Popular conceptions of folklore and mythology can be a funny game of telephone. In high school, for instance, you may have learned about the “hero’s journey”, a concept developed by Joseph Campbell (Dartmouth Class of 1925, non-graduate) to describe a "universal" narrative structure. It has a tendency to come up in English classes as a useful framework to apply to assigned texts, mapping well onto classics like the Odyssey. And it can be useful in that narrative context, but it’s terrible as any sort of comparative mythology. Still, the trope of the hero’s journey persists in the arts and in pop culture, even though its value as scholarship has been dismissed for decades.One of Campbell’s influences was James Frazer (1854-1941), a Scottish classicist who sought to collate myths and ritual practices from around the world into evidence of universality. At the time, Darwinism had done a number on the Victorian world, and the social sciences were trying to figure out what it could imply for them. The results were theories like Frazer’s, who proposed that all cultures went through a linear evolution in belief from magic to religion to science. This positioned his own culture as the most evolved and his personal secularism as more evolved still.
Frazer’s interest in the topic began with research into a specific Roman rite, but it did not stay there. He consumed and cataloged a truly impressive amount of data about various cultures, though he never attempted any fieldwork himself, nor was he disposed to question his sources. The result was The Golden Bough, an anthropological work consisting of two volumes when it was first published in 1890, and increasing to twelve by 1915. It had its critics from the start — Frazer’s conclusions were quite speculative, as even he tended to admit — but it was also an exciting and entertaining read, so it gained an audience outside of its academic aspirations. The Golden Bough is no longer creditable, but Frazer’s work had a significant impact on scholarship as well as an influence on the arts.
Rauner has three versions of The Golden Bough, each a bit different. The earliest is a pair of books from that twelve-volume series we mentioned earlier, this pair being Part V, “Spirits of the Corn and of the Wild,” published in 1912. This is Frazer’s most expansive and uncertain version of his own work. The second is Leaves from the Golden Bough, a 1924 book of stories selected by Frazer’s wife Lilly and re-framed for children. The third is a fine press abridged edition from 1970. This last version comes with an introduction from the literary critic Stanley Edgar Hyman, whose analysis bridges the gap between the work’s failure as anthropological scholarship and its success as “imaginative literature.”
Each of our three versions was meant for a different audience. Each also appeared at a different moment in the perception of Frazer's work, both within and outside of the academy. They're interesting to compare! Ask for Hudson 7, Sine Illus B762leav, and Presses L629fraz to do your own investigation.




