Введение
Рассказный жанр в современной литературе и кино. Поэма Дж. Р. Р. Толкина.
the poem by J. R. R. Tolkien
Митопоэя, или митопоэзис, – это нарративный жанр в современной литературе и кино, в котором писатель создает искусственную или вымышленную мифологию в прозе, поэзии или других литературных формах. Эта концепция, существовавшая задолго до него, получила широкую известность благодаря Дж. Р. Р. Толкину в 1930-х годах. Авторы, работающие в этом жанре, интегрируют традиционные мифологические темы и архетипы в свои произведения. Митопоэя – это также процесс создания мифологии.
Жанр
[[Файл:Джозеф Кэмпбелл (обрезанный).png|thumb|upright|Джозеф Кэмпбелл писал о роли создаваемых мифологий в современном мире. Определение мифопоэи как «создание мифа» впервые зафиксировано в 1846 году. Изначально это слово означало создание мифов в древности. Хотя многие литературные произведения содержат мифические темы, лишь немногие достигают той плотной самореферентности и целенаправленности, которые свойственны мифопоэзису. К мифопоэтическим авторам относятся Уильям Блейк, Говард Филлипс Лавкрафт, лорд Дансени, Дж. Р. Р. Толкин и Роберт Э. Говард. Толкин использовал это слово в качестве названия одного из своих стихотворений, написанного в 1931 году и опубликованного в сборнике «Дерево и лист». Произведения мифопоэи часто относят к жанрам фэнтези или научной фантастики, но, по мнению Джозефа Кэмпбелла, известного исследователя мировой мифологии, они заполняют нишу мифологии в современном мире. Кэмпбелл говорил о мире в духе Ницше, который сегодня пережил значительную часть мифологии прошлого. Он утверждал, что необходимо создавать новые мифы, но считал, что современная культура меняется слишком быстро, чтобы какое-либо мифологическое построение могло полностью описать общество до наступления более поздней эпохи. Философ Филипп Стамбовский утверждает, что мифопоэя облегчает экзистенциальный страх, возникающий в рациональном мире, и может служить способом связи между различными культурами и обществами. Мифопоэю иногда называют искусственной мифологией, подчеркивая, что она не возникла естественным путем и является искусственным образованием, сопоставимым с искусственным языком, и поэтому не должна восприниматься всерьез как настоящая мифология. Например, известный фольклорист Алан Дандес утверждал, что «ни один роман не может соответствовать культурным критериям мифа. Произведение искусства или искусственное творение не может считаться повествованием о священной традиции культуры – в лучшем случае это искусственный миф».
Предыдущие
Мифология Уильяма Блейка выражена как в тексте, так и в иллюстрациях. Здесь Лос терзается в своей кузнице Спектром на иллюстрации к "Иерусалиму". Уильям Блейк изложил свою мифологию в своих "пророческих книгах", таких как "Вала, или Четыре Зоа". В них названы несколько изначальных богов, таких как Уризен, Орк, Лос, Альбион, Ринтра, Ахания и Энитармон. Позднее, в XIX веке, рассказы Джорджа Макдональда и Х. Райдера Хаггарда создали вымышленные миры; К. С. Льюис высоко оценил их обоих за "мифопоэтические" способности. Книга рассказов Лорда Дансани 1905 года "Боги Пеганы" связана с придуманным Дансани пантеоном божеств, обитающих в Пегане. За ней последовали "Время и боги", некоторые рассказы из сборника "Меч Веллерана и другие истории" и "Сказки о трех полушариях". В 1919 году Дансани сказал американскому журналисту: "В "Богах Пеганы" я попытался объяснить происхождение океана и луны. Не знаю, пытался ли кто-нибудь сделать это раньше". Творчество Дансани оказало влияние на более поздние работы Дж. Р. Р. Толкина. "Бесплодная земля" Т. С. Элиота (1922) была сознательной попыткой создать мифологию XX века, основанную на мотиве рождения и возрождения, описанном антропологом и фольклористом Джеймсом Джорджем Фрейзером.
Дж. Р. Р. Толкин
Большой палец вправо. Бюст Дж. Р. Р. Толкина работы Фейта Фальконбриджа в Эксетерском колледже, Оксфорд.
J. R. R. Tolkien wrote a poem titled Mythopoeia following a discussion on the night of 19 September 1931 at Magdalen College, Oxford with C. S. 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 (1945), the novella Smith of Wootton Major (1967), and the essays Beowulf: The Monsters and the Critics (1936) and On Fairy Stories (1939). Written in 1939 for presentation by Tolkien at the Andrew Lang lecture at the University of St Andrews and published in print in 1947, 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. We may put a deadly green upon a man's face and produce a horror; we may make the rare and terrible blue moon to shine; or we may cause woods to spring with silver leaves and rams to wear fleeces of gold, and put hot fire into the belly of the cold worm. But in such "fantasy," as it is called, new form is made; Faerie begins; Man becomes a sub creator. thumb|upright=1.5|Tolkien was unable to emulate Elias Lönnrot, who travelled Finland recording oral folklore, and then reconstructed the country's mythology. 1912 sketch for a mural, Lönnrot and the Rune Singers, by Akseli Gallen Kallela
Tolkien scholars have likened his views on the creation of myth to the Christian concept of Logos or "The Word", which is said to act as both "the [ ] language of nature" spoken into being by God, and "a repetition in the finite mind of the eternal act of creation in the infinite I AM". Verlyn Flieger wrote that Elias Lönnrot intentionally created the Kalevala as a mythology for Finland, giving it "a world of magic and mystery, a heroic age of story that may never have existed in precisely the form he gave it, but nevertheless fired Finland with a sense of its own independent worth." In her view, Tolkien, who had read the Kalevala, "envisioned himself" doing exactly the same thing, except that the mythology would be entirely fictive. Lönnrot had travelled the backwoods of Finland for 20 years, collecting stories and songs "from unlettered peasants". However Lewis later began to speak of Christianity as the one "true myth". 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." Subsequently, his Chronicles of Narnia is regarded as mythopoeia, with storylines referencing that Christian mythology, namely the narrative of a great king who is sacrificed to save his people and is resurrected. 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. He shares this skepticism toward allegory with Tolkien, who disliked "conscious and intentional" allegory as it stood in opposition the broad and "inevitable" allegory of themes like "Fall" and "Mortality".
Дж. Р. Р. Толкин написал стихотворение под названием «Митопоэя» после обсуждения в ночь на 19 сентября 1931 года в Колледже Магдалены, Оксфорд, с С. С. Льюисом и Хьюго Дайсоном, в котором он намеревался объяснить и защитить творческое создание мифов. Широкий легендариум Толкина включает в себя не только мифы о происхождении, мифы о сотворении и цикл эпической поэзии, но также вымышленную лингвистику, геологию и географию. Он более лаконично исследует функцию создания мифов, «подсоздания» и «Фей» в рассказе «Лист Ниггла» (1945), новелле «Смит из Вуттон-Майора» (1967) и эссе «Беовульф: монстры и критики» (1936) и «О сказках» (1939). Написанная в 1939 году для представления Толкином на лекции Эндрю Лэнга в Университете Сент-Эндрюса и опубликованная в печати в 1947 году, «О сказках» объясняет «Фей» как вымышленное царство и архетипический план в психике или душе, откуда Человек получает свою «субкреативную» способность. Толкин подчеркивает важность языка в акте канализации «подсоздания», говоря о человеческой лингвистической способности в целом, а также о специфике языка, используемого в данной традиции, особенно в форме рассказа и песни:
J. R. R. Tolkien wrote a poem titled Mythopoeia following a discussion on the night of 19 September 1931 at Magdalen College, Oxford with C. S. 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 (1945), the novella Smith of Wootton Major (1967), and the essays Beowulf: The Monsters and the Critics (1936) and On Fairy Stories (1939). Written in 1939 for presentation by Tolkien at the Andrew Lang lecture at the University of St Andrews and published in print in 1947, 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. We may put a deadly green upon a man's face and produce a horror; we may make the rare and terrible blue moon to shine; or we may cause woods to spring with silver leaves and rams to wear fleeces of gold, and put hot fire into the belly of the cold worm. But in such "fantasy," as it is called, new form is made; Faerie begins; Man becomes a sub creator. thumb|upright=1.5|Tolkien was unable to emulate Elias Lönnrot, who travelled Finland recording oral folklore, and then reconstructed the country's mythology. 1912 sketch for a mural, Lönnrot and the Rune Singers, by Akseli Gallen Kallela
Tolkien scholars have likened his views on the creation of myth to the Christian concept of Logos or "The Word", which is said to act as both "the [ ] language of nature" spoken into being by God, and "a repetition in the finite mind of the eternal act of creation in the infinite I AM". Verlyn Flieger wrote that Elias Lönnrot intentionally created the Kalevala as a mythology for Finland, giving it "a world of magic and mystery, a heroic age of story that may never have existed in precisely the form he gave it, but nevertheless fired Finland with a sense of its own independent worth." In her view, Tolkien, who had read the Kalevala, "envisioned himself" doing exactly the same thing, except that the mythology would be entirely fictive. Lönnrot had travelled the backwoods of Finland for 20 years, collecting stories and songs "from unlettered peasants". However Lewis later began to speak of Christianity as the one "true myth". 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." Subsequently, his Chronicles of Narnia is regarded as mythopoeia, with storylines referencing that Christian mythology, namely the narrative of a great king who is sacrificed to save his people and is resurrected. 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. He shares this skepticism toward allegory with Tolkien, who disliked "conscious and intentional" allegory as it stood in opposition the broad and "inevitable" allegory of themes like "Fall" and "Mortality".
Мифология вовсе не болезнь, хотя она, как и все человеческие вещи, может заболеть. Можно сказать, что мышление – это болезнь ума. Было бы ближе к истине сказать, что языки, особенно современные европейские языки, являются болезнью мифологии. Но язык не может, тем не менее, быть отвергнут. Воплощенный ум, язык и сказка в нашем мире современны. Человеческий разум, наделенный способностями обобщения и абстракции, видит не только зеленую траву, отличая ее от других вещей (и находя ее прекрасной), но видит, что она зеленая, а также трава. Но как мощно, как стимулирующе для самого факультета, который ее породил, было изобретение прилагательного: никакое заклинание в Фей не сильнее. И это неудивительно: такие заклинания действительно можно назвать лишь еще одним взглядом на прилагательные, частью речи в мифической грамматике. Ум, который думал о легком, тяжелом, сером, желтом, спокойном, быстром, также задумал магию, которая сделает тяжелые вещи легкими и способными летать, превратит серый свинец в желтое золото, а спокойный камень в быструю воду. Если он мог сделать одно, он мог сделать и другое; он неизбежно делал и то, и другое. Когда мы можем взять зеленый из травы, синий из неба и красный из крови, у нас уже есть сила волшебника – на одном плане; и желание использовать эту силу в мире, внешнем для нашего ума, пробуждается. Это не значит, что мы будем использовать эту силу хорошо на каком-либо плане. Мы можем наложить смертельно зеленый на лицо человека и произвести ужас; мы можем заставить редкую и страшную синюю луну сиять; или мы можем вызвать леса весной с серебряными листьями и баранов носить золотые руна, и вложить горячий огонь в живот холодного червя. Но в такой «фантазии», как ее называют, создается новая форма; Фей начинается; человек становится суб-творцом.
J. R. R. Tolkien wrote a poem titled Mythopoeia following a discussion on the night of 19 September 1931 at Magdalen College, Oxford with C. S. 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 (1945), the novella Smith of Wootton Major (1967), and the essays Beowulf: The Monsters and the Critics (1936) and On Fairy Stories (1939). Written in 1939 for presentation by Tolkien at the Andrew Lang lecture at the University of St Andrews and published in print in 1947, 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. We may put a deadly green upon a man's face and produce a horror; we may make the rare and terrible blue moon to shine; or we may cause woods to spring with silver leaves and rams to wear fleeces of gold, and put hot fire into the belly of the cold worm. But in such "fantasy," as it is called, new form is made; Faerie begins; Man becomes a sub creator. thumb|upright=1.5|Tolkien was unable to emulate Elias Lönnrot, who travelled Finland recording oral folklore, and then reconstructed the country's mythology. 1912 sketch for a mural, Lönnrot and the Rune Singers, by Akseli Gallen Kallela
Tolkien scholars have likened his views on the creation of myth to the Christian concept of Logos or "The Word", which is said to act as both "the [ ] language of nature" spoken into being by God, and "a repetition in the finite mind of the eternal act of creation in the infinite I AM". Verlyn Flieger wrote that Elias Lönnrot intentionally created the Kalevala as a mythology for Finland, giving it "a world of magic and mystery, a heroic age of story that may never have existed in precisely the form he gave it, but nevertheless fired Finland with a sense of its own independent worth." In her view, Tolkien, who had read the Kalevala, "envisioned himself" doing exactly the same thing, except that the mythology would be entirely fictive. Lönnrot had travelled the backwoods of Finland for 20 years, collecting stories and songs "from unlettered peasants". However Lewis later began to speak of Christianity as the one "true myth". 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." Subsequently, his Chronicles of Narnia is regarded as mythopoeia, with storylines referencing that Christian mythology, namely the narrative of a great king who is sacrificed to save his people and is resurrected. 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. He shares this skepticism toward allegory with Tolkien, who disliked "conscious and intentional" allegory as it stood in opposition the broad and "inevitable" allegory of themes like "Fall" and "Mortality".
Большой палец вправо, масштаб 1.5. Толкин не смог повторить подвиг Элиаса Лённрота, который путешествовал по Финляндии, записывая устный фольклор, а затем реконструировал мифологию страны. Эскиз 1912 года для фрески «Лённрот и певцы рун» Аксели Галлена-Каллелы.
J. R. R. Tolkien wrote a poem titled Mythopoeia following a discussion on the night of 19 September 1931 at Magdalen College, Oxford with C. S. 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 (1945), the novella Smith of Wootton Major (1967), and the essays Beowulf: The Monsters and the Critics (1936) and On Fairy Stories (1939). Written in 1939 for presentation by Tolkien at the Andrew Lang lecture at the University of St Andrews and published in print in 1947, 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. We may put a deadly green upon a man's face and produce a horror; we may make the rare and terrible blue moon to shine; or we may cause woods to spring with silver leaves and rams to wear fleeces of gold, and put hot fire into the belly of the cold worm. But in such "fantasy," as it is called, new form is made; Faerie begins; Man becomes a sub creator. thumb|upright=1.5|Tolkien was unable to emulate Elias Lönnrot, who travelled Finland recording oral folklore, and then reconstructed the country's mythology. 1912 sketch for a mural, Lönnrot and the Rune Singers, by Akseli Gallen Kallela
Tolkien scholars have likened his views on the creation of myth to the Christian concept of Logos or "The Word", which is said to act as both "the [ ] language of nature" spoken into being by God, and "a repetition in the finite mind of the eternal act of creation in the infinite I AM". Verlyn Flieger wrote that Elias Lönnrot intentionally created the Kalevala as a mythology for Finland, giving it "a world of magic and mystery, a heroic age of story that may never have existed in precisely the form he gave it, but nevertheless fired Finland with a sense of its own independent worth." In her view, Tolkien, who had read the Kalevala, "envisioned himself" doing exactly the same thing, except that the mythology would be entirely fictive. Lönnrot had travelled the backwoods of Finland for 20 years, collecting stories and songs "from unlettered peasants". However Lewis later began to speak of Christianity as the one "true myth". 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." Subsequently, his Chronicles of Narnia is regarded as mythopoeia, with storylines referencing that Christian mythology, namely the narrative of a great king who is sacrificed to save his people and is resurrected. 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. He shares this skepticism toward allegory with Tolkien, who disliked "conscious and intentional" allegory as it stood in opposition the broad and "inevitable" allegory of themes like "Fall" and "Mortality".
Ученые, изучающие творчество Толкина, сравнили его взгляды на создание мифов с христианской концепцией Логоса или «Слова», которое, как говорят, действует как «язык природы», сотворенный Богом, и «повторение в конечном уме вечного акта творения в бесконечном Я ЕСМЬ». Верлин Флигер писала, что Элиас Лённрот намеренно создал «Калевалу» как мифологию для Финляндии, наделив ее «миром магии и тайны, героической эпохой истории, которая, возможно, никогда не существовала в точности в той форме, которую он ей придал, но тем не менее зажгла Финляндию чувством собственной независимой ценности». По ее мнению, Толкин, прочитавший «Калевалу», «представлял себе» то же самое, за исключением того, что мифология будет полностью вымышленной. Лённрот 20 лет путешествовал по глухим уголкам Финляндии, собирая рассказы и песни «от неграмотных крестьян». Однако позже Льюис начал говорить о христианстве как об одном «истинном мифе». Льюис писал: «История Христа – это просто настоящий миф: миф, действующий на нас так же, как и другие, но с этой огромной разницей, что это действительно произошло». Впоследствии его «Хроники Нарнии» рассматриваются как мифопоэя, с сюжетными линиями, ссылающимися на христианскую мифологию, а именно…
J. R. R. Tolkien wrote a poem titled Mythopoeia following a discussion on the night of 19 September 1931 at Magdalen College, Oxford with C. S. 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 (1945), the novella Smith of Wootton Major (1967), and the essays Beowulf: The Monsters and the Critics (1936) and On Fairy Stories (1939). Written in 1939 for presentation by Tolkien at the Andrew Lang lecture at the University of St Andrews and published in print in 1947, 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. We may put a deadly green upon a man's face and produce a horror; we may make the rare and terrible blue moon to shine; or we may cause woods to spring with silver leaves and rams to wear fleeces of gold, and put hot fire into the belly of the cold worm. But in such "fantasy," as it is called, new form is made; Faerie begins; Man becomes a sub creator. thumb|upright=1.5|Tolkien was unable to emulate Elias Lönnrot, who travelled Finland recording oral folklore, and then reconstructed the country's mythology. 1912 sketch for a mural, Lönnrot and the Rune Singers, by Akseli Gallen Kallela
Tolkien scholars have likened his views on the creation of myth to the Christian concept of Logos or "The Word", which is said to act as both "the [ ] language of nature" spoken into being by God, and "a repetition in the finite mind of the eternal act of creation in the infinite I AM". Verlyn Flieger wrote that Elias Lönnrot intentionally created the Kalevala as a mythology for Finland, giving it "a world of magic and mystery, a heroic age of story that may never have existed in precisely the form he gave it, but nevertheless fired Finland with a sense of its own independent worth." In her view, Tolkien, who had read the Kalevala, "envisioned himself" doing exactly the same thing, except that the mythology would be entirely fictive. Lönnrot had travelled the backwoods of Finland for 20 years, collecting stories and songs "from unlettered peasants". However Lewis later began to speak of Christianity as the one "true myth". 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." Subsequently, his Chronicles of Narnia is regarded as mythopoeia, with storylines referencing that Christian mythology, namely the narrative of a great king who is sacrificed to save his people and is resurrected. 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. He shares this skepticism toward allegory with Tolkien, who disliked "conscious and intentional" allegory as it stood in opposition the broad and "inevitable" allegory of themes like "Fall" and "Mortality".
В фильме
Фрэнк Макконнелл, автор книг «Рассказывание историй и создание мифов» и профессор английского языка в Калифорнийском университете, назвал кино еще одним искусством "мифотворчества", заявив: «Кино и литература важны настолько, насколько они важны, потому что представляют собой различные версии мифотворчества». По его мнению, кино – идеальный инструмент для мифотворчества: «КИНО стремится к воплощению собственной спроецированной реальности в идеально ассоциативном, личном мире». В широком анализе Макконнелл сопоставляет американские вестерны и мелодрамы с артуровской мифологией, приключенческие и боевики – с мифологиями "эпического мира" обществ-основателей, а многие мелодрамы, где герой аллегорически выступает в роли рыцаря, – с мифологиями "поиска", такими как легенда о сэре Гавейне и поисках Святого Грааля.
В музыке
В классической музыке оперы Ричарда Вагнера были преднамеренной попыткой создать новый вид Gesamtkunstwerk («тотальное произведение искусства»), преобразуя легенды тевтонского прошлого до неузнаваемости в новый памятник романтическому проекту. Хотя рок-группа Phish известна, прежде всего, импровизационными джемами, она впервые сформировалась как коллектив во время работы над выпускным проектом лидера группы Трея Анастасио в колледже, получившим название «Человек, шагнувший в вчера». Этот песенный цикл повествует о ключевых событиях в мифической стране Гамхендж, населенной разнообразными вымышленными существами и преимущественно расой «Ящеров». По сути, это постмодернистская пастиша, вдохновленная интересом Анастасио к мюзиклам и рок-операм не меньше, чем к философии и художественной литературе. Создание этого мифа многие фанаты считают основной идеей группы, как в музыкальном, так и в философском плане, поскольку книга потерянных секретов Гамхенджа («Помогающая дружелюбная книга») резюмируется как призыв к импровизации во всех сферах жизни: «суть в том, чтобы отдаться течению». Текстист блэк-метал группы Immortal Харальд Невдал создал мифологический мир под названием Blashyrkh, наполненный демонами, битвами, зимними пейзажами, лесами и тьмой, который группа описывает как северное царство «Ледяного демона».
Организации
Мифопоэтическое общество существует для популяризации мифопоэтической литературы, проводя конференции, издавая книги и периодические издания, а также присуждая премии Мифопоэика.