Iron John

“Stories, then—fairy stories, legends, myths, hearth stories—amount to a reservoir where we keep new ways of responding that we can adopt when the conventional and current ways wear out.”

Bly emphasizes the didactic nature of stories, positioning them as repositories of wisdom and alternative modes of understanding. This notion aligns with the literary device of didacticism, where stories serve a dual purpose of entertaining and instructing. By describing stories as a "reservoir," there’s a metaphorical implication of depth and abundance, suggesting that narratives are a wellspring of potential insights and solutions that can be drawn upon when conventional wisdom falls short. It underscores The Role of Myth and Storytelling in Understanding Identity. This perspective champions the enduring value of myths, fairy tales, and legends as vehicles for transmitting cultural knowledge and fostering adaptability in the face of evolving societal norms.

“But showing a sword doesn’t necessarily mean fighting. It can also suggest a joyful decisiveness.”

The quote employs metaphor and symbolism, using the image of a sword not merely as a weapon but as a symbol of decision-making and the capacity to act. The sword, traditionally associated with combat and aggression, is here reimagined to represent "joyful decisiveness," suggesting that the act of choosing or taking a stand need not be born out of conflict or coercion but can emerge from a place of joy and certainty. This recontextualization challenges conventional associations and invites a nuanced understanding of power and action, emphasizing that strength and resolve can coexist with positivity and fulfillment.

“The kind of wildness, or un-niceness, implied by the Wild Man image is not the same as macho energy, which men already know enough about. Wild Man energy, by contrast, leads to forceful action undertaken, not with cruelty, but with resolve.”

In the exploration of wildness versus macho energy, the distinction is made by noting the Wild Man's energy leads to "forceful action undertaken, not with cruelty, but with resolve," which emphasizes the complex nature of masculinity that transcends aggressive posturing. This nuanced view suggests a masculinity that is both powerful and considerate, challenging stereotypes and inviting a redefinition of strength.

“When the demons are so suspicious, how can the son later make any good connection with adult male energy, especially the energy of an adult man in a position of authority or leadership? As a musician he will smash handcrafted guitars made by old men, or as a teacher suspicious of older writers he will ‘deconstruct’ them. As a citizen he will take part in therapy rather than politics. He will feel purer when not in authority.”

This reflection on the difficulty of forming connections with adult male energy due to suspicion toward authority employs imagery, rhetorical question, and hypothetical scenarios to illustrate the repercussions of distrust in authority. The mention of smashing guitars and deconstructing older writers serves as symbolism for rejecting tradition and wisdom passed down through generations. This scenario uses imagery to critique a dismissal of authority, suggesting that such actions, driven by suspicion, ultimately lead to a retreat from active civic engagement and a preference for personal exploration. This imagery paints a picture of a generational divide where rejection of the past leads to a lack of effective leadership in the present.

“Eventually a man needs to throw off all indoctrination and begin to discover for himself what the father is and what masculinity is. For that task, ancient stories are a good help, because they are free of modern psychological prejudices, because they have endured the scrutiny of generations of women and men, and because they give both the light and dark sides of manhood, the admirable and the dangerous. Their model is not a perfect man, nor an overly spiritual man.”

The assertion that men must discard indoctrination to truly understand masculinity and fatherhood invokes the symbolism of ancient stories as tools for this exploration. Ancient narratives are praised for their impartiality, enduring appeal, and comprehensive portrayal of masculinity, encompassing both its virtues and vices. The use of ancient stories as a literary device here symbolizes a bridge to wisdom unclouded by contemporary biases, offering a balanced view of masculinity that includes its complexities. This approach advocates for a self-guided journey of discovery, suggesting that true understanding comes from engaging with a broad spectrum of masculine expressions, including those that are flawed or contradictory.

“If we are to live in this story, rather than merely observe it, we have to ask ourselves, ‘What wound do we have that hurts so much we have to dip it in water?’ Initiation, then, for young men amounts to helping them remember the wound, and by that we mean the soul wounds, or injuries to the emotional body. Sometimes the outward scars exist to remind us of inward scars.”

Bly frames the invitation here to introspection through the use of rhetorical questions and symbolism. The wound dipped in water symbolizes emotional or spiritual pain that demands attention and healing. This metaphor extends to suggest that initiation for young men involves confronting and acknowledging these "soul wounds," linking physical scars to internal, emotional ones. The device serves to emphasize the importance of recognizing and addressing hidden pains to achieve growth and healing, suggesting a journey inward is essential for true maturation.

“Some take a third road: it is the road of paralysis, robot behavior, seriously pursued numbness—a hollow at the center, no affect, no emotion upward or downward, automaton life.”

The description of a third road taken by some individuals utilizes the metaphor of "paralysis, robot behavior, seriously pursued numbness" to depict a state of disconnection from one's emotions and authenticity. This metaphor paints a picture of individuals who, in their attempt to escape pain, choose a path of emotional detachment, leading to a life lacking in depth and feeling. The imagery of a "hollow at the center" further emphasizes the emptiness and lack of fulfillment that characterizes such a choice, underscoring the consequences of refusing to engage with one's emotional wounds.

“When people identify themselves with their wounded child, or remain children, the whole culture goes to pieces.”

The warning about the consequences of identifying solely with one's wounded child employs allegory to convey the broader societal implications of arrested development. By stating that "the whole culture goes to pieces," the narrative suggests that when individuals fail to transcend their childhood traumas and remain fixated on their pain, it leads to a collective disintegration. This allegorical statement implies that personal healing is not only a private endeavor but also has significant implications for the health and stability of the wider community. It underscores the responsibility individuals have to work through their traumas, not just for their own well-being but for the cohesion and vitality of society as a whole.

“Our story gives a teaching diametrically opposite. It says that where a man’s wound is, that is where his genius will be. Wherever the wound appears in our psyches, whether from alcoholic father, shaming mother, shaming father, abusing mother, whether it stems from isolation, disability, or disease, that is precisely the place for which we will give our major gift to the community.”

The assertion that a man's genius lies where his wound is utilizes paradox to illustrate a principle central to the narrative. This paradoxical statement posits that the source of one's deepest pain is also the wellspring of their greatest potential. The wide-ranging sources of wounds listed argue for the universality of this concept, emphasizing that regardless of the origin of one's trauma, there lies an opportunity for contribution to the community.

“If a human being takes an action, the soul takes an action. When a hair enters the water, the soul adds gold to it. That is what the soul is like, apparently.”

Bly employs metaphor to convey his perspective on the mystical and transformative nature of the soul. The act of a hair entering the water becoming gold symbolizes the soul's ability to transmute ordinary experiences into something valuable and meaningful. This metaphor assumes a kind of spiritual alchemy, where mundane or even painful experiences transform into sources of wisdom and growth. The statement postulates the soul's inherent capacity for beauty and enrichment, highlighting the interconnectedness of physical actions and spiritual consequences.

“To receive initiation truly means to expand sideways into the glory of oaks, mountains, glaciers, horses, lions, grasses, waterfalls, deer. We need wilderness and extravagance. Whatever shuts a human being away from the waterfall and the tiger will kill him.”

The description of initiation utilizes nature imagery to evoke the expansive and interconnected process of initiation. This imagery portrays initiation as an experience that broadens one's connection to the vastness and diversity of life. The use of the word "sideways" suggests a movement that is not hierarchical but rather expansive, emphasizing growth that encompasses and embraces the complexity of the natural world.

“Some Turkish Sufi groups begin their night-work with a repeated word reminding them of the grief of what they have not done the past year. The emotion is not around sin, guilt, or shame; but around what one has not done. The soul itself asks us to go down.”

The mention of Turkish Sufi groups and their practice incorporates allusion, referencing specific spiritual traditions and practices outside the immediate narrative to enrich its thematic exploration. This allusion to Sufi rituals grounds the discussion in real-world spiritual practices and extends the narrative’s reach, connecting it to a broader, global context of introspection and emotional work. By alluding to these practices, the narrative draws on the spiritual heritage of Sufism, known for its emphasis on the heart's purification, love, and the pursuit of divine truth.

“It is said that in marriage, the man and woman give each other ‘his or her nethermost beast’ to hold. Each holds the leash for the ‘nethermost beast’ of the other. It’s a wonderful phrase.”

The "nethermost beast" is a symbol for the raw, untamed aspects of one’s character or the deep-seated fears and desires that individuals often keep hidden. The act of holding each other's "beast" signifies a level of trust and understanding, suggesting that true companionship involves embracing and safeguarding the most vulnerable parts of one another.

“The only solution to the power of the witch is for the young man to develop energy as great as hers, as harsh, as wild, as shrewd, as clear in its desire. When a young man arrives at her house, proves himself to be up to her level of intensity, purpose, and respect for the truth, she will sometimes say, ‘Okay, what do you want to know?’”

The witch archetype serves as an allegorical figure representing formidable challenges or aspects of knowledge that are difficult to access or master. The young man's journey to develop "energy as great as hers" symbolizes the process of cultivating inner strength, resilience, and clarity of purpose. This allegory illustrates that mastering one's challenges is necessary to gain access to deeper wisdom. The witch’s eventual willingness to impart knowledge upon recognition of the young man’s growth encapsulates the idea that personal development and perseverance are key to overcoming obstacles and unlocking new levels of understanding.

“It is such a marvelous mythological idea to have human beings created out of the Titans’ ashes; it helps explain our own cruelty and coldness. Of course, we also received in the ashes Dionysus’ body, but not the heart, alas.”

The quote employs alliteration in “marvelous mythological” and "cruelty and coldness" to emphasize the inherent contradictions within human nature, as suggested by the mythological idea of humans being created from the Titans' ashes. This use of alliteration draws attention to the dual nature of humanity, encapsulating both one’s capacity for harshness and the divine essence individuals inherit, symbolized by Dionysus' body. The juxtaposition of "cruelty and coldness" with the divine legacy of Dionysus creates a contrast that highlights the complex makeup of human qualities and inclinations.

“When a man enters this stage he regards Descent as a holy thing, he increases his tolerance for ashes, eats dust as snakes do, increases his stomach for terrifying insights, deepens his ability to digest the evil facts of history, accepts the job of working seven years under the ground, leaves the granary at will through the rat’s hole, bites on cinders, learns to shudder, and follows the voice of the old mole below the ground”

Bly delves into the imagery of descent and transformation, painting a picture of a man's journey into his own depths. The phrase "increases his tolerance for ashes, eats dust as snakes do" uses imagery to convey a process of inner change, where one must confront and assimilate the most difficult truths of existence. The series of actions described—eating dust, biting on cinders, working underground—symbolizes a willingness to engage with the raw and often painful realities of life, leading to a heightened capacity for insight and understanding. This journey of descent is marked by an embrace of the shadowy aspects of the self and the world, suggesting that true wisdom and strength are found not in avoidance but in the courageous confrontation of darkness.

“The death of the Sacred King and Queen means that we live now in a system of industrial domination, which is not patriarchy. The system we live in gives no honor to the male mode of feeling nor to the female mode of feeling. The system of industrial domination determines how things go with us in the world of resources, values, and allegiances; what animals live and what animals die; how children are treated. And in the mode of industrial domination there is neither king nor queen.”

This passage juxtaposes the concepts of patriarchy and industrial domination, clarifying that the current system lacks the reverence and honor traditionally accorded to both masculine and feminine modes of feeling. By stating that "there is neither king nor queen" in the mode of industrial domination, the narrative highlights a loss of balance and respect for the natural and human realms, emphasizing the impersonal and exploitative nature of modern industrial society. This allegory serves to critique the current global system's prioritization of efficiency and profit over empathy, community, and ecological balance, inviting reflection on the consequences of such a system for both the human soul and the planet.

“We have mentioned that the son, flying toward the sun, will not see his own shadow, for his shadow falls behind him as he flies. He has seen his father’s shadow, but his own remains hidden. Flying of that sort does not rescue the father either. The ascensionist son is flying away from the father, not toward him.”

The quote employs imagery and symbolism to delve into themes of ambition, denial, and the complex dynamics of father-son relationships. The image of the son flying and unable to see his own shadow symbolizes a quest for achievement or enlightenment that overlooks the darker aspects of oneself. This imagery serves as a metaphor for a lack of self-awareness and the refusal to confront one's limitations and flaws. The mention of the father's shadow introduces a layer of irony, as the son, in his attempt to transcend or rescue his father, ultimately distances himself further. This scenario encapsulates the paradox of seeking closeness or understanding through escape, highlighting the futility of such endeavors without introspection and acceptance of one's full self, including the less flattering aspects.

“The word garden in the mythological tradition suggests a walled garden. ‘Garden’ suggests a place marked out, separated from farmyard, grain field, forest, or desert, in order that human beings can cultivate there precious plants or flowers.”

This delineation of space represents the human impulse to create order and beauty amidst the chaos of the natural world, signifying a place of cultivation, growth, and reflection. The garden metaphor suggests a deliberate separation from the untamed wilderness to foster what is rare and beautiful, underscoring the human capacity for creativity and the transformative power of care and attention. This separation and cultivation symbolize the nurturing of the inner self, the cultivation of personal virtues, and the creation of a sanctuary for growth and introspection.

“When a man says to a woman, ‘You are my anima,’ she should quickly scream and run out of the room. The word anima has neither the greatness of the Woman with Golden Hair nor the greatness of an ordinary woman, who wants to be loved as a woman.”

The cautionary note about reducing a woman to an archetype, as encapsulated by the term "anima," utilizes irony to critique the oversimplification of complex human beings into symbolic constructs. The word "anima,” an allusion to Jungian psychology, represents the feminine aspect of a man's psyche—a concept that, when misapplied, according to Bly, can diminish the individuality and agency of real women. The advice for the woman to "scream and run out of the room" employs hyperbole to emphasize the absurdity and potential harm of such reductionist views. This critique serves to remind of the dangers inherent in failing to recognize the full humanity and uniqueness of others, cautioning against the temptation to view people solely through the lens of psychological or mythological archetypes.

“In her ability to get the plot of life moving, the Woman with Golden Hair resembles the Hindu feminine, the Shakti, more than the Western feminine, whom custom imagines as receptive and passive. Shakti, whom we see in many Indian paintings, is erect, instigating, up-leaping, fiery, outrageous. In some paintings Shiva lies nearby on the ground, or even under her feet, apparently asleep; he is by contrast receptive, cool, laid back, deeply inside himself.”

The comparison here utilizes allusion to draw parallels between mythological figures across different cultures, emphasizing the dynamism and instigating force of feminine energy. The description of Shakti contrasts sharply with the stereotypical portrayal of the Western feminine as "receptive and passive." The passive depiction of Shiva underscores a reversal of conventional Western gender roles and challenges preconceptions of masculine and feminine energies. This juxtaposition serves not only to elevate the agency and vitality of the feminine but also to highlight the cultural variation of conceptions of masculine and feminine.

“If a culture does not deal with the warrior energy—take it in consciously, discipline it, honor it—it will turn up outside in the form of street gangs, wife beating, drug violence, brutality to children, and aimless murder.”

This narrative suggests that unchanneled masculinity can manifest destructively in society through various forms of brutality. The comparison serves as a cautionary tale, advocating for the conscious engagement with and disciplining of aggressive tendencies to prevent their outward expression in harmful ways. This warning speaks to the broader theme of social responsibility in cultivating healthy expressions of power and aggression, suggesting that the health of a culture depends on its ability to integrate these primal forces.

“The Wild Man is part of a company or a community in a man’s psyche, and it would be just as foolish to concentrate on him exclusively as to concentrate on the Warrior exclusively. Just as the man in our story exists as a companion to feminine energy, sometimes following its lead, sometimes not, so the Wild Man lives in complicated interchanges with the other interior beings. A whole community of beings is what is called a grown man.”

The Wild Man, along with the Warrior and other archetypal energies, is presented as contributing to the complexity of the male psyche, suggesting that maturity involves recognizing and negotiating the interplay between these various aspects. This metaphor extends to the interaction between masculine and feminine energies, highlighting the dynamic and sometimes contradictory nature of these forces within an individual's psyche. The notion of a "whole community of beings" as the hallmark of a grown man challenges simplistic notions of identity and underscores the complexity of human consciousness.