MYTH IS A TYPE OF SPEECH
Of course, it is not any type: language needs special conditions in order to become myth: we shall see them in a minute. But what must be firmly established at the start is that myth is a system of communication, that it is a message. This allows one to perceive that myth cannot possibly be an object, a concept, or an idea; it is a mode of signification, a form. Later, we shall have to assign to this form historical limits, conditions of use, and reintroduce society into it: we must nevertheless first describe it as a form.
It can be seen that to purport to discriminate among mythical objects according to their substance would be entirely illusory: since myth is a type of speech, everything can be a myth provided it is conveyed by a discourse. Myth is not defined by the object of its message, but by the way in which it utters this message: there are formal limits to myth, there are no ‘substantial’ ones. Everything, then, can be a myth? Yes, I believe this, for the universe is infinitely fertile in suggestions. Every object in the world can pass from a closed, silent existence to an oral state, open to appropriation by society, for there is no law, whether natural or not, which forbids talking about things. A tree is a tree. Yes, of course. But a tree as expressed by Minou Drouet is no longer quite a tree, it is a tree which is decorated, adapted to a certain type of consumption, laden with literary self-indulgence, revolt, images, in short with a type of social usage which is added to pure matter.
Naturally, everything is not expressed at the same time: some objects become the prey of mythical speech for a while, then they disappear, others take their place and attain the status of myth. Are there objects which are inevitably a source of suggestiveness, as Baudelaire suggested about Woman? Certainly not: one can conceive of very ancient myths, but there are no eternal ones; for it is human history which converts reality into speech, and it alone rules the life and the death of mythical language. Ancient or not, mythology can only have an historical foundation, for myth is a type of speech chosen by history: it cannot possibly evolve from the ‘nature’ of things.
Speech of this kind is a message. It is therefore by no means confined to oral speech. It can consist of modes of writing or of representations; not only written discourse, but also photography, cinema, reporting, sport, shows, publicity, all these can serve as a support to mythical speech. Myth can be defined neither by its object nor by its material, for any material can arbitrarily be endowed with meaning: the arrow which is brought in order to signify a challenge is also a kind of speech. True, as far as perception is concerned, writing and pictures, for instance, do not call upon the same type of consciousness; and even with pictures, one can use many kinds of reading: a diagram lends itself to signification more than a drawing, a copy more than an original, and a caricature more than a portrait. But this is the point: we are no longer dealing here with a theoretical mode of representation: we are dealing with this particular image, which is given for this particular signification. Mythical speech is made of a material which has already been worked on so as to make it suitable for communication: it is because all the materials of myth (whether pictorial or written) presuppose a signifying consciousness, that one can reason about them while discounting their substance. This substance is not unimportant: pictures, to be sure, are more imperative than writing, they impose meaning at one stroke, without analysing or diluting it. But this is no longer a constitutive difference. Pictures become a kind of writing as soon as they are meaningful: like writing, they call for a lexis.
We shall therefore take language, discourse, speech, etc., to mean any significant unit or synthesis, whether verbal or visual: a photograph will be a kind of speech for us in the same way as a newspaper article; even objects will become speech, if they mean something. This generic way of conceiving language is in fact justified by the very history of writing: long before the invention of our alphabet, objects like the Inca quipu, or drawings, as in pictographs, have been accepted as speech. This does not mean that one must treat mythical speech like language; myth in fact belongs to the province of a general science, coextensive with linguistics, which is semiology.
MYTH AS A SEMIOLOGICAL SYSTEM
For mythology, since it is the study of a type of speech, is but one fragment of this vast science of signs which Saussure postulated some forty years ago under the name of semiology. Semiology has not yet come into being. But since Saussure himself, and sometimes independently of him, a whole section of contemporary research has constantly been referred to the problem of meaning: psycho-analysis, structuralism, eidetic psychology, some new types of literary criticism of which Bachelard has given the first examples, are no longer concerned with facts except inasmuch as they are endowed with significance. Now to postulate a signification is to have recourse to semiology. I do not mean that semiology could account for all these aspects of research equally well: they have different contents. But they have a common status: they are all sciences dealing with values. They are not content with meeting the facts: they define and explore them as tokens for something else.
Semiology is a science of forms, since it studies significations apart from their content. I should like to say one word about the necessity and the limits of such a formal science. The necessity is that which applies in the case of any exact language. Zhdanov made fun of Alexandrov the philosopher, who spoke of ‘the spherical structure of our planet.’ ‘It was thought until now’, Zhdanov said, ‘that form alone could be spherical.’ Zhdanov was right: one cannot speak about structures in terms of forms, and vice versa. It may well be that on the plane of ‘life’, there is but a totality where structures and forms cannot be separated. But science has no use for the ineffable: it must speak about ‘life’ if it wants to transform it. Against a certain quixotism of synthesis, quite platonic incidentally, all criticism must consent to the ascesis, to the artifice of analysis; and in analysis, it must match method and language. Less terrorized by the spectre of ‘formalism’, historical criticism might have been less sterile; it would have understood that the specific study of forms does not in any way contradict the necessary principles of totality and History. On the contrary: the more a system is specifically defined in its forms, the more amenable it is to historical criticism. To parody a well-known saying, I shall say that a little formalism turns one away from History, but that a lot brings one back to it. Is there a better example of total criticism than the description of saintliness, at once formal and historical, semiological and ideological, in Sartre’s Saint-Genet? The danger, on the contrary, is to consider forms as ambiguous objects, half-form and halfsubstance, to endow form with a substance of form, as was done, for instance, by Zhdanovian realism. Semiology, once its limits are settled, is not a metaphysical trap: it is a science among others, necessary but not sufficient. The important thing is to see that the unity of an explanation cannot be based on the amputation of one or other of its approaches, but, as Engels said, on the dialectical co-ordination of the particular sciences it makes use of. This is the case with mythology: it is a part both of semiology inasmuch as it is a formal science, and of ideology inasmuch as it is an historical science: it studies ideas-in-form.
Let me therefore restate that any semiology postulates a relation between two terms, a signifier and a signified. This relation concerns objects which belong to different categories, and this is why it is not one of equality but one of equivalence. We must here be on our guard for despite common parlance which simply says that the signifier expresses the signified, we are dealing, in any semiological system, not with two, but with three different terms. For what we grasp is not at all one term after the other, but the correlation which unites them: there are, therefore, the signifier, the signified and the sign, which is the associative total of the first two terms. Take a bunch of roses: I use it to signify my passion. Do we have here, then, only a signifier and a signified, the roses and my passion? Not even that: to put it accurately, there are here only ‘passionified’ roses. But on the plane of analysis, we do have three terms; for these roses weighted with passion perfectly and correctly allow themselves to be decomposed into roses and passion: the former and the latter existed before uniting and forming this third object, which is the sign. It is as true to say that on the plane of experience I cannot dissociate the roses from the message they carry, as to say that on the plane of analysis I cannot confuse the roses as signifier and the roses as sign: the signifier is empty, the sign is full, it is a meaning. Or take a black pebble: I can make it signify in several ways, it is a mere signifier; but if I weigh it with a definite signified (a death sentence, for instance, in an anonymous vote), it will become a sign. Naturally, there are between the signifier, the signified and the sign, functional implications (such as that of the part to the whole) which are so close that to analyse them may seem futile; but we shall see in a moment that this distinction has a capital importance for the study of myth as semiological schema.
Naturally these three terms are purely formal, and different contents can be given to them. Here are a few examples: for Saussure, who worked on a particular but methodologically exemplary semiological system - the language or langue - the signified is the concept, the signifier is the acoustic image (which is mental) and the relation between concept and image is the sign (the word, for instance), which is a concrete entity. For Freud, as is well known, the human psyche is a stratification of tokens or representatives. One term (I refrain from giving it any precedence) is constituted by the manifest meaning of behaviour, another, by its latent or real meaning (it is, for instance, the substratum of the dream); as for the third term, it is here also a correlation of the first two: it is the dream itself in its totality, the parapraxis (a mistake in speech or behaviour) or the neurosis, conceived as compromises, as economies effected thanks to the joining of a form (the first term) and an intentional function (the second term). We can see here how necessary it is to distinguish the sign from the signifier: a dream, to Freud, is no more its manifest datum than its latent content: it is the functional union of these two terms. In Sartrean criticism, finally (I shall keep to these three well-known examples), the signified is constituted by the original crisis in the subject (the separation from his mother for Baudelaire, the naming of the theft for Genet); Literature as discourse forms the signifier; and the relation between crisis and discourse defines the work, which is a signification. Of course, this tri-dimensional pattern, however constant in its form, is actualized in different ways: one cannot therefore say too often that semiology can have its unity only at the level of forms, not contents; its field is limited, it knows only one operation: reading, or deciphering.
In myth, we find again the tri-dimcnsional pattern which I have just described: the signifier, the signified and the sign. But myth is a peculiar system, in that it is constructed from a semiological chain which existed before it: it is a second-order semiological system. That which is a sign (namely the associative total of a concept and an image) in the first system, becomes a mere signifier in the second. We must here recall that the materials of mythical speech (the language itself, photography, painting, posters, rituals, objects, etc.), however different at the start, are reduced to a pure signifying function as soon as they are caught by myth. Myth sees in them only the same raw material; their unity is that they all come down to the status of a mere language. Whether it deals with alphabetical or pictorial writing, myth wants to see in them only a sum of signs, a global sign, the final term of a first semiological chain. And it is precisely this final term which will become the first term of the greater system which it builds and of which it is only a part. Everything happens as if myth shifted the formal system of the first significations sideways. As this lateral shift is essential for the analysis of myth, I shall represent it in the following way, it being understood, of course, that the spatialization of the pattern is here only a metaphor:
It can be seen that in myth there are two semiological systems, one of which is staggered in relation to the other: a linguistic system, the language (or the modes of representation which are assimilated to it), which I shall call the language-object, because it is the language which myth gets hold of in order to build its own system; and myth itself, which I shall call metalanguage, because it is a second language, in which one speaks about the first. When he reflects on a metalanguage, the semiologist no longer needs to ask himself questions about the composition of the languageobject, he no longer has to take into account the details of the linguistic schema; he will only need to know its total term, or global sign, and only inasmuch as this term lends itself to myth. This is why the semiologist is entitled to treat in the same way writing and pictures: what he retains from them is the fact that they are both signs, that they both reach the threshold of myth endowed with the same signifying function, that they constitute, one just as much as the other, a language-object.
It is now time to give one or two examples of mythical speech. I shall borrow the first from an observation by Valery. I am a pupil in the second form in a French lycée. I open my Latin grammar, and I read a sentence, borrowed from Aesop or Phaedrus: quia ego nominor leo. I stop and think. There is something ambiguous about this statement: on the one hand, the words in it do have a simple meaning: because my name is lion. And on the other hand, the sentence is evidently there in order to signify something else to me. Inasmuch as it is addressed to me, a pupil in the second form, it tells me clearly: I am a grammatical example meant to illustrate the rule about the agreement of the predicate. I am even forced to realize that the sentence in no way signifies its meaning to me, that it tries very little to tell me something about the lion and what sort of name he has; its true and fundamental signification is to impose itself on me as the presence of a certain agreement of the predicate. I conclude that I am faced with a particular, greater, semiological system, since it is co-extensive with the language: there is, indeed, a signifier, but this signifier is itself formed by a sum of signs, it is in itself a first semiological system (my name is lion). Thereafter, the formal pattern is correctly unfolded: there is a signified (I am a grammatical example) and there is a global signification, which is none other than the correlation of the signifier and the signified; for neither the naming of the lion nor the grammatical example are given separately.
And here is now another example: I am at the barber’s, and a copy of Paris-Match is offered to me. On the cover, a young Negro in a French uniform is saluting, with his eyes uplifted, probably fixed on a fold of the tricolour. All this is the meaning of the picture. But, whether naively or not, I see very well what it signifies to me: that France is a great Empire, that all her sons, without any colour discrimination, faithfully serve under her flag, and that there is no better answer to the detractors of an alleged colonialism than the zeal shown by this Negro in serving his so-called oppressors. I am therefore again faced with a greater semiological system: there is a signifier, itself already formed with a previous system (a black soldier is giving the French salute); there is a signified (it is here a purposeful mixture of Frenchness and militariness); finally, there is a presence of the signified through the signifier.
Before tackling the analysis of each term of the mythical system, one must agree on terminology. We now know that the signifier can be looked at, in myth, from two points of view: as the final term of the linguistic system, or as the first term of the mythical system. We therefore need two names. On the plane of language, that is, as the final term of the first system, I shall call the signifier: meaning (my name is lion, a Negro is giving the French salute); on the plane of myth, I shall call it: form. In the case of the signified, no ambiguity is possible: we shall retain the name concept. The third term is the correlation of the first two: in the linguistic system, it is the sign; but it is not possible to use this word again without ambiguity, since in myth (and this is the chief peculiarity of the latter), the signifier is already formed by the signs of the language. I shall call the third term of myth the signification. This word is here all the better justified since myth has in fact a double function: it points out and it notifies, it makes us understand something and it imposes it on us.
THE FORM AND THE CONCEPT
The signifier of myth presents itself in an ambiguous way: it is at the same time meaning and form, full on one side and empty on the other. As meaning, the signifier already postulates a reading, I grasp it through my eyes, it has a sensory reality (unlike the linguistic signifier, which is purely mental), there is a richness in it: the naming of the lion, the Negro’s salute are credible wholes, they have at their disposal a sufficient rationality. As a total of linguistic signs, the meaning of the myth has its own value, it belongs to a history, that of the lion or that of the Negro: in the meaning, a signification is already built, and could very well be self-sufficient if myth did not take hold of it and did not turn it suddenly into an empty, parasitical form. The meaning is already complete, it postulates a kind of knowledge, a past, a memory, a comparative order of facts, ideas, decisions.
When it becomes form, the meaning leaves its contingency behind; it empties itself, it becomes impoverished, history evaporates, only the letter remains. There is here a paradoxical permutation in the reading operations, an abnormal regression from meaning to form, from the linguistic sign to the mythical signifier. If one encloses quia ego nominor leo in a purely linguistic system, the clause finds again there a fullness, a richness, a history: I am an animal, a lion, I live in a certain country, I have just been hunting, they would have me share my prey with a heifer, a cow and a goat; but being the stronger, I award myself all the shares for various reasons, the last of which is quite simply that my name is lion. But as the form of the myth, the clause hardly retains anything of this long story. The meaning contained a whole system of values: a history, a geography, a morality, a zoology, a Literature. The form has put all this richness at a distance: its newly acquired penury calls for a signification to fill it. The story of the lion must recede a great deal in order to make room for the grammatical example, one must put the biography of the Negro in parentheses if one wants to free the picture, and prepare it to receive its signified.
But the essential point in all this is that the form does not suppress the meaning, it only impoverishes it, it puts it at a distance, it holds it at one’s disposal. One believes that the meaning is going to die, but it is a death with reprieve; the meaning loses its value, but keeps its life, from which the form of the myth will draw its nourishment. The meaning will be for the form like an instantaneous reserve of history, a tamed richness, which it is possible to call and dismiss in a sort of rapid alternation: the form must constantly be able to be rooted again in the meaning and to get there what nature it needs for its nutriment; above all, it must be able to hide there. It is this constant game of hide-and-seek between the meaning and the form which defines myth. The form of myth is not a symbol: the Negro who salutes is not the symbol of the French Empire: he has too much presence, he appears as a rich, fully experienced, spontaneous, innocent, indisputable image. But at the same time this presence is tamed, put at a distance, made almost transparent; it recedes a little, it becomes the accomplice of a concept which comes to it fully armed, French imperiality: once made use of, it becomes artificial.
Let us now look at the signified: this history which drains out of the form will be wholly absorbed by the concept. As for the latter, it is determined, it is at once historical and intentional; it is the motivation which causes the myth to be uttered. Grammatical exemplarity, French imperiality, are the very drives behind the myth. The concept reconstitutes a chain of causes and effects, motives and intentions. Unlike the form, the concept is in no way abstract: it is filled with a situation. Through the concept, it is a whole new history which is implanted in the myth. Into the naming of the lion, first drained of its contingency, the grammatical example will attract my whole existence: Time, which caused me to be born at a certain period when Latin grammar is taught; History, which sets me apart; through a whole mechanism of social segregation, from the children who do not learn Latin; paedagogic tradition, which caused this example to be chosen from Aesop or Phaedrus; my own linguistic habits, which see the agreement of the predicate as a fact worthy of notice and illustration. The same goes for the Negro-giving-the-salute: as form, its meaning is shallow, isolated, impoverished; as the concept of French imperiality, here it is again tied to the totality of the world: to the general History of France, to its colonial adventures, to its present difficulties. Truth to tell, what is invested in the concept is less reality than a certain knowledge of reality; in passing from the meaning to the form, the image loses some knowledge: the better to receive the knowledge in the concept. In actual fact, the knowledge contained in a mythical concept is confused, made of yielding, shapeless associations. One must firmly stress this open character of the concept; it is not at all an abstract, purified essence; it is a formless, unstable, nebulous condensation, whose unity and coherence are above all due to its function.
In this sense, we can say that the fundamental character of the mythical concept is to be appropriated: grammatical exemplarity very precisely concerns a given form of pupils, French imperiality must appeal to such and such group of readers and not another. The concept closely corresponds to a function, it is defined as a tendency. This cannot fail to recall the signified in another semiological system, Freudianism. In Freud, the second term of the system is the latent meaning (the content) of the dream, of the parapraxis, of the neurosis. Now Freud does remark that the second-order meaning of behaviour is its real meaning, that which is appropriate to a complete situation, including its deeper level; it is, just like the mythical concept, the very intention of behaviour.
A signified can have several signifiers: this is indeed the case in linguistics and psycho-analysis. It is also the case in the mythical concept: it has at its disposal an unlimited mass of signifiers: I can find a thousand Latin sentences to actualize for me the agreement of the predicate, I can find a thousand images which signify to me French imperiality. This means that quantitively, the concept is much poorer than the signifier, it often does nothing but re-present itself. Poverty and richness are in reverse proportion in the form and the concept: to the qualitative poverty of the form, which is the repository of a rarefied meaning, there corresponds the richness of the concept which is open to the whole of History; and to the quantitative abundance of the forms there corresponds a small number of concepts. This repetition of the concept through different forms is precious to the mythologist, it allows him to decipher the myth: it is the insistence of a kind of behaviour which reveals its intention. This confirms that there is no regular ratio between the volume of the signified and that of the signifier. In language, this ratio is proportionate, it hardly exceeds the word, or at least the concrete unit. In myth, on the contrary, the concept can spread over a very large expanse of signifier. For instance, a whole book may be the signifier of a single concept; and conversely, a minute form (a word, a gesture, even incidental, so long as it is noticed) can serve as signifier to a concept filled with a very rich history. Although unusual in language, this disproportion between signifier and signified is not specific to myth: in Freud, for instance, the parapraxis is a signifier whose thinness is out of proportion to the real meaning which it betrays.
As I said, there is no fixity in mythical concepts: they can come into being, alter, disintegrate, disappear completely. And it is precisely because they are historical that history can very easily suppress them. This instability forces the mythologist to use a terminology adapted to it, and about which I should now like to say a word, because it often is a cause for irony: I mean neologism. The concept is a constituting element of myth: if I want to decipher myths, I must somehow be able to name concepts. The dictionary supplies me with a few: Goodness, Kindness, Wholeness, Humaneness, etc. But by definition, since it is the dictionary which gives them to me, these particular concepts are not historical. Now what I need most often is ephemeral concepts, in connection with limited contingencies: neologism is then inevitable. China is one thing, the idea which a French petit-bourgeois could have of it not so long ago is another: for this peculiar mixture of bells, rickshaws and opium-dens, no other word possible but Sininess. Unlovely? One should at least get some consolation from the fact that conceptual neologisms are never arbitrary: they are built according to a highly sensible proportional rule.
In semiology, the third term is nothing but the association of the first two, as we saw. It is the only one which is allowed to be seen in a full and satisfactory way, the only one which is consumed in actual fact. I have called it: the signification. We can see that the signification is the myth itself, just as the Saussurean sign is the word (or more accurately the concrete unit). But before listing the characters of the signification, one must reflect a little on the way in which it is prepared, that is, on the modes of correlation of the mythical concept and the mythical form.
First we must note that in myth, the first two terms are perfectly manifest (unlike what happens in other semiological systems): one of them is not ‘hidden’ behind the other, they are both given here (and not one here and the other there). However paradoxical it may seem, myth hides nothing: its function is to distort, not to make disappear. There is no latency of the concept in relation to the form: there is no need of an unconscious in order to explain myth. Of course, one is dealing with two different types of manifestation: form has a literal, immediate presence; moreover, it is extended. This stems - this cannot be repeated too often - from the nature of the mythical signifier, which is already linguistic: since it is constituted by a meaning which is already outlined, it can appear only through a given substance (whereas in language, the signifier remains mental). In the case of oral myth, this extension is linear (for my name is lion); in that of visual myth, it is multi- dimensional (in the centre, the Negro’s uniform, at the top, the blackness of his face, on the left, the military salute, etc.). The elements of the form therefore are related as to place and proximity: the mode of presence of the form is spatial. The concept, on the contrary, appears in global fashion, it is a kind of nebula, the condensation, more or less hazy, of a certain knowledge. Its elements are linked by associative relations: it is supported not by an extension but by a depth (although this metaphor is perhaps still too spatial): its mode of presence is memorial.
The relation which unites the concept of the myth to its meaning is essentially a relation of deformation. We find here again a certain formal analogy with a complex semiological system such as that of the various types of psycho-analysis. Just as for Freud the manifest meaning of behaviour is distorted by its latent meaning, in myth the meaning is distorted by the concept. Of course, this distortion is possible only because the form of the myth is already constituted by a linguistic meaning. In a simple system like the language, the signified cannot distort anything at all because the signifier, being empty, arbitrary, offers no resistance to it. But here, everything is different: the signifier has, so to speak, two aspects: one full, which is the meaning (the history of the lion, of the Negro soldier), one empty, which is the form (for my name is lion; Negro-French- soldier-saluting-the-tricolour). What the concept distorts is of course what is full, the meaning: the lion and the Negro are deprived of their history, changed into gestures. What Latin exemplarity distorts is the naming of the lion, in all its contingency; and what French imperiality obscures is also a primary language, a factual discourse which was telling me about the salute of a Negro in uniform. But this distortion is not an obliteration: the lion and the Negro remain here, the concept needs them; they are half-amputated, they are deprived of memory, not of existence: they are at once stubborn, silently rooted there, and garrulous, a speech wholly at the service of the concept. The concept, literally, deforms, but does not abolish the meaning; a word can perfectly render this contradiction: it alienates it.
What must always be remembered is that myth is a double system; there occurs in it a sort of ubiquity: its point of departure is constituted by the arrival of a meaning. To keep a spatial metaphor, the approximative character of which I have already stressed, I shall say that the signification of the myth is constituted by a sort of constantly moving turnstile which presents alternately the meaning of the signifier and its form, a language-object and a metalanguage, a purely signifying and a purely imagining consciousness. This alternation is, so to speak, gathered up in the concept, which uses it like an ambiguous signifier, at once intellective and imaginary, arbitrary and natural.
I do not wish to prejudge the moral implications of such a mechanism, but I shall not exceed the limits of an objective analysis if I point out that the ubiquity of the signifier in myth exactly reproduces the physique of the alibi (which is, as one realizes, a spatial term): in the alibi too, there is a place which is full and one which is empty, linked by a relation of negative identity (‘I am not where you think I am; I am where you think I am not’). But the ordinary alibi (for the police, for instance) has an end; reality stops the turnstile revolving at a certain point. Myth is a value, truth is no guarantee for it; nothing prevents it from being a perpetual alibi: it is enough that its signifier has two sides for it always to have an ‘elsewhere’ at its disposal. The meaning is always there to present the form; the form is always there to outdistance the meaning. And there never is any contradiction, conflict, or split between the meaning and the form: they are never atthesameplace.Inthesameway,ifIaminacarandIlookatthe scenery through the window, I can at will focus on the scenery or on the window-pane. At one moment I grasp the presence of the glass and the distance of the landscape; at another, on the contrary, the transparence of the glass and the depth of the landscape; but the result of this alternation is constant: the glass is at once present and empty to me, and the landscape unreal and full. The same thing occurs in the mythical signifier: its form is empty but present, its meaning absent but full. To wonder at this contradiction I must voluntarily interrupt this turnstile of form and meaning, I must focus on each separately, and apply to myth a static method of deciphering, in short, I must go against its own dynamics: to sum up, I must pass from the state of reader to that of mythologist.
And it is again this duplicity of the signifier which determines the characters of the signification. We now know that myth is a type of speech defined by its intention (I am a grammatical example) much more than by its literal sense (my name is lion); and that in spite of this, its intention is somehow frozen, purified, eternalized, made absent by this literal sense (The French Empire? It’s just a fact: look at this good Negro who salutes like one of our own boys). This constituent ambiguity of mythical speech has two consequences for the signification, which henceforth appears both like a notification and like a statement of fact.
Myth has an imperative, buttonholing character: stemming from an historical concept, directly springing from contingency (a Latin class, a threatened Empire), it is I whom it has come to seek. It is turned towards me, I am subjected to its intentional force, it summons me to receive its expansive ambiguity. If, for instance, I take a walk in Spain, in the Basque country, I may well notice in the houses an architectural unity, a common style, which leads me to acknowledge the Basque house as a definite ethnic product. However, I do not feel personally concerned, nor, so to speak, attacked by this unitary style: I see only too well that it was here before me, without me. It is a complex product which has its determinations at the level of a very wide history: it does not call out to me, it does not provoke me into naming it, except if I think of inserting it into a vast picture of rural habitat. But if I am in the Paris region and I catch a glimpse, at the end of the rue Gambetta or the rue Jean-Jaures, of a natty white chalet with red tiles, dark brown half-timbering, an asymmetrical roof and a wattle-and-daub front, I feel as if I were personally receiving an imperious injunction to name this object a Basque chalet: or even better, to see it as the very essence of basquity. This is because the concept appears to me in all its appropriative nature: it comes and seeks me out in order to oblige me to acknowledge the body of intentions which have motivated it and arranged it there as the signal of an individual history, as a confidence and a complicity: it is a real call, which the owners of the chalet send out to me. And this call, in order to be more imperious, has agreed to all manner of impoverishments: all that justified the Basque house on the plane of technology - the barn, the outside stairs, the dove-cote, etc. - has been dropped; there remains only a brief order, not to be disputed. And the adhomination is so frank that I feel this chalet has just been created on the spot, for me, like a magical object springing up in my present life without any trace of the history which has caused it.
For this interpellant speech is at the same time a frozen speech: at the moment of reaching me, it suspends itself, turns away and assumes the look of a generality: it stiffens, it makes itself look neutral and innocent. The appropriation of the concept is suddenly driven away once more by the literalness of the meaning. This is a kind of arrest, in both the physical and the legal sense of the term: French imperiality condemns the saluting Negro to be nothing more than an instrumental signifier, the Negro suddenly hails me in the name of French imperiality; but at the same moment the Negro’s salute thickens, becomes vitrified, freezes into an eternal reference meant to establish French imperiality. On the surface of language something has stopped moving: the use of the signification is here, hiding behind the fact, and conferring on it a notifying look; but at the same time, the fact paralyses the intention, gives it something like a malaise producing immobility: in order to make it innocent, it freezes it. This is because myth is speech stolen and restored. Only, speech which is restored is no longer quite that which was stolen: when it was brought back, it was not put exactly in its place. It is this brief act of larceny, this moment taken for a surreptitious faking, which gives mythical speech its benumbed look.
One last element of the signification remains to be examined: its motivation. We know that in a language, the sign is arbitrary: nothing compels the acoustic image tree ‘naturally’ to mean the concept tree: the sign, here, is unmotivated. Yet this arbitrariness has limits, which come from the associative relations of the word: the language can produce a whole fragment of the sign by analogy with other signs (for instance one says aimable in French, and not amable, by analogy with aime). The mythical signification, on the other hand, is never arbitrary; it is always in part motivated, and unavoidably contains some analogy. For Latin exemplarity to meet the naming of the lion, there must be an analogy, which is the agreement of the predicate; for French imperiality to get hold of the saluting Negro, there must be identity between the Negro’s salute and that of the French soldier. Motivation is necessary to the very duplicity of myth: myth plays on the analogy between meaning and form, there is no myth without motivated form. In order to grasp the power of motivation in myth, it is enough to reflect for a moment on an extreme case. I have here before me a collection of objects so lacking in order that I can find no meaning in it; it would seem that here, deprived of any previous meaning, the form could not root its analogy in anything, and that myth is impossible. But what the form can always give one to read is disorder itself: it can give a signification to the absurd, make the absurd itself a myth. This is what happens when commonsense mythifies surrealism, for instance. Even the absence of motivation does not embarrass myth; for this absence will itself be sufficiently objectified to become legible: and finally, the absence of motivation will become a second-order motivation, and myth will be re-established.
Motivation is unavoidable. It is none the less very fragmentary. To start with, it is not ‘natural’: it is history which supplies its analogies to the form. Then, the analogy between the meaning and the concept is never anything but partial: the form drops many analogous features and keeps only a few: it keeps the sloping roof, the visible beams in the Basque chalet, it abandons the stairs, the barn, the weathered look, etc. One must even go further: a complete image would exclude myth, or at least would compel it to seize only its very completeness. This is just what happens in the case of bad painting, which is wholly based on the myth of what is ‘filled out’ and ‘finished’ (it is the opposite and symmetrical case of the myth of the absurd: here, the form mythifies an ‘absence’, there, a surplus). But in general myth prefers to work with poor, incomplete images, where the meaning is already relieved of its fat, and ready for a signification, such as caricatures, pastiches, symbols, etc. Finally, the motivation is chosen among other possible ones: I can very well give to French imperiality many other signifiers beside a Negro’s salute: a French general pins a decoration on a one-armed Senegalese, a nun hands a cup of tea to a bed-ridden Arab, a white schoolmaster teaches attentive piccaninnies: the press undertakes every day to demonstrate that the store of mythical signifiers is inexhaustible.
The nature of the mythical signification can in fact be well conveyed by one particular simile: it is neither more nor less arbitrary than an ideograph. Myth is a pure ideographic system, where the forms are still motivated by the concept which they represent while not yet, by a long way, covering the sum of its possibilities for representation. And just as, historically, ideographs have gradually left the concept and have become associated with the sound, thus growing less and less motivated, the worn out state of a myth can be recognized by the arbitrariness of its signification: the whole of Molière is seen in a doctor’s ruff.
READING AND DECIPHERING MYTH
How is a myth received? We must here once more come back to the duplicity of its signifier, which is at once meaning and form. I can produce three different types of reading by focusing on the one, or the other, or both at the same time.
1. If I focus on an empty signifier, I let the concept fill the form of the myth without ambiguity, and I find myself before a simple system, where the signification becomes literal again: the Negro who salutes is an example of French imperiality, he is a symbol for it. This type of focusing is, for instance, that of the producer of myths, of the journalist who starts with a concept and seeks a form for it.
2. If I focus on a full signifier, in which I clearly distinguish the meaning and the form, and consequently the distortion which the one imposes on the other, I undo the signification of the myth, and I receive the latter as an imposture: the saluting Negro becomes the alibi of French imperiality. This type of focusing is that of the mythologist: he deciphers the myth, he understands a distortion.
3. Finally, if I focus on the mythical signifier as on an inextricable whole made of meaning and form, I receive an ambiguous signification: I respond to the constituting mechanism of myth, to its own dynamics, I become a reader of myths. The saluting Negro is no longer an example or a symbol, still less an alibi: he is the very presence of French imperiality.
The first two types of focusing are static, analytical; they destroy the myth, either by making its intention obvious, or by unmasking it: the former is cynical, the latter demystifying. The third type of focusing is dynamic, it consumes the myth according to the very ends built into its structure: the reader lives the myth as a story at once true and unreal.
If one wishes to connect a mythical schema to a general history, to explain how it corresponds to the interests of a definite society, in short, to pass from semiology to ideology, it is obviously at the level of the third type of focusing that one must place oneself: it is the reader of myths himself who must reveal their essential function. How does he receive this particular myth today? If he receives it in an innocent fashion, what is the point of proposing it to him? And if he reads it using his powers of reflection, like the mythologist, does it matter which alibi is presented? If the reader does not see French imperiality in the saluting Negro, it was not worth weighing the latter with it; and if he sees it, the myth is nothing more than a political proposition, honestly expressed. In one word, either the intention of the myth is too obscure to be efficacious, or it is too clear to be believed, In either case, where is the ambiguity?
This is but a false dilemma. Myth hides nothing and flaunts nothing: it distorts; myth is neither a lie nor a confession: it is an inflexion. Placed before the dilemma which I mentioned a moment ago, myth finds a third way out. Threatened with disappearance if it yields to either of the first two types of focusing, it gets out of this tight spot thanks to a compromise-it is this compromise. Entrusted with ‘glossing over’ an intentional concept, myth encounters nothing but betrayal in language, for language can only obliterate the concept if it hides it, or unmask it if it formulates it. The elaboration of a second-order semiological system will enable myth to escape this dilemma: driven to having either to unveil or to liquidate the concept, it will naturalize it.
We reach here the very principle of myth: it transforms history into nature. We now understand why, in the eyes of the myth-consumer, the intention, the adhomination of the concept can remain manifest without however appearing to have an interest in the matter: what causes mythical speech to be uttered is perfectly explicit, but it is immediately frozen into something natural; it is not read as a motive, but as a reason. If I read the Negro-saluting as symbol pure and simple of imperiality, I must renounce the reality of the picture, it discredits itself in my eyes when it becomes an instrument. Conversely, if I decipher the Negro’s salute as an alibi of coloniality, I shatter the myth even more surely by the obviousness of its motivation. But for the myth-reader, the outcome is quite different: everything happens as if the picture naturally conjured up the concept, as if the signifier gave a foundation to the signified: the myth exists from the precise moment when French imperiality achieves the natural state: myth is speech justified in excess.
Here is a new example which will help understand clearly how the myth-reader is led to rationalize the signified by means of the signifier. We are in the month of July, I read a big headline in France-Soir: THE FALL IN PRICES: FIRST INDICATIONS. VEGETABLES: PRICE DROP BEGINS. Let us quickly sketch the semiological schema: the example being a sentence, the first system is purely linguistic. The signifier of the second system is composed here of a certain number of accidents, some lexical (the words: first, begins, the [fall]), some typographical (enormous headlines where the reader usually sees news of world importance). The signified or concept is what must be called by a barbarous but unavoidable neologism: governmentality, the Government presented by the national press as the Essence of efficacy. The signification of the myth follows clearly from this: fruit and vegetable prices are falling because the government has so decided. Now it so happens in this case (and this is on the whole fairly rare) that the newspaper itself has, two lines below, allowed one to see through the myth which it had just elaboratedv hether this is due to self-assurance or honesty. It adds (in small type, it is true): ‘The fall in prices is helped by the return of seasonal abundance.’ This example is instructive for two reasons. Firstly it conspicuously shows that myth essentially aims at causing an immediate impression - it does not matter if one is later allowed to see through the myth, its action is assumed to be stronger than the rational explanations which may later belie it. This means that the reading of a myth is exhausted at one stroke. I cast a quick glance at my neighbour’s France-Soir: I cull only a meaning there, but I read a true signification; I receive the presence of governmental action in the fall in fruit and vegetable prices. That is all, and that is enough. A more attentive reading of the myth will in no way increase its power or its ineffectiveness: a myth is at the same time imperfectible and unquestionable; time or knowledge will not make it better or worse.
Secondly, the naturalization of the concept, which I have just identified as the essential function of myth, is here exemplary. In a first (exclusively linguistic) system, causality would be, literally, natural: fruit and vegetable prices fall because they are in season. In the second (mythical) system, causality is artificial, false; but it creeps, so to speak, through the back door of Nature. This is why myth is experienced as innocent speech: not because its intentions are hidden - if they were hidden, they could not be efficacious - but because they are naturalized.
In fact, what allows the reader to consume myth innocently is that he does not see it as a semiological system but as an inductive one. Where there is only an equivalence, he sees a kind of causal process: the signifier and the signified have, in his eyes, a natural relationship. This confusion can be expressed otherwise: any semiological system is a system of values; now the myth-consumer takes the signification for a system of facts: myth is read as a factual system, whereas it is but a semiological system.
MYTH AS STOLEN LANGUAGE
What is characteristic of myth? To transform a meaning into form. In other words, myth is always a language-robbery. I rob the Negro who is saluting, the white and brown chalet, the seasonal fall in fruit prices, not to make them into examples or symbols, but to naturalize through them the Empire, my taste for Basque things, the Government. Are all primary languages a prey for myth? Is there no meaning which can resist this capture with which form threatens it? In fact, nothing can be safe from myth, myth can develop its second-order schema from any meaning and, as we saw, start from the very lack of meaning. But all languages do not resist equally well.
Articulated language, which is most often robbed by myth, offers little resistance. It contains in itself some mythical dispositions, the outline of a sign-structure meant to manifest the intention which led to its being used: it is what could be called the expressiveness of language. The imperative or the subjunctive mode, for instance, are the form of a particular signified, different from the meaning: the signified is here my will or my request. This is why some linguists have defined the indicative, for instance, as a zero state or degree, compared to the subjunctive or the imperative. Now in a fully constituted myth, the meaning is never at zero degree, and this is why the concept can distort it, naturalize it. We must remember once again that the privation of meaning is in no way a zero degree: this is why myth can perfectly well get hold of it, give it for instance the signification of the absurd, of surrealism, etc. At bottom, it would only be the zero degree which could resist myth.
Language lends itself to myth in another way: it is very rare that it imposes at the outset a full meaning which it is impossible to distort. This comes from the abstractness of its concept: the concept of tree is vague, it lends itself to multiple contingencies. True, a language always has at its disposal a whole appropriating organization (this tree, the tree which, etc.). But there always remains, around the final meaning, a halo of virtualities where other possible meanings are floating: the meaning can almost always be interpreted. One could say that a language offers to myth an open-work meaning. Myth can easily insinuate itself into it, and swell there: it is a robbery by colonization (for instance: the fall in prices has started. But what fall? That due to the season or that due to the government? the signification becomes here a parasite of the article, in spite of the latter being definite).
When the meaning is too full for myth to be able to invade it, myth goes around it, and carries it away bodily. This is what happens to mathematical language. In itself, it cannot be distorted, it has taken all possible precautions against interpretation: no parasitical signification can worm itself into it. And this is why, precisely, myth takes it away en bloc; it takes a certain mathematical formula (E = mc2), and makes of this unalterable meaning the pure signifier of mathematicity. We can see that what is here robbed by myth is something which resists, something pure. Myth can reach everything, corrupt everything, and even the very act of refusing oneself to it. So that the more the language-object resists at first, the greater its final prostitution; whoever here resists completely yields completely: Einstein on one side, Paris-Match on the other. One can give a temporal image of this conflict: mathematical language is a finished language, which derives its very perfection from this acceptance of death. Myth, on the contrary, is a language which does not want to die: it wrests from the meanings which give it its sustenance an insidious, degraded survival, it provokes in them an artificial reprieve in which it settles comfortably, it turns them into speaking corpses.
Here is another language which resists myth as much as it can: our poetic language. Contemporary poetry is a regressive semiological system. Whereas myth aims at an ultra-signification, at the amplification of a first system, poetry, on the contrary, attempts to regain an infra-signification, a pre-semiological state of language; in short, it tries to transform the sign back into meaning: its ideal, ultimately, would be to reach not the meaning of words, but the meaning of things themselves. This is why it clouds the language, increases as much as it can the abstractness of the concept and the arbitrariness of the sign and stretches to the limit the link between signifier and signified. The open-work structure of the concept is here maximally exploited: unlike what happens in prose, it is all the potential of the signified that the poetic sign tries to actualize, in the hope of at last reaching something like the transcendent quality of the thing, its natural (not human) meaning. Hence the essentialist ambitions of poetry, the conviction that it alone catches the thing in itself, inasmuch, precisely, as it wants to be an anti-language. All told, of all those who use speech, poets are the least formalist, for they are the only ones who believe that the meaning of the words is only a form, with which they, being realists, cannot be content. This is why our modern poetry always asserts itself as a murder of language, a kind of spatial, tangible analogue of silence. Poetry occupies a position which is the reverse of that of myth: myth is a semiological system which has the pretension of transcending itself into a factual system; poetry is a semiological system which has the pretension of contracting into an essential system.
But here again, as in the case of mathematical language, the very resistance offered by poetry makes it an ideal prey for myth: the apparent lack of order of signs, which is the poetic facet of an essential order, is captured by myth, and transformed into an empty signifier, which will serve to signify poetry. This explains the improbable character of modern poetry: by fiercely refusing myth, poetry surrenders to it bound hand and foot. Conversely, the rules in classical poetry constituted an accepted myth, the conspicuous arbitrariness of which amounted to perfection of a kind, since the equilibrium of a semiological system comes from the arbitrariness of its signs.
A voluntary acceptance of myth can in fact define the whole of our traditional Literature. According to our norms, this Literature is an undoubted mythical system: there is a meaning, that of the discourse; there is a signifier, which is this same discourse as form or writing; there is a signified, which is the concept of literature; there is a signification, which is the literary discourse. I began to discuss this problem in Writing Degree Zero, which was, all told, nothing but a mythology of literary language. There I defined writing as the signifier of the literary myth, that is, as a form which is already filled with meaning and which receives from the concept of Literature a new signification. I suggested that history, in modifying the writer’s consciousness, had provoked, a hundred years or so ago, a moral crisis of literary language: writing was revealed as signifier, Literature as signification; rejecting the false nature of traditional literary language, the writer violently shifted his position in the direction of an anti-nature of language. The subversion of writing was the radical act by which a number of writers have attempted to reject Literature as a mythical system. Every revolt of this kind has been a murder of Literature as signification: all have postulated the reduction of literary discourse to a simple semiological system, or even, in the case of poetry, to a pre-semiological system. This is an immense task, which required radical types of behaviour: it is well known that some went as far as the pure and simple scuttling of the discourse, silence - whether real or transposed - appearing as the only possible weapon against the major power of myth: its recurrence.
It thus appears that it is extremely difficult to vanquish myth from the inside: for the very effort one makes in order to escape its stranglehold becomes in its turn the prey of myth: myth can always, as a last resort, signify the resistance which is brought to bear against it. Truth to tell, the best weapon against myth is perhaps to mythify it in its turn, and to produce an artificial myth: and this reconstituted myth will in fact be a mythology. Since myth robs language of something, why not rob myth? All that is needed is to use it as the departure point for a third semiological chain, to take its signification as the first term of a second myth. Literature offers some great examples of such artificial mythologies. I shall only evoke here Flaubert’s Bouvard and Pécuchet. It is what could be called an experimental myth, a second-order myth. Bouvard and his friend Pécuchet represent a certain kind of bourgeoisie (which is incidentally in conflict with other bourgeois strata): their discourse already constitutes a mythical type of speech; its language does have a meaning, but this meaning is the empty form of a conceptual signified, which here is a kind of technological unsatedness. The meeting of meaning and concept forms, in this first mythical system, a signification which is the rhetoric of Bouvard and Pécuchet. It is at this point (I am breaking the process into its components for the sake of analysis) that Flaubert intervenes: to this first mythical system, which already is a second semiological system, he superimposes a third chain, in which the first link is the signification, or final term, of the first myth. The rhetoric of Bouvard and Pécuchet becomes the form of the new system; the concept here is due to Flaubert himself, to Flaubert’s gaze on the myth which Bouvard and Pécuchet had built for themselves: it consists of their natively ineffectual inclinations, their inability to feel satisfied, the panic succession of their apprenticeships, in short what I would very much like to call (but I see stormclouds on the horizon): bouvard-and-pécuchet-ity. As for the final signification, it is the book, it is Bouvard and Pécuchet for us. The power of the second myth is that it gives the first its basis as a naivety which is looked at. Flaubert has undertaken a real archaeological restoration of a given mythical speech: he is the Viollet-le-Duc of a certain bourgeois ideology. But less naive than Viollet-le-Duc, he has strewn his reconstitution with supplementary ornaments which demystify it. These ornaments (which are the form of the second myth) are subjunctive in kind: there is a semiological equivalence between the subjunctive restitution of the discourse of Bouvard and Pécuchet and their ineffectualness.
Flaubert’s great merit (and that of all artificial mythologies: there are remarkable ones in Sartre’s work), is that he gave to the problem of realism a frankly semiological solution. True, it is a somewhat incomplete merit, for Flaubert’s ideology, since the bourgeois was for him only an aesthetic eyesore, was not at all realistic. But at least’he avoided the major sin in literary matters, which is to confuse ideological with semiological reality. As ideology, literary realism does not depend at all on the language spoken by the writer. Language is a form, it cannot possibly be either realistic or unrealistic. All it can do is either to be mythical or not, or perhaps, as in Bouvard and Pécuchet, counter-mythical. Now, unfortunately, there is no antipathy between realism and myth. It is well known how often our ‘realistic’ literature is mythical (if only as a crude myth of realism) and how our ‘literature of the unreal’ has at least the merit of being only slightly so. The wise thing would of course be to define the writer’s realism as an essentially ideological problem. This certainly does not mean that there is no responsibility of form towards reality. But this responsibility can be measured only in semiological terms. A form can be judged (since forms are on trial) only as signification, not as expression. The writer’s language is not expected to represent reality, but to signify it. This should impose on critics the duty of using two rigorously distinct methods: one must deal with the writer’s realism either as an ideological substance (Marxist themes in Brecht’s work, for instance) or as a semiological value (the props, the actors, the music, the colours in Brechtian dramaturgy). The ideal of course would be to combine these two types of criticism; the mistake which is constantly made is to confuse them: ideology has its methods, and so has semiology.