ABSTRACT
Myth is defined not solely in terms of the intensity of the scenes it evokes, but also by the organization it imposes on them, and one of the laws governing the privileged structuring of mythology is that of contrast. Psychology, too, has been able to employ mythological themes as the double representation of desire perceived in its expansiveness and its precariousness. People will then try to ascertain where literary and mythological types of story hinge together and perhaps speculate on how literary narrative can exploit mythical narrative, or be like it. Thus it would never be possible to trace it back to the violence it describes; it derives from the combat carried on in the discourse between light and dark, the discourse and its purport. Yet again there are the links between myth and melodrama, one internalizing the impossibility of desire while the other always assigns an external cause to it.
