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This triple dynamic between the mythology itself, the myth-maker, and the myth-maker’s audience shapes the precarious task of the literary mythmaker as the seismograph of a society: | This triple dynamic between the mythology itself, the myth-maker, and the myth-maker’s audience shapes the precarious task of the literary mythmaker as the seismograph of a society: | ||
On the basis of limited, finite experience, he (the myth-maker) creates a hypothetical vision of a universal, infinite order and imposes that hypothesis on his perception of the phenomena of nature and his own behavior. He tests his vision by acting in accordance with the principles of behavior that seem to be demanded | <blockquote>On the basis of limited, finite experience, he (the myth-maker) creates a hypothetical vision of a universal, infinite order and imposes that hypothesis on his perception of the phenomena of nature and his own behavior. He tests his vision by acting in accordance with the principles of behavior that seem to be demanded | ||
by reality as he envisions it.{{sfn|Slotkin|1965|p=7}} | by reality as he envisions it.{{sfn|Slotkin|1965|p=7}}</blockquote> | ||
In constructing his own myth, the writer is able to ventilate his own idiosyncratic | In constructing his own myth, the writer is able to ventilate his own idiosyncratic | ||
view on the values of society that is intended to raise certain awareness among the people of a particular society. Not only does artistic mythogenesis tend to make people aware of the existence of a myth, it also prescribes this population with a set of rules to follow if they want to survive | view on the values of society that is intended to raise certain awareness among the people of a particular society. Not only does artistic mythogenesis tend to make people aware of the existence of a myth, it also prescribes this population with a set of rules to follow if they want to survive | ||
{{pg|361|362}} | {{pg|361|362}} | ||
===Citations=== | ===Citations=== | ||