLl.

In()('kery. crilicism. sud failure •. until his spirit was beaten 1.0 a pu~p. FinuU}I., when he CQuid SIDed it Dtl·lomger. a deep stlrrim.gln his soul ,uUM:'d h'll11 10 clench his teeth. control 'his brealhin,s. Slip his Imndli. Dnd muster every ounce of eneirgy and courage so he eould. 1"'un1 IhL" lilings Ihal he must 10 please his 'Ieachers.imptess his Ik'l'1 s.. IIl1d mUHI nf all, In be 3cccplc:d. He decided he would break:

Ihr curse through s'heer power or will. WhJle far from Ihe mos. n lUI Iny 1.11~uh!'tI kid in hi c:ID~t hC' become the mosl induslrious

h·v,·lulln Jdlu~llr :\(JcinUy. l1tbletically. Gnd DC'udcmieully. Andl.

lu II t'I"urlllum, I -Ii ,', hI:' ILl c.I "".(111 lu nl~d 11. rol'llan4; Inoor('d,

Itlv II S, II I~II hl-d, hUI till, .11'U·plUlll"·.

JII ,rurl Un' lll!~ ,in I P r dll I al -ttln·, portr y

.'"rod .10(: La I whh Illhc amour f ingl in ident, and r- veals the , td f· ndu II h'. overncd n unsucessful QUCSlloward Paradise R' ined. rt ne dept ts a trauma. betrayal, Of other tragedy that d .. ken rh !If' of the main character, aud It rcJ1c:cls $Ome of the dc.."Ci ioo~ h or he mad to cope with these difficult cc,nditiom.

One' you have wrUlenPm Ooe in JOur journal (or spoken it and I I .. ontered Il), reread it. Make whatever revisions seem necessary. ut for lbe most part Slay with your 6rst impulses in developmg its plot. Then reflect upon the meaning thal Part One, of your Fal'ry ale h Id for you.

Pronk used a technique called "focusing'" to reRecL 'upon his most vivitl r lion to lbe slory-IJiJ ridicule b fell when the chiJd.ren l"lIdr Cun of him for not understanding the teac.ber's direc:l:lons.. In r, llitn" YOli direct your atl.e;Dliotl 10 your bodily reactiODS about an '·'[lC.·1 en andthen begin to sense their meani" •.

My inili ) sensation was of a beavin 55 in my throat and in my , '~"",mob I associated wilh lean and sadness. 1 also noticed bow I had I ighLcD:ed my bod)' and was controlling my breathing. I stayed wittl. Ihls awareness, and as I continued' 'to scan my bocUly sena· II •• , I h-d a sease of pressure and recoil 1.0 the front of my body, ,~ if I'd bumped intO' an in.vi5lble wall and had the wind knocked

oul of me. The fe lings I felL were f bewilderment and a painful mOllol I thud that uused me to wan1lo put on my brakes, pull ill, h Id back.

My finn impulse was 10 call this cowardice. Then I realized thaI Ih· caution scemSlo have become buIlt into my body. I Bulomati· , II hold ba.ck. Il's like rve lost the choice of opening myself. With Ih I - HUllion. I had the lhoushllhat maybe 1 could change lhis. unllh re was an. immcdi~ noticeable decrease in the PresslWe(lD Illy h •.

I til nk It m IllS that I never complete].y gol over the shook of I ''"8 plopped oU1 r my .safe: home into the terrifying jungle of , iude arlen. Wh n I bumped so hard apin-I IhPl invisible wall. 1 pull Into my If \wlh aU my r ngth au II was 50 dangere\l I t be: U I there n !rhis new world. I do n t Ii ve I ever again

rr vuln 'robl (u the degre -I wru, whc:n I walle. inl Ihal 111 nd Ilv held I Y 1'( II 'V- r in' ,lryln to cOllllm. ill.1 uti nf jn I lIowh them I I . 1\IIIb 11IMh rh "cur o' I un my I: ir, ale.' '111('41 tu I" ve IInt"d bv '''Y lilt' 't"l'R I I ~n·

I nUl' III lei' ,·", .. Iull I V , ,r I II "\Iii I' .. II III I II re

wll ott II turn 111 II 'I ... n ,

UI1I II JWcVCt hll d I w(,uld I t be.n ontrol or my 11£1:, I had

n in r n d cu vi II 0 llmt I uldn't ioBu ee things. and no fn II th t I .)uld mue it. regardless of roy dttermJlnaUon. So. as hard I trled, my efiortsweren', mpported by aay confidence. and t I refore goad deal of my strenfJlh was nol available La m,c. even w:1 n I w putting out ~ very 'best. Still, I saw n alternative bUI to It P tryins-harder and harder.

When )'Ou reflect on thls or' any of lbe personal rituals, we enCOI1T:' g you 10 also begin by focusing upon your sl~nge.sl f cbngs about ,I C!: ~perience and lakin,s eu . from your bodily r ponses as )IOU xplore its meanln,.

Personal R1; aJ:

Healtlll aD ADdeDt Wound

Old myths lhal have become dysfuncdonaJ often b~~e Ib.eir roOLS in . rly allemplS to compensate for traumatic, humt6ating, or albu poinful coodltionsf'ro:m chiJdbood. We m y continue to follow the, old nlh·s guidance, even though _i~l limits us" in order ~.~ uphold ~. unenseieus covenant that it wiJJ protect us rrom feeling th pm n or a rly emotional wounds. "If 1 fully devote myself to my work. no one wnl . vee again \hink of me as a "no-good. l~y lad':.~ 11, is sometimes

possible to beal an old wound by creating a .supportlye and ~ons~cI ivsituarion wbere ),OIA. cam reexperience th circumstances m which .he wound occurred. Sucb a bealiog can reduce I.b emotional charge I hut keeps you attached. to Inc old myth and open .the way ~or a mOIle ben fidal co\lDler.mylb. Initiating II healing of lhi5 JliIture 15 the PUf-

FO of tbis personal ritual. .

II 11, an avocado farmer and pholop pher who ,rents both

di during bis adolescence. developed and ~oul.dered. a personal myth thal he too was desIiDed to dje before his own children wer,e fl II grown. Th ullllmely dealhs of his pBrC?bi ~CI"C the last of a long

(dn r t r o~lnducl ng ex ri nees from his childhood, and imagin· 11 hi· \ n early death so.mahow helped him to live wi~ his un-

1" _ hll'd gri r and unnamed LerroI'$. U be kn.ew be 'Would die youns,

h • did not h Y' 10 worf)l bout thC! uncertainty of when death would n .. n '. nul •• fl" he It ul '11ildr '" of hit. uwn, 11 bargain wilh ~ III II. w bim to" c hi hlldren . cb Ul lUI" I)'; he w uld III !" Will

11 Iy eli' when Y I r I" d d. hi," hUdr n PI,r hed th ft C'

ih t he' h cI t,.. n hetn hi " I 'Ill I I. II W I h rt' I

I ,<rllilod ho I h, v'og mad this ct. Ahhoulh only In hll, III d f rtles

nd n ')I r m rried t a man wbo wanted, to hayo D chi Id with

hbn, h ,~ It Ih 1(0 h ve an lh r ebildju.st as tl1,e term 0,( his barpin WD rcoml S' close would be a show of arrogance and an lrrefuta~

I'e invi lion to death bcfOR the child was, grown. All the positive Ihil1lcina In the: world was no match for msperv Ive anxiety. ChangI ng a myth of lhis magnitude, 50 deeply entrenched in one' posture hl the world, requ.ires what therapists call nw rkilnllhrougb" of emolionaJ w wub that, are ye unhealed, This ri(ual wiD help you to id rUify an area from your put that is re dy for further 'Wo ,king through:' and it will gel you started in the process.

There are several ways thaI fhe transformaUon f an old myth inlo more f'U,IIUt:ing one may be impeded by emotional lr8Wft that has not be D worked through. Unhealed emotional wounds tend to shape our perceptions when there is an ama10gue between B stluation we

nc unter ,and lbe circumstances th8J1 wounded us. WewUJ focus mer on the dangers. ",iss the opportuniUes, lind be wctghed down b the emotional load we are carrying from the woumd. Unhealed \III unda lso teed to inhibit us from lakIn,S further emoti:onal risks,

ba.,doning a familiar though faiUng myth for 8tJ untried though

fll" ina myth is: almost aI,ways an emotional ri k.

In lu rt's case, be aeeded lo work through Dol unly the trouma I r hi p rents' deaths. but also other Insecurities lIta't lnaccd bacllo III hil hood. Opening younelf to the pllin of your past ean lead 10 .t II I n that kansforms your mythology. When ihe pain is over\\lh,·hlling.lhc process may best be assi led by o'Utside resources. SI u rl mtcred psycb.otherapy as he began '10 sense how much he was

tlll lfv ng acoordlng to a mythology that had been built ar-ound raw n tJtlonal wounds. Announclnglo his, wife that he would Ii e 10 have it -hlld with her was a milestone as lha'l mythology changed.

'JU't even without outside: inrcrventiollS. your psycbe Lsconlinuall, ((-"Un.a wilh and uUempling to heal old wounds lhat ar illt,erfering with YOUI' urrent runclionilll,go Dreams can, provide a window on this 1\ . You CUD also, with Intention, dJrecl your ene ies t,cward he ling old em tional wounds. Although lit healing proce may r "Iii. I n period r lhne. tile a I unnitiallng ahc p - 8, ean open

ou en I mer > r -ntl ;md hope In pMoS my! hology.

"'lie fnUowinll - r' n I IInnl will hcl,p 'ynu idcnUf on ,"muuo" a 1 w ••• " Ir an YUI llh I i,. hllerr rinJt wilh tile resolutl n (I' IIr In til 0 I nni I, nd II w II II ~\f "on huw 'II hring VOl r P Y h.1 I 'nl

l •• nil h Ilin ,VOtl 11111 d nil Ir,IIJmJl fur Ihi

"lUI '1 hIt>" p ,It .

Ilc I", hy renthl on tbls (JU [1 n: Ar then: 15 or your old

myth thul U U 'V • will be difficuh I chan. although their shOl1~ C Inlings ar !lid ol? Frank identified the fgnawing areas:

I'm I twilling' 10 part with my insIstenc:c 1hal I give a coosislenllyoptimal pc:rformance n my job, even lhou,p these ta.odanls aravery costl)' fo1' Ill)' per&Onal life and could gct a:WD:y with a

&TCDl deal less..

I have no reason to, trustlbat passion and playfulness would

5U dcoly appeaLf were I to slow down and make room for th !D. so I'd wind up !lot only witb ut my hiBb wo - standards. bul abo d moralized and bored.

I am afraid lhat if I w re to get D1 re into my p 'on and 10 let it: show. I would be OO\lio and boorish and would become me

objcxt of painful I sinl to my face as w U bebind my back.

If 1 &Dow myself to have more time to rc and play. I'm afraid lh 1 my motivation to be productive would begin to e - - e, the quality of my output would del riar:ale with It. and I'd tart 10 halc having to work.

Once you have iclcntlfied a few araIS or continued cODRiel or lmpasse, record t.hem in your journal. Th n fmd a comfortabk-posido wilh your pUiow. take a few deep breaths. close your cy • and relax. as you allow rh toUowimg illStrUctioBS to suid y u:

As you settle inlo tbl saki secure spot. locus on your brealh'lng. &gin to reJClJse oy IJI'eQS oilcnsion in your hody.{Paust:] Listr::n for and ft!m l!JJab in·brealh and ~cb aut·breath., /PD'use/ Nolice yOUI" belly and chest ri ill[lllDd falling. (Pause] Your breDlhing bttmmes $lDW

nd d«p as you rclu more and mon: romp/ccdy with each of ytJlH' II I Bill! breliths-ONB. TW~ ~ FOUR, F_w.

Bring '0 milld tbe::ums 01 your m,ytb'ology tho, you Wic:w: would be din;. uiliO modify. [Pause) Focus upon one issu ",bleb YDU csnnot Imogin cbnngilJll or strongly resist clml'Jtli.lW. {Pa~J BxpNi~ce It pIli in your body thllt ITIPn:sents rh/s area of your l'ik~ Bxplore Ibc

nsallon {Pouse} Identify its bounalJl'ics and dratV an outline of tbe ,}' w#/J III'/ingel' or in }'Our mind. {Pause} DI'!J«JVCT the wr:lghr., ..i1!c, . ,,101', nd temperature 01 your Iet:ling. {Pause} Breatbe con.. dam,I, and de· 'P{v Inln IIrI . Inut sre«:

If", wiflu.W" III; . (a'lln In "nd 'lJU blAck 10 an cnrlicr periOd of 1"mr III". Nul;" . ,1':t° Ron' (I{ ~tr ',iicm~'i tlMI m"kl.' ril' ,he' It-rlltllJ. NOl" , IIle' ,II • 1m 'llC' fd , ,.1 ... -r ,',~ I til, n IJ'/III11r ", ft'l('u" ut' Y"UI' fi -1111/1.

Thin. ot you« fL''i.·JilllllJ.f the fiv v: Imll[linyour:seUin Q bual rJlllhal '4" 1. lY,e l'h nual' ou Do f ill lim , safely ll.IJd comiortllbly. to one

" rh' liNt • ion. In whlclr J'OU expt:riena:d the.feeUng J'OU just

", 'uflfilvl. AI ,he SDUtW .o1,YOur iR1JJ:Jg was lUI esrJ.y eJZ1'otiODIIl Irmlfll QI' ()tbe dillicu/ty. The river laks JlDu back 10 tb.is SO~ On II, ' hIInk of th riVi you see. 'S if 01111 Siage. me circUIJIJstaQ(MS that en: ,t:cJ iJ wouncf-...an t:.qJt:nenr:e thai involVl!'c1 Ioss,betnzyat. Il!jec. "Uri 0'1' olher emotional injury. It may be Ibe _me scene.YOfl went It, In tile previous joumey back in time Dr an enlire/_J" dJee,.nt .08&, 1m' I tb« same.

III this 11e' are the origins of 01 wound thai is still aKflCling your IIlc', NCJui:r who is there IUJd wll:JI you 8Il: doing. WhC1T'}'Our memory ~/(I.·. not o/Tcrdt:tsi.lg, YfJW'imll8klauQn will. All tItc CQ/O" and $Ound "f 'ft'I(~pltJi surroundings, and I:tI"OI1$ aN pl'tJSllnr.. Whs' do you smtiH? II IJill mY.! . _ u wearing' H()w old are)IDu 111 thiS ~emherrd tll'lmagInt .. I.'K.'t·" -:1 {45-;second pausttJ

11 .. you rr:r:aJJ Ike dreumSUmCC5 t1mt CIlUSt:d this lI'BumQ, mire th " If, IIV ,wei bold It close '0 you, posil1oning II so it hl1s some conI cl \li/h.I/our wound. IIHI the. changing un llons in your wound 1I$J'Du HI.'t· if thi contacJ and attanlion. imstPntJ .Ihnl this piJ]ownow I un .. Ih you of an earlier time. baa when you ~ rpe.rient:Ing II'l" mt·mory. Hug 'lie pillow andgl comfort. Experience ,Ibis con. lII't'1i n Ivit'll Ih,t; abild' withia you lor the nest scl'Cnlllluules BSYOU , .. ,\'on tro t th« deI8';/& ana reexperitmt:t! the CIICIIL [If you are reaclilJ8 II,· • in fro lions. into a 1Ape. 81:Id: '?urn 0/1 the Jape and take all 1M lime au .need, j

51111 holdinll lbisyoungcr yOU n:prescnl«l byJ'OUI pDJow. imsgi'nc 1/" 11. tH" Inner ShtunlUl bas IJearc/ about your sulle.riDgllDd.bBS CoITIC ulll (if the' depths to htiJpyou. Look al tbisbdDJ1, taJdDg in his Dr her .. mrll1"(", po.r.tlure" fllCilll qualities, IJnd eJfp/"eS$lODS. {2()..s«:o~d pau .. j 1''' ·Id ul ts» fJ(1wel'ful bealer of body, mind. emolilJDS, Bn'd spirit. IIlT'I the pCJI¥ r of your Shamao. eJW as she or be looks al you with ~t'l'.t" rJril1lJ .'lod UndemlJDdl .. [Pause} NotictJ tbat then: is a glow

,html ue "nmlln' II . d and ltanJs. Walch Ibis glow 11$ ,'I Illlrat:l$ ,,/u'mllJ('ring roys .of cnclllY from/he Btmosphere un'I}) you are also MlrrrllJ'IIdcd by lind bnlhcd in a 1t'II11quiJ, l'IJdiDI1l. hetJliD& cryslal light.

(JUI' 'hamal' i mllkin6 conillc' lV/thou, pIn Ing on tad!. I/Jt, /I"" din hand "II"'«I • n tit". rhild ,v','C'n-lhr: plIin t grrJJtC"Sl and the f)11,rr hllnd nil vour ooC'lr. ''''t.'("lthc !teolllla {OI'C"Ci aflJrrmlwf'!'i('/JtJJng clllumd''fl (mllf Ilrt:c • fmn.l.. nd lin"'~" Int« ,t'mlT '''' ,111,,1. (I'lU. J ,,' "I t',J~ ,\tit II"'IJI ". "I'It/, ,I/(,,.I"N"UI ht . ~ l'flUr '/'01111 'JII~ h, ,,'mw k '1)\ ,. ,Jt"r/ t rill ,11", 11'111. mill'" ",tl,I"I1,.· IJ.'" 'ifill

",1111 r'n,'l, iulu,t .. tlull il " ("ttl, l'harlf': of /. .,Ung I(GI,' enter» 'Our btxI)'. /1.",. -/ With co h '."'''lJlntlon. bu OL l'ethnl J'UU lU'f: relf18slng stale t lIel'1O ~ II , r. II, ~'r ldu your wound begins to IIeJJ1. {Ps~J N 'In,';" ")lvn, • or III honds over your PIOund wlm eaab ihhalBtiOIl ,md each ",'llla/Ilrion os lhc bealing plTJfJfSf continues. [If J'DU lIlT: re dilllJ d, instructions into 81B~, add: 'Turn 011 dH: IIJpt: nd l'IIh

1/ th time you need. j

Now.rou.rShamJUJ has some €ounSl!l fDr yon~ Usten '5}!OU are told #'0 10 biJller pmucl yourself and llvold reWuring your WOUlld. (~

od pause] Once more, your S'bamiUJ lays a band QiCr your wound; giving you another dose of thIs. t:l't'1J1tiw: heM,Qg power. {Pause} U'you harM any further questions, ask them DOIV. lind Ij$~ (or theRnS\toers. [JfJ.se«Jntl pause] When you are n=ady. SIU' gotJd-b]!e u, your SblJll1QJ1 For now.

.Bring your sn.enlion tome pilJow you bafC! been boldiR& and Ili' BIl~tion and CQUI11g£' 10 the ch'ild or iilfanJ you once ~ "tnlerly comforl Ibr:QhlJcI with )'Our ,ouch anti ac/u}t UperJMce. GJ~ 'your thoug/Jl$lUJ'd kindness pnerou9ly 10 turn bartto usd'ul &ffJCl'i. 'nee. Be the adult you wish had bt:en Ibm: [or :you. {6fJ.s«o.n.d {~1U5CJ

Apin set: II11d 1'CCl this youngor version of your selF. bUll it l/ghlly, I nd s/toIVCl".i1 with alJ III love)lOu b ~ ve. You IDlJyeven cry 10., h'er. I PnuSlJj'As you continue-this emiJmce, feel the child m rglngbaclr in,lo

V, reI,urmng inlo yo.urpresenl body and miDd. Be aware 01 the Iva_ys tlMl IH!aling hu IBIcC/J pIs and a:lso ft:cl the gilir-du1dish gkG ,'m/Jusissm, flreJltivity. anlir:ipation-lnis child has lor you, (huul y. u lis Itt: given your younger sclltlJ love Bnd best adJlice you btl'W! 10 offlN'. Now feel thai Jove .snd wisdom come back 10 you as your

oUllger mit reinlegr&ta into your being.

With your Ilext det:p brelllb, come larwsrrJ in time fa your CUTn:lfIt: • (PlJ.usr:) Attune yoursell to tbe part of your body thaI you 8$.,,~ ';DI,:d wilh ]fOur emotional wound. Have lbe 5eQSSliOlJS' ch:wged" fPl1ILSDj Know that you moy repeat .bl's lJealing ritUJJJ or t1DY plIrl of it m. ID/JIJ)' tImes as ytJlIwould Jilte. Make B r:ommill1lenr 10 J'OILrst:lf In ch '.Ie in on your IVQUIld from time to time 50 you may provide it wllb Ill! tilt: IlfUll'in.g "nt!FfD' it needs.

p. ,/111 • to relul'll 1(1 J'Our waking consdoWT1tSS. Counting from /ih' 00 k 1(1 mJr~ JJ III be abJ 10 recsJJ a/I you 11«11 of this exped~ t'm ' I 1t n J II IJmr tbe numbflr I • .You will feci alert mlu.ed, IUJd' ,c·/n''i/,nJ. IS If wnli/nll" mil 1ftondc.·rfuf nap. FIYB, IlJQ'VC your Iin~

.,. 'IIIr11'1 . ,. liN. tn-t: !'.J JIIr, not/Idem. n«k. onelface muscles. iIlRI··"', , At-I ," '/('CI' I" ~u/;, lnt • bfillN vour me-II"lm h k 11110 tiu:

""m .. ON/:" "1Jt'/IJ'mlr c _~ {cc.·lIrr, n:fn:~h,'fI, nl~"', "pcl (ull)' {'f''''lle'le'llt ':0 IJIL't."t thl.' rt.YJI'J;ll'men.is of your dl1J1.

Summol:"i7.c this experlen.ce in your journal, and reflect upon its I11t"UnIILlS. f.'ank recorded the fo]Jowing passB_gesin his jQurnab

l\$ (thougbt .1l00Ul my strict adherence [0 high standards 10 my wurk, regardless of the penooal cost, I noticed thaI my neck lei. L'x~rcmcly Light and co.nsLrIcted. As I focused on these sensatioos, 1111 "Hen.;~ion m.oved up te my jaw, which fell hard and )'r1ltie, I '"mlng 'witb heavy.Laut sensations that reminded meofa bicyc.le iuner lube Ihat Is being strelched .. The closest doscrlptlon lcoul.d flll,,1 rill" Illeemolian I associated with these sensations was "burnUl~ dclt=rmination.'" Thad trouble g,cttlngback to an earlicrexperi-

II' '-I ·cvcn hadLo· tum (he tape oR because it goL ahead of :me- 1111'1 fulC'£! Ihe imagesc.am~(hey were very powerful.

I know lhal in the first weeks, army liFe 1 suffered fTC,m slight JIlfllnul..-iliolil because my:moLberwas determined to breast-feed me lmimuid not produce: enoiusb milk. After that, I was red Bccording 1.11 I M:'lll'f..lulc and even held on schedule, as was the Clllstom of lbe I . tilt',., My pnrenLS bave reporled 1.0 me bow agonizing it was to bear II!t· scnmm for hoW'S at.lbe lOPOC my lungs andrei the), could not ~n ill .Iml comfon me. 1 have 110 rcaJUeclioo of Ibcse 'limes~ but in fhl. r<nllP:flY. roy imagination look me back to them in I reuon:ably vivid mann.er.There I was in lhe crib, just screamiog and scream· il1r. my little jaw off. Finally. iII utter elduwstion I quit saumiDIL nAd sel .my jaw to scream .DD more, and to containlhe pain and ne :diness within me.

.1..11 J hUB the pillo,w. which. is touchh~g my jaw, the hardness sluMp! 10 mell and the lightness rel.eases. and I begin to feel warm, ImlKfIl ng sensations Utrougb :my jaw. 1 have (he thoughllha.l if I were still In lha~ crib and my jaw were free like tbis agaio. I would t Ult" • more scream oUI wlilb terror iliDd willt Toge. But now, lTOubJed: by n e '11 hOI' !h u.n gel' nor rear.itisordypleasanl10 be feelins the WiIr.D1 M_'llurulioArirodiatinglhrough my jaw:. As 1 hold the pillow, 11 feels 'ibnky. lID r S(lUCC1~ il aU the more Li'ghUy, Irylnglo, give it comfort.

'rill" lim!: my Inner Shaman looked like a eli 55 between Falher

Tll'nc utdGeul1r Burns, JUs ildvh.·C' Wefll:ilIIYl "lhiJ1g. like:: "You Ifll'rtmd. 111'1.- Wtl'dd h:udlnR wllh ~HUI' Itlu'C;l JIlW thl' wa), an hllk! I It'lltb. wi! hi ... ~liilh.·nnUl·. 1'hl' wry h II dn.'Hi f Iml 1'11"01(' (Pi ynu i 11 Ihl wm·hl "I~t l,__ .... k.ld',·!i. 'ynu IWltt u·u.jvhIH 1:Ilt" !ll4a1II1.rll I uw,

VUlt ,,,u,;1 llt"hin.·.VuUl' pc' f 'tIoni In hto B sli k shell eh 11 keeps, yuur inn 'r ,;nflllt:.~'i. E rom touclrl nil. the wurld or from ·lx:'lnS louehed by U .

.• , pr laim 011 thb; day lhat you have developed many slrengths

well, and Ih. Ilr nlci:\css in YOUI' jaw and in. your standards are DO longer required for your protection. I invtteyou to beckoD. me to eUloe to you eve!')' day Ibis week. I win come and 1 w1U focus the Alrcmgth of my heaUng ]'Ower upDllyollr ja.w while you massage Dod SQOlhe U., briJlgin,g yourself, through the magi.caJ powers of your imagination, back lathe "cry crib in which your jaw and your joy first begam to harden. After seven wcilmeetings, we shaH dec:id~ wOOt ru:rtlilertrcatme:nl. is required. Do you accept Ihis oler?" As I hedged about being too busy; he sent me ao amused, knowing

glance and I capitulated. . . . ..

After cxtcnding my fareweUs to the mller Shament JloJ(d tb.e

IlI:Lle inFut sometblllI like thiS! '1 secthal your f:irsllesson, ln life was that if lhingsJust lake their natuMl oourse. you "nlnol gel what you need. As a I'CSIJl1. you will grow up' with tremendous d Lcrmil1slioD 'to marlihaJ am the powers at YOUI com.mand lo enlSU.[lC that your needs wil' be mel. You will develop a: refi.ned capacily for lmlpressmg others lhrough the excellence llfyourwork. In soMe ways t.hls will serve ),ou well. but it also will blind you to the simp,le.joJs and salisfactio.ns 'of lire. You are 50 certain these will. not come easlly thal you win nolpcrccivc tbtm ospossibill'Uesand you wiUmiss them. I want you to knl)w that the survivru abilities you will develop will be more than adequate. You. may rest wit]i) :assurance about Lhal. 1'1 is my wish 'UmtYOllaUOW yourself co' relax I,.to the simpler joys that wilt eome your wny 'wilh no ellorl. if amy you let them be."

There are several ways in which you may ertemd this ritual. You.

CUll t'cl)elll ilas often as you wEsh or mveflt va nations or fllrmer 1- .'Iuals, U Frank's Inner Shaman suggest.ed. SOmet.imes this process hnngs other IJ'Pwnatic: m.emories to mindi .. and you may carry oullhe ~Hne i05tntclionsto aHend to whalcvcr wounds Ih.ose events may hllYC caused.

H, howe.ver. this experience opens otd wounds that continue to 1'IIup,nl" you even rutel' you have compleleci the ritualsndrdcdcd U!'Mm U in your Journal, refer 10 lhe scctiOD towa.rdlhe end of the pu.:vium, challtcr thol dcscrllbca h.ow (0 use you.r Shield to protect

un -If. USI.· Ihut I(.:chniqu( or nn.yoF Ih • 01 her sugsestloms. provided In Ilptmil (~Io WOI kwl.h .he emo.lnns you hnv~ uncovered.

n I tu I: Indlng l t 0

Mythic enew lin Your Past

Y ur uld myth helped you adju t to lhe Parad:i5C Lost Dr sepuatj 1~lrnYIII. 0[' ~lher trauma. Ye~ glimm rs of carUer, more inn:::; um II 'mol n In ynur uJDmnscious mind, and they provide a prolotype for Ih~ hopeful new.directio,ns represented by oounter.myths. The rollow," pcnonal ritual will renew YOW' conoectlon with exped. enees (rom your past that pvc you a reasoll 10 hope that, your aspim~

liun n bring you into a, better world. - _

, 'I'h' In lructions here arc similar 10 the previous journey,'· c.k inl(1 time. Here, however~ linsle.ad of startiog Willi an un.comfortabJe . rlen ass:ociated wilh conf)icl" you wiD begiD by locusiJIS 00 n JlCI!ih" fecltn,. V:ou will follow lhi feelinl" back to events from, VIIU I'll •• Ihat serve as under1)'i:a, models when you envision more I" .m in new directions.. Have the iDstrucuoAS read to YOUi read Iht"m tm {I .ape and let the (ape guide you; or famU'iarize yoursclr

I II I hem nougb 10 be abfe to lead YOUI'$Clf through Lbc t'xerci

f IU'" lmfortablc position, close yqur eyes. and take severaJ deep , rc ,'h :

Ib 'IJ /lIe into t1Jjs sale, secure spot, focf.lS on your brea.0iJJg'.

I~ III fa r "ease any areas Df las/on in JlDur body. {Pau~J LISlt:IJ Eo, III" (,;., ",d,!n,-bn:adJ an~ CIIch OlJI-bf't!lltlJ. {Pa~J NOtiCfJj'Dur beJJy lilt! ·11". I r-l. t.ng amIlalllllg. !Pause} Your&restlJin6 becomes slow

IIml "r.'''P H ~rou roM mo~ IUId mon: (;OmplClely with '(,:lIch of yo.ur Ill'''' I"'~ broailJ$-()NB, TWO,; T~, FDU~ FIVE.

M.'/JICIlIIy, the dilemfl11JSof PsrI. ODe of your F'lJiry TsJe have been 't'r'.u,/lfLy/. You no longer feci IlIe conFusiolJ IJ:1Jd pain of ibBl time. I(fOi/., ,d YOU art: optimlsiic Bnd rc/n:sht:d. YOUI' body Is sulfuSl:d with .·m'tRY and n partfcular arJOd red;lIg t1JJJt delights .YOu.

11II, .. k {/~ IIJ~ good fMlings. Di:;eo'YeJ" lbeir colors. text·, . . ._~ OIml "": Find a 118m {or your~.rws. Your jmagi~DJJo:::d ;;~~ ON •.... (11"'11111 in pcrli. I hnrmoDY 10 fix this IvonderfullfJ ... perieJJ~ J" ,,0"1' I. i: md m mory. You 4'C1 rr:vil. oj/zed. /6IJ.SIJCOnd plJll oj

YUII IVJl! us ,,, ."" Tc: _lillfP ,0JelJd W!iu ha, t '011'" •... I, . . '00 f

"',. No' -'''-'' . .. .", r pfTI 0

mill' 1 to. ,I, l Ih 11m of 'IJ's,";on thDI makl' lip ihcfcclin Nt

('~ .. ,It. 1111.- ima _ of 11 rivl.'r IJ~ I'fJIJ I,Y)nli"'.1 If) fl U.on 'f,' ,. Ii;. 7~/"A '''-,V."' Ii ://tJ/t 4 ... ''''- ril'c'r. ImllRilk J'f'JfJrscJf in II bon" 1m ,nnl ria rl~ r},,_,, n I ,,./1, Ill .• '1.111 iNk ~ ;1111", " .'iJl(cb' and c.'rm,f on .. bl.,. 10 one;

of ,he'l, II • Mot .... "" "'h,d, »m « 11(''';C'lk,,'''' IIJi fli,.,,,i,w fc -!ifl/f.

On I~ IN",A f , ,/k' Til 'r.' III • ~ if 1m IDJIC. J .... ,.,. If '1,,0,1-'1/1' II ... , rt:.11f1,. I("'/lnp, 1,1.11/11 a ~ -n 1/'& I.. Urn...v:J11 .,.,. ""r{v III,J III·/lfc. h'lIf(11' tI, • ,·Ill ...

Jlm,( old Jlrt: )'fJlJ in IIJilS n ? Wi,sl ~ you doing} WbC'~ your

III '/lJory d ~ IJOI (JRer answers, )'Our imqimJliDD wJ11~ Wlml do Jlf!Ju /Mk lik 1 Wn I arc.fOLI WCtuiQg} Who, if atlpone, is tviM you? Whee orc you~ What .!II"e ,f},D surroundings? W"., si8hts. munds.. 1JIsIu, OF SI.f'JI111s do you expulen~? What.. spoolfit:llily. broulJht about/he 1«1~ ;"111 RI!dlJ or im~gine as.QL9lzy duta.ils of that t:BrU timeD'S you eaR. (4S.,secoDd pause]

No,v reIl«t OD some of tIJ deais/DDs you mighl have m de lJS II n::su1t of this uperience and Gibers Ilice it. [Pause) Wb 'I coDcluslons did you come 10 soout yourself IUld }'Our tvorldJ (Pall 1 Wbatrolcs, cthicsi OF CDdes of conduct did you adopt? /Pau.sej WIJDt 1J1t1ludes toward oM r people ./x:glJn to t:lDt:I'lP!' {PDuse} What views o/Ihe worlell {Pause} Whal pbUosophy of liM [JO-sectmd plJu~J

I'rlJpBl't! to mlurn to your walt.ln8 consciousncs& Counting from 6w.: back 10 'One, you will be abJ. '10 T«Illl aD you need a/IMs CJ/tpcrlelJ'oo. Wben' you beru lh' number I. you will fccl alerI, rr:1'wtteJ, Dnd refrr:shtJd. as if wding from a wrmdcrluJ Rap. FIVB, /11'ove your lill. gers ana your toes.. POUR, stn:ldI yotJI' shoulders. n~ lIlJd fn muscles. THRBB, take a deep breBtb. rwq bring yom allr:alion ba into "he TDO'm. ONli, open yourcy.es.leeJiDg reliTJshtJt4 simI lU1d fully competent to meef the requirements of..your dlly.

Havins compleled this process, open your j urnal ,and summarize yOW' e-xperie.nce, addressing the foUowing:

I, Whal w,as the positive fecho, with which you started?

2. Describe th _ scene y u went 'baek.1O in as much d'laiJ as you can recall.

3. What rules of behavior and ethical eod . did you adopt based on experiences 1l1e the one 10 which you relur ed,

4. Wbat sense did you have of your destiny. capa ides. and Umitations?

• How are these codes andatlitudes affecting your life?

Ii onlr sri II. \I' "I," YUII • '0 . n mytl It I"

Ihl rltu I with lh previous experimell'ls in. -lime h w, l11t'xpetien 'seith stage for maintain· ·11·limHi I \d 1)1 ht'pr vi.d a foundation for

mer imQ.8 nnllw nnd self-affirming myths. Frank wrote that if the bl ms associated with his old myth were sudd,enly resolved.

J would feel the passion I've bcenwanling to develop, a sense of alivene5S8nd tingUngradiating out from my beart and ,filliDl my body with an entllusi m for living,

, went back 10 age eight. It was tbe :6rsl 'lime I'd ever excelled at anything. I'd been lairlng piano lessona for OhoUI II year, and coinddi118 Wi'lb my bat week ever, th school bappened to sponsor an unanl1ol:1nced cDnlest wbere the wiQl1.er was, the person who had m stercd the greatest number of pieces thai week~ I came in wjlh

6ve new pieces, and the nu,l, person came in with three, I w

'treated in front or the whole group of so,me 120 youns mU5i~ians with Snide rs bar for each piece and a lavishlness of ,praise that had me glowing with warmtb and pride.

Wbere I bad always fclt inadequate Q(i un,d my peers» the single c:xpcrlcnci of slanding tber-e in &01 of !hat large group and being praised for something I had acbieved left a:n bldcUbJe mark. felt worthy .. As I thinl about it. however, I'm Dol surelhis cxpe.rien provides the basis For the new mYth I want to dey lC)p . .My conclusion from this episod.e \Y,as thal if you work very very bard, fortu will cveuruaUy smUe on you, so I !urll1e.r m.obillzed lIlY passion J;or bard work. The expcriene.e helped me feel worthy for my accom. I'llshments bUl not 'mpl'y for being who) am.

Dream Focus"

A R.enewed Image of Paradise Regained

101

di ' '. Th dream need DoloBer practical instruotion. only an imaginal. ~b'c fantasy or a more satisfYing future.

Sean yOUI" journal for any recent dreams tbat SU8Best positive diredions. To incubate StIch a dream, bring to mind the Paradise Regained symbol from your Shield, or posidvcly obarged imaae from 'the previous guided (antasy, OJ' aoothel' hopeful image you ,night generate In the-moment. AUow the feelil'lgsyou associate with this image to' permeate .JOur bod,y. Before going to sleep,r~t to

urseJf ten '0 twenty times instruction simiJar to tbe foUowins: "'I request, a dream lhat shows me a creative response 10 ('dC5Cribe tbe old myth or the problems associated willi ill. I will recall my dream as a as I awake."

Immediately upon awaJceniDg., record any dreams you d,o Reali.

If you do nol remember a dream, stay anuoed to y UI' early morning lhoqbts" ms~ghts. and Fowles. Usc: t:cchniqucssucb as those in I\ppendix B to examine ady dreams you :incubat.c: or select from your j -urnal. After requesting a vision of ParacUse Repined on ~cn" consecutive evenings. but baYing 0.0 dream mamo .. ie.s. Frank recalled Ihe foUowing:

Th setting of m)' dream f' mbled ancien' Greece. and 1 'Was an Olympic wrestler. I recall my strength. my sweat. my con6- dence, my focus on the oppon nrs eVCT)' move", my respect for him, my joy in beinl in this event, my catlike readiness and speed. I fell vel}' powerful., as If all my muscles wer - developed to Lh Ir full and natural capad'ly. I fell so alive and strong thall hnagi~ cd a glow must be radiatins from me'. I don't even reeall how the matcb ended. although there WM no question that [ won. and suddenly I was carrying lhe 01ym:pic Torch around this Rl:U5ive stadium with my gaze and energy unabashedly meetills .he m lve, <:heGrlgg

wd.

When 1 woke lip. I remembered severallbinp aboullbe dream Ihat se med related to Paradise ftelp ned. First. I was oUlgoins. enjoying gelling involved with othen" Intlmillte with everythingfrees. people. everything. r wasn"l my uswd shy, (curin&, ~

'If. In addilion, a wonderful cnergy. a jou dl viVHf was surglog threu h me, Whatever th I dream was aboul. I wish I could pack. n ill. II "I' h.>d 11 dell i ulil)' lavish Image of where I wonl 10 be h ud d.

... .-ll"tInoai R1tu ~

of Your Falry Tal

I n Part Two of' your Fi iry Tal ,the hero or heroine from Pan One will 80 OD a magical jourtV!y that reveals the creative promise of your counter~myth., Part TwO lsi not bound by th.e 'f .. eaii1;J principle.1f You may draw upon your unbridled creaLiviL), in findLns the solutions to the dilemma faced lo Part One. Thi5 second PQrt gf your Fairy Tale wiU. like some dream .. probahly be a blend or the plausible and of your uncurbed imaginillon.

Part 1Wo wiD reveal ,a new direction. Thejoumey back im time that you just completed may have opened you to an intuitive sense of new possibiJities for y u If. '1111 second segment of your fairy Tale will sugcst, an idCQl r:esoludon to the di1licuJUu that emerged In lbe am segmenL The: solutio.t1 may he ic an exagcrated and extravagant form. ThaI Is approp.ri8lc for this ri.luaL The key iQ.8rcdieals, arc thai a new solution 10 the dilemmas of Pan, One will be revealed.allld. instruclions 'On how 10 acWeve il will be olTered. While Pan One probably paraUclcdevcnlS as they a.ctu.aJly occurred in your life. you will nOlbc followioS JOur cluaJ history in Part Two .. I DStcad , you wiD be using your i.nacnuUy to discov - rut inveative sohltion to the ori.sioal problam.

Part Two wilJ have the same central charaaer king 10 solve th problems that were Introduced in Pan Oue. In Part Two, however. the actio.n will occur as a dtama within a drama. Ruther than happening directJy wilhin th.e mai.n. characler's life. he or she may have a dream, reverie. orvisi.on, be: in a play or read a slo.ry, meet a. teacher. encounter the Inner Shaman. or speak with an anJrnaJ. plont. or object. This device gives you mulmum poetic Ucen5e. Mes look a magical ride on her porpoise. Frank"s Pari TWo,s YOt! wUJ ace, unfolded while h· gazed Into a crystaJ ball.

Read any ,sections of your journal thal you wanl 10 review. Take lime to center YDurself n the aims of Port Two: to reveal 10 the hero or heroine or yOW' Fairy TD]~e a (rcsh solution to rhe dilemma that ell1crged In Part Onel1nd 1,0 PtQ'Vi!de inslt'uclion on how to . h lhal solUlion. TIl!!!n oompdllhe RClcond part of your Fairy Talc,. Find a comforlable scningand allow lhL- SIQry to emerge in )'Our Imauina. lion; tell Ihe slory 10 ullo.hc •• )cl'~n as you or erealing 11: or peat if Inl081 per ~rdtr.Rcc: .rdor urnmnrb: the '1m., in our Gum-I. 'l'hh. W l Fntnkt P r1 T\\I :

t,uintt nlllflmJdy oft lib II lid no Un\" for u h I'nuli"hn' ... h. d he ome very I nlen • I rn, md "I u • lh u h in 'I" In81.)' su 5 ul, oun chap. He ~I' w t· er, lion. _r, and more coufid nt, ul he bud ceased to be h ~un·lovinB boy he once had been.

One: d y. h'l hom e (0 dim memori _ of those early days from once upon a lime, he WM drawn to 11 traveling minsrreJ troupe lhal, wa possingLhrough the Kingdom. With them was a wise and kin.d old Wlzard who had a Cl",Ystal ball. Whoever 'Would look in the c~ ball could tithe future of thir b ads desire," .Frankie never thought much Bboul rhe future because he was always trying so bard to gel ahead in tbe present. Bot he becam so curious to loo.k Into the (ulur of his beart"s desire that he ve the W'lZIIJ'd a

'Ivcr token II II d earned thaI wc:ckpolisbing his teacher's gill· celled boots.

When Franlcle I.ooked inlo the crystal b 0, he saw himse[f many years hence as K:h~g Francisco. KillJ Francisco earned himself with all the c:on6dnce and dignity thai mjght be expected of o,ne of royal blood. H WIIS respected throughout the land fOT his compe.cnee in ruling tb Kingdom. But he was an unusual King. He was the mosl childlike person in the entire Kingdom. He was alert to (he mira les of life no matter where be was or who he was with. He appro ched every ituation with curiosity and freshn of spirit lhot made each moment alive and brought much latJihtcr (rom th belly. Wher-e there were obstacles, be was moved to elevOle the: problem into an intriguing Clballense. As a result, ether poopJe loved to be with him.

Frankie lov:ed the images be saw. bUI he became very despoo .. dent with the realization thai he was growing up 10 be a, very different an from the. Kine he saw in th aysta.1 ball,

Whereas M~s porpoise ride brolJgbt beJ' 10 tchers who were, v'ry xplicil in the lessons Lbey had for her. frankf crystal ball p 0-'

Ided an imBF of II, better future bul little other instruction. Review I' rl Two of your own Fairy Tale and re!leel. upon its meaning by rcadlng It slowly and imooorsins yourself In Ihe story. Nole wbue v 'IV renetlens ar lh strong·" I, amc rOC1ilS on ,YOW' bodiJy sensations

II these point . ConHider the meaning of I hcsc feelings and describe YUlU I ,n'clion,; in yc ur JOUirn I. - uk had a trong reiI.clion to hls

I; , T 11 .:

it" I ... 'n liCiIl while' Imn inil1 111 'nl'S I Ihl' cryst I

I d till Ii"~ ill In\' cb I. dmo I 'f1

11M

PBIISONAL MY'DI J.oaY

·XU. 'mil I nd . ,or my breath havi:ngbecome very deep and ull. Th t el. !ike pow r, It feels Ilke I have a lot of enerB)' available. I I r; I anlicipation, a readiness to meet tbe world. What d 's II II m n11f I can be ftcliDlJ so much passion by just lmagin.

n a situation~ then I must have a Jarger reservoir of passion than I've be III able 10 reach. My lemdency has always been to pull back beca th I feels much more comfortable. But th.e ICing put him. If risht out there, be engaged life. and seeing him led 10 woaderful sensations, leaving me fecUng runger. more energized, and more sure of myself.

PerlOw RItual:

A Body Metaphor of YOUI' Conllct

Mythic conflicts arc expressed ,In people's thoughts, feelinp, and beItovio:r. and they are also often 8Omaticized-Lbal is, symbolized by ndilions or ev ats in the body. Y u may ful' full of zest if' you have lu I ~ lien in lov .' bur may be stricken with lh Ou or worse after a Ignifi ant loss or disappointment. In the following ritua ,you wlh . ,hown how to use your body to beuer understand a conniel thal ,uu I ve already identified.

W'r mind YOll oue final time lhal in thi! and In &11 BlIbscque.nt I 'I. 1101 ritual Ihal include SUided imagery. you Illay speak Lhe ill~ InJdinll into It tape and let thai lead you, or you may have a partner

d,c in .ructions to guide you lhrou:gb the elW'cise. or you may mnk,' Dursc,lr fa.miliar e.noulh with theinsl.rUctioDS that you can lead Vllllr~I'r througb the ritual unassisted. To begin, sit or recline com. fUll libJ nnd sum to relax.

'10M' J'rJur C lind lillie a fe,,' deep breaths 8s you ttle inlo

,IIi,\ I.d .. il/on, P4 J youn;qlf rein ina more completely with "ur n I tiv bl 'JlIIt : ON/i. 1WQ TIIIWE, f"OUR" PIVE.. PIlle' 'OUr han'dJ in ,,,,,"1 or.. J.II. ,1,lnrl/fIIl,YOuI' .. ,,'nt n .. JT au U'(ft" I'thing (Jul, Kec~ III,: IJI'l' f'l,/ml'l ult'in- c f, 01/1,.'1' ad.. fJ,' II n& nbnut '''IV li:cf .""Jill. 1('1 on ur ('Ii iU 1.1(.'11(;/ ~(. yml ("'m n'll "Oil,. rrrlTlS ;",,. 8 mmr

'01111 JJ'I 'hlr I "iliml. Wit" mr /, II,l, ,"'ill (ad'lIl ('lit'" ,,'/.rr. Il:"ON'/ I", I "''''''1'111 "I'HII Ibl' ml"'~ ,"., i.. " II"N "H' mJUn ,""tlr. vter of I 111 '''«','' " II". III ,Int ,,,, "It ,,, I 1"'111 "l t I". un ,Jf

.. "." lUI. I 'h"h lu",,1 ",,, tJ, "Tl" III Ih., m, ".' W"I"

dotS the myth FetY like in this haml} is il hoi or coldl HeBVY or light? Rough or smooth? Wllar color might ;1 beJ WhRl oilier H1Jsaiiom do you notice} TaA:e " few mamenLSlo explore the ways.you experience 'his .myth from Pm One of your Fairy Tale as you represent II in J'Ovr hlJlJd.

NDt. reJlecl OJ] the myth tblJ~ isguidj'ng tlJe m 1D charac'er of Part nvo. {Pause1 Im«in lhaJ this ~yth ;- pI. ctJ in your other hand, Wi I does Ihis myth feel like? Is if bOI or cold' Heavy DrlightJ Roua/J 01' SDlOOt/J} What color migbt it bel What oth r seDSlllions do you noti' >} TaKe' II Few moments to fp/aJY: the ways JOu uperlence lbis

IJ'JYlh if is represented by'your hand.

Now begin 10 tlOU, lhe dilltNenCl!S in your .hands. Focus on the Kln and muse/a of ell hand I1S you altend 10 tbese dilkrences. Whlcb myth is banler 10 holel' Wllic/J mYlh Is easier 10 hold? Wbich mJ'lh Ims a mQre pl;:SSIII'l'f fecI} Is one harrJl!r aDd t:b otbc.r softer' Jl1'c: 1.hue dil1i!n!nces in Itte.igbl? Is rme more buoyant}

NOIf! hold your bands so they face ~ach othuSJ1d explore the spa bcl.v«o them~ Be awa.re of IJD'Y 81tm lielJ, any repulsion. or /JDY I.;:nsion.[Pause] When you IUlw completed t!Xplaring die relationship btUween the llW'1 myth'S ss symbolized by your hands, tai a d. 'P breatl1. Elnd slowly count yourself baclr /rom Ii to on •

In youI' journal. summarize lh sensations you xperiencoo. and reO,eet ODllhcir significance. If 0 - myth was bard T to hold, did Lhal mean it is too difficult to man , • or is it so' new dlat it will lake a while to gel accuslomed to? If OD myth was rough r. does that mean It is causb'YI you troybl , Of thai it i trying 1011 you to abandon

uitudes that ar ., soft or disempowcriDI? if one myth was hcavi r, d -- that mean it imvolv mor problems or that il is more impor· Ulnt1lf one myth was more buoyant" does that mean it is more inspi· ratlonal or tbat il is impossible to achieve?

Next, consider how you experienced the space between the two my.lils. Did they repel each otl1cr? Was there an allrBctioD belween Lh m? Did one m to overwhelm the other wil.h its weigh, or iUi IK)Wcr? Wb n ther 'i a conDiet between myth&, somelhncs one ( lilt III II iii so mu h rurcc (hal I OPI1C"r,. invin Ible.8om tim Ib (wa In Ih r J l'qu I IIN\nm th nd l sb ' "on I Ih I Ih two h nnl U', h" h ulllt"r, It! IIh '" It InLC .• • "', h qu I I Ih~ .,h

nn,d .. md th h n r 1J m·li'II,). \v l. III r.l"r , • n " I

II hi lIL I I

My I rl m th old myth. R pr nled thi w • I w

the old myth a k ·.,In n c - lrictcd o1l1d weak and .likely 10 lay Ih •• wa be: nu. • it didn't give me any confidence or impetus 10 ,mlil j,nlo !lew fr ntie • Thai insight came when I noticed a par:al· ItOI bel we: 'n my under·u d left hand and the way myoid myth k pS me from developing. My left arm is not nearly so developed o my right arm because whenever 1 have a choice between bands, I don'l use my left band, That's, Hod of how the old myth 'operates.

hold mylb keeps me weak by Dot baviJ'lg me use aU of myself, plllUng grea'i c,{fart into things I already do well to the exclusion of th . parts of me that call for new tricks. I don,'llue many emolIunal risks. and then 1 wonder why my passion is dampened,

n .he other hand. so to spealc. myrigbtarm fell stroll,! and sure or il5Clf. It had no question of lIS competence. 'Bul. as I put the (·(llmler.myth into my right hand. it did Dot feel right. While the SUI" 'ness and strength in my ripl hand a,ccurately represented the I" sslunm qualities of the counter-mytb. I was aJso aware tbal the myth i1HClr was not wen developed like my ri..shtann. The old myth

mtd 10 match the weakness, of my left arm perfect1y. but the "ullnl sr myth was not confident and weD developed Wee lilY right Rlln. So. I was haviag two opposing and confusJnr feelings about r t'pft' "nl i ng Lh counter-myth this way. In its contcot.me f1lYlb is, If'ln\ Uk.~ my riaht arm; in its development, il is stiU weak and hum uu "

II hoiled down to a paradox.: The old myth. whi~h is very strong w thin J • was keeping me weak; the counter·myth. which is very wc.·l1k wi. hin me. promised to make me stronpr.1 tried to make the two III th merge by bringing my lumds together, but J wuldn't gel II 10 f,IIPI n. Tile old mytb stayed with my left band just fine, but I he: l'uunlc:r-mylh kept jumping away whenever the two hands \Ylluld come close to each other. I gue55 that tentative passionate

rl of m doesn't want to have mucb to do with the tong·standJng r 'Nl .. 1 '1c..,,1 part.

eThree

IWfiid 'slll ru lurooapproachesyou have been using in lhis:cha,pter In cultlv re a productive counter-mytb. other experiences also may poll I y nl j'n new directions, A version of the myth that is emerging rn.' (u m ,( r Inman ; be found in some corn r of your cuJlur •

011 Inighl he drawn lOW rei ill nov I. movie, r pin)' in which the 'h ro I rs nrc rnppUng wllh n' u similar I ou . You may lind th II dl 'U, in the I. ~lIt· with im 1Ile' whum you ('('I h so .hin

-------------- ~A

The Third Stage:

Conceiving a Unifying Mythic Vision

PrJ.f/,lve imqge.a of tl,e future are a power(rd ami n tIgfIelic /OfW!. •• " 11"cy draw us on and cmugize us, give us the cou.rllse an'd win 10 Illite ;'''!IOTfllnt ;nitiati' • Neglldvc images of Ihe fwure, alsQ Mile Q ,nag. mil m, n,ey puU thlt spirit dowmvard ill Il,e pDth of despair land] tfllptJltmce. -WI(~LlAM JAMM

Th 'per nal myths that guide us as we a &rOwing Lip u wally do Dol I 1'( V • adequllie against the rrealilies and demands we face as adulls. ,Jlm.'lim those myths become transformed. perhaps th..,ough exIJt't·lt~.If:c thn. eontradicllhcir prernlses, and tlley may volve coough Ih 1I rh·y continue to provide valid guidance. In other cases, experi

II 'CS 1111111 contradict a mylh may make it more rigid, and its capacity Ie fT or elf -five: dil'CC'tion is further compmmbed. In any realm f I r rh. requires important dccLsions-from cur behavior In relation.

II Ill· to our car r d velopmcnt to our spiritual aspiralions-both the Il'l1d 'ney 10 lind comrol1 In ramiJiar myths and the impetus to, di nv r rr , h \\' ys of und II"sumdins are in conUnuous play. From this UYt111111j Icn~luJl. we adjust and we grow.

WI,. y U ,Ylhs or rigid or utdated, your bilU'Y 10 adjust to

IlIlnltln ir urn -I n es nd to progress in your psycho' gi I dey). Irlll1 III I. dh Iini. h d, 8 formulullns copn. r'n1yth~, alt mauve 1I",lhi struetur $ tit [ullempllu make: ben 'I" n of the w - rid ond

1",11 U UIK.· in il mo~ IT' u l"1 , ou,· UIIl"OIl ion mind C l .. pen-

II ,. r., r !>Im:h llul ilil' III uur "'\'Ih lie • Th PI' vuUin mylh 1Iu.1

Ih ulIn! " r III Ih 1.1Jlml pOI Ii II lind M' mil1Kly In 'fll1Il1llllhlt' dlr .... &:

lhl! In our IUwlh. I'll h .11 tum 111 Itn I willi h

lilt I.

Th process. however. can. ulUm tely serv:e to expand the bounda· des of your se_n.se of wh.a you are and the options your world oilers. In ptb psychology. tension between competing upcds of the ps,cbe is seen as a naLuralamd unavoidable aspec~ of pcnonality deyclopmenL Such t:ensiOD mmula: the p$)'cb 's energi,es and l'eIUlate5 me personality. As you wark wi'lh a mythic. conflict. YOil become inarea.sin,gly capable of embraciQg a larger View lbal iDl~LeS botb of its sid • Depth psycbolocis(s believe that symbols arc a primary v-bjcle ror belpins the psyeb reconcile op sing tendencies mat

ide. within. Jung reFerred to this pro'pel1y of.symbols as their "tran· seenderu f-unction." Megs s,mbat of the abalone: shell, helped her to reccoucUc ·lhe part of her represented by the shell's drab and ordinary exterior with the pari of her represenled by hslridescentll'illmor. The

. ell served as a symbo~ of in.tegration for th opposiog upects of

her personali".

CouDler-myths embody the novelltyof imaginalion, the inspiration of Uae fresh view, and the appeal of promised solutions to endurinl pl'ob ems.. Like a desert reservolr Wb05C Ilfe-sush\inin,g wtcrs pusb against a dmn, the eme.rglng counter-myth may finalJy break into oonsclou&oe5S and flood parched 'psychological temUn wUh lush symbols (hal reveal rich. posslbiliUes BI1d offer new hope. Ufe does net, however, nourish in either a desert or a d luge.

The personal rituals in Ihi5 chapter are designed to guid you towaJl'd achJeving a balance. Your attentioD will be dIrected towaRi integrating the old myth symbolized In P rt One of your Fairy Tale and'lh 'counler-myth symbotized in Part Two Into a' iosle myth that inventively incorporates what Isvil8l and ben.eficial from each of them. Without such balance.lhe promise of the C(Juntcr·m}'lh sometimes ignites an individual inlo making a radical chal1F-Cluitting a job, leaving a marriage. moving to a new lown, joini n,g a cult-which, itn lh. long view of his or h r life. proves 10 have been a self-defeating choice. Cbanges lbat are rooLed in an integration between the lifelong valu embodied in the old myth and the in.spi ... Uon of tbe countermyth are made from a larpr perspective. They arc better atlun.cd to the meaning or 'the decisjon and its long-term consequenCC$.

Many people r~port the experie.nce of baving left a dysfunctional r I rriag- onJy to J - t noth r partn r with whom they CI' ted a p .inrullr .Imllut rei lioru.hip. AI 1111': con of the mythology k ping III n Ie -k d In lhi.- kind f 1 tlon.1 if' om' be: un Ivcd I I'IoUI'" with U I" Irt'nl Whit· u unl r.rnyl.lI nlOY hove "In 0rg .. -d with

I II n Ih 1'1 n it unt II hit· I., I n II In rr • Ih uhl

uUlln'v i"'d nih Irlllnn.lf.lh 11&'1(111 II. WllI'lI VIIUI

Ing ch II ng d hy ·ountel·myth, th po Ibl out'om ran rron living out th nOict unoruciou Iy. and repeal. dl • 10 working II through and movin_g on to other d!'v lopmental t.au",

The.' '01101'1 between n prcvaiUng myth and a counler-myth was

IlOl n nlly evident In Philip, a sua::essful young executive who sought nlln, 'IinS because, in his words, HJ am failing as a ,husband and I am rr lid Ihol my marriage is not, gOing 10 survive," Philip's highly rellI. lI. par nts had pl.aced beavy empbasis on family loyalty, and b.i5

r uh 'r, whom he admir-ed gready, was almost a televisio,n caricature nf Ih 19509 "family maD"-adedicated. trustwortby.andquietJy self,""I dlldng provider. The son not only attempted to emlllate his faLber in Ids own roam.,e, but upped the Mite by selectinl a woman who w !i ~I insecure and demanding that no matter how hard he tried. he 'unUm, II fen short, in his attempts to satisfy her. She expected his U11W Ivcring attention during every Free moment he bad away &llm W .. I k! nd she was prone ito terrible psychosomatic illnesses when be

.uld balk at her excessive dCl1IWlds. Given the structure of the permal m Ihology that was defining Philip's role as Q busband,bc could un!" sympulhi7. withher iUncsscs. takeenra special care of herwhi)e he WitS" iek. and amid great guilt .DD.d self-recrimination, pledge hi.m· srlf lei show greater devotion the Dext time so he would in no way dl pJlUinl her. Bul, of course. she was always: disappoiDlcd. He was l ill "'t· °XD Ill' the opposite of wbat sbe needed if she was ever Intlllt lu d '"clop beyond the dependcncy-enlendering mythology to hid'. Ih marriage belped. her cling.

• ort ' n the case, when Philip came for help, be was scrutinizing th preblern Ihrougb the lens of the old myth. He bclievedthat lile' 111 rltnt filii ultles were caU5CCi, primarily by his failW'C to live up to Itn rnn e h held of his father, whom he saw as being so patient and

t III thol he could make anyone bappy. Just beyond his awareness, II Wl"V r, aneth r vision 0(' the role of a marriasc partner was being kinlllt'tJ. md II was fanned as hewllnessed successful relationships Ihrnn h th m Hila ond the lives ,of acquaintances. In attempting 10 III Ikl' S4_'lUiC or the contradiction. that although he was trying so bard III rullill th r Ie of husband as his mytholoo dictated, his wife was

• II un"app and r _ ·neful. he bepn at some level 10 I nerare annil '1' view () who. WlI5 r qulred in a marriage. This counlcr.mYlh hd 1111U1 both partner I"C! :qually rcspon_ibl • in .nuking a marriag

ork, lid 11 'VI.' red n • In hi n~!i n indMdu I, rate

r um the murti , ""1 the id sc 'f11eLt nl In Iy If·inciul "nil

ted th m unworth uf riull

Conceiving a Unifyinl Mythi.c Vision (/acob':V Dream~ William Blake)

'flw illdinlilion Ie nil ·tld more 10 hi own n ~s. h w v r, and to

I l't lor" (0_ hi!i \Vl ke.,1 1'0 - iJlg up In sutle wyand be,'un' in rc:u InKly dlflicu.U for bhn to ,isno~ While this emergl.q myth \II . I lrsl au.side r his conscious awueness. it was rdIccted III h ': growlng anger Gnd resentment, Sometimes. after feeling qllitc

,Iish d with the rnarr~ge" Philip would suddenly swins'pendulum~

fI • ., an x.reme of the U5l1aUy repressed (Ount:cr.myth.be.baviDg sp,lldlllly and wi~b an emphatic dose of selfishness. Thenj as if the unl -I' myth were cclipsed by a reVival of the old myth. be would H~I n find himself in the grips of guJlt and. remorse. When he dis.. 'U . d hi marriage duriag therapy session. shades of anger, of 11I('h hu ,vas unaware. were conveyed through his voice and faci.aI!

• IJ ion • Alter seeing a vidfDtape of a ion that made Ihese

I' f, lings vis ble, be began. 10 probe his anger. PhiUp was ~balI(,IIJ("" 10 nl\1d a larger mythic visloJl that wouJd retain the wholesome r lI u iI,v v ~u fro~ his old mythology while suPPOniq: a more vital r-" ~m,,1 lire for blmself and a morer'calistic relationship With his witt'.

'h' . noJ myths you bold are continually belq challenged as Villi ill"' t!xposed. 10 new iaformatloD and experiences. When )'Our

• ~ri n . Ill' inc mpatib]le with tbe mythology you hay been ti"., Ulit I lUll .Y~IJ wiU at same level feel tension. The inconsistency becomes il.t I "'bm -1,oRlcD_l in your psyche, and. stress is created. Two basic uul 011111.' iU'cposslble. Your mythology may itselF De, modi.6cd to In '" rAlle .heew Info mation. or the new information maybe-

I un • lon, so if can be fora:.-fit into the ex.lstin.g mythic structure.

II yuu oollc!vc: yourself to be an elfective soles manager and aile &red I. utl)ll tlr Job" nd then turned away aiter oh of eisht promJ.gjob I I'rvt .~.; your ~Jr.image maybe: challenged, or you may blame I til' I ... n~ ur mJ " rtun~B on bad Iu,dr. incompetent intervi'ewers. or II II1posstbl ob mlU'k L While personaJ myths are capable of onguill .Idju tments 1,0 new circum'tances, yQU n also unc::oo 'ously

III I r dfNlort dlsagrecabl - Kpericmces in order 10 rClPinlhe.lamUi II myth. Some: people: have ilardly ar:(jwned their my.holo,ics for J '1(1'.

II

i I IIIn mlh,Th!'d lri akinlothcun.c rtaintywe ~ I \Vh 'n w· arc tw n mytbs--when the ooe we have been living oUl h s und~llipbly plVY~n its Wlwonhl ness bUI a new one 1.0 replace it h n I Ifnoged. ThCl d fensi~e stance resembles the way way finally rejeel ev rythl'DS we can abautthe old myth. KeD Wilber bas

pok n of th4 SUpl'Mll IdMi 0/ ",yul61Dgtcol d~opment: in clt

newly chic\'edI stage of consciousness. Lhc distinguisbln&: fealUf\ of .he p -vious stalCi which were once worshipped and revered. are OIn W 100 eel upon as something to stru8Ble II iJl5t. (0 subdue, even to scorn.'"

Extreme OuctuaLlon are inevitably painfu1t and they ftan result In D, defensive and self·llmiting posture. 00.0 way to maJt.c lhc n CLUBLion I extreme is by briQIiDs your Ilwaren - to .be process. If you

n snap the bigger picture, the ID_Jlhit proportions of your di.sc:om· fort, you are less l k Iy to cling so b rd to lit. old myth. Then you do nol later have 10 vchem Diy reject 1l1o di linguish your If from it. According to Wilber. cacll Slage tn til evolution of ~onsciollsness "gGes beyond its pr deccsson but must nev; rtheless includ and inlegrole them into its own. higher ordor.'" By dealing wHh Lhe transition in a more conseiou manner, YOIl in case the likelihood that tbe experience willi d. you toward more nexible and cRectlv gui.dine: myths.

. Mythological development proccc:ds as a dialectic in which ih old myth is the thesis, the ooWJte:r·mYlh islhe 8nliLhcsts, amd a nw myth Ih t epresents the resolution of the 1w is Lh syn'th is. As a counte .... myth develops, It. competes with th :prevaiJing m)'lh to domina'le

'rccptiOD5 and to guide behavior. Their dialectical strugglmay re" mble a sort of "natunJl selection" wll.hin tbe psyche, a "survival of the fittest" Clcmc(I'l of ch myth for oplim I growth alUd djUSbncnl. ,hi rnay be a confuJing period. You mlShllhink that you could just, limb out of the old myth and Into Ii new one. But th _ new' one is, II ned In ways you have DOl yet i:mCOWllereci. and the Id one sliU

IUtI,h I yuu with i fumilliar rules and promises. We aU rcmbedded in ur ,old .myths. BeFore we mak.c I tins eh nses in Iundam Dial I tier, th I'C usu Ily i an inner struale between ,tbose beliefs and IJ '",y di .. ~lIons we hav,e envisioned but that have yet to 80 through 1he II III r ur xpcricncc.

Mall Icelumllll: are avoil hi for bringing about a more con-

• nUs nd ~ ''''!llru live I" luti n r this nO let. Bd re l' U go

lb •• IK' II i h apl or, h '\lever, , ve wnnt Io nlphll .• '" Ih I" dial lie hl'lwtl" YUill' l'ulnrw11IlJ! l1;Jylh (11.' ur .. nn,ur lIy, wh rh ~I' Y 1U i' r t I Tit' I d'r lia 11k ill "willi, .. ld.1 "III fllh:ullhnuhl HI J

IrUln lUI I"YIIl'·nl" ..... IJI l'unll'adiclionlt IQWtll-d~ their 1'C'~ullllllJu, Iii i111~'UlIJI:'iJ ." mcdime UI,posil'("!l and resuIV(llhcm:'. The dliJic:e racing: "" I:; Wild hu or nul. 10 cn.uugc:consciolJ5ly and wUlfUilly In thcpl"OCeS$. "'II", c:(',"~qlit'nccs or that decision may be immense. Irt William Uluktl's nuulysi~" we ha.ve the opli.on 10 6gbt mentally wIthin ourselves or IlhysienUy bclw41!n oursetves.' InlhiS chapter, you will faeiUtate a

Iculi\'~ inlerchang:c between yow- old myth amd.the emerging ·unnf!.:. myth.

1'u SlIml11l!1rl.7.c., sa.c,rificiJ1g the familiarity, self.understanding, and 'Y )rld view associa'led with ,[I pr:evaJUng th.ougb 01Udaled m3'lh ean be , ) p(dnrullhal we fishl dearly Lo reject the emerging myth. On the 1)1 hl:l' band, we may be so disl1'essed with. the pr-oblemslhe: oJd myth l'I'C,'UlcH rpr 111$ that we aUempl to 5everourselrves &Om' it and clutch III lin- c:uulntcr.m)'lb. But the COUJ]llU'mytb, which was in p8il1 develj Illfed 10 I·nmpcnsa.le forlh.e old myth, wiD have Us DWIl dJstOrtioll1sand 11111 UllioD!Ii. Undenlandimg llJese poJaritiC$ can help yOU achieve a IMII.un: when you lind yOU'l"Sl!If on a see.sawbctwcen the old and the "lm'lulu , l'aradoxiicaU" I'D ordl:J!' (0 grow beyond an, old m.yth. ill's uh., II 11 t'1!s''ltIry te accept the role h played in your life, understand the 1(',11.(111," )lUU :II one lirn,e needed ii, and apprecisleme vaUd m~ it 1111 U hnhls. The old m)1b and ~he emcrgi 111 mytb wm: naturaU),. and 11'1 '11 CJUiI~ldc of your awareness, Itngage ill a dialectical p.rocess as Ilwy,tunpctc to influence the way YOll make seDse of your world. By II H'HIiI ng yuur BWatcness on the inner struale in this third stap, of

I II lUI ,u'um, yun will be increasmS the fjkcHhood of 8 more CORsll'Uc,. IJYt· ulI'l 0111. We once again foUow Meg as she moves througb Lhis

1.1RI' ur her work,

M .G" N XT STBP'

I II I hi' flJM.'U i ns rUmd of I his chapter. you wm be asked, to create, a cbarrr:

I hoi' (.'unlralilS the o.ld myth andthe eourller·mytn Dod thaI lists a:

Iliulin Inr each, Meg rencclCd on her conLras:ling mouGeS:

0111 My.b MOIlD: lIt/lIII'/ile isa spoUaT. [lhlnk J discovered when I \\In" I.'Idl :d (0 Iwlp my mOlhcl' in her iIIncs!ic.'b .lliIt much or life was ,li!'lldNlcful and dillilih. The only reward IIUll .:!Ccaned wul1h havillg Will'; Ih,' uftpru\lul of IIny Cruhcl', Who saw me In ~('rmsQr hcill1gu "hr 1\'(" lillie Nuldil·I· ... T'lil!, was nOI only defcminldng. hul pliIl <I.m t' 1N, .. r .. Unn fir !ih:drl t:uu.l'ng.: • ml IlhUly 10 rltiClU III. k .. bul It '1Iglih'ul'llR muf tlUlJlI ""'11I'iolt.·. I .huk Ihnl In 1'm 1f.Ii, • '"nil Ml lu\'d)' ht-t IU!'tC! \".I~ IJUrl fli ~JlIIl'lhlll • Ullftl'uilc;4.!, II,"" hhv, mUn I, rll'(' IIf ,Jt'IIUHI.I~. 1'1 ,,. . II dl uv f V. 11111 I liM' W 'I !II "".11 flulllldt'

dcm indio, IIlandord:o.,. rl."\jIlI'ITU,'!JlIl!., .:~relol1l. 8cmulfwosSflcrlllced

In ~llIt·tUtJm .. )'. . . .... ... ._

COUnl4:r.myt 11 MDIlQ: life is juicy all to 'IWly through. By trans-

laUng the lessons from nature ('010 a self-approprtated"sci of stan· davds undvnlues. a sense 0.1 (J'Urpose emerge5imd gwde5. Hopei aclion and discovery make aD internal. lifo Qf vallle and purity a wOr1h; goal, dC\'oid. of excess concern Fo.r outside. VatidatJOD: .

What seems to be needed in my nfc Is lemperm_g tbe deUghl, freedom. andexpJoratlon of Paradise. wUban adaptability thai permits me to yield, undcrstand,llInd adjust (0 the ':'lwrcmcnts of everyday lire •. Defiance has served me poorly, and 1 m ready to Lesl out Ocxibml,y and acceptance of my plaoo in the world.

Next. you wiU personify youroontliclin~ m~s. giving eac~ a charaoter. a -pos.tlll'e; and a "aiee., AftBt' ~VI~1n1 the ~n~hJ1S mottoes lhal summari1m her mythlc conO_IC~t (AduJl. 8fe ISB spoiler" vc~sus "Life is juicy aU~bc wayIhNugb"), Meg chose the name "Proper YOWlS Lady" for the character w_ho rePresenled her old myth and "Barm.Again Child" ror her c:mergmg myth. She bad the IWO chal'acler5 engage 'iD a dialogue and later Inm.scr:ibed ror usa tape of thelr COD\fenation~

.hoper YOQnSL_, (seol:dios:, shaking Jiinpr): Look at yourse.lfl You're a disgrace to meaad everyone ,aroundiyou.

IJDm,-Aga'" Child (pUDIed):What are you lalking about? Proper Young ~ (pointing); Yourclo~hcs are wom!and 'LI10Y .have s1al.ns and loose Duttons. Your hair is uBtempt, and (eon· demnling. ccmsu:ringlane) you're barefooted.

.rn,·Again child (defcll5ivd,y); I'm playiDg.

Proper' I'D". wdy (sighill'g with exas,pcr~tion.shalOng he~; LightcI1il18 mouth): Yes, ]' know. You playen!ir~y too mu.c:h. Life IS scrlous: life 15 demanding. And you are :mtssang Lbe pomL

.Som-Again Child (on ,'he attack): You jliUil '~nl me to be Uke you ... nCDI, tidy, andcmotlo·nally ~nsti])alc:d. Never a.balr oul uf l,laecor nn (wisinol thought Your Idea of an advenu,ml is to ~de I hi.' city bus, You've gal too n,afl), rules. too ~a.ny resented, duties, Ion lillie hnnIPnntim1. 'Yolll're scnrc:d or makmg: mistakes.

Pn'Ilf!r l"cn,n" I.nJ)' (ldlUCknJ and inbulr~d): Ilew dore )'oul You wllu WfII\', dn n IUUllll "nl":. wurk unit,!'>." yuu n~ h ""lUI( (un ,ju "K III YUII WIHduav II ~, • punllihilU "!If Vt.11 willi hl'''.C,·' lin '4"lJrot" (If hir.lnry

."IICM)NAI -"nUIII lOt'

--.....--

IIr hlltlrC'1 Vun JQn'lo mock InC? i'velived and ("ves f~ ..... _1 I I. - If, 'b L. __ "- U e.-IIo""Cll. ..now

, n UI1(".sns mn' BiNUI Ufe as you. Do yOY dare rc~ect what I h ' II IUll'? ~ - - ave

~rll'.A8""~ ChUrl (roUing down a loug hiJl sl.o)Je.s:ettlq pasa Nrnln~ on her leaDI): Yep. I don'L need what you've 1011.0 leach.

1'ro}'l8' VOlIn&, Lad, (frustrated).· Sit down and Usrcm 10 me, It's 1101 !)QI~I" 10 LBlkbackto YOW" betilers. And look al how disheveled you v goUen yoursem

~'n-AfllI;ltr Chi!" (l.DIllin&); r~ never going (0 be polJle. Pm. '''O~~lg 10 be honest ,InStead" ru say what 1 think and feel and l'1J do '~hm feels g~. Ute thE! CtMows an tmaginary water.baUocn AI the conservativedy dressed Proper Young Lady), --

p,.o/'Cr Yo"",. ut& (drenched and acting Ol!traged).· You miscr~ .thl~ bratl YOIJ scIf'-lndulsent. ill.coDsiderate,rotlen childr rIl show von ( tarts LowiU'd Born-.!\pl n Chlld. who Q;ips away. J'USI. out of

I L' .. I.'I.). I -

. A!< yuu see, tbbs dialogue allowed .Meg 10 externaUze her mythic I uuUl l ond ,also (0 ha,vesome fun with It. {IIJ. herjournal. she reflected:

_11.~~d a g~ ~Dlewith this one. People somclimescommenllhal I nln 1 rong or . ~re of myself." and the), are accu_mtc to It d~ I 011011, howcver~ feel_ stuck Inlhe Donoonformins' posture ~h.he (~I,Md :I ir tbat stance: wc~a mold of i.ls own and I were nol trW)' rl~c. And ,.,Oboose my FOund carefully, avoiding sec!al seUln whel' ,( will be in oonlac:t whb (radltionaJ, conservative. eslabJi: luenllypes because ~ (eel~ unequipped 10 dealo'D thal !cvoL. I do

lund uf wish J could -puss" as D l'IIormaJrvol"son he - I ,-. •

. hi It - - .. ,. ',' ,_. - IN en - wan. to'JW1 .l"'<Ie: IlOOple who were hghl·sftiRned used to try to "'pns.s" as

\vh,il4.: I Bul, .hol nC\lcr worked verv well and ( d'o e, . . _ ••

Id - - - , . " .,... -' n t suppose! It

WUIJ, .• , wurk ~~r me. Ma)'oo wh!l~ I need 10 do is ar;a:pl myself as

I • ~I~ ~ll!Y ~ut-o~.:step person, be gratdul For .belove .I gel 05 an 1.'( CUlncfDtld top \Y'on;ylllK bolU nUlkin,y: myselr fil in.

Tb(' nexl .I,~k iii to Identify n pc~'nDI "Utility .Inu III hlndurlJll a 1"'~'IUI!UI1 hclwt'C!1lhc cc).npcriU8 dtDlI"l.(!h·n~. \"(111 wEll c:nll upon YOllr lUll f ItlJII~nll 10 perform u ritual rnm~rllrm"lion fir Ihi!t If 'II. Th~

IlrU II j d~IKnC'(llu n:\'I'ul tlW IIUfI.ily'\ IIIldi.'.'lyhlg yh'll'l nel In" J l

\lUt! mhrnn· lit. virlu!:11 whirl" Imn r"rRlII" iiI/hili.. M' C I

f J I' I 'I' - ,. , rfo, till (k'r

Uilil (III rhru:lwl (·,hulru(.u nlCulll .... ~lr.·IJdII UII!lItc.- rI'I',,'

117

1'"'I'N'r'r'fIlmg LOidy ond I hen enthe dofiance or the Bo:m.Apin. Chlild. With Ilb .. 'SC riluois, she had Ihee1ltperiellCl! of seeing her self.righteousR ,. begin 10 shed lts dgi.d.ityamd her defiance begimto loseilSanger. I Oler" rcl1ccLingoD these lwo qual ides in be:rjournal, she.IlDled: 'They seem Uk.c 'pcrversiom of two posiliw aspcc150f my per50oalityxU S5urnncc and indi:vicluallsm."

11" the nmel personaJ ritual,. )'01.11 win again use a body m.etap.b.or (0. rcpll'esenlYOllr- conflict. and you wiJ) ttamsform the bodily imagery into alb_ar slimbolism as you examjme the conf11iC1l further. Meg reported:

I 'maglned my left hand (Born"Agaln Cbild) plnying with my dog (Gud D.awg). fooUng around witb his muzde. letting bim mouth my handwtLh his polentially destrucLive but ob.,su-gende juw ,pnd: teeth, feeUo; his glove-lea.her ears, s.cra.tc.hing under his chin. The energy be.wee". us was Jus. lo.vely.

My right hand (Proper Young Lady) held aIeash aUaehed to ,8 collar. It was ,smooth andslrong. with a pivot atta.chmentand a heavy hand grip. My hand feb occupied and userul but limited.

les la.ughablJ ~dmple t.o see the symbolism in this fantasy. Que! l)a"'!8' is utterly trusti.n& has great yel. gentle: slrength,and is the epitome or lnneeenee .and charm. He is also lacltlng in Judgmenl in the ways. of the wor1d and would quickly be hun or kiIJed wiub~ aut the Ii.milS 1 pUlan hJs ,freedom. I 100Ve: l1im and in,manyways he is a leather .for me, bUl I must look oul for his :in·lh.1>wo:rld \yclfare.providing 'him with proper food, shetter, and .fcnc,cs· in order to keepltim safe.. 'In return he shows mepuJ'ejoy, forgiveness" g«!nerosity of spirit, and nobility of character .•

The leash is an i nSlrUmenl that limUs tbe acli;vitiesand distance Cud D'uwg am move. Whi.le it. isell'eclivc and life~presc:r'Yina. any II.mc 1 can, in my responsible jUdgmCDI. leave it off him, I do. I let him run freely ill ihe forest. I restrict him in the dly. [could punish him by use or lhe leash and sometimes he reaets as if I bad. It is Im('HlrlOnllnall keep it clear .io:my mimd wbat my .motive is when I usc: it-if I om \:onlrolling for the sake of co.ntrol. that"s wrong a.nd an Inull 10 hili chnl'selcl'. If 1 usc it lQ prolect b:iim &om pain or ('onrLlsion, then I um jUlitifitd, whether he: ull'lcersumds or Dol.

Nt'lIl,VUII will \",urk toward finding u sil1g~(' inm,cur tht:old my~h, • IIhlKII.· 1m lUI.' .,.11 dlt' C'nu~q,h ~~ mylh, ... ul ),(Ill will cl'C:alc AI rllnl85Y Ol' .III'VIII ,'IU.l 111It1 ')'lIIlll1litfl'!I, £III iuh'KI nli Il ,1'111,· IWn, MC'lf \11'1 It!:

i"'nAT at tift' OM My"',' An 11011:11) f(luther leasb with II heavy fmlldcil hllntJ grip.

Image a/lilt! CQUI,Itt:t·;...myt},: Oud Dawg rompin_g on th.e beach, r Fee QIIIJ Joyous.

Inlilgral'io" Fantasy: I Am sldppigg and tllndn8l.ru:_gnmg in bro.ken circles on the beach. Qud DawSis leaping and frolicking be$ide mc. The wind is crI~ but withoul ohm. the waves are beautiful,. not sto.rmy .• lie lues Ihe leash ('m canyillgand lugs on il with his snout h, incHing m.C. 10 pull back, 10 w.hip' him around before he drags lhelciilhcr oul almy band. I flay. a good grip ilndknow l1e can'tlalee H from me •. but neilher con 1 ponthe other' end oillorhis fl'lOulh. We are both enjoyins: the con.est.

II occurs: to 'me thal if I can use the leash pfayfuUyand responsi. hly. II will becom.e a valuable pari of Ill)' lire, sa.v1ng me endless Krier ond difficullY. Thl!: innOOt.ml part of me needs the experienced fli1n, nnd vice versa-I'm net SOl milch at war IS r was.

1(1 mviewlns: Mea's development. weoa.oappreciaLe hercO'orls [0 br ok loose from her earIicrconditiQRiQg. This struggle has been p. I yulcond individualistic fol' Meg, pubaps because she lacked send. II'v", undenlanding and su,ppon fr·om, oLh.er,Pl:ople assbe grew up. BlAt miS-Olios rrom Meg's mythology are images thaI help bel' 1.0 [DCOrpo. •. ,Ie ",il'nificalll rel!llioRSbips wiltn olbcrpeople and wi lb. social insdtu- 110m tme her awn proce&$, One ,of the purposes ol,classi.ealmYlholoBY b lu keep peop!e atltmed to the' .Larger Story as they move throusb .11 -I.' per,so,lli1lI developmenbd ctises---.whkh you see Mea: reacblng IJJwnrd in aneOlemplary manne.r. Bot another purpose iSla [SCUJIDIC rdnfltJuships \Yith social iDslilunons and other mem&e.rs at socJety. (JIIO now, Meg's journey has, been dccidedlysolitary ..

TOWARD, A RESOLUTION

UP YOUR. MYTHIC OONFLICT

III the fullowlng pcr'80naI l'thIOls,. YOu will be dlrcring YOU'!' cll'ons IOWWtl re.,"dvinn the strUM}" bt:IW(.'C1l the old mYlh and .he OOUI1IC". 1II)'lh. If yuu ('on \vul'lt Uk' confliC11hro"lgh In YOlllr inmw lifo, you wUl 1»1:' 1c.':Io." cUluptolk-d lu p'nyll nU'l in your outer Jifl", In uddilin:tI,. by QPldyhlR ilhe RlL:'lImd!l ufr".'t·\! IICI'I', Y(JuIoYiU in n.·.UOiC Ih,' rlumn's of (('mhIR II OJ I'c·r.ulu,lun II,n'l t·lIIhudl·~rhl· bt-~I (Imdill("~ ur I-turh u( rhl"1I;c Jlr~vllillnj.l I ud r'1IIt'rfCIIIK ""',Il·l'r uf )'tilJr ·lwr .. ,unnJ I1lYlhuluK.v.

119

Personal Ritual: Charting the. Elects of YOUI" Conflicting Myths

In Ihls rilual, ),ou willcreale ae.han of the th,ough~, .feelings, and bchBVi.ors that are c.ollSislenl with .he old mytb and \\1.1111 the eeantermYlh. f~rom. this understanding ·of bow the old myU, and the counler· rnythopcnuc in your life, you will be more a~le to T~ when ~lIcbis domhlllltmg in a given. siluation. You wlUconLln.ue t~ refer to Lhis chart as you work toward resolving your myth'ie conOid.

I. Revie.w yOIU journal to crystallize ,ou.r uDderslaDding O'F the

prevailing myth Md !.he counter-myth.. . . ..

1. Draw a line down lilt: ceater of a blanks:heelofyour Jo~aI so lhal there are two co'Iumns. Label these columns ··Old

Myth" and "Cotmtcr-m.ylh!' ..... . .._

3. (Opti,onal).. You may wish to take a Journ.cy 1o ,your Inner

Sh.amUl at this point . .i order to requ.est. mal new IJghl be sh~ upon your undcrslandilll of tbe .. old myth or the counler. m . .Ylh. Use tbe method you were gwen In .~~aPI9 1 to,begin your visit. B:rin, with you an~ quest,l,olls about yOW" Q.ld myt~ or counler.myth thai you ;mlghl WIsh yOW' Shaman 10 con

sider. '. _

4. Wril.e 8. mono that cltara.oterizes the o,ld myt]1 !oward the top of the 6rsr column and a mono thai cbaraclenzes thcemerg. lllg counler-myth in the alher column. You ma~ createyo1lJ1' mottoes on the spolor ada pi a p.hMise &om a piece of Ulem· tur~ •. a song. a proverb, or your Fairy Tale. If [lhe~ Im~lIo!or ene or the olber does not come 10 you easjly, remam ... ert .or it as you proceed with the: inS1lructions 'tbal ~lIow.

s. Reflcct upon your B.ctiioD5, lhou,ghIS, and fcelmp dw:fnB' ~e past several hours • .In th~ apprOpriJ:lle col~n, ~rd whl,ch reelings, statements .• er behaviors were guldedpn~arilY b~ one or the oliler of these myths. Next.~ftect upon the past. eeeple of days. TheD considerpauams of tbougill. feeling,. or Ixlhavinr Ihlll charo.Cltcrizclhc put year or two.

l'tIWlNAL MY'I"flO1OoY

. th Y • 'ur I

• 0 YOU. Or r'cJlecUn . h

rhaj d y. g ea . eveoin'OJ1l11oUJ' .. _-.; • d

' - .. OilS bring

YO~if' Chari wiD dcscdbe. .

Iha. are connected' witb long.::C though~ f'eeliJt8S" and action your Ure. One woman :&adly h~ to n,g ~ ~e1J as -mcttgingP81le1'l15I: myth co.u1d have been the Country . dmlt thai the mouo of her old

!;:: !e., I'D Find Somebody Wb:n:"~~~nI ~yric~ "If You ~O~'I

all I b,IS COIIDlcr-mYth malto. "We d1 11 be nuddJc.a~fJlinJSICr

p. easures we failed' to eoJo .. - a atHed to aceount ror

"Be careful 1_ h"'-~ I I. . y. The. moUo ot Prank", old ... a..

b'·. : -J -'U, 00 ... out:l In iI r . . mJ'&H was

is uncertalOties an'" h" .• S CO, wnn he d~riL_~ h' ...

, ..• u 15 ca,U1I0U5 a . -b '. U'faI IS 'ears

:UQte~.mYlb. was "Follow die See J ~~~ ~o Ufe. The molto 'of hls

feehnss and ac,UQns he associat~ .. an In Its column he described

followJug thouSbH - vith PQsIOII, Be dosed witb III

Evcrys,itu'CllIon in my life is an 0

!Dore. J)aSsiOIl tban 1--,1 ...... 1 ha . pporawuly to feel and e ....

J. b' "usu ve. .'ye beco . _ ... rcs:s

molding back Or di~lrac:lin In . ~e more aware ofwhcn

d:adeoing Pursui~ S\'en if J stTr" h!:!a':th nOIl~nLiaJ1, spirit-

ranges the experience. And when'· . • Jus. be'08 aware of II

flow m'yseifto follow fbal !CeDI. I cia .smell excitement, [ will

121

This will c.:ngage not only y ur intellect but also your in't.l1ition and our reelings about these competing myths. It aJso will attune y:OU (0

I v nt "body mories" and other :ph~sicaJ aspects of the prevailing

and emerging mythic themes. Draw upon your sense Q humor in . 'mpl\asiZing and apprecl,aliDg tbedUrercnccs betweeD the eh d rs,

[( you re not wor Ingwith • partner, usc a lape recorder both for I· d'ln, you lhrough the instructi,oDS, and also as a sort of witness. New insighLsaboul the Telationship' between, .he OPPO iog myths urten emerge from. reviewing the uchange. You willoced ,I blank I pe. as well as tape on which you have recorded Lbo ,lastrumio .

he Instructions wiD indicate wb II to use the bl!ank ta~

Find II pbysiCS/ posture Ina.t portrays )lOur old myth. Wh t facial 'ippe.arance is most lilllne? Should J'OU 8J1liie. ,grimBce, scowl, lalJllh., frolvn~ SI1Jre .. twitch" WhBtltlnd oftJfZ/Urt!s would Ix: mosl approprllIIe fDr this charnettIr? WI/I'you poInt? Put you" hanJsln )'O,UT pocket.' Ilug ,JOursel/i' ShDkt: nervo,us/y? DDnceJ ApplDudPJump1 Pra.1'?Craw/1 I6().SI1CQoa pause)

Once having found this' firs/. po5lUll'J, Slef} out of thSI spot, face tIlt: ')Jt orson ." IIDd BSSUmff: a post1Jre that represents .fOur C:OUl1tu-mytb. You mlg.ht start ~y finding the posture and gestures tb t liFe tbe oppoill of your old m~ Give )'Ourself enough lime to wort 'Our 111'8.1

",,'0 this 1'01 .. Try QuI 8 few dJlfcrelJl postures so you DlIlJ' feel your way into tb~one best sailed tor this ubpersonaJlly. Note 'What is l1appenlng 10 your muscles mdJlOur 5t:lJSf: 01 balance. Once you haac found me postures and facial exp~'ons that hesl lV!presenl d l'lIaTncter, go back and forth a few limes between them, and bare eaeb ou« begin 10 1000k III and si~ up lilt! other. Either IigrIn': may evolve I, nd its initial idt!1'1lity. This can be II va/uRblt: development-just k( 'P the 11araclcr consislent lwith IAc'myth it represents. {.2·minulc poIl.W}

l1t:1fin Ih dialogue. One oftb~ pIU't ()/.}'Oll speaks 10 t1J otlJ~r.

Ilem te. In' Ir roll!, . ume the cI:JJJncIgistic posture and.say lh wm'tl. - Ihal t:,; 'P1"i!t/J )four ICJJ/lrws and thoughrs 'Wbit" lookin8 ut' and' I • lrtmp 10 the other Chnr8eliet". You a:n: conscious of USing II RUing Wm: of ~·ol(X'. i, nppropriatc (or YOllr choracier, 'your ~ may I . ,lIrxJll, Jr 1"4. Po • loud or ft, hlgb 01" JOWl .Jd Dr slow. gulluraJ

r tun 1. /Ill; I 01' s""'r,>ring.

,1 (/t" "",' II' JlU" chnrllC'lt·rs offers s tJtnc' 111/llnl mmems; tIIU 'C

'!'c'1 lu 1/,' Illl'r ch m ',·,< .. :oipnt. 'f ~""I(" "1 lPP 'Priori po.IUt'f:; II' In, I~ I III'm I Jl1illi"ll 'l h' 'I" III~ '. 'onli",], ta mm' • pI! , 'iII. hr.,,, ,,'ht~ " J "I. IliJ I ,... If , "l·, ,Iw ,11,1101111(0 ,It •• '/u/"

rI s ,I,c,..,· ch'll,.J, '/,,1'1> C"1K'tJ'''Jfr:r ("if '11 OIllVT. nllow I'ill: JIIOniS1CJ flow (Jilt. li.L"t.p Ih,' dialogue Ruing wi'''oul I01lJJ PlIuses or p'linlli~8. Be sponlnncoll£ Simply move inlO'Qne of the positions and SSS,ume the appropriate posture ss (hilI ClJarnCll!r i$ $~ llnd move oul' of' IIIDI position and into a' lacing JIOSiIiDll lVh~ever tht SfX'Qnd chant> to- lTlSpOads. Kee-p )1O.ur IiJcilJlr::xpn:ssJon6; POSture,. 1ft31un:s, IlIld lona appropriare ,,, ihl! cR__lU7lcter )IOU .~portnlJli»&

In lbc carv pan of lhe ois}QgJJe. 1'IJe MJP!J.lIsis is 10 be OD the conDiei and t'Ot:stablisb the diJlerences betJv=n the nvo sirl .. Asyou conliDUIllfle discuss/oil., ho~VC'VeI; bring llu: locus,tolvarr/ cslabilsIJing improved communicatiQn belWc:eQ the ait1HTlt:lers. A aooJ WSYlo sim, or to PI"OC«:d £rom any point whcre the dialogue gets boggctI down. is to hllve ODe sidea9k lJJ.e other,. 'Wha, do you I!fJU]I' from me.'Of you sre tlJplng thes: instrocllDlJs. add .. '''Now stop tAla tll,pe. rrplace it With a blank tape. set the machine to mcorct'ancl jJI"OcJJ,ed IVltIJ the dJ.,logue. 7

Afler comp,letlng the diltlOSUt; n:.-crea,te pr summa:ri.ze II in your jmJrnaJ. As ,YOIIJ reflect .~Il your jOW'J'lal, consider bow tile old myth and Iht, (!ounler.mylb wereexPTeSSed. Were $Om.!! feelings or ideas di~ ~.'loS4.·d IIlll:! you did Dot know you held? &cause i:t engages )'ou III hodlly illi \Veil as verba. levels" this CXercise often reveals aspecb or .he rOIIJli,'1 Ihm were PreviolJ51y outside of awareness. Besides havin811 1I1" .. dal nome for each character. yOu 8150 may wamio draw simple hUlIr 'J, r h.1 pol"lray these subpersorutlJtiu and. can remind you of lite (~llnlhicR each "presents in your inner life.

I.'.'ank lI~d lhe names "Earnest" and "JoUy Green GianI.." Here J$ .111 ":\eel..,' from. lIis dlalolJli!.e:

&n.at: rr you;re not ear-d'LlI'. you're 80mg 10 ger both of us hwt. Jtllly One,. GiJJnIJ You HIlJe wi mp.1 If I was as careful as YOU', ' to'd nev"::l" gel Ourl of been You work so hard on Lhe dumbesllhlQ~ "0 Ihll.~ you dall'l ever have 10 risk thaI lI1erc'd be: a RlOilUenl you mlRhl lunrc to enjoy, (I would make you feel too guillyl

P.,orll"t: You ore Meting (0 gel us in It let of Il'Ioub,lc .• Conlldc:r .Ib~ indu 'Irimu. nnl who builds" ftJwu Ilin d!.!1!,lill!' Id. tiny ~17..c.

J,;t~tJ tj~''''''n Cianl.~ 1'hul\ I('n~lill' f buildfnl4 ani h,11I1Io I your

'I 1

I nort I will 5IIl1

1111 :tiufIl U1 !lIe. IklOttlt·lj .• ll w • go ul )'uur I'm e, I'. or I ...

in I,y A,,..II.

fin,.lfes,: W 1:1. whol do you wanl me 10 do? . .. ••

.. .... . smilin' someilioes. Or laughll!l. lolly Greed Gldnt: You mls~t tryh. . . hi .. fu.lly. '1. 'on coDStricted

1. I 1nj Mnube jusl starl wllb .. reat 11& .

,( r po.YI •.. "'V .

lure \vorlnl . . ..... . is bardly

Barnal (houghlUy): .FiddJestickst All .bal :nolllSense

Rt.;"CC8SDry for II TIlQfU18 permo. ..... .....

.. ' . "L- Fu most thins: fv.e ever. heardl

11 G G'4IIt; That 5 ""' - _nl_ _. -- red old

v;:. ~r::; .... aturitf19.of ;. :~~ =:s~ ':", and

bullrrog. Tile reason for .life IS to __

/()': ..... b . ssocl tobe as audacious and brazen and

Barnest; rd be C.n1 . Birrs . _

-I _ .. a" y. oue-xudlng allover the place. . . ..

von <I ,._ _ sed

.. ssed h71 think ,ou have expo .

Jol1~GIW!n: Giani: Emban; to' ~:r dreary, colorl.css e:Kislt:oce.

the chains. thaI are blndJng yo .. . . 1.1/ k

.. I ., - .. embarrBSS.Il'I.cn,L Whal people t. 10

IiGrn_: Well •. 118 not jU5I.... .: h -Ids consequences foJ' my promallell'S Eo·,. many reasons. II evcp 0 .

Icss!OIL . ... . ~. Ion you're ...,rrytng obout?

roll'U Green Giant;· It's your pro ess . . '" ... ~., •. I.om.s doloi for

.J. . .. h' • bo lw.hal yourpro,~ .

IA:I me leU you SOm~IJn.i1l d:c.while.you':resliJIaJiyeih'sgo~.Da ytlu.I'esnolonly mak!ngyclJl e. ,. Fer which you thlnk . d· __ ..I before the reUrement years. .

have you -.u . .

;you',e living. .. . . 'f c...

. ... . •... trying lO leU me that l J stop

Barn. (befuddled): ~ Y:. I'm golDK.lo live longer?

worrying about being em ar • . . .. .. .

.• ·W· .. t.. •• Earnest I believe I fiJl.IIUy have yOW'

Jo/lJ! Grun 6,glll: . OJ, - -- •

.lrh.·IlUOl'i. d '11' ...

. . ... , •• . . . I bei1:eve you,but I must a 00. . • ve

Bar".', Well, I m n01 SlIJC -all· 1 Maybe there is something 1X.'l·1l rec!ing 1Clt5 Ihan scnsall.on· a.te y.

.0 wit", you'n: 5Oyll]g. .. . . _

. -.. .. 'Less (ban sensational. eh1 You do Oatter

Jl.llI~ Grwn GianI! .. '._. al . nu come a]ong wil.h me

YUUI'M·lf '''irlh un~~rstalcmU~~cl~:~~;i:g ;l;e finl mile: so well 'lbal 111 lilY 1"11 h. Yuu I gOl1nu I I ekto your old ways.

:Y"UI~ ,. never K~mn I wannn so)U .

IU

,.:anlNI: .lid ,ULI ~"Y com.c w~lh YOban YOUI paUl? YOllJ, sir. are ~lJt Dr ytJur mindl You an: or the vulgar and unn:fi:ned. sort whose HC'nHihUltl=s; arc Ibarbaric. You'd zip me alone Into your uncouth 'OVOV5 so rost a._nd blalantly tbal rd bebwniliated. 'in a thousand W"l'b. Besides. l'd be so tenified that I wiDuldn"t enjoy a lbinB. l:org'l lU

ok t evident. Barnes, and the Giant still have some: distaQa: to cover before a conslrueti'Ve resoluti.on is likely to occur .. The rcmain~ I.. 1'lIuBJs, in tbis chapler Moe designed to further such: symthesis. We ~usgc:: I dlaol, as youprooeed through the' w.pler.),ou have your dmrnrlel'Sengage in additional' dialogue. You may find lhal afler eaoh .. I Ihl' rllua]s, Iheir ability to eommunicale bQ been somewhat enhlIDCC.-d. Use rile physIcal postUJ:'iJtgs as you. extend tbe dialogue duri_:ng II Il'IIsl two 10-mJnute sess'jons OYer' the oeD. few days. Record tbc II,IHh.llghls in your journal.

Dream Pocu_.

IdeD.'IIfyi.n,g Ohstacles to Reaolutl.oD

In Ih~' I'In~ way that you have focused on specmc dream lhemcslo .,n"v.iuu!'l ch~Plers. scan your journal o.r incubate a dream thai gives:

Villi IIndghl mig the roadblocks thai lie on the path towltl'dreseluLioD. s ... ·h .1, drc.·um \Yould serve 1.0 help you identify obslades lbat prevent 1.11 illh.!'IJI'Qt ~u:n beJ.ween (be old myth and Ihe countcrRmyth.To request 1,11 hi dream, reJlect on where Ihe two C.haca.clersin )'o'ur dialogue ·.IUI Inn d 10 disagllcC and., bcfo.regoing to sleep, piclure-them walking

tit""" WPIliI'UI'" iJuths Ihal are desti:ned to meet .at 8 common ,poin'L lIun,.;lll· the: roodhloc:b eaeh cnQOulnters on. Ihls path. lowBrdrestdu. It, In,lWfOl'c' £nlling. asleep, and while kccpi ns in !Iouch with I his fanhll', ,0 k . ·vcra.llll1le5 for D dream thot reveal5Lhe obsta<:lles thai are "('(-plnA you from reaching grealer f'l'Solulion. belwt.'Cn lh.CSC'opposlag I~pc.'( I of ytHU' inner nrc.

125

Personal Ritdal:

TranRformmg Ob.tacles IIIto 'Op,portun1dea

nit: procedu.re.5.lhat medieval aldlemists. used for attcmpliq: LO lJ:an5.. rorm 005C metals into gold have been.5ludied hi the pas.t. century b;y such thinker-s as Carl J lll1Ig and Mircea. BUade. These methods have been l'eCl)gDized as tlte oUler expression of a profoundly sophisticated trnnsformaLi.ve spirlnml dJsclplJme. iw;ording '0 Ralpb Mebner. Hchemi.caI aprrimcoLation was like IaDtric)'Op ritual: slow. dcUber. "Ie., wilha. maximum of empathic IlWIII'en:tss and sen&itivily to the changes in 'maller •.•• The science. of consciousness transror:ma.lio.n was :Pl'8ctieed simu.ltaneously and synchronistica1Jy with lhe science of metamc or chemical Lransmum.tion."'T

Pan of thcchallcll'lge In this tblrd stage or wa,rldflS wilh your own pcrsoPAI mythology involves Iransformiq lho base qualitIes of the old myth. into ·the gold of new energy ad resou.rces. In this ritual, you win identify an obslaele to the remlution of your mythIc conflict. and attempt torransform it. inloa condition that promotes your development.

Most of us ha:ve certain personal qualities that we feel are liabilitles----.operhaps an ove:rsensiUvity to eri'(icism., a fear of authority, or D tendency 10 intellectualize. Such qualities, are usually suP.poried. n. least to part. by old mythic sLrUcture!. if you have been shy aU o.r your life. your mythology may jusHfy or raUonalize :solitude., Often. such. quaUllcs, mol,cd in dIe old m.yth! im·terf'cre with the oprcssion of the e.mergi ng myth,. If yOW' counter-myth requires that )!ou: become more socially involved. you may have to conclude lbal )lour shyness is holdiDg you back. Frank identiiedhis drivenness as a quaUl;Y (halW3S inumednl with a mon: dynamic relatiioaship with his passion.

Ortcn the ele:mculls that people like [east aboU'llhemsclv~ or rep.ress comp,letelYI contain qu_lIilities lhaL must be recognized and ema braced for ma'lure persomaJity development. Discw;sing the Jungian ~'oncepl of the shadow. Erich Ncumannobse:rved: .. Al .first. Ihe figure of I he' .shadow is experienced cXlerna1Jy as an aUen and an enemy,. but hl the course of Us progressive remization in ~nsciousness it I ..... rccognb.cd 8S a cOmponenl afone's own personality .... Tbe . hndcJw is "the pamdolfieal secret of transformation itself. since it is ill lrllcl In {lnd through (he RhDdDW thal (he lead. is Iralllsf'orrnerl into it,. J(tlld."" A dh;own'd 1:11':1111.)111 or 01'1 indlvldual's p.lyc.holQ&ical nmkl'IIIP mllY plH.h JJtI~ C' 11.n·!'I!\!on, fiercciy dl mp1il18 nllc·quUlhrlulin.

Uul I Ill' Nlmtluw lIUI ;11NU he- in "1'1"11 nl,·(llt1'lU' Ih ~I' 'un'" rUYlhol·

127

1 "

010/ In 0 W!ly thnt t - - ul~ ill. an expanded self-identity" as we see in the

fu~~~ _.

~ary Beth was forty-six when het husband died.slldderuy amd tragically. Their youqest child had lefl home a year earlier, and I hey ~ere looking fonvard Ito pcacefuJ~ years of retirem.ent. Mary Bel II had been an exemplary mother a.ndbomcmaker .• bUI she !lad never developed skllis lhat muJd earn an lneome. She had enough savings aad imsuranee ~mcfirs to carry her for aboUl a year. After thai" she would have to 6gure out how to SOPPOrl berself.A.haul sill months after lieF. husbamd cUed, jus. as shc:W'u starting lopanic 000111 ber finallcial predicamen'l. she had the 6.1"51 of a series of dreams,

,She dreamed she was 81 home sleepIng in bed. [I WIiSD',t her

L:IUQ~ home, YClshe felt sbe was al ho.me.Sbe dreamed sbe was awakened by the sound ,of pounding. S.hc waspctrified. SuddenJy~ n masked. maD)umped through. the ,window. He was a burglar WitlJ II hurglar 5 sack. When he saw her iii) bed, be approached' her Qmt. noosl,. She wo~ up screamlns as he began 10 mercUessb rape. her.

~Y Beth h.ad dHficuJLy sleeping after this drum, Her sleepIC!Ii5llcSS led bel' mto psychotherapy. About thai time, sbealso esme lu u dc.-Cis,ionaboul haw she would support herse.If~, Sbe enrolled. in 'u In~cnslve lo.-wee.k course thallJlught basic secrelariaJ skills. She

did well in tbe course and easi..ly found ajoh in a small law 6rm ":u 110" ~l'Cat reUef. she was nOI !ired durmgher probatio~ry ~ l'lnd. In rael. she had a ,sonscthal she was welJ liked. And &he lovtxl cd~ldnK bur paycheck.

About I hen.· Mary Betb had a second dream., Sbe '\q5 again iD Ihl' ~nnc br. .. d: in the 5I:mc room. sleeping, This lime. she was awd'lUI: d by " kr:l.ocking on the door. S.hc limidlyopened the door. and Ih .. "~mc.· masked m.an plmbedl his\fty in. This lime, however, sh.e uhl run sense tluu he meanllO harm bel'. He did nOI. Be: :seduced h"I. She \:Yoke up with a senseof eJ(cilclncnt.

Ahnul (our momns hiler, she had her linnJ al'C4Jt1 in this serle-&.

Silt.' bad been f)ogrishinB in her work. Not n,n.ly were her basic ~. t'c~lnrhd skln~ mure than ndcqualc, 8ht round Ihal uncJ(!rnc.~Lh hC'r !I by , Sf.tlf.eU'",'I.ng public SCllrWDS II winy, good·mllul'cd womM \\JIIII Wa1i ,allle 10 UndCJliIOnd olh~~ Wlll"iNnely well, and lu con"'cy h rlll'~l1PIl:lh .Iull R~KKI odvlc . To. Iwr ,nma:lA.l'tll(lll.ll. ~"Il' wa.'! fnlleJ't uffilr IlIm'llKcL In Ihll IK.sillun. ~11l· slmicd If) 'ujny~, Idlltl of !'tU\V"," Ihflwlu- hid 11""Vl"J C\'l'n l.um·.·lv"d 0(, alit! she wn~ ~nlnlllM hll ren IIII~ I "1lt'.1 h'nlll IJIf' • dr,ln II ... 11.1,,1 d"'iUlI, ,II WI! 'n l'lr

501n<!' bc.d and th ~m rQflPll. Oul this time she had leftlhe door u,lolt rur h ".' IOv.", In he comes ... (he same masked man. now wi1b lIowe:n~ Dnd charm. She cm:braca him. As they begin to make p.nssioRate love, l:ihc looks al hismaskt grabs it. and peels .it off. Tht.:r she seQ5 her own face lookims back a.t her ..

Th' lasL dream is B. vIvid illustraUon of what we map by an "lnlCgnll10n dream" (500 the nat dream fiCKlUsililstru.ction). The ti r (;am, series shows how undeveloped qualities may demand ClpteS·.IUlll pD'rticularly whenl circumstances beckon to them. Un.u llhese Inll"nl potentials. are acknowledged. they are more likel), Lo be detri~ IHcnLru. This is especiaUy evident witb poweri'ulemotionslfke anger nn~ ~.. . ntmem, but we sec hcre wiID Muy Beth thai ,even charactcris, . Ii thoi might seem qwte positive may. unacknowl.edgec1. plpyhav.oc III your i nne.., life. flel' ide.nUty \Vas SOIl"CIDovcd from the eo:m:pet.encles: ",d Independence lba' hcrsoeiety associaled wttllihe male role (Jung referred to this collSle:llalJonof qualities as the' "anlmus") tha~. radical "diulltmcnlS had to occur if she were goi:ng 10 mobilize honelflo'

1Il'I,;omc a breadwinner. .

In. this ri,tual,. youwilllde.ntify a quulityinyowulf lhat.you believe ml~rreres with 'Ihe' resolution. (If yourmylhic COnmel, and yau will c.11I u.pon your Inner ShaD'lBllI.O help you Lransform that obsLDcle into .10 asset.

&:h::ct a. persona] quality Lhal you feel may be kccplng you trapped III YOlllr conDie!. Perhaps your ImpuJsivenes5 prevents you. &om. creQl~ hili n Iflore stable life-style, your eompcdsiveness prevents you from "11joyi"1 the stab le . nf~styll! you have established,. Y~'lIr . fearfulness tnt 'rFCrcs with )'our abiJily to I.8.ke risks tbat. are req_Im:ed forprofes'11U1UI .!iUCCCSS, 01" your inset:u.rity causes )'011.1 1'0 pllls,h a,we., reJation~ ,hlp; by Unging to them. Meg went through the ritual 'wi~, o!'t~' lunl Ing on the self.righteous.ness of the Proper YOlllllg 1..ady and a "'_'l'ltl1d ume on lhedeliance of tbe Born·Agaln Child. Frank. DIS YO\l, y:11I st'C. ,"vorked whh blscompulsiom lOBchieVie. Choose it qualit)' you.

,\ j ,h lu trnnsrorm. .

In ~hc rt Ut)\YinS i'Rslrucllons" you will be doing a ritual dance wUh VI nil I nut, r ,shnmnn to transform Lhis quality into a resource. You may .lh\r~iL_< Illy do the dance. whIch we reeommend, or simp~y do !,I as a ~jlnl ~y.. You will lln:d It single sUllInowcrd, tllmond •. or similar :'tt~. 1.r.IYl·llu' -M'L'~ where" you c.'\n reach II cosily. During U,C pari of II:h IlIuul whl.'lc on m'(' doing til,· dn,ru:".Y41U "lin mAY wlKh 10 have III h,,1 mu .. ll wUh tlnumnl1lt I1layil1l(u Ih~ hn.'kRrouud. A fmit. sleody I.rlll i", tll",l,

I ...

• .,.'ttmclilf/l wben: ,}'fm ',[,Vi: .'IDlne room ID /;DOve" rake 1I few deep brratll.-:. plnm )'Our U'CI on tlx: grrJlIntl and P1'CJIllIf1 to iDvile YD.UT ",hi.ma", to VI$iI' you Jnlh~ Outu Warld.. Recall 'what yOur SIJaman ('ifIll . Ilk,,'. {P11~sc! NOl~ wal:ch R$ SI1Jnt/ing bdoTe)'Ou.. yowSimman :;Iarl;~ It I ,flllJtcn'altze./PafJSt!j YOIl wiD be·abletosense'YD.urShllll1B1J:S P/'('sf:nCt.;~'md in your 1'11ind's O'p youma.Y ewm be .abie to Re shades IJf.l'tJUI· Shafflnn siorulillJI beIan: yo.u,

A:r J'1')~llook nt'~urShAl1latJ. scau how you It:daboulo6_erinll up Iln:qulIJ,I_v youl'Ilsh .'0 lnmsform.{hwe} An imll,KinBlY bundle sp. pc.lf:'. Won: J'Oltund you begin to nold it witlJ botb YOllr DIUItJS. You k,wIV thot Ihe quDlJ'Iy yo.u wisb 10 ciMnge "siDs;d~. bundJc.1JJmmint' 'he hun:~/t!. Whs, c%ris it? Is ;1 heav.P7 Does ,'t mute Bl1 odor' Are: ,IreTe sounds comln, from within it} [Paus:] Presiml Ihe: bU11d1t! 10 ,t jUt' ~ll.1mlUJ. ~lllin . the quaJi",. Main'lz1Jn your·seJf.n:spet;1 hy,de. "'_ rif:IIII1J tbe: qlUllllJIlVjtil dignity and compassion loryourselr. Bstab- 11. .. 1, n4ml it isaoout the ,quality rhllt is nOI worxin8'()I'yo,u.l~n'd I)JII'J.'O(·/ NOll't;t'Insidcr' the lVap in ,vhl'chyou hope' ID 1l7H1$/orm the tl.mJiIy. Stubbornness mar IH:come B baJlJ'aced d~lrrminaJjDIJ. A quff'k't'mper mllJf provide the zest lor passio.nllk w'volw:m~n4 Lazi. ""'.'11..\ "my be the safeguard agsins., [ronzJ«/ t)verinvcJvl"men" £f'.' d' .

I , ""- J. cUI In

w,' ",u:"ir you wish' 10 trBoslorm ,ae kernels tJf D qUAlity you ~",uJd

m. e ", DlYJuin:, Once you ha re described. me mange you am request .. "'Jl. llv/r'n lor J'Our ShamlJlJ:' responR. {6fJ.seGrJnd Piluse;!

.i.l/Jf .·hnml1n laces you and pisces bJ$ or her .hulls 011 the bundle. 1:',," 1 m,dlt: is bcllVt!eIJ )to'ul and bo.llt of you are holC:lJng il. NDw' yo,ur ,'O",IIU1II1 SllII'IS.IO move. You 1'CJJlize 1bs:1 ;you ~ to move JD syncb as ~ fill' '~/" ItcJ/d the: bundle Begin 10 mo·ve .. keepiDg .0' barmonywith ~ ~ III ;'i.l.mmm, {huseJ The ml!_wmJCllt bqJns lUpin spcc.d [Pau~l 'flu rlwrhms change. (PIJuscj Soon it i'& a frrx form of dlUlct: with 'be 1m milt' 'wId lJorU'c.'tIlJ 'you, YDur ShDmlln IH:gins iQ dJan.t; ul.el the .I""'ll" fH."l!inl" Yvu dUJlJlalong, [Pausc) Now you notice tnal the "mullt' ;" .IOlIrrounded by a luminesc:enl color. a brtgn,lieht that ai. mlJ~1 ol",",IJrt'..~iI. You beGin 10 I~J IhtJl D cha:nge islndt!lef! occun1ng. ,,," ( )",1",1' '0 chnn'l. The lDo"emOIJ( b«omes cr:mlt;J'C.v on tlltl lu. mWf·u'I.·u.llumdl,'you art! both holding. You begin 11101'111;11 if JiigIJ lind IUI'j 10 011"/ ("fI, lPllU,«.'l II /xocomes brighter ,virn CliC" Dcldilional 'II,J,IltJ'N. 'r/,,,. ,)Uflf'o • ('!(mIJ"uc;s,~1mllVorks liP 10 II Frear. Yml.'J''t'dJlln/~ mll.~:' ( .. '.1;./.' «, 1'011 r .. m now: "'..(;'1 Ill,· rhongr.·I'IC'jJi/fr/tflJ.st:c:ond pallst'J

"uloIlIl'. \'Vli 0;1'1[1 .·ltIclliKJk"(JIII'~ 'hnmnn lR II, '!f.:JT. 1'1,,1/, ,if''ftll1 .'i1I1i I,." t' 1'1'1/1 I,. nfl' 1m IIIC' hllmll", u'Mel, C'cmtim,,·,. 10 Iflow. rf~'II' S/". m.1IJ Ir·lI .. "'JII ,".,, lilt· e/ll.lllll·l" ,ht' hmull(' 1i .. IH"ii.~ Immfm'llln/, j",.1 '!I • rill ,l'f/t'.· .. ted. l an .'1'1 ,.,/~/,.., ,,'.Ie ',I"'/umdic' {'mit th« .. [tfil II ,hi"~ •

1.29

~'fII.lluJ\"· 51uIWi 1111' .~N. AS.J'6u do SCIj dIe bundle sudd'!Diy tllsspIJC.lIf5, lJ",d~I" SlutnJlJt1 lells you tluJl alJ the energy 01 its bright' lishl hilS Ilonc into Ihl! seed. lis you look at Ike: see.;tYOlJ bqpn to .sca~ lOOn: deeply just w/JD1 this new qUlllity is BJfd how you 'W(1Uld feel if it 1VCrc fulll developed wilhin you. The SlmmlUl te1lsytJu 10 pick up Ilul StYNisna slowly chelVlIlId swsDow it. Pullbe SII!ed intD YCUF mouth lind slowly IrginlD c.bt!w. With escb bil~ and' each SlVll}low, JIOII .li!el

'ourself ilJl1f!$filJlllbe n"w quality that has been ,transiormt:ti from thi: old. You C'CCllIJ the color from Wore, and YfJU bt:gin 10 keJme.MeI1/Y o/ll,at color 811;118 your body with each motion ,0/ yoUl'm.oum. You know tbat thc qualJ(y you had asked for ;5 contained in 11Ie energy of Ihls SI:aItmdthst you Me now IBk:ing jt into yourself.

.As)'D,u finish t1Jjs sacred morsel, JIOu salOT dJt: tasJl! and you savor tIm knowledge tnat' a seed bas just been plant" iDTan IlrJportan, cluJf18C In you'r life. [Pause] Yo.u rczJIize thai from this .moment OA whenaver lbe old quaJJty migbl gel in your Ql8~ JIOu can have access 10 the feeJbJgyvu rtlMifll!d from llJeseed. By evoki1f6lhis.feeling..YQu 'IIIill bctfin to l.ak.e .actions lb." are in COlJa:rt with I.hetransformcd qua/jIl'l IIDd as you do, that quality IvilJ ,gain stnwgIA 1viti1in ;you.

This ,ritual mark$ • turn in J'ID,jr path. While the ch__DDps miJY not be immciiale:Qr ,.",tUClJ/, .tb~ shill: in diredion D.IIbi'Spotnt lVill mJJke an 11lc.nmsiDJI difference 8$ JlDUgo furlber down the .1'OIJtl Sa__y good .. bye IOYO.ur Sbsrntm. lUldwaich lIS he or &be lades back into the Olha World.

Fruk WBDtcd to identify what was making .1\ so difficult (or him 1'0 do som.ethiog as .simpleas beins more relaxed and peacefuJ. "Sure I.), it couldn't be m.ypersistence a.nd wUJin.g,ness to lrY hnrd71've ul\Yay.s th.oughllhosc were virtues." The p.roblem, he realized, was Ihnl he applled his di.lige.nce to areas of his life lhat gave him external ."cworda nnd the: satidaction or achie",emen~ bllt not much bappin,ess., .It WAll his compulsion lo aehleve thai was k.eeping: :hls life out of bahmc . This wns whal he orfered to his Innor Shaman.

Ilold the ShaMan thai I want to, transform my compu1si.oD lO II hicyc into onfidencc thal ~ don't have: to worry about achieve- 1llt'11[. I c plolncd thut r ull'l:'o\l)' Hcl things done 5QhabituaUy and l'f(nliv,dy Ihnl my inh;rn I push In do mOOhnd beUar. which costs 11\1." UI I r,11IcllllUlY.i l~ n Idl.v jmil 1141 O\u('h ov,"rkill. 1 hn"" r~b!IDn to J ,01 Ull1lul .... 1 Ihlll III wurld b,n'. goh'" III rull dnwn around mr If

I wer In I, •. ' nna, I UI J UIlIl df'lv'l1 m I Iy rr I wl.hln. I s~ l~1 h.-cJ tl~ ur lhl~ bu,-d. n w re lUted. f could relax inlo any true

naltl. . The. ShlllTum replied: '~ u have ehosc IJ A t

I· - .. . ,.. _0, we. (oTiner

co~pu Jon na Il~en I'IeaIm of JUe can indeed be transformed inlo

confidcnca within thai realm. Makino thai tr--_I' • 'n

o._.J 1'" 0 IUDiIOrntallon Wi

U-WY tree: you.

I lho,ugbt all the gestures and dancing w re a bit silly, bUl I did get Ilj) and dO.,tbem, At Jirst J felt Uke I wasjusIICilll1hrougb the

molions, but It suddenly hit me thai r coul'd sense a hi .

around lhe '''bundle,'" ~th that. I n:aJJy gDllnto it. We we~e~~~ all ov lheroom.cbanting, '1.e1 thechaoge begint'" When we fIn lb SlOPped" I r~1I an immediate sc:nsc ofpeacc. and by Ood" I beUeved l~e quality III that bundle h d sone through some real tran ~. • live process. When th Sbaman condensed the' energy in~o aO::. .I bell vcd Ihlll.lhe seed bad real pow .r.1 hadn't botbered 10 gel a seed 01" nut~ and I regretted that J didJI't have one at th .. ,

beeau .... th " J Ir.__ _g moment,

. ~ _~e rt ua ~ l~ling 50 real to me. Still. when J ale lb

seed. In my Lmssinad a, I could sense an energy of confidence OOlDlng inlo me.

. At WIy point 'WileD you notice Ihe old qualit)' ge1tilll in your way. you may. in your imagination. again take the seed into your mouLh ~d as you ing 1 it, reel the energy of the nnsfOllDed quality infused lnlo your bejn_g. Becau Meg had selected two qualities that· h wished to transform. she performed the ritual lwice. Consider fQr 0, m~me~~ if you,. t~. wish 10 repeat Ibis ritual, c::oneenlrating on ano . er gJaraclensUc. The ll"aQS(ormation of such obstocl- '

toward th·· I . f ...... 15 a stc!p

.• e to eam.lion 0 y ur old myth and your counlerl.myth. Tb

r~malnmg L~ rUlla1s in Lbis chapter, and the dream focus iU5lruc. 11 ODS, arc oncn'cd toward furthertog that resolution.

Persooal .lUtual: A ResolUtion Faataay fhtving earlier represented tbe mylhic conlliCi in ynllr body you wUJ

nnw creale a ~anlasy symboli journcy--wh Pt.lf1)O' is to FUI.O:-

Iller Ih jnl Inn n OOlwc~n the old myth nd tit· I· h

wUI . k - 1(·' . c: ,"'Uun er·myt • You

M n se a un ,~I~'!. symbol 111 I !I I in rc::' Mn tb "I di rd.

Y plh f l'IychuloRI I !ill hymh .. r n powt'rf., "III .~ ,. 11.1 '

lor 'y,R I I c,I' "I . I . '" no

J In III) l"" 11 'smut: 1 a ,,,. l.'OII"t"/tJlI!i ~VJt'r .. ". of li{. d

III." tldl·(f. fI IIlw nrw bul III ul OllJ1U~il • ('(1ft Inntlv ... .'IIrw ~

hi jd In "Ih,' I " .• ', I I 'f" ' ... 1 .. _lit II, II .. , "II r yinll II I • I ,U

t "lilt 1.'1 • Iliv' I'un lit n .. , uicJlng Ih in I "Idu. 110 d per p

lugl al I r u,.11:'IQ 1' .. be! 1111, hnd u "om'·o .able po Ilion nd atart 10 r It.

'/CA.tif' yaUI" c.' ana Inke I'J fclY deep bt'elltbs as you seide j'nlo Ibis

fH Won. '" l'youlWlIl!I:ltDdJ31JmOlW~ completely with Jlour nexlliVl! /, ·nll.s: ONI;. 1'WO, TH~ FOUlt FIVE. R«JJIJ the fet:Jings you I 'ell(! hlJlfing as you explored lbe dlffuem sensations in J'Our hand·

llUtil1g tVil11' ilie hlUJd thai rcprr:seDlallhc old myth, bring back the r:,1p(:ricnce of lbest: serJ6/Jtions. {Pause} Now, ~/tI tb sensations in 'Our ollu:r hanel.

1UnC! mJD the tuJergJlsnd sensatiDns of the bJuJd thai represents the "I'd myth. [Pau$e) AD inner image of this hand d~/ops-perbll:ps 't it; only WWUC and shadowy or perhaps it is rich with color and distinel NllOjJCS. As you watch Lhis ilD8(J.C, .PJU havc an increasing/), cut. lin !tCllSC of a symbol thst Npt"e2111$ J'DW' old mylh, (JfJ.sectJnd pause) On a,ls sym60.1 has ~:mr cleu /0 )'D1l, tan~ into lh lJ 1»' and 'J',19JJl1DDS' of We bllDd thai n:prcsems the coUllter-nryth. [PauseJAn /lin r Imsge or llllS haQd devmops. This image ,becomes II symbol that /l,'P~nls our counldr~m'ylh. {J(J.S«Qnd pause}

NDW you have Idenlified lh two symbols and mn i'mslPn - IJ ,. ting. The light, colD1'$. leJtfunes. and forms bi:t:omc vlvjdly dear. {l'lIllSej Next pl cc Iht: two synrbols inco the setting. {Pause} The two

'mools aTe about 10 become animilled. They an: IfDlng to be me dU'l'uc;le.rs in II (antasy. This fl.lDtaSj' will b8vea beg:innin&.s midcJl. , tmtlll'll end, Tb fDnw)' will brlDJIlh:e symbol. closer 10 ch adler. 71.eir rels#o/Js!:Up IJnd their und8J'$lJUJding or each other ,wll Iwve ;tlJ/JJ'Ov«/# The ranlJJ8}' wUJ JIuJd 10 n iOlegmlion. a blending 01 th

, UfO' sides.

Scpu your limlasy DOlt'. w.tcll as the two symbtJls bt:gjn to inter"'I. 1loW'tlu:ir illlcl'SctitJDS 10 uJJir:Jld Into II _10", or df"'ogu~ tAnl Irnml1uJIeS II tum_g ollht!ir dilfMtmCf!S..{fJ().Sl!C(Jod pnu if When YDU Imvt ~ompleletl your fantllSJI. count yourself back from five 1.0 one" '''k n d ~'breath} and open your eyes.

hnma:dlalely record the £aotasy in YOUT journal, Do no. at thts 1,1"1 an Iyl.· or jude n. Th n, again assuming 8 relaxed po ilion. IlU\lC dtr 'tty 11 to the foUo,wing instructions:

1ul .. d " ..... mmmmlN la' n..-llJlV D,gllln, bl'dlhing rJ, p/J'. [Pauu} You

11'111 bt. I/lll -u",·/:1111J1., " ." lu,.,hc·r Itot • '*'JJi" b " 'Playing /I

in ,,.nm 1111 t/lil1:Jfiflll. 1m .. • wtm· c'/Jt'm"U'lnll thc' .ymhal!. Blld 1/' ttn " JIlt! f'" tIll "IN',1l ' I" lie • t' 'J'( m». 'h1. .. ,lmr. /,.,,, -cr,

_~ __ ~~ ~~~ ... ·kAUHiU MYTIIUI (IO¥

tapliN.- IICI/tm ii' IKJilJf.'f n~/Jen: yo.ur fa'n/lJSY starts 10 1'!t:SOJve your ("fIaili!:l, ..,hr:"'_· the old and the cmcq:ing are IlJ'emosl inlegrsJeti wh n' tht:trls lbe IJIYM/est synthesis ~ thf1lD.

M'fkc' IJ "stillpbologrnpb" in YOlJr mind Qr II shQrt llfilm clip"' 0/ :i,lIdJ. ncs" Do not be concemed'ifYODr fanlBsy tries to tU.ea sJiaAtl)' JI"~rcm di"';on during this fel'UJl; simpiy [IJHow its lead. Begin 11m 10 rcc.~periencc your lanl~ tlUs time stllPPing where tlJere is I/If.' mosll.lllep7Jtion fJ1're&o/Ulion. {6O-.set:ondpaU4ll:} When you have rt"tlch,yJ (.he end ,of 'your ,fRnl8sy, Ulend it. Add II Ilnal SCClJetha,' f:.1rl'/C ... It further and in the- diret:J.itJIJ of even greater TeSDJulion or 1111~·smllon. IJlJ.sccaad paust:) When you are mac/y. COUlJI JIO.ur:selI bad·lrwn live t'O on-e, fJlke .I' deep blWlth, and OpaD yourey.!.f.

Once you bave com;p!etedlbis experience. draw or describe lb.e M:Cm,'8 you meDtally photographed in your journa11 and I'eOOrd ,your n,"~iuflons to thcm.PromFrank's jou:rnal:

This time. as ift.o show h.ow confused I am about which. mytb is lIlJ·oIl8er• my right arm becam.e.l.he old myth .. (see il as 8, ma:ssEvc. cold !IItone waiL My Jdl armis, also a wall. But this wall seems (olhol"081 and Is \lery fragile. Next, I see a knJgnl on a horse, The knighl bas increclil:Jle m1llSCl1.e5,. kind of nkethe strong m.an in 8 circus. I see him reacbing 8.C.NSS so he is touchlog bolb waDs, and he issuing to pull Lhem together. I see hjm struggling 10 pullllbem c.loscrtogelhcr. but something Is slopping him. It SCI!ID5 he isreafiz.. Ing Ihallhe fragile waD wllJ jUSl crumb[e wbenlt meets th.e !lome won. and .hat is Dol wh.al he wants. So be builds a latticework ,.,1 rtIc:rurcinto it solbal eYeD if it does crumble, It wiU still "laiD II l:humcler. And Lhcll.d1rough some magic spell, he brings beat 11.1 the other wall, and it begins 10 soften. It becomes ttnlDslormed fr 111 cold blocks of slone lnto mounds of some warm. invitin& dtn.lghUk 5ubs.tDnC(I. Then .• ,06· he pull, (he two sides together. the r:rlJgUc waU docs indeed crumble, but thal's okay bccaUiSe the lalIIcc\\lorJ; and Ih. elhereal quaUty rema:in. Wh(!'n the awo waJls hove Q1C'QlCd,. '.he 10111· (n .. newark brings a mBgnificen~ scuJplcd form Iu I he: dough. whioh fClnajns warm and soft. II wu like fWDS being !lIIOWn Ihnl ror my Iwu myth$looomc 1.lhcr.1 hnve .osortc:n (he ~lm IUlI"e of the ofd mYlh and give more fdnlcture 10 .he ncw myfh.

When (look 11'" rUnrOli) furlhcr •• h(' n w 'wallt'ame hJt IIf· Dud Ixocarnc IUlinmlro, It :U'CU Ill' beeame like uJioon d1l1rnclr fir u m I1l1nnlh drl.hnnl whh lile InlUu: bc.'C:ulllj'nA lil~ kl'lf'IQJ lUl.'lurr

5Ind 1111: doughlikc . ub,,,.unce Us m3S!Siyc Desh. 11 sLartedlo walk around ond do lilLIe damcl'e steps and sing ,and play. The creature was vary furuly as II hobbled. around,. but then i1 caughl my ~ye and knDWilngly wink~d at me, and It suddenly sttuclc me dialtltis colossal, playful. crealllircwas somehow very wise.

Dream .Pocus: AD IntearatlOD Dream

If you rclt lIml ,our resolution fantasy did. DOl BG far en~lllb~ did not adequately point the way toward .resolvm~ the. conDlet '. O! .1F you simply want to I'equest htr1.her Inner instructlOIl.aOOul. resolvmg your conflict., you .mBa find it vahmble to 5QJl yoUr' journal for 8 dream that pointed toward resolution or to oskfor an Intesratlcn dream. To incubate such a dream .• bainlto mind the pol.nts in your Fantasr of .greatest iol.egration beLweem the two m,ytbs.lf lh,ere~erc none.reRc:ct a:galn on the mnOl.d and aSk for a dream IhIl~proVides Iiurtb~T ~d. anee Qbou~ finding a resolution to jt, Lmmed.ately uponwalbn&. ,record any dreams orinsishts )'OU mayrccall. Explore the dream u.sing the: ta:hni.quc you used wltb YOW' resolution Fantasy, wh.ere you recreated tbe fanlasy 10 splore iL Redream your dream ill your imagination a1lld find tbe poil'lts ofmwmum illltegration.

Pel'SOnai Ritual:

A Body Metaphol' of Reaolutlon

This chapter doses with a ritual.for furtherdeepenjrng Ute integration. you have already attruned between the old myth and the co.uDlermyth. J'ust as you've seen how your body may be a battlefield for the conlliCL5 in your personal mytboIDQ'~ il. may also be a !em,ple lor the rC!KI~lution of tbose conflicts. It is possible.o use boddy Imagery to help resolve the discord,. 'You Ita.ve a).ready been ide~IifyiDgyourofd mylh with one hand and your counter~~rm wilh ~e other hand u ~), ,yoy of ~mbollzing the conflict •• n tb.e 'oUawing nluaJ,. you will also b.'pln by rl'prclM:f'lling your mythic conDiel. with your bands, but this Ihm: you will wlfld PI' with n r",\:UITIH in Ybur bod)' tltal serves as a ~·n .... li~m h;IM'd s.ymbnl Ir I'(_·,;nlut!m\.

lit Kill hy f,f' i('",inN Ihf1 t'nll'ic~ in VUIII' juUl nul 111m de !it'rltw 1~1l"

I 111111011 ~Ylllbo.l, ~ rUnlllSk'!l. or dreams emcrgi.ng from the last 5CY. ~nd !ic:l=o of Inslr'lIclions. NI!IlI, Bodo comfortahle position and begin to relax,

Close )'fJ.ur eyes D.1Id'llJke a few ~p brealh8lJs,you 5I1ltleiD.lo this ptUlIi()n, Ft:c."'l J'(JurselfreJllXi~B more OOml1/ell!/y wilh )'Ou,. nul Bve

. .

hrcfdhs: ONh; tWa THIUiB" FOURI< PWE. Sense Dlle more lime 'rI,hich hand )lOll associate more with Me Qldmytb and which lJand you associate. wJlh 'he coun'ter"mytlJ~ [Pause} An: these rI1yfhs still l't:pI"CSCI"wI on tht: SlImt! sides BS lhey lvere earlIer' PQC!IS now on the Jumd Iholrcpn:senl4 the ·old myth. Notice tbe SCJ]SlJ1ilJ12S in thi$ side Iff Jour bocfy. (Pause) No·w fix:us OD lila other side o{ your btxJ;y JIJId notice Ihe SMSalions. fPuuse}'.ls oae side warmt:r than tbe alber! l.Igbtr:r:l Heavier] Darker? [Pause} Notic:e l",here the two sirles mr:t;l. IN Ihtll linejaggcd Dr straigbrP.Do the energies 01 tb~ ',m mJl'hS ~pel (.' 'It"II athcr ,aio.ng this boundary ffnel Do me ent!Tflles blmd"s one ... ie!,· I'tHleiting Dr pushinG o'li1!!'r Inlo the other side?

Mentally mmmuniCDle with both $id~ tel/iag them ,bill juSi as '"ey lire cach pari of the same body, It 15 in the best intcn:31 ofjtour 'I'lnl bclng rAst they leara to IJw togetltcr in nsrmony, or even to imq;rotc \Vith each other.

ilg.'1in place YOUI' bands so your palms fact: each ower, a60UII:Ulo (I., apnrt. lind let }four elbows bend so you Clln relax yrJ<UT arms ias r.."(IDJ{OI"lnb.lc posilio'lJ. First UP/ON lire haniJ lIIat rcp.rescJJ.ts the old 't~.'lh. {Pau.scj NtjJV locus on the band tblllrepres«Jt15 ibe COlMlcr~ n tk {Pnusc} Can you ff:Dl BRJ' st!IJSI1llcms .In tbe ~ befweruJ your 1,.,,,,1&:' JI'I£t lJS oppr»iles IIftracl", sense drst there Is anmergy pulling J'our hnnds ,,,_,ller. T_his cnt'ltO' increases with e~1J' breath •. /2fJ. .i(Ol1d jJlIusc) Slowly. sllow.YDur bands 10 hr:. drawn 'oplhcr. Know IIUll flJe Ins/lIlll tbey IOrx:O. you will feel n mf!l'llins of the t:fJcrgics IIC'Jw,~n Ihr:: fllifJ (des and 8' sJRgl., uaiJied feJ:lJng Ivill encomjJBS$ yoin: Imruls :mdpcrmcall: your bocIy. l3theccnd pause}

.. I .1/",- ti,.crgic.'S o.f your hands lind the t1vo sides of )'Our body blend ;mt.i ;U(('gi1JIC 11'1111 one anolhvT. f'eeJlwras of hormony till J'OU./PaU2j S('II~' i",· NI,irjlof '''cold mylh and ll.e t'OlInrer.m.r1h mi~8JInc. .SJm. 11'~·"i,/~iI'Jl. ilJ'lcgnuifl& /'r;f;Tlmiflll 0 I"gle cn"l'gy Mat rt'lllinsllJe "'(}Sf l'ila1 (/IIJI/ilirs of hml,. Mt.,I1Jt'II,,· o,ld 11/1-111 lind tf"'t:Ounl"""zyil, 1I,lrh ('"'''':''' bR'lt/h,

,I.'ii .tl'" millcli"1! ·(Jf Ilf' In", III rlh}; JJrn'''"o'll,':' J'lJI'II' bll(~I·. ,'m" bin ,"'fnl'll'" 01111/ ~n"lJl"" h'f'liJlJl1J tJ{, ,""Lllt/ml"11I l' 0/.1 I'~U' 111,.."('1;"". R,'Urc'l mJ am' 11"'''11'''','' m Irllllj.'l"\ 11.11' tltllll('/~J U' Jl ;IJ r/lr IJ(' 11"11'

Illorllt:nt which m(glll.represent B Dew dfrecllOIJ Ior'you BS the fmc.gmtlon bcllV«!!l the old myth IUId the coUIller-IIzyIb deepens. [J(}. .",'wncl pause}

Flnoqn imgge,. phrase, or though, tbsl. .Iar you .repl'fI.Sents this ,1nlqrrtl.tion. ".becomes vivid lind .mt!1DorabJe. {2lJ..s«xJn,! pause! y'ou .may a/Jirm tl1is feeling of JUregr&tJOIl .any time you wish b!I1l/CIIUI three dt:t:p bn:a~ bliBtJingyour.bandslo,etheJ; IlIJd squ~ng them Ilsyou recall Ibis/mage. paraR, or ,tlloU8ht~ Do IlIls ROW. Lower your "ands. rue tlJree deep breatbs lIS yourecaJJ your im¥. phrase. o.r thaught. [JD.stNxJlld paU2} Bring ytfJur buds logether and sqfletJlre Ihl!DJ. [Pause} Sense the charge of Integral/ORand wholeness ~I IhroUBh your' bod$ You mqyrepcal this sequence lllJ_Y lime~ WiSh.

Now, IJ8 you count' yourself back fmmfivc to one, the: rif;tJ/l~1J.9 of resolutioll compJetely permeate your hod)' lmd .your spirit. FM, coming back BOW. FOIJR. THRHl! 7Wll .And DNB. Byes opcl1.. ITt/Oed. IU1d relresh'M

DesQribe lids cx-perience in your journal (n what ways did you fee.i ml inlegnnlonbelwacn tile two sides? Of what. obstacles were you aware? What new directions seemed tiC emerge for you? What was yoW" image, phrase. or tII.oughl~ Be sure to d'cserihe tbesteps you ~n take (three breaths, brinS' hands lopther •. and squeeze while reca~tlng the i~ge., phrase. or thought) any lime you deed to deepen the Int.&gralion Between your conflicLing myths. Tbis p~ure can .serve you much I ike Lhe aclion 'Of a positive posthypnonc sugeslioo. When I"'ronk':s hands mel,

the ethereal wan started to move In ripples 8.l1d kind of undulate ':Igainst the hard wall. almosl as if it were massaging i.t. II was quite enticing in I:ts slithery, snakelike, almost 5e)[WJ.l dance.~1S ardor ~nd playfulness were t.-yin·S to have 80mc cffea. on the bnulc waU, and my sense was lhaLLhey were going 10 •

ConllnlllDl the Dlulope

i\llhb. point Frank retumed to the d'lalogue between the c:haraclcl'S n"IJI"C5Cnling"hcl\Yo sides of h'i' mythic CODflict. Th~ JXl:rsanal rhua'ls tmm Ihls chap'ler opened a few doors of wmmunu:.atlOI1l for .hem. nnd \Yt" unJ Ie,' yuu nl Ibis point '.0 extend your dialogue as well.

Itllltl t.rNn Glllni (fl""pnndinll l,tJ l~nrnCNt'li IltI~n "nlhunt Qn~r Ihr InVUllliuli Ilcml he "'V ( •• "",' 11RIII; (" rlm IIIIWIJ, lillie mnn. I

PI<M1WlN,U AI WIIIII'Y

tun nl1dcrsltu!d Lhol ,unln' M.:ared. Muybc we can find 0 pace thaI w. U kct!ll me reo'Un" like 'we're sun alive whhout ~iD' you. (0 dl'n~JI.

liarnt!&l! WeU, you taillike 1 wouldn.'l ha.ve anythi.ns to offer even if I wanted to do something with YOIIL

lolly G"een GiG",.· One tbillg you certainly know :how to do is to apply yourself. although you generally have 'the imQgination of a goldfish in lhe ehelees you make' for tfI.ose precious ett:orLs. I propose mal you apply yourself to some of the (hings I migbt get u kick out of too,

~'Suchas?

lolt, 0,... Giant: I thought we might try downhill ski ins lhis moocb and white-water rafliDg in the summer.

Barnest: Tbat d.oes itJYoL! go yOIU" way and rUgO mine. J find your proposed e:ndeavors tolaJlly terrifyinlt 8iIld I find you, sk, to be an insens.ltive.. reckless hoor.

Jo/& Green Giant: Your oversensitivity certainJy balances any IlnscnsiUvity tome" but I guess I can understand your (u.n.. Whal if we slo.rt whbyoLlr taldn~ some Umc off tOIO Cf1JSSooCouokyskUmg? You enjoy Iltal. much as you :hale to admjl. it.

Ea,nest: BUL before we canlaoli on thlis wildly irr:esponsibfe udyssey of passion and mgll1. we must be sure: LIult someone is minding the store •

. /0.11,. Green G'i4l1t: I don't mind. beln' sure the store is m'nd.ed. but lfwc mustbe certain that no specko.f dust. Iha.lands may lighl In ils riesl ing pJace for more than sev'cnleen seconds. such as is 'your custom, we shull have precious little time for anything else.

IhI""eat· But iF I do, nol, a.ltien.d 10 the: store In.lhc exquisite man. nt'" In whkh I. alongwiLh anyone with allY class. am accuSiomed~ l\YU c:omplicaUons may be foreseen .. First. a1l our excess and idle lime might soon beoome dl1eadfully borillg unless your program I.s 'Iuile tnngnil'iccnt .• Second. I would surely lose the 0PJPOr1uniIY O'f ht'i.ng Ihis l'~11"5 recipient of the National B.room Socie'ly's fkst 1\"lll ShUI' Aw{u·d. Ir I urn '10 forgo that honar, then. thi!; trip had 1X"lIcl', pordon rhe (.·x.prC!s!oion. be dmlUlc.-d good.

J"I(, (;n'l'" (ij,mt: 'rnlld 11111", Itnrncsl. Trllu.· n deCI) hremh, leon hllt'li. lind l'niov IlIl· ,'j,I,·.

III

&,,.,,nl: I Ihink Ihb 1!Ii ru'lhcor insane, bll' I 5holl relain a.rt OpeD (ninc.! about y(mr id.iotic scheme,

I r you beyc mol yet had the two chara.cters from your dialosue meet for a 5eOVDd erthlrd encounter, do so now, aeatlng another "frD.cc·to-fac~1f dram8.tiza.ti.on,. and summariziogthc dialogue in your journal ..

On la, Stage 1'0lIl'

It is entirely possible lhat rather than leadins 10 resolution. your imagery and djaJogucs show:cd that the two myths are Dol. y~l ripe for integration. Some peopl.c .lind this ",cry' frustrating and want to push toward a resolution for which they are D.ol ready .. Regardless of tbe obstacles you may be encountering. you will be able to adapt the remaining per:sonaJ :rituab to your own pace: and 'readiness. Hvenl! )'00. were unab'Ie.lo atllain aDy seD5C of resolution in the exer<:i5ello this poinl'. the following chapter will show you: ways to draw OD tbe c:arefu'land penelratins work you have been do:l"g in order to create a dosing to your FairyTBlethatpoints toward COl1slructivenew direclions in your .life.

------ ~ 5

The Fourth Stage:

From Vision to Commitment

IJk(' alt1ro-C4$ting flS1rt!l'rrlQn. mall> seems 10 ctJSt a fantasy Illrinfronr 114 I,Fmand tl,en slowly red hinuelf mto It.

-W1I;t.IAM IRWIN THO.MJ'SON1

l'hl' l'IUmis presented in this Ichapter are designedLo fi.1l1her 'lh.c inlet'l urlCln between yOW' old m)l:th and your eeunte .. ~mylb .. As theresoJuIlun or I hei:r con.fli.CI becomes more complete. you will be able kJ

U I i{ulcuC' nnd examine 8. new direclioll; and you wiD be drawn loward ,·mlUlIl.ul"g youJ'SC1f lolL

wh()re Ihere is confUct 11'11 your personal mythology, several seeflUl':US are possible. Consciously or unconscious;}y. you may: U )idenIlly 11·limaril,Y with tile old myth, (2) idMtify pnmaril,y with tile cUlI.Her-myth, (3) become inueasiogl:y tom or tonfused~ or(4) work nut II omprromise thal sacri6ces some dcs;rable elements or each. Or, .t!i. lh· Inner resolution bceomesmore complete, a new .myth may l'm "I"ge (hal incorporates. Lb.!! best quUlies of both .. F'wther directing your ('lTons toward this last prospect is the goal of this, cbaprer.

W Iii Ie il is Ilel:CSSBry 10 allow certain (looBiolS 10 lak.e lheir course."

Ih '.'(" I truth In the: ancienl proverb, '1fyo1!J don"t change: yourdirec. lIan, yun Inny wind up where you ar-e: headed.'" OUlmoded myths cJIMI1JCI you .I'am the "path wllh heart .... The conDicts the), cause are Imlnrul. (Jut.hal pain also shows you where your mythology is ready' hn' l'hmKL·. As MaK"1 l"rouil 'arlly oMen-eel, "Illness 15 lile most 11I,;',·(ll·d or dOl'IOI'8, 10 goodm.:.'iS ilnd wi!MIom we: only make pililniscsj ~I,I • dht·y .)nin," F~lrl11Ul~u'ng (hCl' mosl worlhwhil,' millie guidonc wnhln YOIII' I c·ad •• 'IUtI "umrmlllf1R YUllrlliClf Itl il. I", :1 W"Y Ilf h "'fllng Ihr,'ull uf Kuudnl' "lint! wiMJullI hrlUl 'IUllln dt'uulutl your n'lllrn'liull.

J ..

~19

10 litis fourth ~Iagc of the program" you wiD lenvisiona new direction for your life, cona:ived oflhc creadve tension 'between your ol.d lJ1J'lh and. counter-myth. Tbcpcrsonal rilualswJ11 pdde you toward a sin-B1e mytbic image which holds enough prom~ that you will b:e moved, io the final stage ,of tbeprogram. to commit yourself toward weaving tt :in1o your life.

lnnovall,vc po55ibilities may already be OC'alTrins 10 ),ou. &peri· cD.CCS that brllll you outside lhe nor-mal realms of space and lime caD generate furlher LoslSht. 'The nlual:s .i.n this chapter are d.esigne:tllo lead YOUI iolO such aJlered states or eonsc.i.owmess. They will bring you within listening range of the voice of YOUf inncnnost wisdom as you take mitis next step in fO.rDlulaling,a creative rusolutioD of your mythic conOict.

MEG'S NEXT STBP

in the personal tituallhat iDU'OOUCe5 tbis .Slilge of the progmm. you will rerum to the dia~ogw.e between the characters, rcpraentiog your old m)'tb and your eeu nter· myth, but Ihis time you wm ask your Inner Shaman to mediate. Meg taped her dia1QSUe and later transcribed ill foJ' US!

Prtlper Young' fAlt$y (yclUflll.O Bom-Agaio Cbi.ld who has jiusL loUen aw.~y)t Your obslinacy is lob1.'0 keep you fro·m becoming a MaJure ond responsible adult!

B4m~gtdn eMIt/: Seems 1o me thatthe people who you call "'lmIlure and responsible" are just bored, and lheyare certainly boring. They think thai now tbal they are malure. everythinc is all seuled, finished, witb nothing 'Dew [0 learn. I am happylhal I'm always growi~g and learning new things.

Proper YOWlS 1A4~' WeD. I was taught aU 1 need to know b)' my parenls and my Suoday School I.eachers. But sometimes I do ask iF fm being the fuU person I was meant to be.

'"wer Shaman: Good qU~li.on. I WaDt to congratulate you on askl ng one' of the semina:] qu.estions of aU time.

Bo,.,,-~glll" Cltild: tlcl', I can ask Ihal same question I r'm the InONI CllI'iOU!I ,of rhe 101.

Prtf",." rrm"l( 'Ad.,: IIIl'wr 1I10U"ht I'd h("or yun udln II() bl"lnR unvlhiuK bUI 'Ulu:111 1('lv !'WlllpJ.ct! with ')'ullr lui II ""U·!uduIKl·I ... ·C.

PtUUiONAI. MY"RIOIJ')OY

Born-A",'n Child.: I hate givi0,8 in to the stuffy likes of you, but I h fael is I am somewhat altra.cteci to pretty· clothes and would like 10 learn bow to carD a living. I woul.d even Uke it, I think, if semeone courted IDO.

Proper YOUJr, L1u17: Fat chance.

InPler Slul.man: Now, now. , , sec what fOU can do lD behave like lovinl sisters. Otherwise, you are each always going to feel I'ncomplete.

BtJ,.,.-AgaI'lt Cldld: Oh my! 1 don't want tbat.

Proper YfJIlJI8 Uuh: Me neitherl Let me" since rm the more mature. make the first concession. I would like you to &.eaeb me to uild a sandcastl~ Some I've seen are \lei')' pretty.

BDnI-Ap/ft Clrild: You'd lel all S8lI.dy and tieellike you'd low:..

• eel yourself , ,. ,

'''lin SluJ1ff411J You: mUlt give each other the benefit of tbe ., bt, U you do that. you are much. more likely to be believed rself.

m.Agelll CAW (enthusiastically):· You're reall~ wWing to I II From me, Proper Youog Lady? No kidding? Wowl J do much 1 I wben I'm treated like an equal rather than a dcfca:iyc: piece

In hinery.

". YCNlna lAJy (looking old and tired): I need you because you can help me to teel alive. r-obUlSt. exc::ned. Without you. 'a.ught up in competition. sickness in my spirit and my body. down, feel beayY~ on tbe brink of death. Can you teach me to ,gain?

",.n.Agaln Child: t wiU teacb you all about sandmstles .and How's that?

per You",. £IuIy: And I win give you the pink dress witl1 the ('ollar I've seen you looking at enviously. I'll e"em throw in Un h ir ribbons. But you're sure you can lesetl me how to

".-Ap/" Cltlld (lakin hr hand): H y, it', just Ilk riding a I. vel, om on, I'v 01 gold n r Irl v r pupp I wanl you 10

w Ih Jlh • Ilhl

In 10 wurk 0,,1 I vi"

From Vision to Commitment (n., Cnlltion of Adam, Micb 'lanlclo)'

I'rDIMr Ymme lAd .: I lhink. II makes seuse [or me 10 00 in dIm l!o~ durin the M:hvul urnJ busincss day. Maybe when we"I'c oul n publiC', 100, And • hope you. Bom·I\Sfdn ChUd., will be in charge ur "IU' flc,: lime: when we can have sensations. be, loud, ask qu.eslimts. and be free of oonsftrnln:ts.

BlJrnoil"aln flhild:You bet. Good plan, Could I wear your eyelet.

IK'Uh:0i.11 Wllh Ibe pink dress, toO?

In !t,le tlcxl ritual, you wiJI find an objet. from nahiln and rcllecl UIHUI II UIO you consider several questions related to your mythicc:onIIkl. Mf'Kd!,"sc a geode (a stene that has a cavily linedwilh crystals), wh'i 11, he hod IrcpSured fQr a lIrH18 tilm.c. From her journal reDeclioM:

My power objecl [s my gcode.lt bas been cutin balf and the cut l'IlII rm'" hll."bcon. pollshtKI. 'The outsid'e Is rouah aodlooksunPl'{ Il11h,ing. 'rhe cut surface has many shades of eream, IQld. and hUfiry 111 frlt'.t'!n rings:. At the center is a literal heart of crystal. The

I YfII41 cln ItCII,.81l'1d r~rrac::LS tbe Usbt with ItsUny prisms. newhole 1111111' is. wonderfully complex and beautifuL

I ~t: Iluli It loo'k a major chanSC--CUlling thescodc in half-to 1'~IHtM' .he magnificent ce:nter.l realize Lbalthe process must have: "("t'11 \I '01 nl nnd inlrusive to the raw Slone. l see that the polisbing ~1I1 t'1pn.'Wd remlll"kable intricacy and subtle beauty. I im,agiJne (bat 111l' lTytilU1 center Is grateful to be ,exposed, after miUennla. to the IIl(hl .

• Ihlnk .he Ic&.c;;on for me is tial J can trust thallf.1 move deeper, I)c'y.uul my mundane surface, I will exposeLb.e valuable and pleasil1j[poh.'lllirurs. hidden within me.

It 1'It,'t,I un the vlJr.lety of fcsoluUon experiences 1hu'l grew out of VUIII' '\lurk in Iheprc\doU5 chapter, and youl" exploralions in this '. II 11'1('r. you will nellil write. Port Three of your Fairy Talc. This, task • III IIE)(m YOti! If) syrnboncaUy Formulate :I mythic Image 10 east toWUt I Ihl' rlllm'c. P,llt' Three 'of Mug's Fo,i,ry Tole rcad!l:

Aftci' du.: porpoise dCUVCI'IL-d J IIDniln .Margaret 10 shere •• he lirst Ildl1l( IIIlu: ~w Wil" " lll'nken Anntl:Grcl'n Springs wine boule bouncIII in Ihl" ,"un', rht" R('('ond ,hln en h ppen wasrhnl ht'r carelnker, I'ntdrn~, wn,. nl'trnllcd nllltt' run liliull u,' h I' 4.'laUlC6 ,Inti It lir. 'I'he' I hh II Iinnie wm" 111111 ht'I' ",:hflull"~ll'h 'I. M.reliunul. hl':l~1 ronlc.llll11 "IKJU h(,,1 wild .. Iury 'lhAI ~It' hud I hill "llltlqfttll Ullh" lIl"llth ... ur Iht:! M" ,

Juanita Margaret deddvd 1Ililithe I1rsllesson she could 'practice wns rclrcat tu NDtur;e, and Lhlis. sllc dM until her head and heart seuled down and even ceased (0 ache.. "Ab ha,.'" she Uloupl. '"It works! Whetl I am bassled. a :retreat to a. peaceful; timeless space is indeed healing. I will oomember that,"

Be'ingas Oexi,bleaslhe kelp bad oC1Ierlxen C85J' lor her. She WillS undQubtedly a stubborn, even rigid child, in lbat sh.eusuaU, could see onl)' one way 'lo accomplis'b anylbing. Tbat lesson came one day wh.en sbe,. a devoted hea.l(b.food nut. wasolfcred a hOI chocolAte fudge sundae with wlupped cream. three cheeries" c.hopped pecans. and a, UnleAmertam liIag on the summit. Her conOid w-as truly ep.ic~ "1 want ill t. wanl ill I want iU" cried her impulsive. reckless part, wlthvisions or .sweet shud.dcn passing through her mouth and limbs. "011 no, never ever under aDY Cir* ctl'mstanecsl" proclaimed her I1ghteous. rigid self. snapping her mouth closed.Ught as an a.balome on me r«f.PortuDalc1y, at that mom.ent II vision of the flexible kelp came teJ uanila Margarel.'1 will stay rooled in m.y beliefs, bUl I do thinkl will eallhis sundae. Afler aU. it's only six weeks uRUI my blrlhdayl"

Beingsccret ;'Ihom her good works had never been Juanita Mar· Bare!"s way. Keepi.ng sileDl about her talents was n:al her strong suit. It is (rue thaL she oflcm did gc:nllincly good things foJ' high maUves. She Im.d many skiUsand assets, BQt Ihere lsjusl no Dice way lO deny thai she was a 'big m,outh. oflCn.blowing her own hom in Lbe tow", square. It. wasn'l so touch thai she W8S.fu1J of berseU; it was more thatshe w,asact1!lally Ii8lhcr empty inside. baYing been sen .• out to play ,50 .,ft.cll. One day, while. she was caroling her cwo virtues. she saw som.eone yawn. ·'Oh my." thought. JUBDilaMarga. rot, I., am becoming lbc worst sort OfD bore. .EVCD I am bored. Bo.r«:lom is Eli dreadful sign; U means [ IJJ1] .siCk of my own company. What 10 do?" Sbe: thoughl of the abalQ.o:e w:ltb his boring exterior and palace of Iight.5 interior. She lhouglll, '1 beUeve I should pay alh:nlion.. 11 seems to me thai if 1 save some of my good sltdf. my very best ~ stu6. and, Iceep it ·inside., &ilentlyj it rna.y serve me beUer. I win have to wail for someone tOlloti.ce me 10 have lbe ~UClnUon I love so much.. but I can be occuplcdwiLh addioslovely n.ucn: des:lgruI, (0 my inlerior,canvas.lbeUcve I will lrythis as a cure frn boredom." II worked so weUlhat no one ever ya:wmed in her IfQC n~nr and the' people Ihe in:vUed in to see her mother-of-pearl OIIuJ mlnbow pttinl ins: com' to .Io,ft her dt .. cply.

N "U, vnn wUI I'I(II,:d VIIlU nt'W I .. vlh h"L"' ),,·t,r:. iii'" Ihu rUltlr~.

Mrll. ",Iur .

,.4

1'1~1t.,",'NAI M\TIIOUJOY

I"m siulng at my word processor. writing a boot, smiling. No unc 15 wilh me physically, bUll am ve.ry coDscious that loved ones

I' • \YUki 'h. J lake time IQul, every day to go out of my house.

Inlo iheweods, to be in 'Lbe fioresL and by th creelt.! have found 111"111 me and the metl10d tooommunJcatemy ldeasaboul Nature and ur· effcclively, and J feel usefn1and competent-I'm very aware ur ,growing' cdse of freshness and novelty ,and dlscovery In mj life.

ul I'm not - subject to the storms and tbe emotional violence 'that un 0, plagued me constantly. My relationships with people re deep lmd I" 011 nad enduring. I'lm contented with tbe direction 'Of my

troWI III I nd my changes. and I dOD't any end to them.

In the next personal ritual. you win bec,fc;,m the mo e highly plr tu I ~ linSS you can. I ttaln.. After invokins that statc, Meg sumII1I Id1J.~ her new myth in a single. ,guiding sentence: H'Sere_nity is

i1ll-d throuaJIIloring. thoughtfuJ action." She desaribed, the essence {If It. myth s:". am part ofCrcaliolL T. and all my relationships. are. I'll". like Creation. colItlnuallyevolving and growinG mere tatercenI r '",d.hr ugh the forces of Love." As Meg comes to idcnlify hc.rself \ II h I tM r spheres: than ber isolated inner world. 'We sen_ lhat tbe .... ·If (_'C'nlcredoc§ lhal characterized ber earlier mylh.ology (partially II tl lu t or nceding so early to be self-reliant" and partially a I'" illtlel or bell1l an. on1y chUa_) is changing. Up to U.OWj tile coUectivc ., II h Ir" hod emed so oppressive to Mes that sh could. only come as I., r '5 II wing illo serve as an object of ber love. with little room for lilt" hucrmlngling of the other's wants. needs, and myths whh her she is beginning Lo integrate D'PPOSing elements of her e seems bcllcr able and more wilDng to engage in til I!i v II nd u.1; of inlerpcrsonal relationships as well. She also Is begin-, 'in to uppr iate tbat h@r need to be alone in n tu provides a

1 ... 1 n 'I lal lire ralher than only an escape from iL

Wh n, in the. early pan of the program, you constructed you.r I _,' nnl "i-lei. lh last ·ctJ nl. "A Renewed Vision:' was left blank. Yllllr fim IIBlik in tid .. rourth st. ohhe progt'am will be:.o o'mplC:le h,' "11 11, druwin 1I)X1I all 'Y r per enees sin fir t con:ltruc:lour hl.d. uld ~ ima ry Instruclion. d 'signed 10 h Ip yo rc.'ui,;;wl."CI. 11)01 • uUllur.:d hnne or Paradise Regain :d will be un red.

I~ur M' ,Ibe b: II II h II rroOl I.er hr - P dl!K'R('f(U_ll hn

I ['m'I1('d.1 m "l!nll~tli nl her tit'", linn . I)UI, I '111("1' limn illn !IInl I d

In • I I .' II t rl r d I ' I I hUll rn " Ilnl ." It IUt co I , ,,) ••

II'll r II d I ,Iullt, II II. h 111 inK rr 1111 fa lIu h n. sh' til W Ih

necklace on the Ii .. Relion of her Personal shield, ,and she tcDected. '1 caD alwa;ys quiLly carry this totem of my great teacher,"

C1lLnvATING A ~~WED MYTHIC VISION

~o this point, you have been limng th symbolic soil of you.r iAller life. Anding the roots of existing mythic imag _, cultivating new i:ma,gery. and experimenting with --vel comblnations~ Tbrou~b the following personal rituals, you will altempllo reap a siinlle gwdlng visioD ~t points you in a mew Dnd more fulfilling dlrectlon-tow;ud a mecung of your bighest possibilities' nd the opportunities your world pre-

sents.

Pe nal Ritual: ExteDcIIDs Your

D1aIogu With Your Sllam8D' S pport

The subpe.rsooalily representing y ur old mytb will.upin meet witb til . subpersonaltty representing your counter· myth so Lhey may further di:SCUS5 their areas Q,f disagreement. Tb:i$limc .• however, you ~so will be calling upon y u.r Inner Sbaman \0 eJp you. lind creatlve soIuUons to the problems lbal are still of concern Co eaeh side. His_.or her aid may be of special value here. as it: i putlcwarly important at

this point to 11 cb the greatest amoonl of resoludon ~1ble. ,

In previous riLuals. you have seen your .Sha:man Ii po~ras a beaJer, combiuing the slrrength of undc1'Standlft~ empathy. Dod l· "e. "iou sensed bis or h' r scntlcnes:s and wisdom. Your s~n i_ al~ rulGed and disciplined. fully recognizing thai al limes difficult declo slons, compromises. and sacrifices must be made. strength mun be d 'veloped. and, in certaln otrcwnstances thai SlreIlgth mus! be cecalively bUl forcdully appUcd. You can. ~pect)'Our Shaman lO,be a r~

ul lough moderator in this next dialogue:. As In tbe preYlOUl d!ialogu $, you may wish to have Ii blanklape available so you can record

Ihl' rn nunler.

Be: .1" by "n''''O 'liaditlg tbc tlln • f'CI$'ul'e" IUId Is lal pres..,·tJI'~ fir II~' /illlll't"wlk, t"°I'I'l"SC'/,Jts 1M old myth. {Pallf;C/ Then sr~p , '. ,,,, " , .... 'trr. mltl lind 1m: .~ • {III!. iii • nnri (11 1111 i,," (If ",,. /iXun-' , I, ", "' W,VlI,,,t,. IlIrth. II~u. J

IlBRSON.AI. MYTtlOI..O(lY

Now step OUI of that role Bud molfC' lnto the pos/liDIJ of )!Our Inner 1ramatJ. forming II lrbmgle.llS;YOU fa~ the ollJer two fiaul't!!$.

ClT:lItc in JlDlll'SelF lbe smse D/ con6deIJCf: and compass/oD }'OUr SluJnum exudes. fPBuseJ You iullle time to ODd the stance, /1OSlure~ and Ii dill expn:ssffJlJS thai lit tJu:se lct!lings. [.3~lId PlJu&!:} Mak~ snyfurtber atfjuslm't:l1l$ so thai ,YOur,stance IICClU'8le/y ~ your Inner SbamlJlL (Pa1JSJe] Now,. tl$ tbcSh4l1lBn, ask lhrJ o/her two /igures-_. "1Vbcre are)IDu DOt In IIgI"eeml!.lJJ)"

Thcfiaur.,s n:Pn:stm'tingyour mythic conDiel e~ in diaJogve aboUllbis quGtioll anti continue until tltcYl'elIdJ au ,D~efll or so

iTDPHse. Whent!YU the rt:Ilch an ~m,)'Ou WiU relurn to tlJe poB/liOB olibl! SDtUntUJ, comrnenlon Ine' n:soJulion lb· lY!Ilclll!!d,. and a.9/(: '1tre Iben: lUfJf other 8lQS in which I tUaJ help yauJ-

Whco the two /igun:.s come 10 lJll im/NlSSt!'. It!lurn to tIJ posllion of the [.nna- Shamtm, con5irier t.IH: desires of e41ch ad lbe needs of en fJ~ eod adtlress ontl or 601/1 of Ihem. Tbtm llI/ol lbem to MIfiIIIF mch otbr:r in further ,dialogue, IIDlll they reach $Ome level of Bgn!re-. ",cnl or need fumer sbamanJc inlfUVfJnt1lJlJ.

Continu< by moving tnto tJ/l t.IJree of the pos:iliQn As ncaJr:d, until 1/1(' mOSl imporlJ'mtlssue3 have /:Jetm lIdtlresst!d and th"higbest dCfJ11ee

f 'SOlution pt:J$$.ihle for lAc lhn:c of jlfJlJ. COmbiningyour TeSoul'CCS_ /1U5 been acbleved fU )fDU JJFe IIJpUw 'hesc instruclio11$., add: ?low . 'rIp Ihis tape, ~plaCt! il IviM Di hlao/c laJH:_ sni! record the dialOJ/Utt..

Wllen.J'OU hovr: l/Jkcnthe diaJOf/Ut! as fj r lIS,YOu an: shit:, rcinSt:rllhf'S ''''fX' DIIU CODtinUt! lVJ'tlJ its instructions. j

Much bss bee» DccomplJsh«i in underslJUJdiDg and resolution.

Rrlurn 10' 1lJ~ po$ition 101 the mocr Shaman. YOU' an: rich with mm(Nl 10fl andlVlsdom BDd 1Jrc p/~1JS«I to 8h wilil holh ~ an. '''',orin 'heir qu tlQn~ 8I!Dsing their t:Dnr:eros. Whoa you an: Iin-

i. ",ott in I'll/: C8C},' 1iguTJ! to COllIJlCI YDI4 Ibrough imagination or Ilit'll1l8h tJnother ena tll1(Ut/ lile thi one,whMe~'er he 0,. 811e' 1Iet:ds ' :urhclp.

nd I hon hl!4~

Im, .. ,."ihamam Wllh W'lul d, (1.,., I I c.' nI.I IlIiIV I It I,.. ..

III

1.'1

Ibilities. I do nO't believe you have seen '0 wor and aU my respon.s, .I.-. .. thine will be k.ept In Proper ali] the derails 10 ensure. I.IlIlL ~

CoDdiLion.

• t r I "our good time to start en-

Jolly Gr,.. Giant;: If we wat un ~ "'. gh N. Year's

. .. •. ... wean still be in the officc' at mldni I Q~, ew ~ ~ • , )OPD ourselves. r rbwI or waitln" fer yOUi and If yeu wo'n t :Bve In lhe year 20201 m. - . -I~n~w I'm loin' to quit eooperat!Jt' make ,!iOme major cluU1gC5 ri~ .. ' u don't know about. If I with you at all. You n cdh ~e__~.: Je !ou have carved out for us, weren"t uain' along ill I e o.u ...... .r ' '"

you·d have dried up and died yean ago.

, :fast! How, bout if we tate

Born_I: You always want to mo,ve so .. _. - - - -ment If

la .:_ this ,ear 10 see if we 1iJc. C it? An expert .

off to p y one. UJlue '_.

we like it. maybe we'll do It aptnncxt year:.

- haps again next year I

JoIJ .. 0,.11 6itnJb One ti m.ethls: year-pe~ .. . -. • here

. IT . I d . " think this diSCUSSion is 10m aBYW

My. ),ou are gutsyl on, chterllcaUy ,obsessional ad

except (0 boa 'us down in your. . ~c friend here 10 get us oul of L-rlng ways. I appeal to our WIse . •

U\I 1_ dra .. ..; ... ' U5 mto.

this endless rut you I§.eep _. DD-

. mfortlng news for you, Earnest. You

Inner Shaman; I hay co. , _ th l y u are n 1

frord to re.lu. Yo'u have my assura

ruly can a . - ~ . . a. that you cannol return to the

SOIDg to be so .powerfuUy sw:!::a: and colIlfortable. Should you w,ays with which you are so . Y can take many more risks slumble:,)'ou need o~IY stanedd up. l:~ withill the limils of con. than you have ever t.malio _ wou

sdenLiousness. . .. 'be ch more. appl1eclatlve oflbe tel'

And, Giant. you must I h "'conttnuallYPDlnlingoutto him how Ba:rnesl doestak~ RII.tber l an. can relax too, and immcr you.rself

much farther ~e has :.:o~:at ~c offered by the chang he ~ to the small n.ew fre H . 'n blossom only If you reward tum

....... _.y ....._.- La make. e WI -_, .... 1. .... d

11'1-.. .. 1 -ewou . rather thad to conlinuaUy cntJl.ilZC MU

Cor what he does coflleClly . . k each of you to alter your ridicule him for not do'ing ellou~i !:_ the gilts you have for each

atlUudes in these ways. ~d )'0: :!d lhe :lher to be less of am enemy olb more fully. You Wlu eae

and m re or 0 friend.

- •. . II . 51. 011 In, lend me to tuke .tm(dl

flAr" I: )kuy. (,llIlrI. wi. tru ~r I' JlIII i II Jat< t oree

!llcl' • Th II nl I h« r an inY" hie n, J J iL'lul tlownhlll k nil U

r I I \C I • r I#Jr. nl I

:h: Wll, h. 11IfH':1( 1If1lr I hrh'JrI p .rhr • huulfit Ihi 'h, II w I

1 IK'Vcn yc In lind !il"WL"U dayb hdc.llT I will even cJiM:u~ MJ much l' II vm.'nlinll wUh YUlI "Ruin.

J,,'~v G~"n Gilllll: Okay; f1orncsl, lhol Is fair •. And I do 0PIl.rcci. .,IIl' II", . ~IT Oft" you arc: makin.' (u increase tbe enjoyment eaeh or us hlUi In his. I re. however C,lUlIllous they may be.

'n"fit' ShallftJIIJ Watch that sucasm. GianL

Jo"~ ,Gr __ " G/:allC Okay, okay. I !mow thalach SlCp you take 11110 my Icrrltory is frightemog' fo.r you. and I wUl acknowledge . nm errl.tll I and yc5. even :YOUfCOurage for talela' them.

III"~" Shaman: That's beuer,

Jully a,eftl G.iGffl: Well" I guess that's about as much fun u we L lin hope 10 have :For .oday. Let's shake on It.

liD,."C'.s/(c)(.lcncUng lids .hand, playfully): Area'l )'ou gelting to be 'ht' u,c.~I,'llcmllnJ

I,n"f, Shaman: This is a good beginni ng. 1 must warn you nOl In ~ I 1.1 luu much from ,each other, Bach of )':ouwiU make misI Ikt· n 1t.'lIrnlng the ways of your until·now distanl counuupart. Il'Ut flultlge you to lreat what you ha\'c asrecd upon as an CJlperi· Uif 111,10 ",.proach. il with g:oodwill, and wh.en you bave difficultie5:t lu It'IUI'n to me Bnd to contim.l'e our deJiberations.

Ynu un see &hol. with his Sbaman's help, Frank's competing subIlt'rsu~Hlnll' ellch began torecogni7.c lhestrensthsoftheothe:rsposi- 111111 :Iud (0 Bnd within itself more room 10 experiment witb wayslhat II III ~'I'mC'd Jorc:igrll,. Use your lmner Shamal'l 10 Lea.cb the ligures 1I'llfl'tit'ming your connh::1 La cooperate In a way lhat makes the re,,~tIl"t··~ ur each more QvaUoblclo yOIli.

Per_na), Ritual: Your Power Object

'rll,' 1111urlll t!nvll'Ullmenl 1& rl· h in mal:lphors lnal can inslruct you un nil I!ling grC'Dh."r rnpporl wuh your inner natul"ll'. In IbUiritual. yO'u WUlllrtC natural Objl'Cl s n nil), 10 t e aeh you "bout hOl'monl and h Inm:(' 115 YUII royl!;lon y ur nt:w IlCr!H'lnnl 111ylh. Go outdoors and IUill .. 111i\~t'1 U'.j«1 l. ~lonC'. u Jlow I:, u millewc d rod, a. piece: tJ)(

wtJud,al"'£1( Um1 drm:\ls yuu 1(1 ilscll. m '-t .• MJII1Cl 1111110'"11 alreiKly Ik~M'~S, one mil lound ";] SlOf!l' near his drlvcw,ay lhol was smooth un une· 'ide und ,'uua;hun Ihl.: ullu:rid-', Megehose her geode. iJ:oople Ithen select • m Ihi ng th.n( grows- AJler ytlu bove SI!~ected your Power UbjL'CI,. lind u quiel .space wl1creyou will not be interrupled. Become

UlnrU.flOble nnd, begin 10 relax.

Sink into lhe slil1nessutl conCIMtrste OD JIOW" Power Object. II l'VilJanS1'r q,uestions lor you SboUIYO'ur /i/e.lUJd aooulyour'peESOaaJ mythology. Tbisobjml from lUI/ure is a teacher, 8 guide, a pnlle witness about/lie. Look closely lit your POMr Object and sellO /mow J/~' IOuch ii, f«:/ il, smellll, taste ;1 if you like. &1 10 kllo1";' Will/, n::ccivi1JjJ'iDformDUon about jl from allyour senses. {6fJ.se.co.nd pnuse}

,Jl&k. 'What' do you 1m.," 10 leach .me ,about myself}" A.llow dJe lIas.veT tol1u'bble up fn your miJJd willie yo.u lJJ'iI: louching or IfIIJJing al it~ Perhaps yo,uand Ihe object ara similar in S0111e IVDys. Or maybe ,~ ob.i«t bolds certain qUllJities dJaJyou ,l1re trying I/} aunin. MtlJ'be l.he Power Object can t;ell you hotv 10 overcame certJJitJ obstacles. lJIsmver whBl YOHr POwer Obj'M /JtJs to leach you about yourself. (l-mlnu.re pause)

Changing the loclJS of your qU~OI1, DSk your .PawlSI' Objecl Ivnal it bas to teadJ you about formulating II new myth that resoJves lhe lonniet betweaJ your old m:Jllb ond your ccunt~.IJJ;]!Ib, /2.minule fllJU$CJ

Now ask your Power Objecl whst it bas to It:acb you about lite. 11 I viii show you ,much about living with more vitality as ~IJ approach ,bd pcrplexitit:S BI1d promJses ofcxistaJet:. [2,minute puse]

When JlDu hsve eamined )10111' Power Object .lInd learned some. thilJlf of wbal it has to leacbyou aboUl yoursoif.,JIOur mytlJoJ'ogy. and J'our life. tum 10 yourjoumai and record BIlY tun/JeT rdler:t101M.

Fl'tUllk's Power O~jecl w.assn iDtricalely layered piece of bark that Dome: rrorrn .Q fire-scorched tree.

My I1rslobservllt ion when I a:sked what itltad 10 t.eac:h me about mysc.'n WI'S Ihnl wherewll' the dead Duk had Fallen away, the bark undrt'l1cnlh it WD!i mer • beautiful. This sugg:eslc:d to me lhe import .. mel! ur (clling ~,u ur PUM 1-" tl'icUmul ,end or Inlsling tbal my (1«,"",11'" l'm'I!o "III hn"!: lIlurcvilnllty rh In my nnlcr "blU·Ie .. •

I b INAI Mnll.111 Hf!V Wlkn 11.~k~ who .• II hud lu I . I

I 'n:t"h1td III" Mmc 1 _ i ,-, eec 11m: ob(lul nly IICW l11ylholu.gy,

-' ., C' "'~ •• 'Drls 'of· I ' 'h "

once: IlUJdt'cnnlllCI w~th the world .', h me t l~QUS~ whu:h J

work. hovt' now become Veils. J "" su1c', as my dedJcallOD 10 my

,.1· , II h- - ' , - mUSI earn. to drop- aw ·b ' ..

uea« .WOI dOOR not cnllan lit 'd " ..~ , ay VI at ls

h wi U serve me bell.... I ace" e, ~~ ... to trust lha~ wh, al is be, 'neath

• '" • 50 IIlQO"-"Ulhat ben. II b

\11'111(:11 Ihe Ircc was 50 r(lceJy dixardirr -, (1II " ,. ,ea I e lop layer,

I',,, fluor), fresh heallby bark was hidd~ . ere were chips aU OYer dmpJX!d QWoy. new SU"engtb and beaUQD~ So when th~ dead baric 11m! I kcc,) curlivatlnglhe inoer ' ' ", ppean:d. This Wggesled lu Kt:[ 100 bogged down. wJth " ~ J wanl to devefop, r;atb~dum

Iuwdncss mnd drivl!:nness) WL~~, 8.4UIO",~, I, off the d, e:ad bar, k (my

Wh c - , , , . nlen WI La.u away on Its

_ .. en .r asked the bark wba:1 it bad 10 [ ,. - , " ~n.

'un", mueh thac death is part of lire. nat teacb me .aboUI lJfe. I saw lUll IIrl~nll.-d 10 ,fi""!!.' death " .' uraJ and rnevilabJe .. Bull

I i· 5", • not JUsl wlIh ruu lelTOr wh" J' tho k

c \f 1[111. bld 'n ml' fear of losin wh', "oJ".,' - en ,.m of

II"k Iltt' dealh of cenain habit: UJd81ev..e; Ihavc. II J, alllw!lJiog.,o I .. III und vcry comfonabJe. other :~ernsthal are very ramm. huvt· n;um 10 flQwish. . -bul lateDI i:nnerpiU1$ will

WI...,u 'fULl hove finished aUln ,alteR ' , ::, . " _

O"J t I. kl'~'J1 ~I in a speciaJ place, ' gha squesUODS of your P~wer

'~hl'lrVm~ mn)' easily consult it rr:fu:~rear!oUJ' fOI"SO.DAI ShleJ~1 m ul't'u ('1)",51 ruet s~"J.. . £:, th. -, gu"Jdan, cc., "Native Amen-

-",--MoO areas lor elf POWi!r Ob'· .

III I pi 1,IIun of honor in their 110 "If h' .' r ~ec:tsOIl" put them

I, .1" Itt r I, fill ilt' Iheu maya .... ' . . mcs.,' I elrPO, wer O~J'ect is peds, h.a-

I • .. J ' . co-.uy relurn It to lb,e earLI!J 'h, -!" - .

I It' ",','h· fir ('hDnge'. --, were :t ealln!Joln

, Dream FOCU8:

Dreamln, Your He_Myth

1(" jew YOU I' dl'oom journal (or DD . dr-ea, , th .',.

hlln II new myrh (bot s'lInthc:: ', __ he . ms ., al proVide II glimp5e

, .., " <I SIzes I. ,C m05t funcuo.Dalpa t, r . J

IUt" I IIIUJ of \lour C(Hlnler.m' th (J _. . 11". S II) )'auro d

Iu "'urk wilh uln)' dreams !h;l 'ou s;:,~n~ o,r more dream Irt.'(:hnique,s !llIl"Il .1 tlr~ul1l, heron: YOll • " - CRhf,Y. rc Y,OU wish 10 Incubnl,"

go 10 oS Cf'p' ask For 0 ne • - 1I tl

Yllur (1I'i"I""1 if;,vnRlcl. Sud. ~ In -lh ~ . ,. , ,',' n my I' un ,. ~J\!·1ii

tlld m\lr II Wi;lh I hl' l1(~1 of ' y. Qu.d Incorpur;QlC: lI,t(' lkM ur yr.,lIr

t . , )'UUI' ~'t:lllnll.'r-mYlh 'tt-f. r r. III I

'14M' " rcow dn:p brr"'h~ III " t -. 'l" II ' 11K 411 ("rp.

'.. un Q >nul uur ('un(lld. IlIn(' huu )'tlllJ

de hI lur !iilu:!h nt.OW dirUon. Dud repeut len to lWt:nl)' nmesa slo.temcn~ tiUch US "l K'<lues. - dream lball'OVcals te me a, new, mor-e whule.wlm:. Kulding - image'" Immediately UPOD waking, record and work wilh your dreams or insighlS.

Panonal .RltuaI:

Part 'I1uee of Your Fairy Tale

Crealing Part Three or your Fair)' Tale is Ille Qexl sreplll consciously and deliberalely laying oul a metap'borical imalewl you may (ben ~rc:eI, yourselrinlo,~I' Prepare yourself 10 create Part Three by reviewilll thet,wo scclio.ftS of your ,Pairy Tale: that B.re already compleled .. Cons.ider tbe contrasting ways each part susgest:s for approadung the problems life bas presented. Also review lbe subsequent woik you have done toward resolving the wnOicL between the mytbsthal govern these dUrerillg lifcposLures.

ApPl'Oac:hParl Three usinglh,eLedmiques (hat were most valuable for you in. creating t.he lirsl rwoparts of your Fairy Tale. Regardless of whicb m.ethods you use. begin with the foUowinginstructio:ns:

TDk:e several deep brc.a,tns and Jet YOW" blYMlthJng beco.me slow and J~p, {3fJ.s«:ond pause} ReJJltCl on h:J1 One of your Pairy 1'BIe. [20- SCCCInd pause} Find ""bid side of your body best represents ,Ws .,.. menl ofyoUl' Slary IJBd lheold myth whose :roots ildcscribes. {PaUSl:} Wf,al DJ:'e the seJJ81Jdof1s in /his PllTI Ql'your body}

ReBcc, o.n Part TiVO'OfYOUTFsiry Tole. [»set:ondpau$()} Fed how 'he alAe,. side ol your body may represent tlJjs segment of )'tJUT S1DIY l1nd,the emerging myth that it dqJicl$. [PsUSlt) W}UJl are the &elJSBtiODS In ,Ibis part of 'your body'

As before., have your palms' face each other and slowly brlQll t1Jcm IOlfclhcr. 'Whc::n thej1 louch, t.he $CIISlItioQS ill the lwo sides of your hody will begin to mingle. As Ihe5e' RnSBtionS come Into contact, noli '. holV they IJI~nd,ruJd merge. (3O-secDnd pause) Allow rht:Se eoer.Nic·s It' towlrl nmpnd on/: ;mothcr, until B single '«Unl remlJins that

'Ontillns t~ iH:SI, lile tnoot I'illll, the most lift:.BHirming SSPCC'S of' 'l1rlt.lI'm '/lY/,II ell'C - ~ breath, all'ow rbls new;, ,miRed senst; to mQ',"" ",rt"W1mllt ~''l)ur iwJ.YJJnc1 imC'nf'l(v,

lit'lIIniu/rlH .",,,,It'.,1 tu ,"': .. ft.'t'/inS til ... IJnll"n'I.!S!i. you will cn'ale ''.111 nll't'C· elf ),,"r H,in TUfc', c·k.lrll,fillN rIll' ,IJ.III'llrl' fJ! the 'nil/II

I~

/",,. t , -r lx- ond Jhe 11'; J. of ParI' One nd Ibe mag/CBI adventiltCS or /'m" Twt'). A tblrd segRlt!nl wiD now etrJel1Je.lJegin 1'0 develop thnl , .. 1'111)' in '(jill' imagJnllliDD~ or spenJt. il into S fIlptt or write II In your j"lIn1ul, or slJare it wJtA your partnt:r:. Tilt: $lmy wiD end with a plllll.'iib"'· /t.'i Julion 10 the dilemmus that /be main character faa::d in 111I1 011 I IIIt'lJined perbaps lbrough Me' JesoDS 01' insplral.ion of Pan '1 Wtl. WlI·" ou an!! finished. ~ $UJ'V! lhat it hu been sdeqlJlJl.ejy

«led in 'our jOIJl'Dai.

I) I't Tin of Frank's Pairy Tale read:

fl~ nk e had learned by this time that he was nol destbled to be I Kin us he h d once believed. and he had learned tbat (0 continue In wi h h u ld be a .King would. bring him much. un1lappiD~ On rhl' nth I' hand, he had reason 10 bcUcvethal tr he co1ll1d accept his u,\ln ordinariness. he wouJd be suceessfu] as 81 citll.eD and could h much the kind of life thathe wished. what surprised Frankie ,vhell h -I ked in th crystal ball was thalli did not envy theKin" rm hi I' wn bu. for his "haUty.

Fmnklc saw IhDI.he had made man,), choices that led him away IIIUIlI u h vitality. He reaUzed, for instance, (hal th.e only thrng ,,'" Itt I' n.,: him to do everything Just Right was his bells( tbat be bad I I. no mall r wbat the personal co I. He also knew he could ue-

I wh n he set his mind to so,mcthlng, and he dcddcd that hts Llt'sil' • In fflgain his spo.n.tanelity should be no exceptio,n. As he went be I'llhis. however, he Fou.ndthal in one sense this proJecI. was an l' re 'pu n. 1 Us style of persislco Iy pusbing Ioward a goal adnall)' I I art ~r d with ilia goal of being rna iD the moment~ Still. he har~ n , ':cI hi. persistence even in learning how to let go.

fJy • he time Frankie bad become D grown maD, he was comfort .•

bl ·Iivin in an ordinary ho:me in n ordinary village. He had an ,.'dina wire. ordinary children. and an ordinary job. But bis I'uvor tc word w 5 •• _ trPQrdi ary:· Every day he would look i:n wonderm nt al Id world. His children were miracles to hlm, He wuuldNpend hours playing with them. and be would delight in tid.' uri . Uy and enthu i m r-r I fe. I e chtrished his wiCe-so lila 'r' It fr nl h 1lI~ my tmious.. cxqui tre, SOl lovable,. They

.uld look tn h oth I·I~ yC8 ror 011 nd m -ke up poclmM a ut

,,,Il!. I (h~y lW. I h,' IOVI: I MI' work. I J WOllld beemu 1I1JliCtr1Jt.,j In lilt" t'f!, lieu I' r.1 tin lit n "hi! ,I fTr~ntl vt"Y tiny" Iwuv

Indln IJ 1 live twist ... or lI1is. h was appn:eiat.ed by his (lO1· re gues and vl.Iilucd by his employer. H.e look veal salisfactiom in the job he did, and he did Dol c:oafuso his work with his worth. $0 wben h. went home. his job responsibilities stayed at the oJlioc. Fmnkie did not grow up to be King. but he lived happily ever aft with the wealth and pow r sullplied by his ricb innCl" life.

Here we sec Frank adJ ting what he values, what he will pursue. and how he will pursue it. WhUe. his insistence (In relaxing and enjQiYins lhe mom.eDt maysee.m somewhat frivol us wb_n JOu think of the profound life ohoices governed by personal myths, Frank's ,ability ,to relax and enjoy hlmsdf affects c:ri1icallssucs ln his life. He was partieu'arly concerned about chest pains that had. heeD ~ncreasiDS in ~ quenc:y in rcoent months. and be was :allowing himself to feel his sadness that h bad grown more distant from his wU over the yean. While he was DOl certain 1hal the obsessive style 5upport.ed by his old myth was responsible for eit.her of these problems, it had ~Iearly dominated his life and eclipsed his vilatily. He became d. leI'J1UD_ed 1.0

hanlelt. .

Your .airy Tale will. aJSt) suggest a DC\Y direction for you lhal

draws upo.ft the inspiration of your counter-myth in correcting at least some of tbe problems inherent In your old myth. The remain· r or rhls ch pIer will p vide opPQrhmities 10 review this new ~ men! of )lOd Pairy Tale, make appropriate adjustm nlS, and ~ It te U into ISDp1l1ige that is dIrectly applicable to YD,\1r current lJfe.

DE' -. SeeL-l_ .. ConfirmadoD

eam. .. ocus. - -....ae

&om Your Dreama

M olally r view this newest section of your Pairy Tale bc£ore ,goinS t" sl ep and ask for a dream lhat will ilL saIDe way confirm its valJdit), r Ir y u.lmm iately upon w.akina. record ~y dreams, thougbts,.o·r iI, plr lion. Be prepared to edU and revise Part Three of your Fillry T I (0 bring it i'll llne wilb the Instghts tbalcmergc. Tbcabovc:verslon o tllr iii •. P rt Three lsa lually his second, rendition. After sleeplnJ Du1tb,lilf t It Inpl.l1liz.cd that h had become carried away with hi'" 'lit -rn re tn and lh • powel' of author hip. H had gotten to '·11 l'I,ly ever rt I" (In Uy md qnickly b giving rnntie a Kingdom I r hi" uwn wh 'U' h I v tI hi pi n UI' nd joy. II • r ·ttlb.cd Ihnl hi

• !lot

MAL MYTlIOLOGY

hdl~tli ·n rl was really an tb r countcc·myth solution, It dld nOI III h:.<J wh. I he had learned in Pan Two~o work QUI Bl'p ellcal a prnn -h ~ r II Ivins: the col1Dict. With this realizatioD, revisions a:a I~ 110\lotmns began (0 occur to hl:m. such as how he could have rankie JI. 'uv r that h can use his pendslcnc:e u a,sLrenJl,b. and he rewroto

Pm'l Th.,I,;· thal evening. . --

Penona) RItual:

The Seq,uel to Yo 'Fairy Tale

A - flue I f illiteracy work. complete in itself, but continui.ng a preoed\Y rk. In lheSequcl,yQu are about [0 creale, Lhe direction tak hy "OU:I' fairy Tal~ _~U1 intersect with the anlldp8'lC!d direction 0' yo:' 'f .'k Ofe: you belin, review Part Three or your Fairy Tale. Then find 'm ,r rfab.c spot, setde In. and take a few deep breaths:

C '/, .. \C, 'our Allo,., )'Our brcadling to b«:ome slow !Ild d.

'~c ','~ 1II~'lfroJtlldng more complelt!ly with yOUI' Dext 6,,~ b.rtm~: t ~" 7~ _lI. TII~ FOUR. FIVB. Bri~8 ParI Thrt% of your Fairy I ,1. I It 1 In mma. /Pause} 1Une into th~ mosi dominant posiliw I 'mc./ _1,11, -'lLoca~e the IN!I1 of JOur body jn Ivhien YOII an: most \Ir 'f1I}/" .'~v~ of tR:lS emotion, and leI your breathing In'tensily it.

IJO!\'f't m.d pnlt ~].Aaall1l!.1tperienrx: the keJingtlS II river. .... d· '--

,. "'I • L_ _ ,_.. " . # -"" IJ1JlllfJne

. ~1II:t(" III. UWllon I'hat nver; TJJls lJme die river tskes yO.u fontl/Jl'd

1,1 t' Vt::11 - II~{O Ih furure..[JfJ..sccondpaURj On the bank of the river , • JI~ ~'t';. w; if ~nB S/~ a scene Nvc y, ~ !J'Om now in which,YOu IH'e III''''' I 1~/ng 10 Iht:,guidancc of ,YOur llelV myth, Bnler tin: scene:. Nfl/~ 'Ihe ''''WillS. sounds, and smcU$, Where 4l'C WlI.,' rJ,"'h I

". I''/.. . J'vwr .... j 'IJ are you t mg, 1 10 i$ IVlth J'OU' Observe the ~nc can:ful/,:y and D'Ole Ivha'

• '4'1/1 t~ oJ ""use) Wh '11 you are .mad.J1 aount J'C)'lI:'1Wlf !Jack

Imlll Int:· Joun , . -

Ulltle'!' Ihe ht •• dlnM·· airy Tnl- • qu I,'"

ur, I. fIn nk' (I J I rend:

I'll 'hi. t ry n ynur

Th It I rhinN I ~ JII "'L' 1111 Iul 1I&llull .rrr h rl up I .. III run ur

15$

taking the time 10 speak with. them and pI y with 111m. Nor am I slopped by anl' &byness. I know how 10 epen my heart and let the eners, Row. Later, 1 am in a bUI transacting some bustaess, The

e ope ness and vigor are there in mJ deall p. I can play bard, and.l can work playfully.

SUdden1y Diane [Ihis wife] is there. We have grown closer and bay mLlCh more fun 101 lher. We. take a: walk in tb woods. We have Ieemed to see andl deeply ree~ the mlracl~ of life that teem in lhe rorest. We sbow h olherinmcalc root patlernsand specu lale on bow they developed, She takes my hand nd gently pI ca it on some lush moss. I take my finger, wee now witlt dew. and mol ten ber liips. rm v ry mucb in love.

Personal RJtuaI: Seeldm, Co~ lion &om the "'Powers That Be"

When people reOcct upon Ihc mo I far-reaching powers lluil human consei·m caD begin to concive--lhc realm ref, rred to by words sucb as Gt:Jd. tIlt!. Tao, or lite Groumlof Being-th y may 1'\ lal most strongly 10 a pieture, a concepl, n voice. or even 8sou.nd (great musician have been tbought ot as Implements ror the "'signature of God"). A1lhoggh il is beyond lb buman in. Hcel [0 understand Ihi realm. m ny riles, prayers" and meditations pre designed 10 elevate our feellJlgs to reach toward il.

In tllis riLtml. you wiU be asked to open yourself '0 chis 1'C41mhowecver you conceive ot it-and (.0 submit. for oontirmati·on orad· Ju .ment, lh new mylb you iwve been formwa ina. Your Inner 8ba man, who dwells close to thls domain, will be your guide.. To begin. lind 81 comfortable .spot. sctUe in, and lake a few deep breaths;

Close your eyes. AlIaul YOUI' breatbing 10 becDme slolv and d«p, ,: I Yf1U IF rr:/lUing more completely with your next live brt:8M • ON. TWO, THRE£ FOUR, FlVIl carry oul t1J method,YOu have hi"·,, u iEW I i it YOUI' Inner Snama.n. [Jfhecond pause] After you I,nn- /lIl:. -, ur 'hlll1UJn. leI il be known Ih., you wish to be Iran"/POrir"" Into ,lIe UPfJt.~r World. YOIl WIJ'n1 toemer Bl'e8!m wbCl'l! you 1t'111 hr.. bl. " W b. tl"'/J, .,'0('" 'l" of fhi' DivIne, or II,,: "Pol ;s Thai Ik ."

raUl SII"", ".'timil,- md bid rrJU 10' be- sc.'~' I. YOII lire Ili,'n.

, cn'fIIJrl:h r,m i"}lt'~1 /J, Ii,. bJJ,~k. mId re.'ln .• 'KItm .1'ml",n' ("nlt'r/"Il

• Pel" 11111 I I fir 1'" it.u.1 1m" I,." (j 1"Ut ,'" ", 11""111

I", uf II IJi inc; 'hi" Ii.Jn.t;.'tJt11l1 of od. IPZIIJ). 1 l'. III. n ,,1

111"i"," 1'"· on, ' IlIft'lJ lIi~.t is you mill I)UC 10 b. tlu! deeJ)1y. [N).

.... ·(l/'r/ ,,"ultre}

)'rm I'rfllcm!J,:r thot you haw: a task toperfonn. You.an: to review our m'w tr'. lilb. Fr m lllls higb~r .IWlrtmessl you an: to collsider Me ,.'" 1/,11", •. " 0 ," n we n,ylb I11s1 i ~ress«J ill your F,irjl Tale UQ /f.\ ~1/'·1. '1J ., thDIIIrCUl: are wise and beneJlOlent foJ"CJS sround InU, and tb« brh'1f to your iUWlI'Il:l1c&S Ihe 1I115Wen'IO yo.ur ques.lions. /Jne· ... 'his vidin,g myth caJ/lo the fRst aad lhe./Jighesllbal is within

m IPhll.·,,} I x , tl1·lqylh buill Dn IIl'rogsnce or gmnditJ&ity} {p1I.USJ:] I ... ;1 La ,,: In mhJtit:m? Is it lim;l«I by yow- fears snd IIppreAen· ".;",J.'II /1';111 .J Will il Jt!8d 10 problNns, In live years tbat you did not t1"'~ ipaldl Po 1(' I} Is II simply more than you an: ready 10 attempt ID ,,,,,,1. '" 'n" in .your 1m at thl' lime? {huse} ShouirJ any llcfjustments I . 111m), I (,m '011 Gel your 1¥iIJ 1'0 dJanging your IJk in /be /m1J#

-' "m. ",,'Ih? /6IJ.Sl!CO)'Id pause)

lin' 31 lit -,,'Our newguJdilJ1I myth. [Psuse] Find 8 ~ingJt! S9tence.

I" .. 1m, 11"'''l,J;l'llpll thai contains lis essence. K'Dow thSI you lUTe sur~ t ""U/(,,(/ h tallora:s thaI will h Ip you. Listen as tiJis direct ,., "te'lIl ( f 'our Q IV myth enllJrS your awareness. [6().ScCOlJd p8use) &r/'l'" vou lire finish«/, BJ/B;IJ bask in Ihe bigb energies Ih., sur- 11 "1111 I 'WI. Ik' open 10 other visions or insight. (Jo.s«:fllJd pa~J '",,' {i" I ,lclllr SllomaD. Dt:st::nbt: J'Our new myrh 10 your SbllllHlD.

I, I,'" r II .f I 1'Onsc.. {6tJ.st:rona pause} Wb"n YOII an: readJ', IlIAc , n • of I'OU,. 1'Dman ·nd COlml )IOU IF back (1"0'111 Jive 10 00 ,

I III Ie the bcadira, "My New Guidiol Myth,"' describe your new In Ih. dun' with ny eth I' n 11011 on (his experience. As Frank U Il'lIt'd II III .. lnstructl n5, h was nooded with the feelings of awe au Ilm'l,h'lIlion thai had surprised and transportee! him 1.0 a sense of I II ",(lU!'! ·Ippn.-ciulion D d)l'.cn years earlier when he had visited a III I if. "nl Ih dral in CoJogn 'bing hi n w myth, h

\I,'UIL':

I iI

I nUl f ud • wllUl ill' th r'~ I lUll not ttl ~ U e s r hliShl on cV'ry innel' event end iliD judI emt sho, .Id I, tlt ... e up to my

hupes or expectations.

I am to use this prlDciple both in work nd play' •• am to use 1t

in looking backward and in looldn& forward. When 1 look back on events thai have occurred. I am to immerse myself in what was lifc-atErming, ,and to all8l1 myself- wilh . eh experiences. I am, not to keep focusi. upon. times lhat were limited by my obsessIOns and deficiencies. Such analy.sis has been my pattern. based upon 'tne belief that 1 can only learn fnmJ my mistak I but be- and a point this bas had only the 01 , of dragi ng me: down. LoOking in Lhc forward d(reclion, I am 10 project this same nre.amrmiul emphaslS into In)' future. The e«peelations I send out for myself are ~o be oo·nfidenl and encouraging. SpecificaUy, my D w myth assures me that I will activate t.h more 'vital aud passionate way of being 1 have been cxplori.DS throughout ihe prqaram. I can see thi . I can exped iii 1 know il will come 10 pass.

As ou can see, thls statement is expressed lleil.her in (b form of a tory (as in hi aiJy Ta"le) Dar as a rule of conduct (as w .Id be found in ethical systems such as the Tc.n Commandments). but 51 mpiy as a reminder, In Prankls own language. of how be i ntcmds t.o monitor certain lhoqghls that ailed his passion. 80m people, such as Meg. use mor poetic language in lallng (heir n w mYth ('1 am part of.Crea. tlon ..• ott), and you are encouraged to make your slat m :nl an the language most filling for y u. You will sec·.ln the following c:bap~c.r how even an abst.ract or poctictal.eme I of yo'ur Dew mylhicyls~ .0 can be translated Into concrete steps for liylng by its guidance.

PerBOoaf Rltua:

Com,. tillS Your S:hleld

wh n you created your Personal S.hield, you did not complete ~hc fifth

!.Cdun. which is (0 symbolicaUyrcpresent YOUl'renewed Vislon of Parodi Rcsained. Your final task in this ohapter will be to formulate an image ror .he Renewed 'Vi ion section of your Shield, b~on all til wor you hay don to thi point in Ih program. Int. reYlCW lhe inilbd lmu . ur Paradise: R 80ln from your Shield and any commt: nl vou nmd um.UlI it ill YUill joumol. That i.mog I'ICpl.·csented on

1 •• 1 nil had '11 roll "' I'JI ror • hi.. ilillirlK I 1(' pn In. h \\lurk

lUI hav done to Ihl. point h p,b bly hallel_ged thin image. Does n n IN ),111001 .ur 10 YDU thai captures tbe spirit of the new myth. yo formulA.' sd In .he pli'evlous chapter? U one comes easily aDd

pnrnD 'I U Iy. ,rIf ne appeared to you clurinta dream or oneoftbc prv us tuals, imp,ly draw it on your Shield and skIp over tlUs ell' I.. Ihcrwise. examine the original Paradi5C Lost and Paradise R· incd' portions of your Shield. Get a mentalpiclurc of these sym~ bois Ihal you wiU be able to ,remU as you listen 10 the following h'lNlruclions. Find a comfortable spot. sclLle In, and takes few deep br ath.:

Cl ~.. ur eyes. Allow your brea.thi'lJ8lo becom'e slow and det!p.

J.' _., 'Ourself rr:laxilJfI mOIre com_p!ewjI with}'Ow lJ'ext live breaths:

ONI: TWO# THROB, FOUR, F1VB. Imagine Ihal you ue in £root of .1 PI'I'''' pyramid. (Pause) Place the .symbol from yow Shield Ihal , 'PI " sns Paradise Lost ., 0111: corner of tbe fNI,se of this p)I1iH1Jid. f ,-nIl,V'/ PIa the ParadlSl! Regained sYJnbo.l from your Shield Bt wt: otll 'r' l1'n or. (Pause) Your symbols are aboulIa rise aJotIKlhc sides "f ,h,· P. 'mmid.., They bqpn to rise now, coming closer and cJour lI'pc'llJrr.

I.:IIml- 'hili when they m:eellli the tip of /be pyramid. they'wOI II,m .. I",.", into a new symbol. This new imlllJelY.f11 ,s,ymbolizt: an (1IIcWI.rtf, sn, a rcnelve:d 1m. of P1Jradi~ Regain«l.li ,"'ill scccuni for I', . 1(','/;1'; 'Ih t am pari of Paradise LtJsr. and it will reveal nltw jH .... ,."jbililics. AIJow lAe symbols 10 move up the sides of the pyramid .~, ,(,("l,. own ,.ate. When lbey IWJCb tile lIpCx, 'valcb bow they merge mIn Ihr.· lIew symbol. {6tJ.second pause} If your symbol has lIot J'tJI ,'/¥'X' 1I'tv/, walch for il during the following moments.

"flJdy Our ;ymbol, IlsiDJIlht: power oijour lmsgination. fPall.!ie) s ('P b:'l'i Dnd lonk al J'fJur symbollrom lUIothU perspective. [PlIu'St:j' l' ,Ic' 'h · mhol oU the pyramid IIntl bring it closer. Touch il and rvpkm: it, /. -O-s«ond ptJuSt!} .PlnaIJy, if you art; willing, merge rJre

ymlHll with ur body, lncorporalt! it lnto .YfJUT beiJJ&. Sense its 1';1" Iii I' .1," it ht. Qnr~ .. part of you. [PDuse} Wh~i'I J' usn! ready,counl ''OI/fS('lfI)fJ It from nile 10 one, llJ'kc 8 deep breatlr. IJJ1d' openJloure ~ lJr.m~ or dt', 1'100 "'( S mhol oil/he HR newLY! Vision" st!CIl'on of yeur ~;,,,,,,. .iUel n:rI'ee, 0" lt in t)ur journn}.

liN I", I-rank' clL"SClipllun or hll'\ n 'W I'orudi se K

" n Iht' yn hoi Imll hrtl, III IUl'k round wa" III pink nd I

itnl I r Iitl t I k It I III In .,' 1111 fI 111 ... I ,,,rly "Ilt',

l1t .. f lin'" .'ilfI#: ,.""" It, ,I"" IfI "Hllml'",,,.'

159

udd only •• her was thl warm, pink. soft·pluth::: toy. 1 haven't thou hl of inee I was maybe two oJ'lbree. I had deep. richj warm t lings as 1 remembered this (0)' (I couldn't quite see Ule toy, I just remembered its piQkness and bow good [felt playing with il). IL samcd lo represent a time In my life when my spontaneity. was uninhibited, my appetites were bonal and unrestrained, and ml' ex.perience~ of the world was sensual and innocent. When I broUShl the image into, my body,il suddenly b«t!lI1U my heart" pulsating, pink,t vibrant. aUvc. I feb m:ylf reclaiming my childhood enthusiasm" happiness, ud bl1bbling lal18hterj and tbis newly enlivened beart was the image I drew on my Shield.

On to SCaa'e Awe

The personal rituals you have carried out 10 LItis poin' have focused primarily OD your ip_jJcr Ufe. The ritual in the final S18ge of the program wiD bring your attention to th relationship between your inner world and your environment. You wiD be cb.all nsed to lran.s-late your new m.ythlc vision inlo prac:tleaJ. guidance for your Ufe.

--------~--------~ 6

The Fifth Stage: 'Weaving a Renewed Mythology iRto Daily Life

It ;m'llIlI)I f)bs~1"Ve whaJ way you, JtIJ(jt1drtnw JID" and tlJell c1,oose llrllt 1"'fIY wit" ail "aur stNmgtJL -HASSmrc MYING

'111C' H"I f~W' stages,or lhe program have been an ~erclse in carefully uh~'lvlng "what way your hean draws you." Tills final sLD.ge is an ~'Ii'rci&: in choosing "that way with aU your sl:rengLh!' You haW!! been ~H'dnR YOUl'self fro.m limiting visions that traee back 10 YOW" child~ hund :lUnJ [0 ,your culture's mythology. Dut eveD implem.cnllIllI ,"'Im nUl.'S I hat ar-e clearly desirable may require t.he ,fuU slrenglh o.E ,mn' will lkhavioral patterns ,and habits or lhoug"l that grew OUI of In old Illyllh •. now consciously r:ejected~ may tenaciously persist

(In Ihe other hand. by bringing resolution to the mythic conDie( )'uu i(I'~l'lIif'ied .rlYIn the program, and fo.rD1.walms anew' myilhic IIUUItt!, you hove olflcsdy broughl fresh momentum and dlr=ction to vmlr inner liFe. A number or adcUUobaJ steps can be useful for inte. g.ndln~ 111.110 )'OUT world the renewed m}'tbic guidance you baVI! been 1"'lIIt!lupii ng. These st.cp:s call ror both an lnward focus and an ounward II!C'Y", Th Inner focus involvesaddllional changes in the images you "tlhll" In (ronlofyourself and cbanges In what )'ou say 10 )'iOW'SClf as 1IU11 lIIl1kc youII' way Lh.rough your daily experiences. The outer focus immlv>!"!; pl1ldicnl changes in your habits ,and prlorilies.

'I'bi~finnl phase of the program draws partirr.;:ulOll'ly rrom ICC'll. nitluc·iI. Ilul.ll, Iit'lv.:bccn developed by cognlih'cl and heh;wlornltpsy .. L'ilullll'I'!lllbt ror bringinH nllK'nu chBngl.'5 in .hought paUemnd hdlilV,IW, YUIi will. [UI' :imllnut'c. Illunllnr YOllr "R~r.f:dk.·· till' sub. v'R'1I1 lind flr"'11 !lull( UIIN'illll~ SIX'" h \Vi." til :t I I .. wanl IIUI'Sllvl."5 yhh h might 11tl.~IJIIlIUKly I1tHtUnh I II c uMmYlh, And vun \\'1.11 rm'lIIl

IlIll' Ii., It .. 'II 11I1C'lIu·UI.," 111111 ul'lulil 1Ill' II W IIIvlh,

161

Vou nl!?n ",UI (lOrry aul "'bcha\lior rehearsals," role plays that allow you to experience actiog upon the new myth under simWatedi condJ~ dODS. You wiIJ transmute your ncw m.yth h:no a vivid lhougbt form. and youwUJ be usinl bodily postures and mental Imagery to ,inl£rRaJ,~ iize ll, further. You wiU create "behavlora~ conlracts" wlth.nather petson er your Inner S:ltaman .. These contracts wiU focus on cbMles needeclln the aJ'e&S of you:r life lbat sliD reinforce the myth you: want to move beyond. as weU as 011 possibJe ,changes that wouJd reimoJICC the mythIc im. you waut to pursue.. Y·ou also wiU be invited to ~naugura;le your ncwmyt.h FormaU), i.m. a" Gere:mon, with those wbo are ~nUmale wUh you, Lo, reiJUorce it with daily rit1:Jals that you will design. nnd 10 mainlain ongoq contact with the deeper dimensions or your mythology. Qy 1he tim.': Y01ll have performed the personal rituals PmKIDted in Lhh chapler. you will. have established a frame;. wOl'k:for onderslandins' your life in Q, way that supports the myth )'DiU nav,e so conKientiol.lSly been cultivating. And you win have taken deUberate steps 10 implement lhat new myth 1m your co.nduct and your daily .routlnes.

MEG'S O:NCOINGIOVRNBY

10 the first ritual of' this final stage of the program. you will expert· meat with feeUng YOUT new myth In your body and [lYing it in )'ou;r Imagination. You will see yourself carrying OUlthc new myth naw· Icssly. Mqlllsed tile image of h.er abalone' lJ.ocklace as a. ,catalyst. for caUlngup her new myLh and expc:ri,encing~l in her body. Sta)ling with these feelln.gs. she brough.to mind a sUuaUon that shekoew would be challenging:

I have made ,an QgrCeIllClot wUh an acq,ualntance tJilot he will do so.methlns for me. J have ngde seve .. al eommiLmenLs and accommodations based on that understanding. Then he falls to fonow lhrQUP, and I am 'left in an awkward Bod c:ompromised position. This aJways. has clidt.cd fccUngs or aballdonmen.t, belXaya[, and anger on my pari. ('ve len.ded to reel punished and punlsbing. I would w:lthdrawto such a degree that the persoifi would have .allsoIUlely no access 10 me. There would be no, way he could. ever have rmything from me Bgllin. 1 would also feel Uke a, fool that. Jwas mi led by the ether pcncllI.

OfK"I' ,IIIlK [rum 1111.)1 rr w mylhl I St."C mysclr rc:dirccHng 'this en.. rRV,yivhlj:t Ihe.' 11!,'~1 II'KIS!IIIihIIO hlll"rpl' 'Inllon I can find fol' under· I IIdlu~ lIu" IJCn(lu'~ IJClh.avhu', I dtJll'lld it.o a pcnlOTllI.d nllrnn r, I III mUlr.d In 01 pi I", IplC'". 11111 I I , I V I1rJllhk- Ukr Ih .. kill

and omdd r nil that mighl have caused the: other"s aCllons and aU the possibl way for me' to respond other than withdrawal. I feel aood as I imagine myself operating fro,m tIIis position.

Your next task will be to, notice th.e kinds of self-statements that are maint.ainin8: your did myth. and to formulate sclf·statements that will support your new myth. Meg Invoked her laner Shaman to belp ber wiLh tbis task. Among me !inner YocalimlioDS servins to maintain her old myth were:

U fm pleasane to people who dod" sec thinp my way, fm giving ill 10 the coc:iIprs 8l1d the emotionally CO'DStipated.

U I restraltn an impulse in a particular situation., I will be killing' my sponlaa.eity and my spirit.

If I carry out a task in the routine and establliihed way. I will be inhibiting my ,self-exp,ression and stifling my growth.

Inner vcteali1.ations that could help implant her new mytb illcluded;

'Understanding the other pcrson·s poJnt or vicwwW increase my effectiveness and equB'niml1y.

Saying no to some impulses is in my ill'.crest and leavC8 energy to invest iO! olher ways.

Moderation allows me the self-oootroJ to de'leJop skUls and understanding [ enee thought ,impossible.

She familiarized henelf with both lists and began lo recognize when the :se.lf-slatemenLs a550Clated with the old myth were operating. She learned how to sto,p such thoughts and to replace them with self-statemenls that supported her new myth. After you have done thls with your own self.statements, you will plan a Kries of actionerlented rituals lhat further establish your new .myth.

Meg designed the following ritual. which served as a daily remind r of h r new rnyth:'

I will gel a package or colorful balloons and choose one whose'

lor matches a quality' want to develop. I will slowly blow it up unlit il il'l plump and preUy, and J will writ on It the name of the qually. Wh n there nrc yenl balloon I will han them arerull), from m balhroom mi ror untll.he I 11 wreath of worm like pa#"r; ( ra blu ). ki"dn,. ( (w rm pink), humor ( ), /ol'lll .

n (d p blu ),l rlmlll ( n), nd "0110' (whit ) u und~n

Weaving a Renewed Mythology into Daily Life (DNwing Htmds. M.. C. Escber)

In rnl'(' In II~ Inltming and ni"l .. wllcn I bru II my hoir nd lelh. I 4"Xp«'II(J ~nJ()y Ih scuUog" Ir II balloon hould deRuiC. I win 'IUlllv r ,ph:ll~' iI. wilh no r1:prouch to myself.

In ~'nolhcr l'lluol:, she planned 10 make .8, public statement lhal ymbi IIlOO ber inlcnlion 10 implement her flew my1h:

I will be the "haHoo,l'iIlady" at the Dext Summit Summer Festi.vai, I \vll! wl"He one nice word on each balloon and the childrcm wUl be \urpriHCd 10 find qualhie.s lilke Low,BMuJyj and Truih dao.clng nv,'r Iheir heads on u strlng.1 will eq)'oy the slgbl very mucb. and I will'loy.ingly offer CD,h. child an understanding of tb.eir sped_:aJ:

Illlllllly. IF a.nyane Is curious about why I cUd il,. I wilJaJDWer in: a wlty I~IQI renccls my new myth~ "Seremly is gained througb foYiI'llg, IhnullhlfuI8ellon:'

Th e • m'MI to lc Is to identify factors that are suppor1ing or inhibiting ~'UI iuhmlion 10 IiYe according to ytllur new mylb. One .rcsoUFCe that

wurk l.ng In support Meg'5 DCW myth was her "Incredible .rlehness Ilr dwa: f ri~lnfs, who are marvelous mooel5 of goodness:· Allother ,u,l,.trl '\vn"lhal she lived "'in a se&tmg that has less commoliom than lIIu,.r J~Ulllc Imy to endure." She al:SO recognized I.bal her own. bope. III iKhl, dl"ICrrnlnaUon, desire .. ,experience. and faith were all radors I Ii _I ~I • working in favor of beE nlew myth. Influences she identified Ihl 'WI.' workln· "gains •. her new mylh included oldhabi~.s,. fears. 'JIU , ,"w.pi lonl jealousy, and needincss.Vou will be cn!COuraged 10 r~j['w your Us. with apanner orsm.a11 FOuP. Mag an.d her partner Idt"nlifiaJ sc:veral specific actions sbe could take 10, strengthen the I.UI C~ Ihul ~re 5u.pporting her chosen mythology, and they [ollDd l r til VI:: 'woys lo dl with some of those that were iaterferingwiith it.

AI' Ihnl poinl ahe requested another dram •. this tim.e _Ins for .1Iidnuc· on [h ncxlteps she .mJght lake in implemenLin,g ber new mylh:

I om in 0 lillie room painted jaiJbouse-gr:eeD. The walls are ml'lal. the moor is eemem with a drain in it. the: on1y sealsa.re m.etBI: r ultJI ng ellol r:, wllh hurd backs. I am &calm l:n (he cenll!r or a circle.

Hly men nnd women wilh banh voIces and hateful exprcsslORS I lakhlK Illrns exposi itA my 5ins of com.mJssion. and omiuion. nut" so)'toi,"You Ir~lcd your raahe· shameFully, nesl",tlng him In. hi 1111'11 LlII)I)i." Anolher lUll' • "You havcnlwnys been, selr.lndulscnl In" III\,. H Annther at UI'iCII me, ~,yinJ. "You fduh: from your

,"ulht'r'1I JJUI'~," 'nn:'y Btl oil Dud on, SUint' IlIing!ll Ul co llt'iI)I. orher IUUllu·nlmul In m. ur e. All aar fOld.' .. , l'nllMll1I lni, or ".mSK

fl,lnn!l. I r('('1 hurribl.·. TropJ)I!d. Willwutresour{'cs, lions (or reseue or death. Neither happens and the voices go on and on.

I not]". in my desperation, dmt there: is a door .• I measure the distance and decld.c to try ForiL I make it! The doori.5 u.nlockedI ba.ve only to go lhrou;h it. I have the sense tbat there is a sign on the door wbicb.reads "PAST,"' Outside a 0011 is pUmping: in a meadow UDder the benign and amused protectioD of a mare e . 1 close the old door behind me.

Meg reviewed her dream, h.er self·statements, and Iller analysis of she forces that sul'I'pDnedthe new myth and those thai: worked against .It. Based on this re.vi,ew. she made a contract with bee parmer in which she specified the actlens she would. bepn to take for brLnging her UFc in.to closer harmon.), with her D.1tW myth. O.no of Lhe items in :her contract. for imstan.ee, was:

WhenJ bear one of tboseugly,. repetitious inner voices detaJll.ng my badness. I wiD stop and attend to what is be:ingsaid. I wHlthen a.s.sess if there is any pr'Oper 8.clio·n possible to right oldwronp or to leam, &y whAt eecuered, I wiD do what is proper if I call see such a COUTSe of action. If there is nothing more tolearn Mid ItO P'ropel' action 1.0 lake, I wmredLrect my energy 10 so melbing[ have done or am doins. wd(. I wUl deny eneqy' to destructive ideas by recog· n:Izlng them.amlth.cD! starvlo,l th.em to death.

Tn her conl!l'afl. Meg Identified several areas of focus. Including monitoring ber seII:iudgmenls. allowing more vulnerabilUy with others, Iniliadng more intim.alc and risky convcnaLion With her friends, and.listcni:ng patiently te other peopleis polnls or view. Wben she and her partner mel a week laler~ Meg reoounted lie, progress ill laldul lhese steps and reported a welcom.c sbifl in her n:dationsbips. Meg and her partner mel. eacb week for twomontl1s. AI eac.h meeting (hey reviewed her successes, discussed areas or difficully in carrying olill lbe contract. and II'Cvised the contract for I.he roUowins week. By lh.c e:nd of the second month. Meg [e]llhallnner guidance in.. support of her new mytb-~Serentty is pi ned through ~QYinl.lhoughtrulaclion" -had become coliscious and Bc:ces:slble to her in many of Lile same areas of her Ufcin wblch the isolation and defensiveness of the old myth had calilsedptoblem~

BUlLDINC YOUR NEW MYTIfOLOGY INTO YOUR LIFB

Th· rUn ,1.11 yun will pc:rr( rm in .hili clmptcr re 'dcsl ned 10 incrc. - Ih(' It" IUnnv' 1"_'IWrt'n 'I' tilt I1'W mylh .md III .. WlIY YUlIlivt· vnur lire.

Personal Ritual: InvoldDg the ew Myth In Your "Subde Body"

'T11CI is an extensive lraditi.on in both the East and Lhe 'West which hId" thal each person possesses. a secondary. nonpbysicaJ body. reo r 'rr·d to v,oriQusly 85 the "subtle body." dle "prame body." or !he "dherlc body/') You can contact this !'!subtle body" in your ima&lna· lion. Allhoush YGU may prolei' to lhink of Lbe ,subtle bedyas a meta· phor rather lhan as an actual cnLil)". you can e'lwision II as a bridge bclw ~n your thoughts and your bebavior. S, innuencinSJour subtle body whh your thoughts, you can subdue patnern of bchavlor lbat h .. ve been hnbitual and aulomatic.

Menial imagery is one way of aleering your subtle body and Us ""mire -Iallons in the physical world. Numernus research studies ""'\It :t)nfirmed "Lhe faci .hat vividly experienced imagery, imagery Ilmt 120 bolh seen ,and felt, can substantially affect bra"n waves. blood lIuw. II lrt rate, sldn. temperature. gastric secredons, and Lmmune r I m~ n rael. the totaJ physioJagy."'4 The r oilo,wing briof excrciae 1"0 lei '5 a, concrete dem.onstratiol'\ of what we are reEem_ng to , the h,'11I1 'r"III~' body.s

, 'Idlul Ci IlJJ1a move yuu.r hCRd to the right as far IJS it .",iII go witJmu/ II Ining. Mt:asurv: /hI: dClJr" 01 rotation by DaHill precisely ",Ill" . ton :Fe slari..ng when Ib' mowm~nt stops. Coau: baek ku:enler III" I'll;. • . DIU right arm, .strelC!1;ng toward the sky. 'WilhytJur righl ".111 UI",,./II:nd, exl'Cl1d 'he IiJ1gers OD your righllNmd and bend bstk

.11 lit - wr/sl. Now stretch all me WBIY dOJVD your rigbt side. Next;. lower' .... 'ur rlghlnnn ond slntcb your right Jeg" Alend the tocsof'your right "Ul .!O 'yOU bcond it at the an/de. Com back 1o a!Dler and again. w;tll'Our IPnln'fng. mtNISUl'e lhe t:/IJ'IJI'W! 01 rouuloD by turnillg your I, ;1(/ fa t/".' rlshl. You will Dolit: thai your hsd mlJiJed farther on the ",','o"d Iry, ,,,hich m. be #lNIdJIy up/allied by the mec.lJlJllic:s of the """('/ IlitJg 1.!.'U·l't'l--,

N", • millie 'Our hend 10 the lefland observe Ihe part of the; room ,11/ us s ,It m Ih mllllinn SlOps. CDme bDck to t:lJnter. Th/:; lime. 'Wilhuul moving a mule. imJJglne Ih I yOIJ lin: I'll; inllilre left rm 'd. 'Om' Imb,i!: bud)' lJlf",'lR: ,d. lmqpinc Ihlll .JlOlI an- c:dtmdill6 'he lillHc''''' "f lilt· " ·ft h md nnd bt·tJtlin_J( ;/ bn " •• t fI,,' WI-;~. Noll" Jmll/lint· 't m "1'(' sn fC'l,inJl.Ii' ,II, W:n' elm.'" YflU'r /. 'Ii ~ifk: /. ft .. rm, I"'t ... /d· .", -11(' I. ~IIJII'uc". 11'1I/tW" ,fi;ti/l tmJ ",.tV/11II JI "''''''''/1'', im''lr1il th I ''em Iff I,ft./.II'I: J "" frlllt)', It,d ('.\1(,,,,/11'11111,. I,,,",, HI I ,lit ~ 111..,01 n~

.,.,

you bend il back a1 the ankle. Rt:lu. Agai~ without slnlinine. .mea-, sure I'M fhgrr:c of rolll'oon by lumiBg your IJead to the Jdt. Most' people wiD report '''at their heads also rotated farl.ha alter this qUMt:Je, CW!lI dtDugh there was DO physJClI1 stretcbing, only menuJ imagery •. To co.n'VinceYOllr!iClF I.hat this dfer:J is res/, you might mpeilt the experimeBf lit lIDocher time. ftlryilJg I.he orrJu and switching lM side of your body lhaI you physically sireldJanrl the side you 5lTeldJ only in your imzw/natJon.

1m ry thai is felt in lbe body h been shown 10 be effeclive in sUng I*l:plc: in situations rBDgir:tB from recov ring from an opera· Uon to preparins to compete in the Olympics; "The mental rehearsal of a sales presentation or a marathon race evokes muscwar change and more: blood pressure goes up, bndn waves d'llange, and sweat ,Ioods bccom c::Uve .. •• lmagined performance can improve actual performance. Tbe f illrow pcrc:colAl~ of basketball plaYGr5, for inslance. has been shown to increase after they imasinecllhcfDschcs practicing perfect shots.

In lhts rllual. you win use Imagery to align your subtle body with your new myth. Study the "Renewed Vision" symbol o:n your Shield. Find a c.omfortable position" close your eyes, and begin 10' relax.

Bring fO mind your "Rene~wd Vision'" symbol and the .J1JMning it holds for you. {Pau.sr:/ Gel tl S«IJ5e of whal jt would feel like 10 aCI aceordlng to fhe myth rep~kd by thai image. [Pause} Find B pJausible situation from YDur life in wbich you mi6bl bt:irSye sccord· ing to this new myth. You might be exprrss/ng JUJ hon ,t opinloQ in 1I delimit: circams{J1nt:e. sPfH'OIJCIJinI lin' employer ",ilb CfJnJjdeoce, or cnj'OJ'.inlJ a quiet moment with a loved one.

Find a $CCIJt: whtm! il 'would be usefUllo ct according 10 your new myth. {pau~J Where are you? Who t:lse is tbeN What arcyou doing] /I'DUSI!} FQCUS nowon your bodily feeJinasiJJ Ihis silualion. Row does If (cello be tmucrlng 'he new myt/JJ {Pause} Imagine the gesl'IlreS you misht mploy.ttld ,II . posture you might assume. {Ps~1 Feel your word. fanning in 'Our tl, I nJ mouth. {Pause] Continue to j:JllIe· # e" Ih";IIIlIJul J"mr IJ"U' myth ill "Oil,. .'fubl'/c fxHI.y (or v. rat mill' ulu, • 'lH.oU.l'rJlJ rll"l n..u/.', "P' n J'lJm' ~.'t'~ "ddt', ,'liN" II~ ~.\:~Fi~lI~ III' ur 'UUIl •• 1,

1"1

169

hank en· f(:d 011 hi rclnlionship with his wifer

I~I mu h too somber, serious. and negative wHh Diane, and I d cided to create, in my subtle body~ more feelll1lP of joy around h r. At firsl, 1 had difliculty activdiq these Relinp.1ben I imagM ned there was less pressure on me in other parts of my life. and I had aU sorts of extra energy. I could feel tile aUv.mess 0,' my new pu~suUng pink hC8l1 flowin& throughout my body, and the alIveness, nfuscd my su&tlc body. I liked this preview of how ourrelationsbip

might cbuge if I We1'e less pressured and more open 10 lbal pulsatn pink heart.

Mentnlfy practiloe the: new beha,vlQr several times each d y d i mngine that as you carry illout, you are buildml your new mythology lulu your subtle body. In the foll,owing rituals, Jouwill be shown additional ways of anchoring your new mythoiosy inlo your suklc hody. your Ihou,hl&, and your behavior.

erSODaJ RItual: Culdvadng SeIf-StatemeD'18 to SUpport Your ,New Myth

I'e( pI • unlike any other cn:a1urc on earth, are molivated by what Ih' lell th mselves-whether critical or compassionate, wise or abo SUI'll. ur nnitudes viewpoints, anel op.ill1io.n arc equessed in our . ·1('~lulk, th internal, subvocallslatemen:ts we ~ toourse1VC$. GonseI I nlly. ~ powerful way '0 facUitate desired chans:es in your mythol.

o I (0 id nllfy the setf·statcmcol or aD\Omatic lbougbls QSOICEated \vilh 111 old. dysfunctional myth and to 'CO!l5CiDuslyrcplact: them wlth more constructive self-Sla'temcn'ts that represent the, new myt.b.

Wh n pt;Qple oban their se1f.Sla~meots, their feelin,p and

bt.·hovim'S olso change.' mong the types of trrationalself-Slatements Ihnl J1Cople fr: uently usc, which, are expressions of dysfunctional personal m)'t h~. ar : "I need everyone (0 love and elmira me." "W1un. tlvcr I do, l rm t do perrl'y," and III d n't d I'Ve to enjoy my If while UlhuI'1'I ire 5ufJcrlng:'

111 11k noled Lhot wh 'n he (houghl of a e • till pro (, or ven II It" Ilhl l1ruj~. hI.: ulomnll lIy lurl d 10 sub" . lIyln r • h rn-

If 141 • In wnrk nn the I'l'Ojt."'I. JIi& fr '11m" I\' Y beinR

• 't .' til nUl W III su h PI'fIJ{· .. ·I~ whlt-h Iw Inili I·d w dlUul eom III fir lit II ~ 'I tn h ~ III I.hllil nml pr,'IotIU I dr\lrIIlIJUI .. -nt. In .hhi lu I, I" II hi I ·f t' lin • II hl1h 111£ I II IlIh'IIWII~ Ih" m h,l.dn

", I1ltl, Stulli'! ;on."'111 .. It tI nwt I.' ,'It.".

--

IUlmodcd . uerns of behavior. In your j urnaJi. make a headloa: ~lf . LntcmcnlS That Support My Old, Myth:' Find a c.omfortable poSition, lake several deep breaths, and .begm lo relax.

Ca'il UJIODj'Our lruJer SlwnBll_ £JfJ.st¥ondpau~] &duuJge words 01 grcxlin8; Ob5t:rve. Listrm.lPausel Describe your old myth. Discusg your new W1dcrstsndiDgs of the role If bas played In your lift!.

WJtbyour Shamtut J'dclltilysome of the phrases thai tend to maln ... lBin dw myth. Hold Ibem in your memw7' (J]' gt:n't1y rouse J'Owxlf 60 youcao ,record them in yourjtJurnlli as they come 10 you. Usl three or four sc:1f-Sllltf:J1'lt:ntS dIal seem piWJlai in ~upptJJ'ti:ng yo'UrDld mytb. When you Juu'e complelJ!itI thIs task" take respectful lave of your Shaman ASJ1fJU gentl,y return 10 FOur waklag r:o.nscJOUSDes.s.

Identify lhe seJf-statement on your Ust that you believe will be tile most diIDculllo give up. Pitting dysfunctional sclf-5talcments or auto. matic .hou. h against 'the test of rational 8I1:8J)I5I_ Q8D heJp us to dista:n ourselves from them. Por each of the sclf4a1.Cmcn1$ that you feel may be dil6cult for you to diseapse, writ.e in your journal the answers [.0 these questiQns~1

I, What evidenu supporl lhis self-statement? z, Wbal evidence disputes It?

3,. What would happen to me if I no lon8,r heeded it?

Let this reuooi.ng stnk in. decpJy,.and refer to it as JOU work toward alterinJ the aUlomatic dlough15 thal arc keeping you lied LO your old myth.

Frank did DOl Lhi ok be: wouJd easily be able to '!anore the in'ner yoice thai lold bIm lhal If be were 'to remain respectable and ~uceessCui In his profession, he was required lO eontinuaLJy master tlIe tiniest details and exert his rull effort at all Limes. When be challenged Ibis belieF. be came toe that success a.nd status were not nearly tbe I u for him thai they once had been. Both were well ostablished; he w s proud of his car r achievements and people consistently r . ponded t hiim wUh s t. lie realized h bad much m()re liecnR ell n h w u In 10 'imp.l)' "r lax nndnj y Ihrid ."

Urlng C lIlr'" "In Ih Ii, mind. VQU wiU be Uentlrying the kind . .r ·If·lalk th I UIlP rl j,l. M k· h d 11" in ou juurn • f ')C!d

h I 'UII ,rl M N w Mylh," IIIn n,rufl I

I I II I lin!.,' h. IItt I III '( r I .

I 11111" .. ,1111/1"" your Innt'r SllIunlm./JO •. 'tt'tYJnd p:J1.11~1 lit('/mflJJc "'f'rrJ,~ of g'''';;118- Obscnre. List(.'II. l/'arJ~1 Usc the bodily imol,rr.·ry t'fUl uc·.-elol"-'" if 1 ,III.' clu'lin' pt!17ifmal rlttJnlto C/"i:.a/e in YOfJrSIJbtle IJ<II(1" file' (("t'/ing:.' yo.u associate lIIith IM.lJetV mylb. LMscribeyour new' " ';1 "",, Di.'fl"IJ!IS J'olJr u1JdersUWding of the roJe it CIID plsy ill your life.

WUh 'lmr S-.h'1man,. identify SIJB1e J)iJrasIJs. tluJlfmighl support Ibat 1I1-",It, lIold/han ;'l,YOur memolJ' OF geotlXrouse J!Oursell.so you ClID f1n,tlI'tl ",em in yourjQumal1l8 the,. come IOYOU. List tbn:te or /Qur "i.r-lf.r;;11I1 'monls that would nourish your new QJytD. [PaweJWbM you lUI"'" nmJP/eJt!d this tJlsk llIke .I~8ve of your ShBllUllJ as you geniI}' retum 10 your wakil18 consciousness.

funous the .seIf-stEitements that cou1d suppon Prank's now myth \Vt'I"O~ "l ean always divide my wo.rk with ·brealcsthat allow me t.o relu: tll·(·ply lind clliay tuning into theexpcrience of my sense&." He Klul""',j ils.imple: meditath:m technique te use In situations where he 1 .. 11 h'nM: "Notice breath. SOftcn belly. Open heart." Olbcr :sdf-slale· IIII' nh Included: "IJ am a worthy human. be~ng even .If J Lei this p.rojecl 111110: .. by·'; "When I can play, I do play":. and, "I am hjShly selective j hunl ,vhcr~ I expend my perfootlon:ism,"

YIIU mny fcclthat some OfYOUf new sclf-slalem~tswiUbediflicull I .. I 'lit'\" o.r Lo (onow. If so, a.dapl the three questions previ.ousl;y I, \".d, roll' cX:1m.nlng thcirvaliidity, It mo)" be necessary to revise SO.D1C tir your' sc·lf-5lalcmenls to bringlhcm, in lint' with what you consider rlJilN()nlible gnd plausible,

Fmnk, roll' iIl1S18ncc, could nOlralionaJ1y support one D" the 51ateIUl'nls on hislisl; '1 bo.blcc my cnlll'usWm, foil' lilt:: by .5CCi'Dg only the I'l !Oi~iveclem.lmlS when I 'review a situation.".He was ahle 1.0 revise jt. 111.\\1 ··vor, to: 'When 1 find Lhepositive elements ina situation, I accept Ilu'm andlljoy Lbem, and I nOI longer discount them by measutin,s them DllBlnst- what migbt bave been posstble," Continue to form,u.lau: mnl n:'vl~ your list until you have a set of self-statem.cntslha( offers

"II Nl!n~ible guidance for (his new direction. in your Rlythoiogy.

The more you can hBbltUBJ1y and concretely blhild this second lis.

Inlu youI' au10.1l10UC lh.ough'l patterns/lhe more quickly your bchavlut will DIiRn llself wilh your new myth. One user:ulilechnique is 10 hnnghl('o ror each IStDtcmcntt a situation in which you would feci

MKi m'llnH In :accordance wUh Iha1. stal:cmenl .• Construct the silull' Ilul1 rnlly~,"*=c piclur:cs. heor words,. Dnd feel your physical sen . h.n ~J I ht.: • -, nco Sdr·~lUl 01 nih lhnl IU1YC been linked lio imoS. h'dlu I anti ~nM\llfln~, 3'1' nlOr pol'-'m than IllnuMhl alone. AI,-

11l

allier aid lit tn wntC' til • lilil in h~rg~ und \)Iorful l.cUcnJ and place it where yuu will 1't:"uh~I'ly sec il.....(jH a mh:Tort 0·" the refrigerator. O.D you bedroom wall Repetition SLrene;thens the inOuence of a se.If~ statement. Use the list as an opponuntty for fTeqllIentlyreviewing your Dew self-sta.lemenlS.

'We also sugcst that you bqln torccogDizc !.he self-slatemel11s associated wid~ the d,ysfunelional myth and use A CogDmve.bebav~ tGraI, approach caned "tholllht-stopping" who you realize sueh inn.er guidance is al play. In lhougln-stopping, you simply iDlerruplalll o~ jectioDBble self·statemcnlas soomas you recognize it. andimmcdi· at.el)' replate it with one thai. is in DDe with yOW' intentions" When you R(lOgnizc a, habiluallhoughl oir se1f.stDl,ement that supports tbeold mylh, talce a deep breath .• As )'OU exhale, imagine yourseLF .rcleasJng lhclhoughl an.d your old myth. With tbe nextinbalalion. rc,plaee thal Lhou_ghl witb a seLf-statement LhalSUPPOrts your new mytll. As you brca:thetlCI lhe statement impriDt ItscU upon you.

Prank bcp.n ~o pause instances whcri!: he norlllally would ha.vc re,(lexivel,Y told his wife hew-as 100 busylo do .so:metbi-ms tbeywould bot1il enjoy. He would then note automatic tbougbts that were opcrali ng LO keep him, bound (0 his work. wbeLher Lbo aClivi~ was essenl!iJl or Dot. When he idontlfied such tbought;s, he replaced them wU.h the se'lf-statemenl, "When I can pllay, I d.o play," and then mode his declslon.

He alsol recognized that ene of the ways be cut orfhis passion was by "not being fully p:resenl to what Is," :He realized lIlal he devoted a gr.eat IdeaJ of ms mental en.ergy to ruminating about whether 00.8 thing Dr another was Going to go wrong, He made a commitment to himself ~ba' whem.ever he ..... --cognized that his mind ·had dnft.ed into obsessive worry. be wou1dimmcdiately· take a deep bteDlh and say to bimself: ""NoUoe 'breath. Soften belly. Oplm heart." Prank found jl useful pt the end af each day to Iqg In bis jouna] the oldsclf.$latcmeRits 'hel had :recognized unci We new ones wiLb. w'blch he rep.laced them.

Personal Ritual: Ceremon:lal EnaetDlenta of YOUI' New Myth

The slc:p!ii )'OU hove' laken to lh~s pol ml1ave p,rcpore:d you 10 affirm and MfCl1Mllu,'u YUUI· nl-"W Uly,b Iln1Uu~h a series of priYllte rituals and, .D:

Iml lit ,,'CI' IlInn" 'nwhl! .. ·h 'yoll will plI'wlnilu th • nl!w IHyiltoiaRV in lhe

In

173

presen • of pIc: who, aboUI YOll. Begin with the following

pl'lvale ""Oellment of your new myd :

fnndfll6, ,vlll, your e.Ytf,f cJtw!d" OFJ~ agajJJ invoke your Sl!TISl! 0'/ ,If( nw ntyrh III' )'Our suhdebody. [Pause} PiJ'lQ tIM pt'ISture thai n '/$ ,bi mytholDgJ-lbt: 5Um~ the feeling or slren/rt1l. tbe DlJId~ billty. the fa iaJ ~OD$, /JO..second pilllsej Now. recaD the' situaIlmr ~m lhe carlier btJdy.imag:ry a.erd# in wbJclJ )1011 acl«i B~

mlllg 10 the nc:w myth. Dr make up .. new &celle.. (Pause] A,gain. in J"OlIr subtle bot!y, create a DJC1J:laJ pantomime-mtmflllJy going IhIV'!!" thead/ODs ilJat an: an expression of lb~ Dew myth. fJ(). • ~d pause} Now o~n}'Our c}eS Il1ld -step illto'" YOUI' p!lnlomimt:.

112,'" .,'111y but silently MIICI the palJlomJ'me.[:JO-SI:CtlDd plJusej BnaCl III··/Jllntornime l1IlIJiD. Ibis lime addlng IVCUV£ You ma, wish 10 repeal 1"'·I .. ?nl~mfmea numbcrQftimes, experimenting with rJjlFen:nt Pwi"'UN, i'(llce lones,. wordin&and silUlltions.

I.' .. J this Hbchavioral rebearsaJ" ritual ill your Joumal.Prani:

IInaRm 'd holm If to be intensely IDvoiveci in 8 project when his wife mOlt", up I -ask, for my car keys because she has mIsplaced hers ,. lill, WI ere I am usually IrritaLcd by such inle:rruplioms, I remind In . Jr, 'When ( can play. I d pia,: J get up, lake her by the band \,-,Idrl h r oround lwice, dance bel' across the room, QIldi we \vind u; Ii 'kl ng n h other end bitiDJ one' ,another's necks,"

D lIy Personal Ritual

he n'Xllu k 1510 invent and describe in yourjouromaritualyou eae I'~ rrm D h day Ihul will help toeslabUsb (be n.ow myth in your life. IIi[ rl 01 mighl invol"e mcdhaUnl for a few moments before

• It'll 1M a~ on" ymbollhat rcprcscnlsyour n w myth. II migbt mean Uti eel' Inonlously repent your panlomime ev ry venin before yo

III f illl 80m III r way direct your intentions into your subtle

. Y u mi,hl 'l'un51 re your mythic:: vision inla a behavior you can r III rl r p!:U'I. To Impll.ll .. 0.1 mYth that allow y u l r :ccivc help .uuJ~ uPl1ctrt from olhers, f r inl'lhm • YOUllligJII nch d y as.1c

... R r 'Ill person If) Ill", mall rovor Coryoll. A'l th 'nd o[(hrd Y. ou

I lid r 1m Ii-II ·,lIy mark Itt I nd r the req &:' t ynll made Ihal

d'l und Iht, r • _uh:i .. I It I In I. ul Ille .

nn w nusn, whU!M: "lOW mvlh gal d ~ h"r 10\'1 LI • Clmill mon'

t pon, ihl • Inl k J I' Puw.:or 11 ~ 'I, I h4~"IIIr. .. "llIur, nil unUtl II I

herself to carrying il and exp1orioa: it every time she wcml up or down the stairs in ber home. The stone was to come with her on ,every trip. If she forgot it. she would int.enupt whatever sbe was dO:i.Dg to rulSU the rlte..1n so doing. she was continually renew:iDg her commitment toward srcalcl' responsibility. and with. each lrip up o:r down the

talrcase sbe was commltning with her Power Object as weU.

A simplo and efFective daily ritual might some variation OD the

foUowiq: Bach mOrning, 'In &ant or the mhToli', direct the f=lings YOUI 85S0date wilh your new myth into your ,sublle body, usume a sture a d facia) apression thal represents, lh1s myth. swnmari2e Its guidan.ce III a single statcm I, and bold a one-minute discussion with the mirror antic:lpalin,g this day from the pe~specdvc of the new myth.

Frank, wbo found It dillicwt 10 S ts:oinS in the oming. decided to taneacb day by standlng in front of a mirror and 6ndins a :post re thal symbolized. hts old myth. H would then medilate GO the. (eellnBS h '~iratcd with the new pink beart and would lellhose feelings pulsate Ihroughoul his bod~ unliJ they filled. him so completely that h was moved to stretch bJs body 10 make room f. r them. He would imagjine he was Sb'etchtng' his whole beiing into harmony with his new mythology, unliil he relaxed lnLO a posture mal for bim 'Was a physical statement of tl181: myth. Finally, be would identify' ODe llUtiOD be antic.ipat d tbat day wWch was likely to trilBer lh,c old myth, Dud he would env.ision himselr handliDjlil accord in 10 his new myth, In your joW'tlal. design a sinelE ritual you are willing 1.0 per.fo,1'tn daily until you decld il has ~rvedits purpose.

PuhUe RItual

-You also wiU plan a ll'ansition rilll.llallh i marks a public dcclaratioD or your new myth. OClen, one pect of IIlCh a ri ...... i . to ceremoniously leave the old myth behind. You couJd. for example, lind a photo..grapb of yourself durins: a period when you were in the lrips of l.he old myth, Qr create a drawtng repJ'lCSelJIins tbat period. ]0 1110 rll-..al. you might bum the photograph er dtawi ng with II &iend there to witness. SC8\terinJ 'the ashes and drinkinS a toast to your new myth 115 il is symboUzcd on your Shield. Frank bri)ught a dozen pink: roses to hi wife afol1l with II letter ho bad just written lurning down anew . e not he normally would have acccplcd. even &hougb it clearly would hB,v nv: rtued him. He sbowed her tho new enlivened pink 11M 011 hUt Shield. which happened 10 be lh,e identical shade- of the I h· pl'Un1i: thai I would. y y to her n t three hwiLa· 1 I I t 1"1t IClgedl"'.

mo.t hA"'k I v I. yuur .'11 .,,1 "lIllld h.llll" I .vulv(' h Vltll&

11

11 "-,UNAI Mil' 111111 ~Ibf

In wh .- r '8 bboul you wit ur d lIy ritual r Ih bch y.

lr. I .. " 1111 nl ~ u did earlier, In more ambilious,o rvanee, Y II

1111 hi fI ,[. m r~nl;~l'IdS,ASSigninl:eaebofthempartsinlh

t h. viu II 1111 rm nt thatia becomes more like a skit or play. -f. rm n.lln ", our new mythology tells you to behave more asser· I y IYt III enaetm nl might bave others playing your employers, UD· ,>ymlIDlh Ii oworkers .• judsmenta:l friends, or perhaps an unscrupu. I u uuo me hanic and bis boss, in creating a scene in wblcb your 1l11'qlC'rsu"nl Deltona ar mo:re effective. Another kind of ce.remooy 11111 ht lnvolv Imply maki~1 a statement of your inlcnlion:s at a : Ihl'r II or c -lain Intimal~ or .sharlng a cr-eaUve expression of jlllr" w myth. such 85 your Shield. a drawing, poem. or Dew t of

I II II wi h to embellish th ritual with candles. food. song.

17'1

cv ·nl. AI" ask one r m r' f lhe rtl ipants 10 sen as a partner

r p rl group I r YO'u in :rrying oul your new mythology, Select people you perceive to be resourceful. caring. and accepfulg. Specific SUggestiODS as 10 how to work with yourpanmer or suppon group wi1l

be included in the fi.naI rUual5 in Lhis cbap~er. - ~

Personal Ritual: Creatlng an Ecology that SUp,ports Your New Myth

One of the most von rable principles in modern psych logy Is that people wiIJ see out ud r peat bebaviors thaI al"l rewarded and avoid behavlers tbat are punish • You are more Ukely 1.0 chang maladaptive behavioral patterns when they arc 00 longer reinforced. In this ritual. yO\l will id nUIY tl1crewardsand punishments in your environment tihal promote or hinder behavior mal i.5 in accordance with yOUT new I11IJ"th~ By making changes that favor your new myth. )'01.1 will, prepare an 000108)', B balance of relationships with your nviroD~ m nl, in which iL is more Ukely to Oourish.

Consider how llu~ behavior of your family. friends. coworkers. or

cquainlances sustains )'ourold myth or reln~ rees th d 'red bebav· lor associated with your new myth. Identify actions ':J IJ can tOe so Lbe desired behavi!orsare more frequently reinforced. Y u milht enc unge the people whose behavior supports, _ ur new myth to keep reinfon:in_g it. or a:rranBc'topcnd more lime wilt. them., or B.lk others to :proridc. si.mllar support .. Conversely! you m'ght uk cenain people to slop r inforcillg the behaviors thai ar-ose OUI of lb.e old myth. One woman. who wanted to c.bang. what she perceived as her "tendency (0 mol.ber other peepS ." ed b r friends to top prailing her for being 50 helpfuilo evcryan . Frank SliIrtcd to form friendships witll people wbo knew him outsid.c or his prof, 'onal j,dcntJly. hoping 10 r inforce the developm nl of other parts of hi lily. Bnlisting people Who care about you 10 support behlwiorlhal is con isle.n. with your nw myth helps build 11 iOlO your nfe.

A 5eCOnd way o.f chanllng the rclnfiOrcam; actJl'\8 on you is to sblft your 'priorities. If your flC\Vmylb Instructs you 10 make more lime for your inner development. but In add'tlonlo )'Our work and family r . JHlnS~bmlies. you coach a seeeer learn, are organidng • recall drive 81 inst the I I m y r, 511 on fi" communlly board. and subscribe tn I d"~A.'I"IPUPlJl;,U' III &1.in··, tht' new myth will h" linl ch-ncc t Ih iVl" llld 1 y '.. umn 1m 'ul. ·Iull • b •. 'U n PTiorf1i • n

I'M

IInd~rlyil1 prin 1.,1 i thal .he relative strength of a social rehtforeer

.J •• d 10 whot y u value. As your values change, youwH( see. that lin I Ii ... u .~, u find reinforcing also change. 'You may spend many IUlur\ll t'Y ~I')' wec:k happiJy doing, tcd.iousobores fora cause in wfdch \, .. u Jln!o! Ion le~y believe, bUI thCllI6ndyou.rsel( resentIJngihe time and "'fur I iI!i Y IJr dedJcaUons chaoge.. Priorities are tangible statemeDts II Ihe: world thai rencel rite myths you held when you established tit In. A. YCHJ eyolve, bowcver. u:nexamined prf,orities may quiedy kl' 'P you I ked in a mythology you have oUl£rOwn.

,hll'( focus is to change the reinforcers you draw to yourKlf.

SIII'POhC YUU ar h pins to become more accepting of other people, bUI "I 'rld moS( of yOOJ' spal1e lime in a mUitaJ'll campaign for or .1 n I bonion in your local community. Whatever the vinues of

uur II' de, your choice of activiLyis decidedly not creali:Qg an inlC'I"lk"1 In I .• lmospherc that is supponive of livi1lg ccordiDg to VIIIU til'. if d myth. Changing a piding ruylb often pits us against ellll. 'lIh l'rhi 01 choices of which we misbt prC¥i.ously have been oblJv i IU .In ,I., ring more of his energies,to,ward his,personallife, Flranl his sense of soclalrespollsiblUty,

M. IIY rc I u fore rs and pnoimments are S)"I'OboUc, meeting psychoI .. , It.d • uber ,rhun only pr-aclical needs. The cult\lr~ te hes us to I!I,U II fllll' St~1l f adequacy or our self-esteem to particular kinds of vmhul. I h 'm ney,positioD,orbeauty.Astbequalitiestowhich

\'''m 11M' of selr-worth is altached shift from those conditioned by It ",IIIUI" I those chosen by a deeper ,"ola:, your life Is IJkely to IIrI Tilt you I'ichf.lr sulisfac1ioD&. A mal) wbose self-esteem is conlingenl nn lit, Ilu",""r r women be can 81U'act may Ii d thai as he becomes lUlU 1"'" hul ~t' lIy mature, he begins to derive an unanticipated n If' IIflllment from the depth rather than the Dumber of 1m I,. UII hip ..

I t n" d, 01 lied. If raJ intornal and exle.rnal conditions thaI were •• j "' n hlH t I .,,,'Wmyth=

Ih I J AU longer have to

nd ub Iv ne

II '.

I"''' nmll

171

Conditions 1hal were Belins to negatively reinf()1'Ce lhe new m)'lb included:

• r fee] Iidon't have a nah. to enj y my life if rm Iiol achieving prodigiously

• I do receive additional rooognll10D and commissions w:hclll overwoll'k:

• When I try to have fun, J usually feel awkward and the experience seems empty

• Most of my friend are aim bigh achievers whom 1 know lJl8inl)' through my work; and I haven't developed other kinds of friendships

Use what you have learned IIIrOllgh Ihis program abou.t crcalillB personal rituals to invCDt a .ritual tbat will lead )Iou to oorwtruel a lOtUs' of Reinforcers!' The Jist win specify (he rewards and punisbments that cause ),our life 'to be more or less aligned witb your new myth. Identify the positive and neggOve reinforcers, in your enviro'omenl" and also lh symbolic reill'lforce.rs thai operate withLn you, such as:

FranJc's eecliD8 that he had (0 produce prodigiously to earn pleasure. You might sit down and simpl)' make the list. giving it. a, ritualistic: nai], by using pJeasing colors and attractive paper as you creal iL You m:ighll4ke an hong ry journey and CODsWt your Inner ShamD before completing ,he list. Or you might gel together wilh a liriend who can belp give yu penpective as you analyze the forces in your environment that arc influencing your efforts to lmplement your new myth. Give serious eonsideratioD to this lmportant task of Iden'lifyina the factors thai stmn;gthen or obstruci the developm.ent of your Dew myth. In the following personal ritual, you will refer to your Ust of Rcinforocrs as you decide where to focus your conscious. efforts for efFecting changes so that behavior that is IIIl line with yow" ebosu, myt.h is rewanled more and punisbed, less.

Dream Focus: A Nut~tep Dram

R I 'W ur jnurnnl to see if any of your rc:ccnl drcruns has suagctitcd .. n 'XI,.. P ~ r impl'mcnling )lour new myth. If th Y hove nol,. you m y nllempl lu incubate ~u h n d m hy lind r vL win wh I y u

h, "t" .Iun h lit 1")101 In the -hul,le • Th n . It n lut .1 Iilnt·