Meditations: Evolutionary Mythology?

The National Museum of Mongolia has a floor dedicated to the very early history of Mongolia, from at least 5000 BC to the 9th century AD, and some of the earliest featured items are replicas of cave paintings, made by ancient peoples who lived in the Mongolian region. The oldest date from about 5000 BC, and Mongolians are proud of these prehistoric works of art.

While looking at these paintings, I thought to myself, “these look just like most cave paintings.” I don’t know what I expected, but I guess I figured that, separated by a vast distance, Mongolian cave paintings would be different from the paintings at Lascaux. But they aren’t, really. It’s a lot of the same: animals drawn without detail but with a skill unique to artists who spend a lifetime watching those animals, and figures that will eventually evolve into petroglyphs. But why shouldn’t the paintings be the same? The lifestyle of Mongolian cavemen must not have been too different from the lifestyle of French cavemen. I am aware of the gross anachronisms of this statement, and that sort of drives my point home. There was no Mongolia, there was no France, there was only land and people living on it. There was not even culture, really, so how could the cultures be different?

And it occurred to me—I tend to think of similarities in culture as derived from some universal human experience, a horizontal “sameness” that runs through people everywhere. But maybe I’m looking at it wrong; maybe our similarities are derived from the fact that our current cultures were all, at one point, the same. Not a horizontal line, but a fractal tree connects us to a single base. And from this single base derives so much of what we all have in common. From a scientific perspective, this kind of makes sense. Perhaps the greed of everyone, from Ancient Roman politicians to modern Mongolian mining execs, relates to the scarcity of food in our cave ancestors and the need to horde. Perhaps the success of the “dark triad” relates to the fact that the most self-centered got the most of the gazelle. And though I can’t figure out how “odi et amo” would be an evolutionary success, maybe that, too, can be traced back to the owners of same fingerprints found in the paints on those caves. On the one hand, I keep hearing that the world is flattening and cultures are growing ever more similar, but is this just after millennia of different peoples growing apart? Our similarities, perhaps, are not remarkable, but merely holdovers from the days when life everywhere, for all people, was pretty much hunting, keeping warm or cool, and desperately attempting to do two things: survive and reproduce.

Apparently evolutionary anthropology is already a field, but I don’t know how much it’s connected to literature, art, and culture, especially not in the sense of modern connections. The mad Pasiphaë, mother of the Minotaur, and the first Mongolian shamaness, who married a bull and had two shaman sons, perhaps are not odd anomalies, but the remnants of the prehistoric culture that relied very much on two things: Women and livestock. (Note the result of Pasiphae’s liaison in comparison to that of the shamaness, and then compare the implications of that to my earlier post on women in folk literature.) Maybe many more literary/artistic traditions common across cultures are also the result of a commonality that evolutionary anthropologists are examining, but not yet applying to other fields. And maybe anthropologists could research further the gradual branching off not only of the human genome, but of the human condition, and the culture that lies with it.

But I’ll bring up another point; I’m being very culturally egotistical here, assuming that all cavemen were the same just because their rock paintings were the same. They only had certain tools at their disposal, so they could only produce so much in terms of art. Maybe cavemen did have different cultures. Prehistoric means there’s no writing, no concrete records, only the vague but important results of archaeology. It could be (and my mother, a fan of those Geico commercials, will appreciate me giving Neanderthals their due) that the discussions and thoughts and day-to-day lifestyle of cavemen varied widely. Add to this the fact that, actually, a lot of genes have been pruned and pruned and pruned (Neanderthals being a great example), and maybe the diversity of peoples in 10,000 BC was as great as it is now. Maybe they had more cultural variation than we, living in a world of increasing internet and decreasing linguistic differentiation, will in 100 years.

I don’t know about all this, but if we got a bunch of evolutionary anthropologists and a bunch of true humanities scholars together in a room, they could make some pretty Awesome discoveries. But then, they might just get down to their evolutionary roots and throw poop at each other.

Mongolian Connections: Wrestle for Your Ring!

I came to Mongolia to study folk literature, and though my research quickly took off down a different route (the “religious studies” route—go figure), still I uncovered some folk tales that are strikingly similar to our own. One myth that Mongolians seem very fond of repeating is about the traditional costumes wrestlers wear.

Wrestlers don’t wear a lot of clothing, just a pair of briefs, a pair of boots, and a bolero-like jacket called a “jodag” or “zodag.” It pretty much just has sleeves and a back, and then ties around the belly. The exact story of why the jodag has an open chest varies from teller to teller, but it always has to do with a successful female wrestler. The most popular tale says that the costumes used to be full jackets, and at one festival, a mysterious wrestler defeated all the other wrestlers, and after receiving his reward (or after the final victory), he ripped open his jacket to reveal that he was indeed she. From that point on, jackets had to have the chest exposed so that women would no longer be able to compete. Another version says that Khutulun, a niece of Kublai Khan, challenged any suitors to a wrestling match. If she won, he had to give her 100 horses, but if he won, he could marry her. Supposedly she beat enough suitors to win 10,000 horses, and no man was ever able to defeat her so she remained single forever. Though I’ve heard that legend end with, “and since that time, women have not been allowed to wrestle, which is why men wear open-chested jackets,” I fail to see how one (Princess Khutulun) leads to the other (open-chested jackets), and I think two separate Mongolian girl-wrestler stories were merged into that one.

The idea of a woman defeating all the men isn’t confined to Mongolia—the first that comes to mind is the Greek tale of Atalanta, a young girl who beat all her suitors in footraces until one won through trickery. One Celtic myth tells the story of Macha, a woman who was able to run faster than the king’s fastest horses, and who gave birth during a race. The Iliad relates that Penthesilea defeated several heroes in battle before being killed by Achilles, the greatest Greek warrior. I’m sure there are tons of other stories like this, and they are just on the back of my mind, but I can’t quite remember them.

So this got me thinking—why do these stories exist and persist? Why are they so popular? Most of them probably were written by men, or at least recorded and handed down by men... So why did men delight in stories featuring women’s superiority over some men? Woolf, in A Room of One’s Own, points out that the same men who were demanding quiet and meek daughters and wives in real life were exalting heroines like Antigone or Rosalind in their literary works. And this is true in the legends, too—men liked being in power, demanded to be in power, yet read and re-told stories in which women were often the victors. What factors are at work here? Is it that these men, though they, for practical necessity, had to keep women under their power, truly wanted or admired strong heroines and thus put them in their poetry? Or is it the other way around—that though they fantasized that women could have power, the fantasy was best (for them) left as a fantasy, and they didn’t appreciate the reality of powerful women? (Is that even the other way around, or is it the same exact thing?)

But there are also cultural differences at work in these stories. Atalanta did eventually lose her race, and Penthesilea was killed by a man. (For Macha, the Celtic heroine, the story gets much more complicated.)  And not all stories of strong heroines are positive—Look at Lady MacBeth as a classic example, or many portrayals of Cleopatra. (Especially Roman portrayals of Cleopatra versus Octavia; though the reasons for hating one and loving the other might be political, which traits did they emphasize in each? Also, Horace's Ode 1.37 has a portrayal of Cleopatra that fits well into this post's theme of whether men admire or resent real powerful women.) Do the men who passed on these stories use them actually as catharsis, as a way to keep women down even in legends? That is, writing/reading the stories not as “Atalanta/ Penthesilea defeated many men,” but as “even the best woman Atalanta/ Penthesilea could eventually be brought down by a man.” In contrast, the Mongolian legend never has that moment of “But wait! She couldn’t beat all the men!” In fact, the legend of the jorba can be read as one that says that Mongol men still believe a female wrestler might be able to best them; thus they need to keep women out of the ring. This might reflect Mongol attitudes toward women generally; women had a lot of power, from Genghis Khaan’s wife in The Secret History of the Mongols to later queens who ruled when their alcoholic husbands or young sons could not. Marco Polo reported that women were trained as warriors, and though they no longer wrestle, girls are still allowed to compete in archery and horseback riding during Naadam. (There will be a later post, hopefully, about the Awesomeness of Mongolian women.) And there doesn’t seem to be any backlash against this, at least not that I’ve encountered.

What makes the difference here? Mongolia was traditionally a patriarchal society, just like most others, so why do its myths and history reflect more respect for women? Do its myths and history even reflect more respect for women, or am I reading them wrong? What is the relationship between attitudes toward women and women in myth? And finally—what do our myths say about women? (When I say “our myths,” take this however you like, from your religion to your culture to the movies you watch and show your children.) Disney’s Mulan might be an admirable girl, but she impressed her captain and defeated the Huns (who came, by the way, from Mongolia) through ingenuity, not through strength. (Though you'll need both to reach the arrow...) On the other hand, Disney’s Nala ceded to Simba’s authority as king, but she could still always pin him, and it was her advice sent him back to defeat Scar. (So now we know what I consider my mythology.)

You could apply these analyses to many women admired by our society, and look at which religious stories we choose to emphasize (Noah and David get a lot of press-Miriam, Deborah, and Jael? Not so much), which historical figures we exalt, even which celebrities we admire, and, just as importantly, what we admire them for. So how do we stack up? What sorts of girls are we looking back at, and thus, what sorts of girls are we bringing forth?