2.1.1.3: Nature
- Page ID
- 279336
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Nature theory, related to etiology, asserts that myths are basically a response to the wondrous processes of nature, specifically the phenomena that most clearly affect human existence: the ongoing movements of the sun and moon, planting and harvesting seasons, the industriousness of spiders and their web weaving, or why certain flowers turn to the sun or to their own reflection. The myth of Echo and Narcissus reflects this theory in both the literal and figurative sense, as Narcissus, son of a river nymph and river god, who is blessed and cursed with beauty, became so enamored with his own image that he drowned, or dissolved, because he was unable to detach from his semblance. In fixating on himself, he rejected the love of others, including Echo, as such he rejected the natural order of the universe. As a memory of his curse, an equally beautiful flower grew in his place–the narcissus–which also turned its face to the pond.
Echo, a nymph with a habit for chatter, was engaged by Jove (Zeus) to distract Juno (Hera) while he chased other nymphs for sport. Juno became enraged at the deceit and punished Echo, “In that she could not start a conversation . . . . [She] had no power of speech except the power/To answer in the words she last had heard” (Ovid 23-38.998). Her inability to engage in real conversation was maddening to Narcissus, which contributes to his rejection of her. This painful scorn caused her body to wither and fade away until she was nothing but a disembodied voice that haunted valleys and dells. Applying Nature theory offers immediate access to the myth's overt and underlying meanings, that the vanity of the young man created an untenable chasm between his desire to nurture human bonds, those necessary to society and the progress of the human race, and his self-infatuation. Nature's answer, a reflection of the gods' mandates for human behavior, appears fitting to the sin. While Echo's punishment enforces the gods' prerogative to transcend the moral laws of mortals--those laws that govern who can and cannot pursue romantic affairs--and direct the punishment at the nymph by silencing her most notable talent. The tragically memorable consequence for the nymph is reinforced every time a person calls across a valley or canyon. The physical presence of the echo serves as reminder of the distance between mortals and gods, both physically and morally.