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Introduction: Modernist Mythopoeia – the Language of the In-Between and of Beyond

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Introduction: Modernist Mythopoeia – the Language of the In-Between and of Beyond Notes Introduction: Modernist Mythopoeia – The Language of the In-Between and of Beyond 1. Ulysses (Oxford: Oxford University Press, 2008), p. 3. 2. Ulysses, p. 22. 3. Thus Spoke Zarathustra: A Book for Everyone and Nobody, trans. Graham Parkes (Oxford: Oxford University Press, 2005), p. 11. 4. A Portrait of an Artist as a Young Man (London: Minerva, 1992), p. 266. 5. Ibid., p. 258. 6. Ulysses, p. 37. 7. The Gay Science, trans. Walter Kaufmann (New York: Vintage Books, 1974), p. 167. 8. The Will to Power, trans. Walter Kaufmann & R. J. Hollingdale (New York: Vintage Books, 1968), p. 54. 9. Shadow of Spirit: Postmodernism and Religion, eds. Philippa Berry & Andrew Wernick (London: Routledge, 1992), p. 1. 10. Phillip Blond (ed.), Post-Secular Philosophy: Between Philosophy and Theology (London: Routledge, 1998), p. 1. 11. Shadow of Spirit, p. 1. 12. Jürgen Habermas, An Awareness of What is Missing: Faith and Reason in a Post- Secular Age, trans. Ciaran Cronin (Cambridge: Polity Press, 2010), p. 19. 13. Suzanne Hobson, Angels of Modernism: Religion, Culture and Aesthetics 1910–60 (Basingstoke: Palgrave Macmillan, 2014), p. 5. 14. Erik Tonning, Modernism and Christianity (Basingstoke: Palgrave Macmillan, 2014), p. 1. 15. Michael Bell, Literature, Modernism and Myth: Belief and Responsibility in the Twentieth Century (Cambridge: Cambridge University Press, 1997), p. 2. 16. Ibid., p. 1. 17. Hans Blumenberg, Work on Myth, trans. Robert M. Wallace (Cambridge, Massachusetts: The MIT Press, 1985), p. 27. ‘The historical power of myth is not founded in the origins of its contents, in the zone which draws its materials and its stories, but rather in the fact that, in its procedure and its “form,” it is no longer something else’ (p. 16). 18. Twilight of Idols/The Anti-Christ, trans. R. J. Hollingdale (London: Penguin Books, 1990), p. 81. 19. Don Cupitt, Taking Leave of God (London: SCM Press LTD., 1980), pp. 163–7. 20. See Paul Holmer, The Grammar of Faith (New York: Harper & Row Publishers, 1978). Holmer takes his lead from Ludwig Wittgenstein’s Philosophical Investigations, i.e. the language of faith belongs to a ‘single grammar’ (p. ix). 190 Notes 191 21. Will to Power, pp. 85–7. 22. Karl Barth, The Epistle to the Romans, trans. Edwyn C. Hoskyns (Oxford: Oxford University Press, 1968), p. 30. 23. See for example: Karl Jaspers, Philosophy: Metaphysics, trans. E. B. Ashton (Chicago: The University of Chicago Press, 1971). ‘Godforsakenness is not defiance. It involves a sense of distance, a lack of faith that makes me unable to be either defiant or yielding’ (p. 72). 24. The Gay Science, p. 181. 25. An Awareness of What is Missing, p. 15. 26. The Gay Science, p. 182. 27. Don Cupitt, ‘Post-Christianity’, from Religion, Modernity and Postmodernity, ed. Paul Heelas (Oxford: Blackwell Publishers, 1998), p. 228. 28. Matthew Arnold, Literature and Dogma: An Essay Towards a Better Apprehension of the Bible, 2nd edn (London: Smith, Elder & Co., 1873), pp. 12–13. 29. Sallie McFague, Metaphorical Theology: Models of God in Religious Language (London: SCM Press LTD, 1983), pp. 5–6. See also J. Hillis Miller, The Disappearance of God: Five Nineteenth-Century Writers (Urbana & Chicago: University of Illinois Press, 2000). ‘The idea of Incarnation was the ulti- mate basis for this harmony [man, society, nature, and language]’ p. 5. 30. ‘God’s Grandeur’, The Poems of Gerard Manley Hopkins, eds. W. H. Gardner & N. H. Mackenzie (London: Oxford University Press, 1967), p. 66. 31. Brideshead Revisited: The Sacred and Profane Memories of Captain Charles Ryder (London: Chapman & Hall, 1949), p. 274. 32. Helena (London: Penguin Books, 1963). 33. See K. K. Ruthken, Myth: The Critical Idiom (London: Methuen, 1976), pp. 60–1. 34. Karen Armstrong, The Case for God (London: Vintage, 2010), p. 3. 35. Karl Jaspers & Rudolf Bultmann, Myth and Christianity: An Inquiry into the Possibility of Religion without Myth (New York: Prometheus Books, 2005). ‘[A] cipher becomes the symbol of a reality that be expressed in any other way’ p. 87. See also Leonard Ehrlich, Karl Jaspers: Philosophy and Faith (Amherst: The University of Massachusetts Press, 1975). 36. Work on Myth, p. 12. 37. The Will to Power, p. 9. 38. Work on Myth, pp. 34–5. 39. Ibid., p. 35. 40. Introductory books to theories of myth, such as Robert A. Segal’s Myth: A Very Short Introduction (Oxford: Oxford University Press, 2004) and Laurence Coupe’s Myth (London: Routledge, 2008), by excluding the philosophical views of Karl Jaspers, Friedrich Nietzsche, and Martin Heidegger tend to give the general impression that myth only equates to a foundational narrative or a discourse of recurring patterns. 41. Titus Andronicus, ed. Jonathan Bate (London: Thomson Learning, 2006), pp. 213–14. 42. Naomi Wolf, The Beauty Myth: How Images of Beauty are Used Against Women (London: Vintage, 1991). 192 Notes 43. Literature, Modernsium and Myth, p. 120 44. Ibid., pp. 1–2. 45. Ibid., p. 122. 46. See Ludwig Wittgenstein, Remarks on Frazer’s Golden Bough, ed. Rush Rees, trans. A. C. Miles & Rush Rees (Bishopstone, Herefordshire: The Brynmill Press Ltd., 2010). See also Fergus Kerr, Theology after Wittgenstein (London: SPCK, 1997), & Ronald T. Michener, Postliberal Theology: A Guide for the Perplexed (London: Bloomsbury T. & T. Clark, 2013). 47. Work on Myth, p. 25. 48. Critics have identified in Harmonium a humanist or ironic style that stands in opposition to the religious commitment or ‘seriousness’ of Eliot. See Joseph N. Riddel, The Clairvoyant Eye: The Poetry and Poetics of Wallace Stevens (Baton Rouge: Louisiana State University Press, 1991): ‘[ . ] Stevens never created a dramatic metaphor for his age, like The Waste Land [ . ]’ (p. 56). 49. The Gay Science, p. 167. 50. Waiting for Godot: A Tragicomedy in Two Acts (London: Faber & Faber, 1965), Act I, p. 9. 51. ‘Western atheism now finds itself in something of a twilight zone.’ Alister McGrath, The Twilight of Atheism: The Rise and Fall of Disbelief in the Modern World (London: Rider Books, 2004), p. 279. 52. See David A. White, Heidegger and the Language of Poetry (Lincoln: University of Nebraska Press, 1978), p. 108. 53. Gianni Vattimo, Belief, trans. Luca D’Isanto & David Webb (Cambridge: Polity Press, 1999), p. 47. 54. Ibid., p. 35. 1 Zarathustra: Nietzsche’s New Redeemer 1. Bertrand Russell, What I Believe (London: Routledge, 2010), p. 1. 2. Hans Blumenberg, Work on Myth, trans. Robert M. Wallace (Cambridge, Massachusetts: The MIT Press, 1985), pp. 34–5. 3. W. H. Auden, ‘D. H. Lawrence’, from The Dyer’s Hand and Other Essays (London: Faber & Faber, 1975), p. 277. 4. Ibid. 5. See M. H. Abrams, ‘Belief and the Suspension of Disbelief’, from Literature and Belief: English Institute Essays, ed. M. H. Abrams (New York: Columbia University Press, 1958), pp. 1–30. 6. Robert Gooding-Williams argues that Nietzsche was a modernist who required a creative break with the past to produce an unprecedented piece of work. Zarathustra’s Dionysian Modernism (Stanford: Stanford University Press, 2001), pp. 3–6. Kathyrne V. Lindberg argues: ‘Nietzsche rejects philo- sophical abstractions for the ideal of a poetic language (both poetry and music) that might recapture the passion and expressiveness of primitive speech.’ Reading Pound Reading: Modernism after Nietzsche (Oxford: Oxford University Press, 1987), p. 23. Notes 193 7. The Birth of Tragedy: Out of the Spirit of Music, trans. Shaun Whiteside (London: Penguin Books, 1993), p. 22. 8. Ibid., p. 40. 9. John Macquarrie, Existentialism (New York: Penguin Books, 1973), p. 20. 10. The Birth of Tragedy, p. 47. 11. Aaron Ridley, Nietzsche on Art (London: Routledge, 2007), p. 33. 12. The Birth of Tragedy, p. 114. 13. Ibid., p. 14. 14. Ibid., p. 16. 15. Terry Eagleton, Sweet Violence: The Idea of the Tragic (Oxford: Blackwell Publishing, 2003), pp. 52–6. 16. Walter Kaufmann, Nietzsche: Philosopher, Psychologist, Antichrist (Princeton: Princeton University Press, 1974), p. 128. 17. The Birth of Tragedy, p. 16. 18. Ibid., p. 46. 19. Ibid., p. 83. 20. Ibid., p. 53. 21. Ibid., p. 50. 22. See Peter Berkowitz: ‘Nietzsche glorifies tragedy as the highest form of art because it makes men wise’. Nietzsche: The Ethics of an Immoralist (Cambridge, Massachusetts: Harvard University Press, 1995), p. 65. 23. Frank Kermode, The Sense of an Ending: Studies in the Theory of Fiction (New York: Oxford University Press, 1979), p. 39. 24. Karl Jaspers, Nietzsche: An Introduction to the Understanding of His Philosophical Activity, trans. Charles F. Wallraff & Frederick J. Schmitz (London: The Johns Hopkins University Press, 1997), p. 371. 25. David Punter, Metaphor (London: Routledge, 2007), pp. 87–94. 26. George Lakoff & Mark Johnson, Metaphors We Live By (London: University of Chicago Press, 2003), pp. 25–9. 27. The Birth of Tragedy, p. 79. 28. Ibid., pp. 80–1. 29. Martin Heidegger, Poetry, Language, Thought, trans. Albert Hofstadter (New York: Harper & Row Publications, 1971), p. 191. 30. Ibid., pp. 191–2. 31. Ibid., p. 215. 32. See Laszlo Versényi, Heidegger, Being, and Truth (New Haven: Yale University Press, 1965), p. 81. 33. See Ernst Cassirer, Symbol, Myth, and Culture: Essays and Lectures of Ernst Cassirer 1935–1945, ed. Donald Phillip Verne (New Haven: Yale University Press, 1979), pp. 38–40. Cassirer too, when discussing the mythic power of romantic poets, singles out Hölderlin for praise: ‘The greatest lyric poets, for instance Hölderlin or Keats, are men whom the mythic power of insight breaks forth again in its full intensity and objec- tifying power,’ Language and Myth, trans. Susanne K. Langer (New York: Dover Publications Inc., 1953), p. 99. 34. David A. White, Heidegger and the Language of Poetry (University of Nebraska Press, 1978), p. 166. 194 Notes 35. Heidegger, Poetry, Language, Thought, p. x.
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