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Jim Morrison's Mythography Beyond the Death of God Edith Cowan University Research Online Theses: Doctorates and Masters Theses 2009 Vision and desire: Jim Morrison's mythography beyond the death of God Ellen J. Greenham Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Poetry Commons Recommended Citation Greenham, E. J. (2009). Vision and desire: Jim Morrison's mythography beyond the death of God. https://ro.ecu.edu.au/theses/16 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/16 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. “Vision and Desire: Jim Morrison’s Mythography Beyond the Death of God.” Ellen Jessica Greenham Bachelor of Arts in General Studies Graduate Diploma in Humanities with Honours (English) This thesis is submitted in fulfilment of the requirements for the degree of Master of Arts (English). Faculty of Education and the Arts Edith Cowan University 23rd October 2008. USE OF THESIS The Use of Thesis statement is not included in this version of the thesis. iii ABSTRACT The poetry of Jim Morrison, as opposed to his lyric verse, has been the subject of little critical examination. The aim of this paper is to open up an understanding and interpretation of a mythographic landscape developed by Morrison in his response to existence in a demythologised western culture. Through the use of the Greek myth of Oedipus in its entirety, as opposed to the two most universally known events of the adult Oedipus’ life, discussion here will attempt to demonstrate that Morrison developed a cohesive, holistic vision of the human condition of existence in the world, and presented a path of possibility for transcending its conflict. Indeed, it is proposed here that Morrison draws a clear path to and framework for living beyond the death of God. For structure, discussion will be framed around not only the Oedipal myth, but also the “Three Metamorphoses” found in Nietzsche’s Thus Spoke Zarathustra, a transformational trinity which is easily aligned to the story of Oedipus. Critical theory will be drawn from mythology, principally through the work of Joseph Campbell, existentialism, from the work of Soren Kierkegaard and Jean-Paul Sartre, psychoanalysis, drawing mainly from Sigmund Freud, Julia Kristeva and Jacques Lacan and philosophy, based largely though not exclusively, in Friedrich Nietzsche’s The Will to Power. It is recognised that a great volume of biography and related commentary regarding Morrison has focus upon aspects and interpretations of his work that are not here under examination, and cite a significant volume of literature which has influenced him. Due to limitations of space within the parameters of this project, it has been impossible to address all works and persons that can be attributed as having influence, and notable omissions include, but are not limited to, the poetry of Arthur Rimbaud, the works of William Blake not noted in this paper, The Birth of Tragedy by Friedrich Nietzsche, On the Road by Jack Kerouac, and The Doors of Perception by Aldous Huxley, which is noted only briefly. Further to this Morrison drew on a vast knowledge of Greek myth, and most often cited is the myth of Dionysus, though iv it should be kept in mind that many other Greek mythic figure are apparent in his writing. Footnoting has been utilised throughout the paper for a twofold purpose. The first is to provide further relevant background information on a point under discussion in the main body of text. Footnotes are also used as a reference point for the reader for ease of access back to passages or ideas previously noted during discussion, which have reoccurred for further development. While this second use of footnotes is by no means exhaustive, it is used in a manner which attempts to strike a balance between excess and scarcity. v DECLARATION I certify that this thesis does not, to the best of my knowledge and belief: (i) incorporate without acknowledgement any material previously submitted for a degree or diploma in any institution of higher education; (ii) contain any material previously published or written by another person except where due reference is made in the text; or (iii) contain any defamatory material. I also grant permission for the Library at Edith Cowan University to make duplicate copies of my thesis as required. Signature: ……………………………. Date: …………………………………. vi ACKNOWLEDGEMENT I would like to thank my supervisor, Dr Marcella Polain, for the consistent and careful attention she has given this project. I am grateful for the valuable input she has provided as a professional writer and the issues she has raised over the course of this project as a theoretician. I would also like to acknowledge the steady, quiet support of my husband, Trevor, whose belief in me has remained constant through a process which has been challenging not only academically but also personally. vii CONTENTS Use of Thesis Page ii Abstract Page iii Declaration Page v Acknowledgement Page vi Introduction Page 1 Metamorphosis One Page 10 Metamorphosis Two Page 63 Metamorphosis Three Page 123 Conclusion Page 142 References Page 145 Bibliography Page 148 1 INTRODUCTION. Give us a creed To believe A night of Lust Give us trust in The Night ("An American Prayer", Courson, Courson, Lisciandro, & Lisciandro, 1990, p. 6).1 From an eclectic field of inspiration Morrison created a violent yet beautiful mythography which attempts to illuminate a path of transcendence from the world of conflict and opposition. The underpinning frame which can be used to discuss the great diversity found within Morrison’s writing is that of mythic archetype. By using the mythic purpose and ma r r ying this with the basic principles of existential and psychoanalytic thought, what has so often been labelled deep and inaccessible opens up to reveal a largely cohesive and intelligent creed. What the reader then has before them is a rich mythography which, drawing on some of the most ancient archetypes within myth, propels these symbols and meanings forward into the world of the Twentieth Century and beyond. Though credited with being existential in his approach, there appears to be little detail offered by biographers and critics alike in support of this claim beyond generalised statements regarding the imminence of death and the imperative to live in a fully conscious state. When the reader then seeks an explanation and expansion of these, and indeed many other ideas, there is a general silence in reply, as if the existential tag alone is explanation enough. However, the simple act of removing the rock star from the script, as this project intends, will open the gateway through which interpretation and illumination may be found. With both critics and biographers of Morrison: 1 A good deal of material published posthumously from Morrison’s notebooks are poems which did not have working titles. The editors of the two volumes used in this paper, Wilderness: The Lost Writings of Jim Morrison and The American Night: The Writings of Jim Morrison, have arranged indexes in these volumes according to the first line of any given poem. Where material is quoted from work which is not elsewhere published, referenced or known to have a title, the reference in this paper remains silent. For material quoted from either The Lords or The New Creatures, no further titles within the works were published by Morrison in relation to individual poems or sections, except where indicated with Roman numerals for some parts of The New Creatures. 2 their glaring omission typifies the vast body of criticism written about the Doors in the past two decades [and they] fail to analyse Morrison’s contribution as a poet; the larger-than-life details of his meteoric career appear to overwhelm any attempt at reading his language as art. And this is particularly unfortunate in Morrison’s case, as the need to separate commercial myth from poetic legacy is most acute (Magistrale, 1992, p. 133). What Morrison presents is a recognition of the need for something new while simultaneously supporting mythic archetypes and functions that have existed within western, and indeed world culture, for millennia. He presents a steadfast vision of something primeval, fundamental to the core of being human, and wraps it in the language and landscape of modern history and contemporary imagery. “An American Prayer”2 (Courson et al., 1990, pp. 3-18) was Morrison’s direct address to his country, and indeed to the western world, that in the midst of mediocrity and blind obedience to State and Church it was time to wake up, take responsibility for one’s self and remember the path of the past.
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