The Stages Of Human Life In Beowulf

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The Stages Of Human Life In Beowulf

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Classics Summarized: Beowulf

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For example, the noted folklorist Alan Dundes argued that "any novel cannot meet the cultural criteria of myth. A work of art, or artifice, cannot be said to be the narrative of a culture's sacred tradition I don't know whether anyone else has ever tried that before". Tolkien's later writings. Tolkien wrote a poem titled Mythopoeia following a discussion on the night of 19 September at Magdalen College, Oxford with C.

Lewis and Hugo Dyson , in which he intended to explain and defend creative myth-making. Tolkien's wider legendarium includes not only origin myths , creation myths and an epic poetry cycle, but also fictive linguistics , geology and geography. He more succinctly explores the function of such myth-making, "subcreation" and " Faery " in the short story Leaf by Niggle , the novella Smith of Wootton Major , and the essays Beowulf: The Monsters and the Critics and On Fairy-Stories Written in for presentation by Tolkien at the Andrew Lang lecture at the University of St Andrews and published in print in , On Fairy-Stories explains "Faery" as both a fictitious realm and an archetypal plane in the psyche or soul from whence Man derives his "subcreative" capacity.

Tolkien emphasizes the importance of language in the act of channeling "subcreation", speaking of the human linguistic faculty in general as well as the specifics of the language used in a given tradition, particularly in the form of story and song:. Mythology is not a disease at all, though it may like all human things become diseased. You might as well say that thinking is a disease of the mind. It would be more near the truth to say that languages, especially modern European languages, are a disease of mythology. But Language cannot, all the same, be dismissed. The incarnate mind, the tongue, and the tale are in our world coeval. The human mind, endowed with the powers of generalization and abstraction, sees not only green-grass, discriminating it from other things and finding it fair to look upon , but sees that it is green as well as being grass.

But how powerful, how stimulating to the very faculty that produced it, was the invention of the adjective: no spell or incantation in Faerie is more potent. And that is not surprising: such incantations might indeed be said to be only another view of adjectives, a part of speech in a mythical grammar. The mind that thought of light, heavy, grey, yellow, still, swift, also conceived of magic that would make heavy things light and able to fly, turn grey lead into yellow gold, and the still rock into a swift water.

If it could do the one, it could do the other; it inevitably did both. When we can take green from grass, blue from heaven, and red from blood, we have already an enchanter's power—upon one plane; and the desire to wield that power in the world external to our minds awakes. It does not follow that we shall use that power well upon any plane. But in such "fantasy," as it is called, new form is made; Faerie begins; Man becomes a sub-creator.

Tolkien's mythopoetic observations have been noted for their similarity to the Christian concept of Logos or "The Word", which is said to act as both "the [ At the time that Tolkien debated the usefulness of myth and mythopoeia with C. Lewis in , Lewis was a theist [9] and liked but was skeptical of mythology , taking the position that myths were "lies and therefore worthless, even though 'breathed through silver ' ". Lewis wrote, "The story of Christ is simply a true myth: a myth working on us in the same way as the others, but with this tremendous difference that it really happened. Lewis's mythopoeic intent is often confused with allegory, where the characters and world of Narnia would stand in direct equivalence with concepts and events from Christian theology and history, but Lewis repeatedly emphasized that an allegorical reading misses the point the mythopoeia of the Narnia stories.

William Blake 's "prophetic works" e. Blake was an important influence on Aleister Crowley 's Thelemic writings, whose dazzling pantheon of 'Godforms' and radically re-cast figures from Egyptian mythology and the Book of Revelation constitute an allegorical mythology of their own. Current attempts to produce a new mythology through collaborative means include the movement known as New or Metamodern Classicism. According to its website, metamodern classicism seeks to create "a vast, collaborative cultural project, uniting Painters, Poets, Musicians, Architects, and all Artists in one mythopoeic endeavor.

Our goal is none other than a living mythological tradition: interactive, dynamic, evolving—and relevant. The Cthulhu Mythos of H. Lovecraft was likewise taken up by numerous collaborators and admirers. Stories by George MacDonald and H. Rider Haggard are in this category. Lewis praised both for their "mythopoeic" gifts. Eliot 's The Waste Land was a deliberate attempt to model a 20th-century mythology patterned after the birth-rebirth motif described by Frazer. The repeated motifs of Jorge Luis Borges 's fictional works mirrors , labyrinths , tigers , etc. Howard from contain imagined worlds vast enough to be universes in themselves, [ citation needed ] as did the science fiction of E.

Fritz Leiber from the s also created a vast world, similar to that of Robert E. Howard 's; vast enough to be a universe, and indeed was a fictional omniverse. It is stated that the two main protagonists, Fafhrd and the Grey Mouser "travelled through universes and lands" and eventually going on to say they ended up back in the fictional city of Lankhmar. Star Maker by Olaf Stapledon is a rare attempt at a cohesive science fiction mythos.

In the s through the s, Roger Zelazny authored many mythopoetic novels, such as Lord of Light. Zelazny's Chronicles of Amber is a ten-volume series of particular note for its mythic and metaphysical themes. Greg Stafford created the world and attendant mythology of Glorantha from , which formed the basis for a role-playing game see Runequest and Heroquest , though its literary scope far exceeds its genre.

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