Creative Mythology (The Masks of God, Volume 4) by Joseph Campbell

By Joseph Campbell

This quantity explores the total internal tale of recent tradition because the darkish a while, treating smooth man's exact place because the writer of his personal mythology.

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6 In the pictorial arts, Schopenhauer then observes, there is a distinction between the aims of those addressed to the beauty and grace of a species and those concerned to render the character of an individual. Animal sculpture and painting are of the former type; portraiture in sculpture and painting, of the latter. A midground is to be recognized in the rendition of the nude; for hereat least in the classical arts-the figure is regarded in terms of the beauty of its species, not the character of the individual.

Christian revelation was never, for him, an impassable barrier dividing the chosen from the condemned and truth from error. . " 21 The biblical representation of God as somebody "up there" (rather like the god Assur in Figure 7), not the substance, but the maker of this universe, from which he is distinct, had deprived mattcr of a divine dimension and reduced it to mere dust. Hence, whatever the pagan world had regarded as evidence of a divine presence in nature, the Church interpreted as of the Devil.

Two young men regarding each other. As to the identity of these, there has been considerable academic disagreement. · However, to this the late Professor Hans Leisegang of the University of J ena objected reasonably that in that case Castor would have been separated from his inseparable twin, Pollux. 28 The pair, he suggested, might rather represent two mystes bearing scourges (for in certain mys- * For Triptolemus, see Occidental MylllOlogy, Figure 14. CREATIVE MYTHOLOGY teries scourging played a part).

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