Adaptation of Mythology: Hero of One Thousand Years

-- Barbara Ann Cass

In his 1984 novel Jitterbug Perfume, Tom Robbins presents a narrative that rivals the often fantastical tales told in myth. Using classical mythology as a foundation, and, in particular, providing a loose adaptation of The Odyssey by Homer, Robbins updates and modifies characters and concepts in an effort to reinforce the importance of the journey of life and the discovery of self. Like the ancient myth-makers, Robbins commands the reader’s attention with outrageous situations and events while at the same time providing characters that the reader can relate to and learn from.

Jitterbug Perfume is a story of epic proportions, spanning a time-frame of almost one thousand years. The protagonist, Alobar, is first encountered sometime in the eleventh century as a king in Bohemia. Alobar rebels against the custom of his tribe that condemns their ruler to death upon the appearance of his first grey hair. He escapes this premature and arbitrary demise, and much of the novel follows Alobar's adventures over the next ten centuries as he continues to avoid death. On the way, he encounters Kudra, the love of his life, the god Pan, and, eventually, the other important, modern-day characters in the novel. Their stories all converge in the twentieth century in a series of chance meetings. These present-day encounters revolve around the search for the secret ingredient to the perfect perfume, and involve the presence of a vegetable, the beet.

The structure of Jitterbug Perfume contains many similarities to the structure of The Odyssey. In a manner reminiscent of Homer's opening entreaty to a Muse, Tom Robbins begins Jitterbug Perfume with a treatise on the beet. While Homer calls on the Muse to help him tell his tale, Robbins introduces the beet -- "the ancient ancestor of the autumn moon" -- as a device that connects his story to the stories of old (Robbins 1). Furthermore, the beet as "the grounded moon-boat" calls to mind Odysseus's various nautical incidents and accidents (1). This discourse is chapter one of four brief chapters that introduce the modern-day characters, much as Homer begins his epic with the four books that acquaint us with the people and the situation in Ithica. Each work is told retrospectively by a third-person omniscient narrator, and the adventures of Alobar and Kudra are relayed primarily through flashbacks, much as the story of Odysseus is told. Homer's use of Athena as a character whose presence permeates and drives the action of the epic is mirrored, albeit perversely, by Robbins' use of the beet as a similar "character," an entity that permeates and affects the lives of the characters in the book. The novel, as does the epic, ends with all the primary characters coming together to effect a satisfying conclusion.

A key to understanding his writing, says author Tom Robbins, is a knowledge of Greek myth. A particular influence on him is the life and work of Joseph Campbell, author of several books on mythology (Hoyser and Stookey 9). Campbell, in turn, owes influence to the insights of analytic psychologist Carl Jung. Jung recognized the patterns within myths --- throughout the world and across all cultures -- of characters, situations, and events, and identified these recurring images as archetypes (Harris and Platzner 40). Campbell examines mythology using the patterns of these archetypal heroic adventures, and applies to myths the insights of Carl Jung.

In his book The Hero With a Thousand Faces, Campbell describes the journey of a hero as one that entails "a separation from the world, a penetration to some source of power, and a life-enhancing return," a model that Robbins uses for his hero and heroine (35). In addition, the journeys of Alobar and Kudra are those of self-development, self- recognition, and maturation, following Jung’s process of individuation, the process that allows them to "fulfill their potential and grow into true selfhood" (Harris and Platzner 43). By providing his characters with opportunities for self-discovery as they journey through life, Robbins confirms his belief that "[o]ur individuality is all, all, that we have. . ." (qtd. in Easton 179).

Alobar embodies physical and psychological characteristics of several mythological heroes. He is deemed by his subjects as being semi-divine, a trait of many hero figures. Like Achilles, Alobar is an imposing warrior who had often risked his life in combat. He is described as having a nose "banded at the bridge with a ribbon of scar tissue", "war marked hands" and a body "braided with muscle, supple, quick" (Robbins 19-25). Like Odysseus, he is perceived as a wise and fair ruler. As one of his wives, Wren, tells him, ". . . you have a brain. . . In the past, many kings have ruled this people. You have governed them" (24).

Alobar is more like Odysseus than like any of the other heroes of myth in that, despite the perception of his tribe, he is of human birth, experiences an extremely long journey with many adventures, remains (relatively) faithful to his wife, and enjoys the companionship of a god. However, Robbins presents Alobar as a hero who, from his very introduction, is a man consciously in search of himself, in spite of the fact that at first the concept of "self" confuses him (Robbins 20). Alobar perceives himself to be "a part of the community, the race, and the species, yet . . . somehow separate from them . . . .he sought to become something singular out of his singular experience" (25-27).

What prompts this search of self is Alobar's questioning the reasonability of the execution ritual prescribed by his clan in order to avoid having an enfeebled ruler, in this case himself (19). Here again, Robbins deviates from the traditional portrayal of a hero, that is, one who does not rebel against the gods. Despite the fact that he feels he is betraying the gods by resisting his fate he, with the help of his wife Wren, devises and executes a plan to feign death. He escapes to the far-off village of Aelfric where -- a scant two years later, in a ritual where he is crowned "King of the Bean" -- he is again, ironically, sentenced to death. Enraged at being "twice king and twice condemned," Alobar determines to run away again from death (51). He becomes a man who "[stands] up to . . . and demands an accounting from . . . the gods" (109). Alobar has now twice separated himself from his familiar world, thus accomplishing "of his own volition" the first step in his journey to self-discovery (Campbell 44).

In his roles as king, Alobar also demonstrates a connection to the Great Goddesses. In Bohemia, Alobar is the "fertility king," not only responsible for overseeing the expansions of cattle herds and beet crops, but also expected to produce many offspring. Furthermore, if he had been executed as "King of the Bean," it would have been as a sacrifice "to the good old goddess of agriculture" Demeter (Robbins 46).

Travelling across Europe, Alobar begins to encounter the supernatural forces that will further aid and spur him on his journey (Campbell 69). He soon meets a Shaman who imparts to Alobar the knowledge that the world is round, an inconceivable concept in eleventh-century Europe. More importantly, the Shaman encourages Alobar in his quest for freedom and individuality and infuses him with a special courage that bolsters Alobar on his journey.

Full of confidence, Alobar encounters the god Pan. Robbins interprets Pan much as he is portrayed in classical myth -- that is, as a god who creates both beauty and terror (Harris and Platzner 140). Alobar is both moved to tears by Pan's emotional piping and driven by it to a state of literal panic, a "thrilling anxiety [that tempts] him with irrational impulses" (Robbins 54).

Pan becomes a mentor and periodic companion to Alobar, much as Athena was to Odysseus. As a source of "moon wisdom," "mountain wisdom," and "body wisdom," Pan provides Alobar with exposure to female values that expand Alobar's anima and understanding of the universe (157). Pan also infuses Alobar with a special fear of death, which represents a "wisdom of the body" (58). This wisdom replaces Alobar’s resentment of death, thus relieving Alobar of his "affliction of the mind" and allowing him greater harmony with the natural universe, traits necessary for his successful journey(101).

In an interesting twist, Robbins presents the relationship of Pan and Alobar as one that is more intimate than the relationships of gods and men in classical myth, generally, and between Athena and Odysseus, specifically. In an allusion to Dinoysian revelry, Pan and Alobar enjoy together the pleasures of wine and nymphs and develop a grudging respect and sincere affection for one another. Additionally, their alliance results in a mutually beneficial experience. Unlike Sisyphus, who was punished for his attempts to avoid death (Harris and Platzner 212), Alobar is encouraged and helped in his quest for immortality by Pan, who tells him ". . . gods do not limit men. Men limit men" (Robbins 163). Pan also reveals to Alobar that gods are "not quite immortal," that they live "only as long as people believe in [them]" (52). This proves to be a prophetic statement, when, eventually, Pan, a weakened god, must depend on Alobar for his survival.

Armed with courage, yet with a healthy fear of death, Alobar now sets out to find the Bandaloop doctors, who he has been told hold the secrets of immortality. In their use of witchcraft and sorcery, this group of mystical, magical creatures calls to mind the powers of Hecate, powers that frighten Alobar. Furthermore, their use of trickery and their alternating "hospitable and antagonistic" behavior towards Alobar confuses and humiliates him (102). Unable to endure the turmoil, Alobar leaves the Bandaloop before he learns their secrets. He retreats to a Samye lamasery, where he spends twenty years in peace and tranquility, though still seeking a "release from the cycle of birth, death, and rebirth" (105).

At this point in his adventures, Alobar is joined by a female companion who will accompany him on his journey. Not a sidekick, but a true counterpart -- an anima to his animus -- a mate, a lover, and a friend. Kudra is someone without whose presence Alobar's journey could not be complete.

It has been argued that Tom Robbins is a "heroine addict" and this is displayed in his spirited portrayal of the character Kudra (Whitmer 54). In Kudra, Robbins presents a complex being that embodies traits of both a Great Goddess and the archetypal hero(ine). Physically, Kudra is described as being "thick-thighed broad-hipped, and heavy-breasted" with an exceptionally slender waist, features reminiscent of early Earth Goddess figures (Robbins 107). As a young woman, Kudra gives birth to four children and revels in her role as a mother, much as Demeter delighted in her daughter Persephone. Kudra becomes an enthusiastic and accomplished lover who "radiate[s] an erotic heat," characteristics that recall the goddess Aphrodite (378). The early death of her husband, Navin, forces Kudra to question the prescribed fate for widows of either servitude or death, neither very appealing options, but the only ones available in her time and culture. Unwilling to serve or die, she escapes, disguised as a boy, leaving behind most of her possessions in an effort to avoid being pursued. Kudra thereby exhibits wisdom, intelligence, and resourcefulness, all traits symbolized by the goddess Athena (Harris and Platzner, 129).

These Athena-like traits also tie Kudra to the image of Penelope, the intelligent, perceptive, and resourceful wife of Odysseus (357). Kudra also has a particular aptitude for combining, creating, and distinguishing scents. This talent further connects Kudra to the image of Penelope the skilled weaver. In addition, like Penelope, Kudra is a faithful wife, initially to her husband Navin, and later -- except for an irresistible encounter with Pan -- to Alobar.

Kudra is a hero(ine) following the pattern described by Joseph Campbell. She, too, is on a journey of self-discovery that involves the process of separation, penetration, and return (Campbell 35). And, like Alobar, Kudra has a heightened sense of self and a resentment of her society’s arbitrary rules concerning death. By running away from death, Kudra has left her family, children, and culture, thus realizing the first stage of Campbell's process: a necessary separation from her original environment (Harris and Platzner 43).

In the course of her escape, Kudra meets Alobar at the Samye lamasery. Her presence reminds him of the sensual pleasures that he has been denied for twenty years, and Alobar realizes that the absence of desire has led him to an "empty neutral existence" (Robbins 105). Renewed desire finally allows Alobar to appreciate the chaotic behavior of the Bandaloop. He realizes that there must be a balance between irrationality and reason, turmoil and tranquility -- reflecting the aspects exemplified by the gods Apollo and Dionysus -- in order for humankind to experience life and not just sustain existence (105). Together Alobar and Kudra leave the lamasery and travel to the Bandaloop caves, each prepared to tolerate these excesses in order to acquire the knowledge.

Upon arrival at the Bandaloop caves, Alobar and Kudra discover that the "immortals" are nowhere to be found (118). The potent chthonic powers of the Bandaloop, however, remain, emanating "vibrations" of "eternal knowledge" and "life everlasting" within the caves which Kudra and Alobar "study" for the next seven years (150). They develop a "program" that focuses on the four elements in order to experience immortality (197). The element of air refers to a method of breathing in a "circular . . . pattern like a serpent swallowing its own tail" (291). The use of water consists of ritual baths, earth refers to diet, and fire to sex (292-95). The couple's immersion in these elemental rituals further unites them with the power and influence of the Great Goddesses. Moreover, their experience with these supernatural forces -- the penetration to the source of their power -- advances the couple’s journey towards self-realization and reinforces Kudra's status as a archetypal hero(ine) (Campbell 35).

The association with the Bandaloop is not the only instance of Kudra's encounters with supernatural forces. She meets, is seduced by, and befriends Pan (161). Through him, she encounters the nymph Lalo, sister of Echo, who exposes Kudra to the concept of travel to the "Other Side" of life (194). In addition, as an earth goddess, Kudra also possesses chthonic powers of her own, primarily evidenced in her ability to foresee events in the immediate and distant future (176).

Alobar and Kudra spend the next several centuries travelling the European continent. Like Odysseus, they experience trials, but because of their ability to remain ageless, they also risk the suspicion and fear of "normal" members of society. They barely escape a frightened mob in Constantinople in the latter part of the eleventh century (154), and manage to avoid torture by Gypsies in the 1300s (175). Unlike Odysseus, however, they have no goal -- that is, no metaphorical "home" to which they wish to return.

This becomes problematic for Kudra. While she and Alobar have managed to maintain an amazingly harmonious relationship for six centuries, they do not see eye to eye on the value of extended life. For Alobar, "longevity for longevity's sake is enough;" Kudra seeks some greater purpose (Robbins 179).

Their disagreement brings them to settle in Paris in the 1600s. They are soon joined by Pan, who, because of diminished human belief, has become invisible (186). The combined presence of a god who causes erotic dreams, a man who doesn't age, and a woman who "jiggle[s] shamelessly when she walk[s]" causes neighboring monks to threaten their safety (201). In an effort to escape, they attempt dematerialization, which Kudra had learned from the nymph Lalo (194). Kudra is successful, Alobar is not (207). Thus Kudra departs earth and Alobar is abandoned, causing them to repeat the separation phase of the heroic cycle while simultaneously taking another step in their development by being initiated into the unknown (Harris and Platzner 43)

Alobar experiences several "unknowns" over the next three hundred years. He travels with Pan to the New World where he continues, companionless, to experience his journey through a new series of escapades that include owning a spa in Montana, becoming janitor to Albert Einstein, and bombing a laboratory at MIT. The bombing earns him a jail sentence, where he experiences the previously "unknown" process of aging and meets with the first of the modern-day characters. Foremost, however, is the "unknown" of living life without Kudra, which causes him to reflect on his ideas of life and love. Eventually, Alobar realizes the power and importance of love, re-prioritizes his life, and places his love for Kudra above his desire for everlasting life.

Echoing the journey of Odysseus to Hades, Kudra spends the same three centuries as a dematerialized body on the unknown "Other Side" -- of life (379). Like Odysseus, she witnesses the activities and interacts with some of the inhabitants. Her voyage, however, is not a task or trial, but one of self-discovery. It is from Wren, one of Alobar's wives during his tenure as king of Bohemia, that Kudra receives the most powerful gift of self-knowledge.

Although Wren has not attained immortality, she has achieved a place of honor and a relationship to chthonic powers after her death. Wren echoes the goddess Persephone in her role as a priestess of the "Other Side", wherein her duties involve directing the souls of the newly deceased to their ultimate destination (382). It is in this capacity that Wren is able to impart wisdom to Kudra. Kudra obtains from Wren the secrets of the "Other Side" -- that is, how souls are judged after death. More importantly, however, Kudra heeds Wren's lesson to "lighten up" (386). Kudra realizes that life has meaning for its own sake and can be enjoyed. Kudra learns not to be afraid of death and, more importantly, not to be afraid of life.

Alobar is returned to the world of freedom, Kudra to the world of life, and their reunion is imminent at the end of the novel. Both have achieved success in defining themselves as independent, successful individuals. They have proven themselves to be heroes, and, as with Odysseus and Penelope, anima and animus are reunited (Harris and Platzner 358).

Barbara Ann Cass

Works Cited

Campbell, Joseph. The Hero With A Thousand Faces. 10th ed. New York: MJF, 1949.

Easton, Tom. "The Reference Library." Rev. of Jitterbug Perfume, by Tom Robbins.

Analog Science Fiction/ Science Fact. Aug. 1985: 178.

Harris, Stephen L., and Gloria Platzner. Classical Mythology: Images and Insights. 2^nd ed. Mountain
     View: Mayfield, 1995

Hoyser, Catherine E., and Lorena Laura Stookey. Tom Robbins. Westport CN: Greenwood, 1997

Robbins, Tom. Jitterbug Perfume. Bantam: New York, 1985.

Whitmer, Peter O. "Cosmic Comedian." Saturday Review Jan/Feb. 1985: 50-55.