![]() ![]() In view of this, it is tempting to assert that “mythology and Homer are one and the same” (F. In this epic picture of the world the gods are more real than the overly subjective sphere of human psychology. The actions and psychological states of Homer’s heroes are explained by the intervention of the gods. ![]() (Other transitional works of this type include the Indian Vedas, the Mahabharata, the Ramayana, and the Puranas the Persian Avesta and the Germano-Scandinavian Eddas.) Homer’s approach to reality-“epic detachment,” the almost complete absence of individual reflection and psychologism-and his aesthetics, which is only weakly differentiated from common everyday demands, are permeated by a mythological conception of the world. This statement applies, above all, to the Homeric epics, the Iliad and the Odyssey, which mark the transition between anonymous communal-tribal myth-making and literature. Marx, “that Greek mythology comprised not only the arsenal of Greek art, but its foundation” (K. The attitude of the poet to myth may be studied in classical literature. This applies not only to works with mythological subjects but also to 19th- and 20th-century realistic and naturalistic writing, as is evident in Dickens’ Oliver Twist, Zola’s Nana, and Mann’s The Magic Mountain. Thus, it was only natural that literature did not become separate from its mythological foundations. Historically, mythology foreshadowed many of the possibilities of literature and exerted a multifaceted influence on its early development. Mythology is similar to literature in that it adapts and modifies reality in narratives. The transformation of myths in literature is of particular interest. Thus, myths are reborn in modern society. Later, such forms of social consciousness as art, literature, science, religion, and political ideology become separate from mythology, but they retain a number of mythological patterns that are interpreted in special ways before they are included in the new structures. The specific characteristics of myths are most evident in primitive culture, in which myth is the equivalent of science and learning-a complete system in terms of which the whole world is perceived and described. Eden's article, but I think this captures the essence of the argument.In literature, creations of the collective folk fantasy which, in a generalized way, reflect reality in the form of emotionally concrete personifications and animate beings that are considered real by the primitive consciousness. There's a lot more supporting material in Mr. ![]() The "Boethius" mentioned above is this man, whose work De institutione musica introduced to much of the Western world the medieval concepts of Musica mundana and Musica divina (the music of the spheres/world and the music of the gods, respectively). Yet, as a classicist and medievalist, the "music of the spheres" concept would have been deeply ingrained into his educational training.the entire history of Middle-earth follows an interesting decay and descent in the uses and appearances of music that closely follow Boethius's model regarding the three types of music in medieval cosmological theory. In Tolkien the medievalist, Bradford Lee Eden wrote:Ī cursory examination of Tolkien's biograph and letters indicates that Tolkien himself did not refer to in the construction of his mythology. OK, here's the reference I was thinking of. I have a couple of references that, if I remember correctly, indicate that the song of Illuvatar is derived from the ancient Greek concept of Musica universalis however, I'm having difficulty locating the precise quotes at the moment, but I will update this answer when I locate them. ![]()
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