The recapitulation of mankind is discussed in Myth and Reality and manifests itself in the pages of Saul Bellow’s Henderson the Rain King. Eugene epitomizes the human condition, following his one driving, incessant, nagging inner desire: “I want, I want.” By gleaning knowledge of primal rituals, Henderson begins to understand his role in the recapitulation and appeases his inner desire. “For the man of the archaic societies, that is, knowledge of the origin of each thing (animal, plant, cosmic object, etc.) confers a kind of magical mastery over it; he knows where to find it and how to make it reappear in the future.” (Eliade p.76) Henderson’s metamorphosis to Sungo, the Rain King, brings him “knowledge of the origin” of rain and his role in its’ propagation. As Henderson traverses through Africa, each new realization brings him closer to understanding his part in the summary of mankind.
Henderson parts ways with Charlie almost immediately upon reaching Africa, realizing that taking pictures and seeing Africa was not enough to fulfill his primal longing. The voice drives him away from the sightseeing to the less traveled routes and finally to the Arnewi village. The Arnewi make a profound impression on Henderson from the initial encounter. “And now I began to observe that the coloring of these people was very original...” (Bellows p.51) Even from this first moment, he can sense that the phylogeny of the Arnewi people is represented outwardly. They are embracing and incorporating ancient ritual into their daily lives. Henderson also notes, “Just then I deeply felt my physical discrepancies.” (Bellows p.51) indicating that he is not yet been embraced by the Arnewi ontogeny. His outward manifestation of ancestry and origin lacks substance or basis at this point in his voyage because he does not understand the vital link to it. Eliade states, “The time that has passed between the origin and the present moment is neither ‘strong’ nor ‘significant’…” (Eliade p.34) indicating that Henderson is perhaps closer than he realizes to recognizing his own recapitulation.
Henderson wants to become a part of this rich life cycle and fulfill his yearning to understand “the greater or deeper facts of life.” Henderson undergoes a series of ephiphenies while residing with the Arnewi. By participating in the ritual of wrestling with Itelo, Henderson gains their acceptance and earns the tribes sacred praise and trust. Itelo proclaims an intimacy with Henderson after the wrestling match saying, “I know you now, sir” (Bellows p.70). Henderson has joined Itelo and the Arnewi in their recapitulation of origins. The Arnewi’s myth has become thoroughly interwoven with Henderson’s myth.
A second profound experience occurs when Henderson meets queen Willatale. After giving her a raincoat as a gift, she pulls him to her and envelopes his head with her supple stomach. This display of affectionate affirmation is particularly important because he is being pulled to the omphalos of the queen and the tribe. Again Henderson is touched by the ritual and origin of the Arnewi people. Henderson notes that this embrace is a “…significant experience (having made contact with a certain power--unmistakable!--which emanated from the woman’s middle)…” (Bellows p.74) This womb holds the key to perpetuation or demise of the entire tribe. It signifies the beginnings of the Arnewi people. It is the central strength of the clan. Henderson is struck by this simple yet essential truth: the phylogeny of the Arnewi is represented by queen Willatale’s midriff.
At this point in the novel, Henderson is in the larval stage of his metamorphosis. He has encountered the rightness in the origins with the Arnewi and will encounter the power of endings with King Dahfu’s passing. From the initial encounter with the Wariri, Henderson has been faced with the circle of life from birth to death. When he and Romilayu find the dead man in their quarters, Henderson makes an interesting observation: “But he was scowling and had a wrinkle on his forehead somewhat like a high-water mark or a tidal line to show that life had reached the last flood and then receded…” (Bellows p.135-6) This illustrates the plurality of water and also foreshadows Henderson’s role as Sungo. The ritual use of skulls by the Wariri also signifies ends.
One of the most significant moments in the book is the ceremony where Henderson and the other Wariri lift and move statues of the gods. Here, Henderson becomes involved in the recapitulation of the Wariri by lifting Mummah. His myth is once again intermingled with that of the native African tribe’s. He yearns to partake of the ritual lifting of the gods, and, after being allowed to partake, uses his strength to master the largest of statues. Henderson admits he is not surprised when the clouds fill the sky after lifting Mummah. He has found the origin of the rain and propagated its’ forthcoming. Swept up in the ritual of Sungo and the Wariri rain production ceremony, Henderson leaves his hesitations and limitations behind. Within this process, he finds out who he really is, his reason for existence. “With swollen throats the amazons cried and howled, and I, lumbering with them, tried to remember who I was. Me…The king of the rain.” (Bellows p.199)
While the Wariri tribe marches along singing, dancing, and ritualistically calling forth the rain, the skulls of Wariri ancestors are held high on banners. This symbolizes the nearness of life and death both of which are exemplified in the properties of water. Henderson marches with them as Sungo, a symbolic re-creator of the rainfall. “The gestation of a chief is the occasion for a symbolic ‘re-creation’ of the World. The recapitulation is at once a reminder and a ritual reactualization, through song and dance, of the essential mythical events that have taken place since the Creation” (Eliade p.23). Henderson’s metamorphosis to Sungo and the ceremony of the rain dance allows for ritual rebirth/destruction, which is possible as a result of the water coming. Henderson notes the duality of the inundation, “‘Rain? What rain? It’s the deluge. It feels like the end…’” (Bellows p.202) alluding to the “essential mythical event” of the global flood. The landscape, peoples, and animals thrive with this infusion of the rainwater, which signifies both mythical beginnings and ends.
In the end, the cyclic life is fulfilled when the lion kills Dahfu. Henderson ponders the role death plays. “Evidently I happen to have a great death potential.” (Bellows p.252) This is because, as Sungo the rain king, Henderson is a liaison between life given and life taken. On the plane ride home, Eugene encounters an orphaned baby on its way to Nevada and befriends the infant. This completes the recapitulation: the lion cub Dahfu, the infant on the plane, and the metamorphosis of Henderson. “Two smoothly gray eyes moved at me, greatly expanded into the whites--new to life altogether. They had that new luster. With it they had ancient power, too. You could never convince me that this was for the first time.” (Bellows p.339)
