One of the oldest continually enacted myths in the world is the Babylonian creation story (the Enuma Elish) from around 1250 B.C.E. The tale bears repeating, because it holds the clue to the appeal of that ancient myth in our modern media.
In the beginning, according to the Babylonian myth, Apsu, the father god, and Tiamat, the mother god, give birth to the gods. But the frolicking of the younger gods makes so much noise that the elder gods resolve to kill them so they can sleep. The younger gods uncover the plot before the elder gods put it into action, and kill Aspu. His wife Tiamat, the Dragon of Chaos, pledges revenge.
Terrified by Tiamat, the rebel gods turn for salvation to their youngest member, Marduk. He negotiates at steep price: if he succeeds, he must be given chief and undisputed power in the assembly of the gods. Having extorted this promise, he catches Tiamat in a net, drives an evil wind down her throat, shoots and arrow that bursts her distended belly and pierces her heart. He then splits her skull with a club and scatters her blood in out-of -the-way places. He stretches out her corpse full-length, and from it creates the cosmos. (With all this blood and gore, no wonder this story proved ideal as the prototype of violent TV shows and Hollywood movies.)
In this myth, creation is an act of violence. Marduk murders and dismembers Tiamat, and from her cadaver creates the world. As the French philosopher Paul Ricoeur observes, order is established by means of disorder. Chaos (symbolized by Tiamat) is prior to order (represented by Marduk, high god of Babylon). Evil precedes good. The gods themselves are violent.
The Biblical myth in Genesis 1 is diametrically opposed to all this. The Bible portrays a good God who creates a good creation. Chaos does not resist order. Good is prior to evil. Neither evil nor violence is a part of the creation, but enter later, as a result of the first couple's sin and the connivance of the serpent (Gen. 3). A basically good reality is thus corrupted by free decisions reached by creatures. In this far more complex and subtle explanation of the origins of things, violence emerges for the first time as a problem requiring a solution.
In the Babylonian myth, however, violence is no problem. It is simply a primordial fact. The simplicity of this story commended it widely, and its basic mythic structure spread as far as Syria, Phoenicia, Egypt, Greece, Rome, Germany, Ireland, India, China. Typically, a male war god residing in the sky--Wotan, Zeus, or Indra, for example--fights a decisive battle with a female divine being, usually depicted as a monster or dragon, residing in the sea or abyss (the feminine element). Having vanquished the original enemy by war and murder, the victor fashions a cosmos from the monster's corpse. Cosmic order requires the violent suppression of the feminine, and is mirrored in the social order by the subjection of women to men and people to ruler.
After the world has been created, the story continues, the gods imprisoned by Marduk for siding with Tiamat complain of the poor meal service. Marduk and his father, Ea, therefore execute one of the captive gods, and from his blood Ea creates human beings to be servants to the gods.
The implications are clear: human beings are created from the blood of a murdered god. Our very origin is violence. Killing is in our genes. Humanity is not the originator of evil, but merely finds evil already present and perpetuates it. Our origins are divine, to be sure, since we are made from a god, but from the blood of and assassinated god. We are the outcome of deicide.
Human beings are thus naturally incapable of peaceful coexistence. Order must continually be imposed upon us from on high: men over women, masters over slaves, priests over laity, aristocrats over peasants, rulers over people. Unquestioning obedience is the highest virtue, and order the highest religious value. Nor are we created to subdue the earth and have dominion over it as God's regents; we exist but to serve as slaves of the gods and of their earthly regents. The tasks of humanity are to till the soil, to produce foods for sacrifice to the gods (represented by the king and the priestly caste), to build the sacred city Babylon, and to fight and, if necessary, die in the king's wars.
Later, Marduk was fused with Tammuz, a god of vegetation whose death and resuscitation was enacted in the humiliation and revival of Marduk, an element that is preserved in cartoon shows by the initial defeat of the "good guy" and his eventual victory over evil, as it were, out of the very jaws of death. The only detail in our modern rendition that is different is that the enemy has generally ceased to be female.
As Marduk's representative on earth, the king's task is to subdue all those enemies who threaten the tranquillity that he has established on behalf of the god. The whole cosmos is a state, and the god rules through the king. Politics arises within the divine sphere itself. Salvation is politics: the masses identify with the god of order against the god of chaos, and offer themselves up for the Holy War that imposes order and rule on the peoples round about. And because chaos threatens repeatedly, in the form of barbarian attacks and domestic unrest, an ever-expanding imperial policy is the automatic consequence of Marduk's ascendancy over the gods.
In short, the Myth of Redemptive Violence is the story of the victory of order over chaos by means of violence. It is the ideology of conquest, the original religion of the status quo. The gods favor those who conquer. Conversely, whoever conquers must have the favor of the gods. The common people exist to perpetuate the advantage that the gods have conferred upon the king, the aristocracy, and the priesthood. Religion exists to legitimate power and privilege. Life is combat. Any form of order is preferable to chaos, according to this myth. Ours is neither a perfect nor a perfectible world; it is a theater of perpetual conflict in which the prize goes to the strong. Peace through war; security through strength: these are the core convictions that arise from this ancient historical religion, and they form the solid bedrock on which the Domination System is founded in every society
The Myth of Redemptive Violence Today:
The Babylonian myth is far from finished. It is as universally present and earnestly believed today as at any time in its long and bloody history. It is the dominant myth in contemporary America. It enshrines the ritual practice of violence at the very heart of public life, and even those who seek to oppose its progressive violence often do so violently.
We have already seen how the myth of redemptive violence is played out in the structure of children's cartoon shows (and is found as well in comics, video and computer games, and movies). But we also encounter it in the media, in sports, in nationalism, in militarism, in foreign policy, in televangelism, in the religious right, and in self-styled militia groups. It is celebrated in the Super Bowl, in the Rambo movies, by motorcycle and street gangs, and by the general pursuit of machismo. What appears so innocuous in cartoons is, in fact, the mythic underpinnings of our violent society.
The psychodynamics' of the TV cartoon or comic book are marvelously simple: children identify with the good guy so that they can think of themselves as good. This enables them to project out onto the bad guy their repressed anger, violence, rebelliousness, or lust, and then vicariously to enjoy their own evil by watching the bad guy initially prevail. This segment of the show--the "Tammuz" element, where the hero suffers--actually consumes all but the closing minutes, allowing ample time for indulging the violent side of self. When the good guy finally wins, viewers are then able to reassert control over their own inner tendencies, repress them, and reestablish a sense of goodness without coming to any insight about their own inner evil. The villain's punishment provides catharsis; one forswears the villain's ways and heaps condemnation on him in a guilt-free orgy of aggression. Salvation is found through identification with the hero.
Only the names have changed. Marduk subdues Tiamat through violence, and though he kills Tiamat, chaos incessantly reasserts itself, and is kept at bay only by repeated battles and by the repetition of the Babylonian New Year's Festival, where the heavenly combat myth is ritually reenacted. Theologian Willis Elliot's observation underscores the seriousness of this entertainment: "the birth of the world (cosmogony) is the birth of the individual (egogony): you are being birthed through how you see 'all things' as being birthed." Therefore, "Whoever controls the cosmogony controls the children." The myth of redemptive violence is the simplest, laziest, most exciting, uncomplicated, irrational, and primitive depiction of evil the world has ever known. Furthermore, its orientation toward evil is one into which virtually all modern children (boys especially) are socialized in the process of maturation.
Children select this mythic structure because they have already been led, by culturally reinforced cues and role models, to resonate with its simplistic view of reality. It's presence everywhere is not the result of a conspiracy of Babylonian priests secretly buying up the mass media with Iraqi oil money, but a function of values endlessly reinforced by the Domination System. By making violence pleasurable, fascinating, and entertaining, the Powers are able to delude people into compliance with a system that is cheating them of their very lives.
Once children have been indoctrinated into the expectations of a dominator society, they may never outgrow the need to locate all evil outside themselves. Even as adults they tend to scapegoat others (the Commies, the Americans, the gays, the straights, the blacks, the whites, the liberals, the conservatives) for all that is wrong in the world. They continue to depend on group identification and the upholding of social norms for a sense of well-being.
In a period when attendance at Christian Sunday schools is dwindling, the myth of redemptive violence has won children's voluntary acquiescence to a regimen of religious indoctrination more extensive and effective than any in the history of religions. Estimates vary widely, but the average child is reported to log roughly 36,000 hours of television by age eighteen, viewing some 15,000 murders. What church or synagogue can even remotely keep pace with the myth of redemptive violence in hours spent teaching children or the quality of presentation? (Think of the typical "children's sermon"--how bland by comparison!)