Hellenic gods and The Neolithic Epoch.
The origins of the Hellenic gods, superheroes, and mythological devices date back to the Neolithic epoch in Central Europe prior to the Hellenes relocating southward into the Peninsula in the second millennium BC. Moreover, to most of the islands of the Aegean, and west coast of Anatolia; in 1000 BC. These gods et al., are quite transparent in German, French and English science, drama, and literature.
SIGMUND FREUD,1856-1939. (1.) EUGENE O’NEILL, © 1888-1953. (2.). JEAN-PAUL SARTRE, 1905-1980. (1.)
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(2.) Permission to use granted by Dr. Harley J. Hammerman, MD 21/3/2006.
For example: in the field of psychoanalysis, in which the Moravian-born neuropathologist, Sigmund Freud, developed the theory of the Oedipus complex. A tripartite theory, of a universal phenomenon suggesting the emergence of the unconscious (not to be confused with the ‘subconscious’) feelings and thoughts. During the first five years of the three psychosexual phases of human life namely the oral, anal, and phallic. The libidinal focus is on the parent of the opposite gender, and the same sex parent is perceived, perhaps with hostility; as a rival. With male children, this syndrome is called ‘Oedipus complex’, and girls ‘Electra complex’. The term ‘Oedipus complex’ is now preferred to describe this syndrome for both genders. Freud based the Oedipal syndrome upon the legendary King in Sophocles’ great dramatic masterpiece: ‘Oedipus the King’. The universality of the ‘Oedipus complex’ is quite patent in Jocasta’s dialogue with Oedipus:
“And as for this marriage with your mother – have no fear. Many a man before you, in his dreams, has shared his mother’s bed”.
[Robert Fagles (transl.), Sophocles The Three Theban Plays, Penguin Books, New York U.S.A. 1982. p. 215, ll.1073-75].
Eugene O’Neill borrowed Freud’s hypothesis of the unconscious, and the Greek concept of fate based upon Aeschylus’ Oresteia; for the creation of his trilogy ‘Mourning Becomes Electra’. Moreover, in literature, French novelist and existentialist Jean-Paul Sartre.
The English noun, mythology is taken from two Greek words: μϋθος (story), and λỏγια (knowledge or study). Μϋθος is a traditional narrative of supernatural (deities) or imaginary persons, figures, or mythological devices and represents concepts about their activities in their objective world. These traditional narratives include gods, superheroes, as well as stones, plants, and animals, which have been the seminal ingredients for many of the filmic characters, plots, and stories.
‘FRANKENSTEIN’ © 1931.’MY FAIR LADY’ © 1964.’OPRHÉE’ © 1949. The above three images are by courtesy of the Copyright © owners: Universal Pictures, US 1931. Warner Bros, US 1964. André Paulvé/Films du Palais Royal, France 1949; respectively.
Mary Shelly’s reconstruction of the Titan demigod Prometheus in James Whale’s early sound chiller ‘Frankenstein’ (Universal Pictures, 1931). Bernard Shaw’s comedic masterpiece ‘Pygmalion’ (Anthony Asquith, Leslie Howard, MGM, UK 1938.). Moreover, 26-years later, the musical adaption ‘My Fair Lady’ (George Cukor, Warner Bros, US 1964). Both these films were Shaw’s renditions of Pygmalion, king of Cyprus, who fell in love with a statue of Aphrodite. Jean Cocteau’s enduring masterpiece ‘Oprhée’ (Andre Paulve, Films du Palais Royal, France 1949) an adaptation of the legend of Orpheus the lyre player; and his wife, Eurydice.
HELLENIC GODS AND LEGENDS IN PSYCHOANALYSIS
Carl Gustav Jung (1875-1961).
Myths, in Jungian psychological theory, are conceptualized as components for the analysis of the universal unconscious, for example, his hypothesis of the anima, animus, ego, shadow, and persona. Jung refers to these components as archetypes; that is to say, inherent concepts and imagery within human mentation independent of conscious processes. These components are an absolute law of their own in that they are the non-specific vocabulary that imply rather than stating specifically. They point to affairs beyond the mundane human world, they are transpersonal and consist of the residue of human development from the primordial period of man’s psychological and biological evolution.
THE GREEK PLAYERS ON STAGE.
Photograph: Greek actor with masks of suitor, maiden and angry father. By courtesy of Mansell Collection – Lateran Museum, Roma
The Greeks players wore rather elaborate masks and costumes. They performed on a ορχηστρα (orchestra) which means a semi-circular space in front of the stage. In 1720, ‘Orchestra’ was used as an English noun to describe a company of musicians. The Greeks built the orchestra in front of a σκηνή, which is to say: tent, booth, or scene [σκηνή is where the English noun ‘scene’ came; perhaps in 1540].
The use of signs represented the particular place of the play. Songs and dances were devices used for breaks between scenes; the use of drapes evolved at a later date. Plays were based upon legends, heroes, myths and history borrowed mostly from the Homeric sources, that is to say, the Iliad and Odyssey, which depended mostly on dialogue and monologue rather than action. Violent actions, of any kind, were prohibited on stage, but were narrated on stage by messengers. Flying deities were featured on stage by suspending them from a device called ‘μηχαν’, thus the English adjective: mechanical (‘μηχανικός’); perhaps 1450. The chorus, intermediary between protagonist and audience, provided an interlude to create an effect of lapsed time.
Prior to the 6th century BC, Greek drama consisted of four elements: dance, costume, mime and decor. Comedies were also featured which were a mix of clownery, topical satire and bawdy frolicking sometimes wearing an ithyphallic fertility device. At Dionysia, in 534 BC, Thespis introduced the fifth element, that is to say, words and literary sophistication into Greek theatre. He is considered to be the first playwright and prize winner for tragedy. His name in the English language was first related to dramatic art in 1599, and later in 1827, as a noun.