By Joseph Campbell
A part of a sequence of 4 books that appears at international mythologies. This publication examines jap mythology because it constructed into the particular religions of Egypt, India, China and Japan.
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Extra info for The Masks of God: Oriental Mythology
Example text
To purify the god and the goddess before their connubium. . The scene . . formed part of [a] ritual, which we know was enacted by the king or his substitute and a priestess. It represents the death of the god and his resurrection, followed by reunion with the goddess. " ltt Figure 4. The Sacrifice: Sumer, c. C. 1 7 the ruins of the city of Lagash, shows a naked woman squatting on a man who is lying on his back, while a second male, having seized her arm, is threatening with a staff or dirk.
And for such an imprecisely differentiated sense of ego, " imitation* meant far more than we mean by the word today. It was a mythical identification. , . " And as a consequence of this solemn play of life as myth, life as quotation, time was abrogated and life became a festival, a mask: the scenic reproduction with priestly men as actors of the prototypes of the gods—as for instance, the life and sufferings of the dead and resurrected Osiris. * The pharaoh on the Narmer palette, therefore, though executing a historical act in time, at a certain date, and in space, in the land of Egypt, is depicted not as a merely successful warrior king, but as the manifestation in history of an eternal form.
The arms were stretched down with the left hand on the buttocks and the right apparently grasping the left foot. For, owing to the lowness of the bed, she could not turn over without straightening her legs—and this was impossible, since they would project beyond the foot of the bed, where they were blocked by the filling. And still another woman, again the principal sacrifice in her grave, lying at the foot of the bed, under the oxhide, had turned on her back with the right hand against the right leg and the left hand, in her agony, clutching her thorax.