Abstract

It was the integration of mythos, ethos and logos that determined the unity of Hellenic culture. The mythos of ways of being in the world gave determination to the ethos of ways of acting in community and the logos of accounting for what went on in the world. The primary expressions of this integration were the divine enlightenments of the poesis of interpretation which were acted out in public performance. The disintegration came with the pluralization of cultures in the Hellenistic period, when there were acknowledged multiple cultures, and even as early as Plato, Isocrates and Aristotle, rhetoric and argument displaced mythos as the basis for logos and ethos. In the century gone by we have seen several anti-mythical movements that have been adversarial to cultural integration. Religious fundamentalism rejects mythos in favor of literalism. Positivism rejects mythos in favor of empiricism. Existentialism rejects mythos as “bad faith”. But, as Jaspers’ critique of Bultmann’s de-mythologicalization project made clear, each of these moves amounted to an attempt at re-mytholization of our ways of being in the world. Alasdair MacIntye early exposed how the integration of mythos, ethos and logos were rooted in performance. Later, in After Virtue, he lamented their disintegration. Berdyaev’s retreat to The New Middle Ages and Tillich’s embracing of the notion of a “broken myth” offer their resolutions, but no comprehensive plan. The Jew who continues to enact “we were together in the land of Egypt” and the Christian who “sups with the risen Lord” still ritualistically cling to a performance of a mythos in our secularized post-modern age, but find little carry-over to ethos and logos. The search for meaning remains the task of integrating mythos, ethos and logos in performance.