The Patterns of Transcendence - Kinds of Stories

A transcendental system and hero can exist in all kinds of stories, but here are the three most common types that come with consistent patterns. You’ll notice that excellent storytelling applies the patterns in unique and powerful ways.

Transcendental Drama

When the System Character from a transcendental system comes down in the climax to join the Primary Norm (PNB), it turns what would have been a Tragedy into a Drama and turns around impending death with a resurrection sequence. This allows the self-sacrificing PNB to step into a Traditional Hero and saves them from being a Tragic Hero. This gives the story a 1-2 punch at the Hero Function: 1) The Transcendental Hero comes down in a Power Shield and saves the PNB, 2) The PNB emerges as a Traditional Hero and is rewarded for all their positive hard work and sacrifice with a win.

A beautiful example of a Transcendental Drama is The Lion, the Witch, and the Wardrobe, a 1950 book by C. S. Lewis. Edmund, must pay for his mistakes with his life, as demanded by the White Witch. Aslan, the lion, offers to step in to pay the price for him and allows the White Witch to take his life. By morning, a more ancient and stronger magic than the one used by the White Witch brings Aslan back to life for he sacrificed all for the sake of another. The people, led by Aslan, are then able to defeat the White Witch and rebirth comes to the land.

Usually, it’s the PNB that has the resurrection sequence, but in this story, the transcendental System Character, Aslan is the one who is killed. It appears he is going to a Tragic Hero, but then he is saved by the deep magic activated by his sacrifice. Aslan is the Transcendental Hero and is in the #1 position at the Hero function. Now redeemed, Edmund, can step into a Traditional Hero in the #2 position at the Hero functions with his siblings who bravely fight the White Witch and bring goodness and light to Narnia.

Other examples of Transcendental Dramas:

In Harry Potter and the Deathly Hallows Part 2 (2011 film), Harry is killed by Voldemort, or so we think, but Dumbledore tells him in an afterlife way station that Voldemort only killed the horcrux that was inside of Harry, leaving Nagini as the last horcrux. Magic is the transcendental system, Dumbledor it’s System Character, although in this moment, he is functioning only as a Safe Character giving Harry some information and advice. Harry has to choose his own resurrection sequence by choosing to go back to face Voldemort.

All through this series, Voldemort and Harry have been closely intertwined and this plays out in the Hero function as Voldemort plays a part in saving Harry by killing the horcrux inside him, which in turn helps Harry to kill him (with an assist from Neville.) I don’t think that makes Voldemort a Transcendental Hero or any other kind of hero, but he is unwittingly assisting at the hero function: 1) Voldemort kills the horcrux in Harry, 2) Neville kills the last horcrux in Nagini, and 3) With the help of the Elder Wand, Harry is able to deflect Voldemort’s killing curse back onto himself. Now that’s poetic justice!

In the Prince of Egypt (1998 animated film), Moses and the Israelites are trapped between the Red Sea and Ramses’ approaching army. God comes down in a Transcendental Shield and gives them an escape route through the parted Red Sea, saving them from imminent death and allowing Moses to step into his hero moment. What was surely a looming Tragedy is now a triumphant Drama.

Transcendental Tragedy

Sometimes after the PNB dies, the transcendental system comes down with a reward, but not a full resurrection sequence that restores them to life. We see the PNB receiving their reward in the next life, another realm, or their life takes on a new form. We call these Transcendental Tragedies because the main character remains dead in the story.

Pan’s Labyrinth (2006 Mexican-Spanish film) is a great example of this. Young Ofelia is told by a fawn that she is a princess from another realm and that she must complete three tasks in order to return there and regain her throne. Problem is, she is in grave danger from her new stepfather who is a violent fascist captain obsessed with her new baby brother as his heir and legacy. The captain ends up killing Ofelia as she tries to protect her brother, but her final act fulfills the last task and as she lays dying, she sees herself in the magical realm as a returning princess to her mother and father. (More on this story next week.)

Other examples of Transcendental Tragedies:

Rabbit in the Moon is a traditional Buddhist folktale. The Buddha is traveling incognito to visit three animal friends he’s heard about to see if they are as good as reported. As a common traveler, Buddha asks if the friends have any food to spare. The others run off to catch some food, but Rabbit can only gather grasses and is grieved that she cannot offer more. She then jumps into the fire so the traveler can eat her. The Buddha reveals his true identity and praises the Rabbit for her sacrifice. To honor her, he places the rabbit in the moon so all can see her goodness. Rabbit is not brough back to life but is rewarded in another way and lives on in another form.

In Always (1989 film) Pete is a daredevil pilot who is killed fighting a wildfire. He is met by a transcendent being called Hap who sends him back to inspire a rookie pilot who happens to fall in love with Pete’s old girlfriend Dorinda. Pete needs to let go of Dorinda and needs to help her move on as well. Pete even saves her life when she could have joined him in death. Pete does not get to return to life but is able to go on to his heavenly reward through his efforts with Ted and Dorinda in a type of Transcendental Romantic Tragedy.

Transcendental Comedy

These are usually rather silly comedies that play with the idea of a higher power with some blend of irreverence/reverence. But the ending is the same as the other kinds: some sort of transcendent force helps save the day for the hero in some way.

Defending Your Life, an 1991 Albert Brook’s film is a cut above the typical Transcendent Comedy. Daniel has died and must go to trial to defend his choices in life in order to move on to his final destination, otherwise, he’ll be reincarnated for another try. While waiting for his trial, he falls in love with Julia, a brave and loving woman who easily passes her trial. The problem is, Daniel has always been ruled by his fears, which is the main criteria for judgment. He loses his trial, but in a dangerous move, he jumps on Julia’s train so he can join her. Watching this latest action, his judges change their ruling and allow him to join Julia. In this case, Albert is in the #1 hero position, with the judges in the #2, choosing to reward his action. As in comedies, everyone wins.

In Bruce Almighty (2003 film), God gives disgruntled Bruce a chance to rule the world as God. Bruce quickly learns that it’s a tougher job than he imagined. Eventually, Bruce makes a royal mess of everything and loses his girlfriend, Grace. God intercedes and gives Bruce another chance to make something good out of his life.

Everything, Everywhere, All at Once (2022 film) is a dizzying existential journey through the multiverse. Some power called The Bagel is overtaking Evelyn’s daughter and perhaps the whole universe. Evelyn learns to stop trying to control everything and to let go, as well as the power of simple kindness. Evelyn finds her center and renews her connections with her family.

Next week: Transcendence that can manifest in different levels of power. In our final segment on transcendence, we’ll look at the continuum of transcendence.