What makes a good story essentially true, and how do we find Meaning therein?

Readership: All;
Theme: Awareness and Introspection
Length: 1,000 words
Reading Time: 5 minutes

Reader’s Note: This article provides a foundational framework for upcoming posts this month.

The Four Elements of Persuasion

The Greek philosopher, Aristotle, outlined classic arguments describing the three primary means of persuasion employed by the “modern brain”:

  1. Logos: The logical argument — facts and rationality.
  2. Ethos: The ethical argument — the credibility of the speaker.
  3. Pathos: The emotional argument — the passion of the speaker.

These three classic appeals can be described in various ways and can take on multiple forms in their application.  They are often used in advertising, films, mottos, slogans, and PR strategies.

  • “Function, Value, and Form” (in Engineering Design)
  • “Heart, Mind, and Soul” (in religions such as Christianity)
  • “Logic, Character, and Emotion” (describing personal traits)
  • “Technology, Business, and Human Values” (in Sales and Marketing)
  • “Truth, Beauty, and Goodness” (Transcendentals adopted by Catholic Catechism, Traditional Baptists, et al.)
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Mythos

There is a fourth expression, not from Aristotle, but certainly present among humanity since long before his time.  Mythos is the unfolding narrative built around individual identities, purposes, beliefs, hopes, and expectations.

Mythos relies mainly on the “ancient brain”.  It appeals to something deep within the human soul.  It cannot be rationally defined, but nevertheless, it is strongly felt.

It can be inspiring and motivating, and it is also the element that brings a sense of completion and satisfaction to the observer.  It is not uncommon for observers to walk away from an exposure to Mythos with the sense that the experience was meaningful to them in some way.

In storytelling, Mythos can be thought of as a story or fable in which there is…

  1. Completeness or Wholeness (i.e., Ethos, Logos, and Pathos are all faithfully represented)
  2. Appropriate Magnitude (i.e., things are in their proper balance or relationship to one another).

These are described next.

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Wholeness

Mythos conveys a sequence of events that are carefully construed to include a beginning, a middle, a climax, a resolution, and an ending. This arrangement helps create a sense of unity and completeness in the drama.

On the concept of Wholeness, Completeness, or being part of a larger movement, Aristotle wrote,

“A well constructed plot… will neither begin at some chance point, nor end at some chance point.”

Aristotle, in Poetics, Part VI

“The events which are the parts of the plot must be so organized that if any one of them is displaced or taken away, the whole will be shaken and put out of joint.”

Aristotle, in Poetics, Part VIII
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Magnitude

The other important aspect of Mythos is Magnitude, which refers to the size or importance that properly belongs to the various elements of the narrative. The concept of magnitude might be substituted by “appropriateness,” which relates to the rhetorical concept of decorum.

For example, in the classic story of The Wizard of Oz, each of the four main characters is given equal representation, with the exception of the main protagonist.  It is not explained how or when the Yellow Brick road came to exist, or how the Wizard developed his resume, for these are details which, although realistic, do not contribute to the overall Mythos.  Such excursions we call tangents, and chasing after them is to drop the plot and get side-tracked — a failure in both logic and storytelling that betrays a lack of integrity.

Secular culture and women chase after a dead-end path when they emphasize the shortcomings and weaknesses of men, and fail to develop an alternative strategy that might lead to a better outcome.

The secular Manosphere commits a similar error when it rides heavy on those sins peculiar to female nature and ignores women’s potential capabilities befitting their purpose and/or the possibility of their redemption.

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Drama

In entertainment and literature, Mythos is conveyed through the central plot, as seen in dramas, fairy tales, and more particularly tragedy.

Mythos establishes cause-and-effect relationships between events, meaning that one event leads to another in a readily recognizable way, creating a chain of actions and reactions. This structure helps the audience understand why things happen and allows them to become emotionally invested in the unfolding drama.

Beyond its structural role, the elements that make up the dramatic experience of Mythos were outlined by Aristotle as follows, in order of importance.

  1. Plot — The organization of events
  2. Character — The people involved, the protagonists, the antagonists, the good and the bad.
  3. Diction — Cues and words
  4. Thought — Sequences and theories
  5. Spectacle — The impressive or memorable
  6. Melody (or Theme) — The overriding subject and the meaning thereof.
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Meaningful Conclusions

Logos, Ethos, Pathos, and Mythos are not limited to film, stage, and theater, but are of timeless importance in human interaction.  These expressions are an intrinsic part of every person’s own life story, as well as businesses, churches, communities, and other social groups.  Within these settings, these expressions and narratives build mutual faith and purpose, and are central to the interactive communications of desires, goals, and values.

Personal anecdotes and testimonies often rely on an implied underlying Mythos held by the speaker (which is understood, although not always explicitly explained), and this is partly why these stories are deeply compelling, especially to those who share the same Mythos.

When any of these elements is not represented, the stories conveyed do not ring true, are difficult to believe, uninteresting, and/or uncompelling. At worst, they can be deceptive.

One cannot find Meaning in life without first establishing a greater Mythos and determining one’s identity and place within that Mythos.  Meaning must also encompass Empathic, Logical, and Ethical / Moral dimensions, which serve to fully embody that Mythos.

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