Hermeneutical Principles for Allegorical Interpretation of Mythic Texts (Volume 1)

Hermeneutical Principles for Allegorical Interpretation of Mythic Texts Volume 1

Chapter 1: Introduction to Hermeneutics and General Hermeneutical Principles

her·me·neu·tics ˌhərməˈn(y)o͞odiks/ noun the branch of knowledge that deals with interpretation, especially of literary texts.

In a world of flashy skills such as magic, politics, swordsmanship, and priestly service, the discipline of literary criticism has been severely neglected. However, for those with a sharp analytical mind and the patience to read, the discipline of hermeneutics is a delightfully fruitful exercise. Indeed, exercise is the correct word, because when done properly, reading is as rigorous as any sword dual or spell testing. It tests the mind's ability to take language apart and put it back together again.

An analytical mind is not enough, however. The most important skill someone of this discipline can have is the ability to let go of preconceived notions. This is an especially difficult task if the text one is interpreting is a text that has been held dear to the reader for a long time. Nonetheless, those who are willing to approach the subject of interpretation with an open mind will be rewarded for their efforts.

Exegesis

Now, onto the method of interpretation. The first step is exegesis, the process of determining what the original meaning of the text was.

It is of first importance to perform exegesis on a text before you read it in order to discover the author behind the writing. What was his intent? What is he trying to communicate? This step is crucial. A text first and foremost means what the author meant it to mean. Through this process you can discard several interpretations through process of elimination.

Genre Analysis

Determining the genre of a text is also of great importance. Different genres of literature will read differently. Scholarly writings usually are straight to the point. Virtually everything can be taken literally in a scholarly text. However, one cannot take the literal approach so easily with myths, which are the subject of this book. The language in myths is frequently symbolic of some greater principle or being.

For instance, the phrase "The Waters of Apocrypha" found in the fragments of the Second Era transcription of a Black Book took on a new meaning when scholars discovered that water contains the memories of mortals. Previously it had been glossed over, but now we know water is a symbolic representation of memory in many texts.

Mythic texts can usually be divided into three genres: Creation, Metaphysics, and Eschatology.

Creation myths deal with the origin of the universe, particularly of Tamriel. The Anuad is a well known example.

Metaphysics describe the inner workings of the world. The Thirty Six Lessons of Vivec are the most famous example of a metaphysical myth.

Eschatological myths deal with the end of the world. The vast majority of eschatological myths are from ancient Redguard sources, though the Love Letter from the 5th Era counts as one.

Recent schools of thought have proposed a fourth genre of myth called "Eschatological Creation". The reasoning behind this proposal is that modern discoveries suggest that the end of one world necessitates the beginning of a new one. Some readings of ancient Yokudan myths support this claim, as the Raga who left dying Yokuda came to Tamriel in the first era. Furthermore, the Tsaesci Creation Myth has also been interpreted by some as the end of our world and the beginning of theirs.

As these theories are still in development, guidelines for interpretation of "Eschatological Creation" myths will not be provided here.

Allegorical Interpretation of Creation Myths

As practice, we will begin with the interpretation of a commonly known creation myth called "Shezarr's Song".

>This was a new thing that Shezarr described to the Gods: becoming mothers and fathers, being responsible, and making great sacrifices with no guarantee of success, but Shezarr spoke beautifully to them and moved them beyond mystery and tears.

>Thus, the Aedra gave free birth to the world, the beasts, and the beings, making these things from parts of themselves. This free birth was very painful, and afterwards the Aedra were no longer young and strong and powerful, as they had been from the beginning of days. Some Aedra were disappointed and bitter in their loss and angry with Shezarr, and with all creation, for they felt Shezarr had lied and tricked them. These Aedra, the Gods of the Aldmer, led by Auri-El, were disgusted by their enfeebled selves and by what they had created. "Everything is spoiled, for now, and for all time, and the most we can do is teach the Elven Races to suffer nobly with dignity, and chastise ourselves for our folly, and avenge ourselves upon Shezarr and his allies." Thus are the Gods of the Elves dark and brooding, and thus are the Elves ever dissatisfied with mortality, always proud and stoic despite the harshness of this cruel and indifferent world.

>Other Aedra looked upon creation and were well pleased. These Aedra, the Gods of Men and Beast Folk, led by Akatosh, praised and cherished their wards, the Mortal Races. "We have suffered and are diminished for all time, but the mortal world we have made is glorious, filling our hearts and spirits with hope. Let us teach the Mortal Races to live well, to cherish beauty and honor, and to love one another as we love them." Thus are the Gods of Men tender and patient, and thus are Men and Beast Folk great in heart for joy or suffering and ambitious for greater wisdom and a better world.

>Now when the Daedra Lords heard Shezarr, they mocked him, and the other Aedra. "Cut parts of ourselves off? And lose them? Forever? That's stupid! You'll be sorry! We are far smarter than you, for we will create a new world out of ourselves, but we will not cut it off, or let it mock us, but we will make this world within ourselves, forever ours, and under our complete control." So the Daedra Lords created the Daedric Realms, and all the ranks of Lesser Daedra, great and small. And, for the most part, the Daedra Lords were well pleased with this arrangement, for they always had and servants and playthings close to hand. But, at the same time, they sometimes looked with envy upon the Mortal Realms, for though mortals were foul and feeble and contemptible, their passions and ambitions were also far more surprising and entertaining than the antics of the Lesser Daedra. Thus do the Daedra Lords court and seduce certain amusing specimens of the Mortal Races, especially the passionate and powerful. It gives the Daedra Lords special pleasure to steal away from Shezarr and the Aedra the greatest and most ambitious mortals. "Not only are you fools to mutilate yourselves," gloat the Daedra Lords, "But you cannot even keep the best pieces, which prefer the glory and power of the Daedra Lords to the feeble vulgarity of the mush-minded Aedra."

Exegesis of Shezarr's Song

A simple reading of Shezarr's Song reveals a few things about the author. The myth is divided into three distinct units: One focused on Shezarr, one focused on the contrast between gods of Men and Elven gods, and one focused on the Daedra.

Although we do not know his or her name, the author was likely Nibenese. Shezarr does not coerce the et'Ada. Rather, he persuades them with beautiful oratory, a traditional value of the Nibenese.

It is likely that this story was an oral tradition of the ancient Nibenese, probably popularized while they were slaves of the Ayleids. We can reason this because of the low view of Elves and the emphasis on Daedra, attitudes that certainly would have resulted from years of captivity under Elven overlords who used Daedric armies to enforce their rule.

However, it was likely written down sometime after Alessia freed the Nibenese from Ayleid bondage. The mention of Akatosh probably was not in the original oral tradition. It was added after Alessia took the throne and established the pantheon of the Eight Divines.

Why did the myth get written down at this particular time period, a time when Shezarr was becoming less popular? The answer to this question makes the author's motive clear.

The author wrote Shezarr's Song down in order to explain how the world came into being under Alessia's new pantheon. Shezarr's Song further familiarized the newly formed Eight Divines to a skeptical public that was used to worshiping the Elven or Nordic gods. By giving an explanation for the beginning of the world like all the other pantheons, the Eight Divines gained legitimacy in their own right. It didn't hurt that the myth played to commonly held prejudices at the time, either.

Allegorical Interpretation of Shezarr's Song

Now that we know the author's motive, we can sort the general theme of the text: The fruit of sacrifice. The gods of Men and Beastfolk looked on the fruit of their sacrifice with pride. The Elven gods despaired at their sacrifice and longed for the past. The Daedra saw sacrifice as unworthy.

Just as the gods of men sacrificed in order to make something worthwhile, those under Alessia ought to sacrifice in order to make something worthwhile. Otherwise you are like the Elves or the Daedra- enemies of mankind.

This exercise is just one of many, but by now you should understand the basic principles. Determine the author's meaning. Examine the historical context. Examine the literary context. Extract the themes.

We will discuss metaphysical texts in the next chapter.