Would You Call Kabali A True Hero
Every culture has its heroes. Most popular stories are woven around a hero. Mythologist Joseph Campbell identified the different stages Nat go to make a hero. He says a hero is ne who steps out of the threshold of outline to encounter challenging rcumstances on behalf of his community, fight them, overcome them or draw much benefit as would accrue to the hole community through them-like ajinikanth does as Kabala, fightingfor rights of Tamils in Malaysia in the newly released film of that name. Campbell says there are 11 stages a an goes through to transform into a era. First, the potential hero feels uncomfortable with the way things e around him. Then comes the bigger-impulse to bring about a change id he ventures out, though the path eat is dangerous. A mentor almost was pulls him across the threshold and then camps are formed, rivals and followers. The remaining story is about reachingthetarget, winning over it and returning with its rewards. Even though Campbell’s talking of the construction of the mythological hero, it holds good for today's scripts too, like that of Kabala. A hero radiates power and inspires confidence. As Kabala does. Campbell says, "It has always been the prime function of mythology and rite to supply the symbols that carry the human spirit forward... In fact, it may well be that the high incidence of neuroticism among us follows the decline of such effective spiritual aid. “So the hero was a spiritual aid. Hе edified your thoughts and took you up a notch higher in your way of life, rather, in the elegance of your life. Does kabala do that? Accordance with nobility of spirit. His goodness stands above any violence that may be part of the story. Storytelling does need some exaggeration to be effective. So at both ends, goodness and violence need to be exaggerated for the mind to compress the trajectory of events into a story. The Jaina found an interesting way of handling this situation. Every story has three main characters, may be four. The fourth, who may or may not figure in the story, is a Chakravarty or monarch. The other three are the hero or Bal deva, the second hero or Vasudeva, the Prate-Vasudeva or anti-hero, the villain. Prate-Vasudeva is a title that immediately recognises that a villain is a ruler of half the world. Just as there are Vasudeva’s who rule the world, there are anti-Vasudeva’s who also dominate the world hut villainous Bal deva never kills. He upholds the Jaina principle of non-violence. Vasudeva kills and descends to the lowest of hells. The Prate-Vasudeva isthevillain so anyway he was not destined to get a better birth since his acts have been evil. Bal deva, a more mystic character, enters the Jaina order to eventually renounce and movtowards enlightenment. The hero may also have to resort to violence, but if it is as forays that of villainous character, does the messagof righteousness, rise above the bloodshed and the fact that the "hero" is alto kill without compunction? Is killing humans as easy as slapping a mosquitbetween your palms-as it is for Kabala we not promote the brand of heroism that does not involve killing?
DISCLAIMER:
The views expressed in the Article above are Sudhamahi Regunathan and kashmiribhatta.in is not in any way responsible for the opinions expressed in the above article. The article belongs to its respective owner or owners and this site does not claim any right over it.
Courtesy: Sudhamahi Regunathan and Speaking Tree,Times of India
Would You Call Kabali A True Hero
Every culture has its heroes. Most popular stories are woven around a hero. Mythologist Joseph Campbell identified the different stages Nat go to make a hero. He says a hero is ne who steps out of the threshold of outline to encounter challenging rcumstances on behalf of his community, fight them, overcome them or draw much benefit as would accrue to the hole community through them-like ajinikanth does as Kabala, fightingfor rights of Tamils in Malaysia in the newly released film of that name. Campbell says there are 11 stages a an goes through to transform into a era. First, the potential hero feels uncomfortable with the way things e around him. Then comes the bigger-impulse to bring about a change id he ventures out, though the path eat is dangerous. A mentor almost was pulls him across the threshold and then camps are formed, rivals and followers. The remaining story is about reachingthetarget, winning over it and returning with its rewards. Even though Campbell’s talking of the construction of the mythological hero, it holds good for today's scripts too, like that of Kabala. A hero radiates power and inspires confidence. As Kabala does. Campbell says, "It has always been the prime function of mythology and rite to supply the symbols that carry the human spirit forward... In fact, it may well be that the high incidence of neuroticism among us follows the decline of such effective spiritual aid. “So the hero was a spiritual aid. Hе edified your thoughts and took you up a notch higher in your way of life, rather, in the elegance of your life. Does kabala do that? Accordance with nobility of spirit. His goodness stands above any violence that may be part of the story. Storytelling does need some exaggeration to be effective. So at both ends, goodness and violence need to be exaggerated for the mind to compress the trajectory of events into a story. The Jaina found an interesting way of handling this situation. Every story has three main characters, may be four. The fourth, who may or may not figure in the story, is a Chakravarty or monarch. The other three are the hero or Bal deva, the second hero or Vasudeva, the Prate-Vasudeva or anti-hero, the villain. Prate-Vasudeva is a title that immediately recognises that a villain is a ruler of half the world. Just as there are Vasudeva’s who rule the world, there are anti-Vasudeva’s who also dominate the world hut villainous Bal deva never kills. He upholds the Jaina principle of non-violence. Vasudeva kills and descends to the lowest of hells. The Prate-Vasudeva isthevillain so anyway he was not destined to get a better birth since his acts have been evil. Bal deva, a more mystic character, enters the Jaina order to eventually renounce and movtowards enlightenment. The hero may also have to resort to violence, but if it is as forays that of villainous character, does the messagof righteousness, rise above the bloodshed and the fact that the "hero" is alto kill without compunction? Is killing humans as easy as slapping a mosquitbetween your palms-as it is for Kabala we not promote the brand of heroism that does not involve killing?
DISCLAIMER:
The views expressed in the Article above are Sudhamahi Regunathan and kashmiribhatta.in is not in any way responsible for the opinions expressed in the above article. The article belongs to its respective owner or owners and this site does not claim any right over it.
Courtesy: Sudhamahi Regunathan and Speaking Tree,Times of India