By Laurence Coupe
Laurence Coupe deals scholars a vital review of the evolution of 'myth', from the traditional Greek definitions to these of more than a few modern thinkers. This introductory quantity * presents an advent to either the idea of fable and the making of delusion * explores the makes use of made from the time period 'myth' in the fields of literary feedback, anthropology, cultural experiences, feminism, Marxism and psychoanalysis * discusses the organization among modernism, postmodernism, fable and background * familiarises the reader with issues equivalent to the demise god, the search for the grail, the relation among 'chaos' and 'cosmos', and the imaginative and prescient of the top of time * illustrates the relation among fable, tradition and literature with discussions of poetry, fiction, movie and renowned track.
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Extra resources for Myth
Here we should acknowledge briefly his undoubted debt to the Romantic poet William Blake, who will be discussed further in Part II. He is the source of the name of Morrison’s band: ‘If the doors of perception were cleansed, everything would appear to man as it is, infinite’ (Blake 1971: 154). Certainly, Morrison’s lyrics are all about seeing beyond the obsessively normative rationality of the contemporary American mind, beyond what Blake called ‘single vision’: ‘Break on through to the other side’ (The Doors 1992: 10).
The story of Attis, which originated in the ancient land of Phrygia (eastwards across the Aegean Sea from Greece, and northwest of Syria), may be easily summarized. He is a shepherd driven mad by the goddess Cybele’s love for him; in his frenzy he castrates himself, only to be taken up by her as her eternal consort (often depicted riding with her on a chariot drawn by lions). The cult, which spread throughout Greece and then to Rome, centred on an annual, spring ritual in honour of Attis: this would involve devotees’ castrating themselves, and there would also be group flagellation by priests dressed as women.
Material may be gleaned from ancient Greece and ancient Egypt alike, and from ancient Greece and nineteenth-century rural England alike, without bothering with detailed contextualization or reservation. Anywhere there is evidence of something like a fertility ritual (for example, an effigy thrown into a river then fished out again), the overall pattern of death and regeneration may be inferred. Frazer is, that is to say, a ‘universalist’: he believes that we can make comparisons across cultures because the primitive human urge to myth-making is essentially the same.
Myth by Laurence Coupe