Folklore Mythology

Ancient Symbology in Fantasy Literature: A Psychological by William Indick

By William Indick

Archetypal symbols in old myths in addition to the folktales, nursery tales, and fairytales of the center a while are the blueprints of contemporary delusion literature. This booklet explores the fashionable dreamscape of present-day myth, utilizing the traditional myths and standard fairytales as courses and shining the sunshine of mental perception onto each symbolic determine and subject matter encountered. Chapters are devoted to all the major archetypes: heroes and princesses, fairy godmothers and evil witches, wizards and darkish lords, magic, and magical beasts are all explored. The analyses and interpretations are educated through vintage psychoanalytic reports; the works of fable literature tested during this ebook comprise the preferred and influential within the style.

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Toyland! Little girl and boy land. While you dwell within it, you are ever happy then. Childhood’s joy land, mystic merry joy land. ” — Victor Herbert & Glen Macdonough, from the musical Babes in Toyland The world of the fairytale, with its eternal landscape and fanciful panoply of characters derived from the “ageless tale” of myth, provides the basic psychological elements of the fantasy story. ”1 The imaginary realm of Faërie is the homeland of the creatures that provide us with the “picture-language of the soul,”2 the images and ideas that are projected in some way or form in every fantasy story.

An example of a “living myth” would be the story of the Last Supper, in which Jesus is the hero and the Eucharist is the associated rite. A similar and associated example would be the biblical story of the Exodus, in which Moses is the hero and the Passover Seder is the associated rite. These are “living myths,” because the heroes are still worshipped or adored by devoted followers, and their respective myths are still linked with the associated rituals. A “dead myth” is one that is no longer linked with its associated rite, usually because the religion or belief system connected to the myth and its hero has become defunct.

Also, in Disney’s Fantasia 2000 (1999), in the Pomp and Circumstance sequence, which retells the Noah story starring Donald Duck in the title role, a group of antediluvian magical creatures, including a dragon, a unicorn, and a griffon, laugh at Donald/Noah as he loads the ark, blissfully unaware of their imminent extinction. Returning to Narnia once again, at the very end of The Last Battle, Aslan escorts the children into the ultimate realm of Faërie—the magical kingdom promised at the end of all fairytales—where happiness is eternal, the place at the end of the rainbow, the fantasy world that exists in every mythology, and is called by a thousand names, the mythical country where you are reunited with all of your dead loved ones, and every day is just one extended moment of bliss.

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