The happy ending of the fairy tale, the myth, and the divine comedy of the soul, is to be read, not as a contradiction, but as a transcendence of the universal tragedy of man. The objective world remains what it was, but, because of a shift of emphasis within the subject, is beheld as though transformed. Where formerly life and death contended, now enduring being is made manifest-as indifferent to the accidents of time as water boiling in a pot is to the destiny of a bubble, or as the cosmos to the appearance and disappearance of a galaxy of stars.
The wonder is that the characteristic efficacy to touch and inspire deep creative centers dwells in the smallest nursery fairy tale-as the flavor of the ocean is contained in a droplet or the whole mystery of life within the egg of a flea. For the symbols of mythology are not manufactured; they cannot be ordered, invented, or permanently suppressed. They are spontaneous productions of the psyche, and each bears within it, undamaged, the germ power of its source.
[Comedies], in the ancient world, were regarded as of a higher rank than tragedy, of a deeper truth, of a more difficult realization, of a sounder structure, and of a revelation more complete. The happy ending of the fairy tale, the myth, and the divine comedy of the soul, is to be read, not as a contradiction, but as a transcendence of the universal tragedy of man. ...Tragedy is the shattering of the forms and of our attachment to the forms...
Typically, the hero of the fairy tale achieves a domestic, microcosmic triumph, and the hero of myth a world-historica l, macrocosmic triumph. Whereas the former-the youngest or despised child who becomes the master of extraordinary powers-prevails over his personal oppressors, the latter brings back from his adventure the means for the regeneration of his society as a whole.
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