# Mythopoeia

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Narrative genre in modern literature and film

For the poem by [J. R. R. Tolkien](/source/J._R._R._Tolkien), see [Mythopoeia (poem)](/source/Mythopoeia_(poem)).

For other uses, see [Mythopoeic](/source/Mythopoeic_(disambiguation)).

**Mythopoeia** ([/ˌmɪθəˈpiːə/](https://en.wikipedia.org/wiki/Help:IPA/English), [Ancient Greek](/source/Ancient_Greek_language): [μυθοποιία](https://en.wiktionary.org/wiki/%CE%BC%CF%85%CE%B8%CE%BF%CF%80%CE%BF%CE%B9%CE%AF%CE%B1#Ancient_Greek), [romanized](/source/Romanization_of_Ancient_Greek): **muthopoiía**, [lit.](/source/Literal_translation) 'myth-making'), or **mythopoesis**, is a [subgenre](/source/Subgenre) of [speculative fiction](/source/Speculative_fiction), and a theme in modern [literature](/source/Literature) and [film](/source/Film), where an artificial or fictionalized [mythology](/source/Mythology) is created by a writer of [prose](/source/Prose_fiction), [poetry](/source/Poetry), or other literary forms. The concept was widely popularised by [J. R. R. Tolkien](#Tolkien) in the 1930s, although it long predated him. The authors in this genre integrate traditional [mythological themes](/source/Mytheme) and [archetypes](/source/Archetype) into fiction. Mythopoeia is also the act of creating a mythology.[1]

## Genre

[Joseph Campbell](/source/Joseph_Campbell) wrote about the role of created mythologies in the modern world.[2]

The term *mythopoeia* comes from [Hellenistic Greek](/source/Koine_Greek) *muthopoiía* (μυθοποιία), meaning 'myth-making'; an alternative is *mythopoesis* (μυθοποίησις) of similar meaning.[3] The definition of *mythopoeia* as "a creating of myth" is first recorded from 1846.[1][4] In early use, it meant the making of myths in ancient times.[5]

While many literary works carry mythic [themes](/source/Theme_(literature)), only a few approach the dense [self-referentiality](/source/Self-reference) and purpose of mythopoesis. Mythopoeic authors include [William Blake](/source/William_Blake),[6] [H.P. Lovecraft](/source/H._P._Lovecraft),[7] [Lord Dunsany](/source/Edward_Plunkett%2C_18th_Baron_of_Dunsany),[8] [J. R. R. Tolkien](/source/J._R._R._Tolkien),[9] [C. S. Lewis](/source/C._S._Lewis),[10] [Mervyn Peake](/source/Mervyn_Peake),[11] and [Robert E. Howard](/source/Robert_E._Howard).[12] Tolkien used the word as the title of [one of his poems](/source/Mythopoeia_(poem)), written in 1931 and published in *[Tree and Leaf](/source/Tree_and_Leaf)*.[13]

Works of mythopoeia are often categorized as [fantasy](/source/Fantasy) or [science fiction](/source/Science_fiction) but fill a niche for mythology in the modern world, according to [Joseph Campbell](/source/Joseph_Campbell), a famous student of world mythology. Campbell spoke of a [Nietzschean](/source/Nietzsche) world which has today outlived much of the mythology of the past. He claimed that new myths must be created, but he believed that present culture is changing too rapidly for society to be completely described by any such mythological framework until a later age.[2]

The philosopher Phillip Stambovsky argues that mythopoeia provides relief from the existential dread that comes with a rational world, and that it can serve as a way to link different cultures and societies.[14][*[page needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources)*]

Mythopoeia is sometimes called *artificial mythology*, which emphasizes that it did not evolve naturally and is an artifice comparable with [artificial language](/source/Constructed_language), and therefore should not be taken seriously as mythology. For example, the noted folklorist [Alan Dundes](/source/Alan_Dundes) argued that "any novel cannot meet the cultural criteria of myth. A work of art, or artifice, cannot be said to be the narrative of a culture's sacred tradition...[it is] at most, artificial myth."[9]

## In literature

### Antecedents

[William Blake's mythology](/source/William_Blake's_mythology) is both written and illustrated. Here, [Los](/source/Los_(Blake)) is tormented at his smithy by the [Spectre](/source/Spectre_(Blake)) in an illustration to [*Jerusalem*](/source/Jerusalem%3A_The_Emanation_of_the_Giant_Albion).[15][16]

[William Blake](/source/William_Blake) set out [his mythology](/source/William_Blake's_mythology) in his "prophetic works" such as *[Vala, or The Four Zoas](/source/Vala%2C_or_The_Four_Zoas)*. These name several original gods, such as [Urizen](/source/Urizen), [Orc](/source/Orc_(William_Blake)), [Los](/source/Los_(Blake)), [Albion](/source/Albion_(Blake)), [Rintrah](/source/Rintrah), [Ahania](/source/Ahania) and [Enitharmon](/source/Enitharmon).[17] Later in the 19th century, stories by [George MacDonald](/source/George_MacDonald) and [H. Rider Haggard](/source/H._Rider_Haggard) created fictional worlds; C. S. Lewis praised both for their "mythopoeic" gifts.[18]

[Lord Dunsany](/source/Lord_Dunsany)'s 1905 book of short stories, *[The Gods of Pegana](/source/The_Gods_of_Pegana)*, is linked by Dunsany's invented pantheon of deities who dwell in [Pegāna](/source/Pegana). It was followed by *[Time and the Gods](/source/Time_and_the_Gods)*, by some stories in *[The Sword of Welleran and Other Stories](/source/The_Sword_of_Welleran_and_Other_Stories)*, and by *[Tales of Three Hemispheres](/source/Tales_of_Three_Hemispheres)*. In 1919, Dunsany told an American interviewer, "In *The Gods of Pegana* I tried to account for the ocean and the moon. I don't know whether anyone else has ever tried that before."[19] Dunsany's work influenced J.R.R. Tolkien's later writings.[20]

[T. S. Eliot](/source/T._S._Eliot)'s *[The Waste Land](/source/The_Waste_Land)* (1922) was a deliberate attempt to model a 20th-century mythology patterned after the birth-rebirth motif described by the anthropologist and folklorist [James George Frazer](/source/James_George_Frazer).[21]

### J. R. R. Tolkien

Further information: [Tolkien's legendarium](/source/Tolkien's_legendarium) and [Mythopoeia (poem)](/source/Mythopoeia_(poem))

[J.R.R. Tolkien's](/source/J._R._R._Tolkien) bust by [Faith Falcounbridge](/source/Tolkien_family#Faith_Faulconbridge) in [Exeter College, Oxford](/source/Exeter_College%2C_Oxford)

[J. R. R. Tolkien](/source/J._R._R._Tolkien) wrote a poem titled *[Mythopoeia](/source/Mythopoeia_(poem))* following a discussion on the night of 19 September 1931 at [Magdalen College, Oxford](/source/Magdalen_College%2C_Oxford), with [C. S. Lewis](/source/C._S._Lewis) and [Hugo Dyson](/source/Hugo_Dyson), in which he intended to explain and defend creative myth-making.[9] The poem describes the creative human author as "the little maker" wielding his "own small golden sceptre" and ruling his "**subcreation**" (understood as a creation of Man within [God](/source/God)'s primary [creation](/source/Creation_myth)).[22]

[Tolkien's wider legendarium](/source/Tolkien's_legendarium) includes not only [origin myths](/source/Origin_myth), [creation myths](/source/Creation_myth), and an [epic poetry](/source/Epic_poetry) cycle, but also fictive [linguistics](/source/Linguistics), [geology](/source/Geology) and [geography](/source/Geography). He more succinctly explores the function of such myth-making, "subcreation" and "[Faery](/source/Faery)" in the short story *[Leaf by Niggle](/source/Leaf_by_Niggle)* (1945)*,* the novella *[Smith of Wootton Major](/source/Smith_of_Wootton_Major)* (1967), and the essays *[Beowulf: The Monsters and the Critics](/source/Beowulf%3A_The_Monsters_and_the_Critics)* (1936) and *[On Fairy-Stories](/source/On_Fairy-Stories)* (1939). Written in 1939 for presentation by Tolkien at the [Andrew Lang lecture](/source/Andrew_Lang_lecture) at the [University of St Andrews](/source/University_of_St_Andrews) and published in print in 1947, *On Fairy-Stories* explains "Faery" as both a fictitious realm and an [archetypal plane](/source/Collective_unconscious) in the [psyche](/source/Psyche_(psychology)) or [soul](/source/Soul) from whence Man derives his "subcreative" capacity. Tolkien emphasizes the importance of [language](/source/Language) in the act of channeling "subcreation", speaking of the human linguistic faculty in general as well as the specifics of the language used in a given tradition, particularly in the form of story and song:[23]

Mythology is not a disease at all, though it may like all human things become diseased. You might as well say that thinking is a disease of the mind. It would be more near the truth to say that languages, especially modern European languages, are a disease of mythology. But Language cannot, all the same, be dismissed. The incarnate mind, the tongue, and the tale are in our world coeval. The human mind, endowed with the powers of generalization and abstraction, sees not only green-grass, discriminating it from other things (and finding it fair to look upon), but sees that it is green as well as being grass. But how powerful, how stimulating to the very faculty that produced it, was the invention of the adjective: no spell or incantation in Faerie is more potent. And that is not surprising: such incantations might indeed be said to be only another view of adjectives, a part of speech in a mythical grammar. The mind that thought of light, heavy, grey, yellow, still, swift, also conceived of magic that would make heavy things light and able to fly, turn grey lead into yellow gold, and the still rock into a swift water. If it could do the one, it could do the other; it inevitably did both. When we can take green from grass, blue from heaven, and red from blood, we have already an enchanter's power—upon one plane; and the desire to wield that power in the world external to our minds awakes. It does not follow that we shall use that power well upon any plane. We may put a deadly green upon a man's face and produce a horror; we may make the rare and terrible blue moon to shine; or we may cause woods to spring with silver leaves and rams to wear fleeces of gold, and put hot fire into the belly of the cold worm. But in such "fantasy," as it is called, new form is made; Faerie begins; Man becomes a sub-creator.[24]

Tolkien was unable to emulate [Elias Lönnrot](/source/Elias_L%C3%B6nnrot), who travelled Finland recording [oral folklore](/source/Oral_tradition), and then reconstructed the country's mythology.[25] 1912 sketch for a mural, *Lönnrot and the Rune Singers*, by [Akseli Gallen-Kallela](/source/Akseli_Gallen-Kallela)

Tolkien scholars have likened his views on the creation of myth to the [Christian](/source/Christianity) concept of [Logos](/source/Logos_(Christianity)) or "The Word", which is said to act as both "the [...] language of nature" spoken into being by God, and "a repetition in the finite mind of the eternal act of creation in the infinite I AM".[26][27]

[Verlyn Flieger](/source/Verlyn_Flieger) wrote that [Elias Lönnrot](/source/Elias_L%C3%B6nnrot) intentionally created the *[Kalevala](/source/Kalevala)* as a mythology for Finland, giving it "a world of magic and mystery, a heroic age of story that may never have existed in precisely the form he gave it, but nevertheless fired Finland with a sense of its own independent worth."[28] In her view, Tolkien, [who had read the *Kalevala*](/source/Finnish_influences_on_Tolkien#Kalevala), "envisioned himself" doing exactly the same thing, except that [the mythology would be entirely fictive](/source/A_mythology_for_England). Lönnrot had travelled the backwoods of Finland for 20 years, collecting stories and songs "from unlettered peasants".[28] Tolkien meant to [invent both the collectors and the storytellers](/source/Tolkien's_frame_stories), in his case Elves: "he would be at once the singer and the compiler, the performer and the audience."[28]

### C. S. Lewis

At the time that Tolkien debated the usefulness of myth and mythopoeia with [C. S. Lewis](/source/C._S._Lewis) in 1931, Lewis was a [theist](/source/Theist)[29] and liked but was sceptical of [mythology](/source/Mythology), taking the position that myths were "lies and therefore worthless, even though 'breathed through silver'".[9][30] However Lewis later began to speak of Christianity as the one "true myth". Lewis wrote, "The story of Christ is simply a true myth: a myth working on us in the same way as the others, but with this tremendous difference that it really happened."[31] Subsequently, his *[Chronicles of Narnia](/source/Chronicles_of_Narnia)* is regarded as mythopoeia, with storylines referencing that Christian mythology, namely the narrative of a great [king](/source/King) who is sacrificed to save his people and is resurrected. Lewis's mythopoeic intent is often confused with [allegory](/source/Allegory), where the characters and world of Narnia would stand in direct equivalence with concepts and events from Christian theology and history, but Lewis repeatedly emphasized that an allegorical reading misses the point (the mythopoeia) of the Narnia stories.[10] He shares this skepticism toward allegory with Tolkien, who disliked "conscious and intentional" allegory as it stood in opposition the broad and "inevitable" allegory of themes like "Fall" and "Mortality".[32]

### Superheroes of comic books

Further information: [Comics superheroes](/source/Comics_superheroes)

In *The Mythos of the Superheroes and the Mythos of the Saints*, Thomas Roberts observes that:[33]

To the student of myth, the mythos of the [comics superheroes](/source/Comics_superheroes) is of unique interest." "Why do human beings want myths and how do they make them? Some of the answers to those questions can be found only sixty years back. Where did Superman and the other superheroes come from? In his Encyclopedia of the Superheroes, Jeff Rovin correctly observes, "In the earliest days, we called them 'gods'.

The 1938-debuting [Superman](/source/Superman), for example, sent from the "heavens" by his father to save humanity, is a messiah-type of character in the [Biblical](/source/Bible) tradition.[34] Furthermore, along with the rest of [DC Comic](/source/DC_Comic)'s [Justice League of America](/source/Justice_League_of_America), Superman watches over humanity from the [Watchtower](/source/Watchtower) in the skies; just as the [Greek gods](/source/List_of_Greek_deities) do from [Mount Olympus](/source/Mount_Olympus).[35]

### In literary modernism

Main article: [Modernist mythopoeia](/source/Modernist_mythopoeia)

In [modernist literature](/source/Literary_modernism), mythopoeia served a crucial structural and philosophical function. For [modernist writers](/source/Modernism), this was not a nostalgic revival of ancient stories but a deliberate aesthetic strategy to impose order and meaning upon the profound fragmentation, disillusionment, and spiritual uncertainty that characterized modern experience.[36][37]

The modernist engagement with myth can be seen as a response to the collapse of traditional metaphysical certainties. As the movement grappled with a "growing alienation" from prevailing norms, myth offered a method to explore what scholar Scott Freer describes as "metaphysical perspectives that fall between material secularism and dogmatic religion".[37] Exemplars include [T. S. Eliot](/source/T._S._Eliot)'s "Mythical Method"[38] and [James Joyce](/source/James_Joyce)'s novel [*Ulysses*](/source/Ulysses_(novel)).[38]

## In film

Further information: [Worldbuilding](/source/Worldbuilding), [Fictional universe](/source/Fictional_universe), and [Mythology (fiction)](/source/Mythology_(fiction))

Frank McConnell, author of *Storytelling and Mythmaking* and professor of English at the [University of California](/source/University_of_California), called film another "mythmaking" art, stating: "Film and literature matter as much as they do because they are versions of mythmaking."[39] In his view, film is a perfect vehicle for mythmaking: "Film ... strives toward the fulfillment of its own projected reality in an ideally associative, personal world."[40] In a broad analysis, McConnell associates the American [western movies](/source/Western_movie) and romance movies with the [Arthurian](/source/Arthurian) mythology,[41] adventure and action movies with the "[epic world](/source/Epic_poetry)" mythologies of founding societies,[42] and many romance movies where the hero is allegorically playing the role of a knight, with "quest" mythologies like *[Sir Gawain](/source/Sir_Gawain)* and the *[Quest for the Holy Grail](/source/Holy_Grail)*.[43]

### *Star Wars*

George Lucas

Filmmaker [George Lucas](/source/George_Lucas) speaks of the cinematic storyline of *[Star Wars](/source/Star_Wars)* as an example of modern myth-making. In 1999 he told [Bill Moyers](/source/Bill_Moyers), "With *Star Wars* I consciously set about to re-create myths and the classic mythological motifs."[44] McConnell writes that "it has passed, quicker than anyone could have imagined, from the status of film to that of legitimate and deeply embedded popular mythology."[45] John Lyden, the Professor and Chair of the Religion Department at [Dana College](/source/Dana_College), argues that *Star Wars* does indeed reproduce religious and mythical themes; specifically, he argues that the work is [apocalyptic](/source/Apocalypticism) in concept and scope.[46] Steven D. Greydanus of *The Decent Film Guide* agrees, calling *Star Wars* a "work of epic mythopoeia."[47] In fact, Greydanus argues that *Star Wars* is *the* primary example of American mythopoeia:[47]

The Force, the Jedi knights, Darth Vader, Obi-Wan, Princess Leia, Yoda, lightsabers, and the Death Star hold a place in the collective imagination of countless Americans that can only be described as mythic. In my review of *A New Hope* I called *Star Wars* "the quintessential American mythology", an American take on [King Arthur](/source/King_Arthur), Tolkien, and the samurai/*[wuxia](/source/Wuxia)* epics of the East ...

— Steven D. Greydanus

[Roger Ebert](/source/Roger_Ebert) has observed of *Star Wars* that "It is not by accident that George Lucas worked with Joseph Campbell, an expert on the world's basic myths, in fashioning a screenplay that owes much to man's oldest stories."[48] The "mythical" aspects of the Star Wars franchise have been challenged by other film critics. Regarding claims by Lucas himself, Steven Hart observes that Lucas didn't mention [Joseph Campbell](/source/Joseph_Campbell) at the time of the original *Star Wars*; evidently they met only in the 1980s. Their mutual admiration "did wonders for [Campbell's] visibility" and obscured the tracks of Lucas in the "despised genre" science fiction; "*the epics* make for an infinitely classier set of influences."[49]

## In music

In classical music, [Richard Wagner](/source/Richard_Wagner)'s operas were a deliberate attempt to create a new kind of *Gesamtkunstwerk* ('total work of art'), transforming the legends of the Teutonic past nearly out of recognition into a new monument to the [Romantic](/source/Romanticism) project.

While ostensibly known for improvised jamming, the rock group [Phish](/source/Phish) first cemented as a group while producing leading member [Trey Anastasio](/source/Trey_Anastasio)'s senior project in college, called *The Man Who Stepped into Yesterday*. The song cycle features narration of major events in a mythical land called [Gamehendge](/source/Gamehendge), containing types of imaginary creatures and primarily populated by a race called the "Lizards". It is essentially a postmodern pastiche, drawing from Anastasio's interest in musicals or rock operas as much as from reading philosophy and fiction.[50] The creation of the myth is considered by many fans the thesis statement of the group, musically and philosophically, as Gamehendge's book of lost secrets (called the "Helping Friendly Book") is summarized as an encouragement to improvisation in any part of life: "the trick was to surrender to the flow."[51]

The [Progressive rock](/source/Progressive_rock) group [Magma](/source/Magma_(band)) sets their songs around a musical [space opera](/source/Space_opera) for more than fifteen albums, centering around [fictional planet](/source/Fictional_planet) *Kobaïa*. Over the course of [their first album](/source/Magma_(Magma_album)), the band tells the story of a group of people fleeing a doomed Earth to settle on Kobaïa, where they create a spiritual [utopia](/source/Utopia). Subsequently, conflict arises when the Kobaïans – descendants of the original colonists – encounter other Earth refugees. Later albums tell different stories set in more ancient times on Earth, as precursors to the later Kobaïan cycle. All of Magma's albums are sung in the [constructed language](/source/Constructed_language) known as [Kobaïan](/source/Kobaian),[52][53] which was constructed by frontman and baterist [Christian Vander](/source/Christian_Vander_(musician)) because "French just wasn't expressive enough. Either for the story or for the sound of the music".[54] Kobaïan is untraslated (the only song in English is the title track of *[Kobaïa](/source/Koba%C3%AFa)*, telling a story of refugees fleeing a future Earth and settling on Kobaïa), and understanding the epic of Kobaïa centers around feeling the lyrics, a limited translation of key vocabulary and clues left in the albums' [liner notes](/source/Liner_notes).[52][53]

Many releases of the [psychedelic rock](/source/Psychedelic_rock) group [King Gizzard & the Lizard Wizard](/source/King_Gizzard_%26_the_Lizard_Wizard) share lyrical themes and feature characters that form a recurring cast, which appear at their lyrics, [Music videos](/source/Music_video) and [Album covers](/source/Album_cover). The band tell stories of "gamblers, cowboys, [Australian Rules footballers](/source/Australian_Rules_football), people-vultures, [Balrogs](/source/Balrog), [lightning gods](/source/Lightning_god), flesh-eating beasts, sages and space-faring eco rebels", many hinting part of a larger connected universe and shared storyline.[55] Members of r/KGATLW, a [subreddit](/source/Reddit#Subreddits) dedicated to the band, popularised the term "Gizzverse" to describe the overarching narrative of their discography, about which many theories have been propagated.[55][56] In a 2017 interview, Stu Mackenzie confirmed that the band's releases are all connected, saying, "They all exist in this [parallel universe](/source/Parallel_universes_in_fiction) and they may be from different times and different places but they all can co-exist in a meaningful way".[56]

The black metal band [Immortal](/source/Immortal_(band))'s lyricist [Harald Nævdal](/source/Harald_N%C3%A6vdal) has created a mythological realm called [Blashyrkh](/source/Blashyrkh) filled with demons, battles, winter landscapes, woods, and darkness, described by the band as a northern "Frostdemon" realm.[57]

## Organizations

The [Mythopoeic Society](/source/Mythopoeic_Society) exists to promote mythopoeic literature, with conferences, books, periodicals, and the [Mythopoeic Awards](/source/Mythopoeic_Awards).[58]

## See also

- [Campaign setting](/source/Campaign_setting)

- [Constructed world](/source/Constructed_world)

- [Hero's journey](/source/Hero's_journey)

- [Mythic fiction](/source/Mythic_fiction), literature that is rooted in tropes and themes of existing – instead of more artificial – mythology

## References

1. ^ [***a***](#cite_ref-Merriam-Webster_1-0) [***b***](#cite_ref-Merriam-Webster_1-1) ["mythopoeia"](https://www.merriam-webster.com/dictionary/mythopoeia). *[Merriam-Webster.com Dictionary](/source/Merriam-Webster)*. Merriam-Webster. [OCLC](/source/OCLC_(identifier)) [1032680871](https://search.worldcat.org/oclc/1032680871). Retrieved 1 November 2022.

1. ^ [***a***](#cite_ref-Moyers_1988_2-0) [***b***](#cite_ref-Moyers_1988_2-1) [Campbell, Joseph](/source/Joseph_Campbell) (1988). ["Joseph Campbell and The Power of Myth"](https://billmoyers.com/series/joseph-campbell-and-the-power-of-myth-1988/). *Bill Moyers*.

1. **[^](#cite_ref-3)** New Shorter Oxford English Dictionary

1. **[^](#cite_ref-4)** ["mythopoeia"](https://www.collinsdictionary.com/dictionary/english/mythopoeia). Retrieved 1 November 2022.

1. **[^](#cite_ref-5)** For example, "The first two, the most remote stages, are purely linguistic germs of mythology: the third is in the domain of mythopoeia, or myth-building." [Bunsen, C.C.J.](/source/Christian_Karl_Josias_von_Bunsen) (1860). [*Egypt's Place in Universal History: an Historical Investigation in Five Books, Volume IV*](https://books.google.com/books?id=2oFJAAAAMAAJ&pg=PA450). Charles H. Cottrell (trans.). [Longman, Green, Longman, and Roberts](/source/Longman%2C_Green%2C_Longman%2C_and_Roberts). p. 450.

1. **[^](#cite_ref-6)** ["mythopoeia"](https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100220548). *Oxford Reference*. Retrieved 2 March 2022. individually by a writer who elaborates a personal system of spiritual principles as in the writings of William Blake

1. **[^](#cite_ref-7)** Norman, Joseph (2013). "'Sounds Which Filled Me with an Indefinable Dread': The Cthulhu Mythopoeia of H. P. Lovecraft in 'Extreme' Metal". In Simmons, David (ed.). *New Critical Essays on H.P. Lovecraft*. New York: [Palgrave Macmillan](/source/Palgrave_Macmillan). pp. 193–208. [doi](/source/Doi_(identifier)):[10.1057/9781137320964_11](https://doi.org/10.1057%2F9781137320964_11). [ISBN](/source/ISBN_(identifier)) [978-1-137-32096-4](https://en.wikipedia.org/wiki/Special:BookSources/978-1-137-32096-4). [OCLC](/source/OCLC_(identifier)) [5576363673](https://search.worldcat.org/oclc/5576363673). [S2CID](/source/S2CID_(identifier)) [192763998](https://api.semanticscholar.org/CorpusID:192763998).

1. **[^](#cite_ref-8)** "The Gods of Dunsany", *[The New York Times](/source/The_New_York_Times)*, 26 January 1919 (Arts & Leisure)

1. ^ [***a***](#cite_ref-adcox_9-0) [***b***](#cite_ref-adcox_9-1) [***c***](#cite_ref-adcox_9-2) [***d***](#cite_ref-adcox_9-3) Dundes, quoted by Adcox, 2003.

1. ^ [***a***](#cite_ref-Abate_Weldy_2012_10-0) [***b***](#cite_ref-Abate_Weldy_2012_10-1) Abate, Michelle Ann; Weldy, Lance (2012). [*C.S. Lewis*](https://books.google.com/books?id=Wi8dBQAAQBAJ). London: Palgrave. p. 131. [ISBN](/source/ISBN_(identifier)) [978-1137284976](https://en.wikipedia.org/wiki/Special:BookSources/978-1137284976).

1. **[^](#cite_ref-11)** Sisson, Richard (2000). "Irmin Schmidt's Fantasy Opera 'Gormenghast' on CD". *Peake Studies*. **7** (1): 14–16. [JSTOR](/source/JSTOR_(identifier)) [24776036](https://www.jstor.org/stable/24776036).

1. **[^](#cite_ref-12)** ["The Demarcation of Sword and Sorcery – Black Gate"](https://www.blackgate.com/the-demarcation-of-sword-and-sorcery/). Retrieved 12 May 2022.

1. **[^](#cite_ref-13)** ["Mythopoeia by J.R.R. Tolkien"](https://web.archive.org/web/20060109194442/http://mercury.ccil.org/~cowan/mythopoeia.html). *ccil.org*. Archived from [the original](http://mercury.ccil.org/~cowan/mythopoeia.html) on 9 January 2006.

1. **[^](#cite_ref-Stambovsky_2004_14-0)** Stambovsky, Phillip (2004). *Myth and the Limits of Reason*. [University Press of America](/source/University_Press_of_America). [ISBN](/source/ISBN_(identifier)) [978-0-76182-754-2](https://en.wikipedia.org/wiki/Special:BookSources/978-0-76182-754-2).

1. **[^](#cite_ref-Blake_Giant_Albion_15-0)** ["Copy Information for Jerusalem The Emanation of The Giant Albion"](http://www.blakearchive.org/exist/blake/archive/object.xq?objectid=jerusalem.e.illbk.06&java=no). [William Blake Archive](/source/William_Blake_Archive). Retrieved 11 September 2013.

1. **[^](#cite_ref-Blake_Sample_16-0)** Eaves, Morris; Essick, Robert N.; Viscomi, Joseph (eds.). ["Object description for "Jerusalem The Emanation of The Giant Albion, copy E, object 15 (Bentley 15, Erdman 15, Keynes 15)""](http://www.blakearchive.org/exist/blake/archive/illusdesc.xq?objectid=jerusalem.e.illbk.06&objectdbi=jerusalem.e.p6). [William Blake Archive](/source/William_Blake_Archive). Retrieved 12 September 2013.

1. **[^](#cite_ref-Tate_17-0)** Tate. ["William Blake's cast of characters"](https://www.tate.org.uk/art/artists/william-blake-39/blakes-characters). *Tate*. [Tate Gallery](/source/Tate_Gallery). Retrieved 3 March 2022. Blake created his own mythology populated by a host of beings that he himself had either invented, or re-interpreted.

1. **[^](#cite_ref-FOOTNOTELobdell2004162_18-0)** [Lobdell 2004](#CITEREFLobdell2004), p. 162.

1. **[^](#cite_ref-Wisehart_1919_19-0)** Wisehart, M.K. (19 October 1919). "Ideals and Fame: A One-Act Conversation With Lord Dunsany". *[New York Sun](/source/The_Sun_(New_York)) Book World*. p. 25.

1. **[^](#cite_ref-Dilworth_2011_20-0)** Dilworth, Dianna (18 August 2011). ["What Did J.R.R. Tolkien Read?"](https://web.archive.org/web/20190117070405/https://www.adweek.com/galleycat/what-did-j-r-r-tolkien-read/37585). *GalleyCat*. Archived from [the original](http://www.adweek.com/galleycat/what-did-j-r-r-tolkien-read/37585) on 17 January 2019. Retrieved 24 March 2018.

1. **[^](#cite_ref-Oser_1996_21-0)** Oser, Lee (Winter 1996). "Eliot, Frazer, and the Mythology of Modernism". *The Southern Review*. **32** (1): 183.

1. **[^](#cite_ref-Tolkien_2001_22-0)** [Tolkien, J.R.R.](/source/J._R._R._Tolkien) (2001) [1964]. [*Tree and Leaf; Mythopoeia; The Homecoming of Beorhtnoth Beorhthelm's Son*](https://books.google.com/books?id=JW-cQ-cypwwC). London: [HarperCollins](/source/HarperCollins). pp. 85–90. [ISBN](/source/ISBN_(identifier)) [978-0007105045](https://en.wikipedia.org/wiki/Special:BookSources/978-0007105045).

1. **[^](#cite_ref-Tolkien_1964_23-0)** [Tolkien, J.R.R.](/source/J._R._R._Tolkien) (1964). *[Tree and Leaf](/source/Tree_and_Leaf)*. London: [HarperCollins](/source/HarperCollins). pp. 11–70.

1. **[^](#cite_ref-Tolkien_1964_p25_24-0)** [Tolkien, J.R.R.](/source/J._R._R._Tolkien) (1964). *[Tree and Leaf](/source/Tree_and_Leaf)*. London: [HarperCollins](/source/HarperCollins). p. 25, "Origins".

1. **[^](#cite_ref-25)** Kuusela, Tommy (May 2014). ["In Search of a National Epic: The use of Old Norse myths in Tolkien's vision of Middle-earth"](https://doi.org/10.30664%2Far.67534). *[Approaching Religion](/source/Approaching_Religion)*. **4** (1): 25–36. [doi](/source/Doi_(identifier)):[10.30664/ar.67534](https://doi.org/10.30664%2Far.67534).

1. **[^](#cite_ref-26)** Coutras, Lisa (2016). [*Tolkien's Theology of Beauty: Majesty, Splendor, and Transcendence in Middle-earth*](https://books.google.com/books?id=zrLIDAAAQBAJ&q=tolkien%20logos&pg=PA92). Springer. pp. 92–94. [ISBN](/source/ISBN_(identifier)) [978-1137553454](https://en.wikipedia.org/wiki/Special:BookSources/978-1137553454).

1. **[^](#cite_ref-27)** [Flieger, Verlyn](/source/Verlyn_Flieger) (2002). [*Splintered Light: Logos and Language in Tolkien's World*](https://books.google.com/books?id=L6Byko7dGpgC&q=tolkien%20logos&pg=PP1). [Kent State University Press](/source/Kent_State_University_Press). [ISBN](/source/ISBN_(identifier)) [978-0-8733-8744-6](https://en.wikipedia.org/wiki/Special:BookSources/978-0-8733-8744-6).

1. ^ [***a***](#cite_ref-Flieger_2004_28-0) [***b***](#cite_ref-Flieger_2004_28-1) [***c***](#cite_ref-Flieger_2004_28-2) [Chance 2004](#CITEREFChance2004), "A Mythology for Finland: Tolkien and Lönnrot as Mythmakers", pp. 277–283

1. **[^](#cite_ref-FOOTNOTELewis194666–67_29-0)** [Lewis 1946](#CITEREFLewis1946), pp. 66–67.

1. **[^](#cite_ref-menion_30-0)** Menion, 2003/2004 citing essays by Tolkien using the words "fundamental things".

1. **[^](#cite_ref-31)** Brown, Dave. ["Real Joy and True Myth"](https://web.archive.org/web/20091026222931/http://www.geocities.com/athens/forum/3505/LewisJoy.html). *Geocities.com*. Archived from [the original](http://www.geocities.com/athens/forum/3505/LewisJoy.html) on 26 October 2009.

1. **[^](#cite_ref-32)** Tolkien, J.R.R. (2014). [*The Letters of J.R.R. Tolkien*](https://books.google.com/books?id=Wi8dBQAAQBAJ&pg=PA145). Houghton Mifflin Harcourt. p. 145. [ISBN](/source/ISBN_(identifier)) [978-0544363793](https://en.wikipedia.org/wiki/Special:BookSources/978-0544363793).

1. **[^](#cite_ref-33)** Roberts, Thomas (2001). [*The Mythos of the Superheroes and the Mythos of the Saints*](https://www.mythsoc.org/mythcon/mc32-members.htm). Mythcon 32, 3–6 August 2001, Berkeley, California. [Mythopoeic Society](/source/Mythopoeic_Society).

1. **[^](#cite_ref-34)** [Knowles, Christopher](/source/Christopher_Knowles_(comics)), *[Our Gods Wear Spandex](/source/Our_Gods_Wear_Spandex)*, Weiser, pp. 120–122

1. **[^](#cite_ref-35)** *International Journal of Comic Art*, [University of Michigan](/source/University_of_Michigan), p. 280

1. **[^](#cite_ref-:2_36-0)** Freer, Scott (2023). Radford, Andrew; Hobson, Suzanne (eds.). [*Modernist Mythopoeia*](https://www.cambridge.org/core/books/edinburgh-companion-to-modernism-myth-and-religion/modernist-mythopoeia/EB9EBB3DB65A2C18A833C3886513329F). Edinburgh Companions to Literature and the Humanities. [Edinburgh University Press](/source/Edinburgh_University_Press). pp. 267–284. [ISBN](/source/ISBN_(identifier)) [978-1-4744-9479-3](https://en.wikipedia.org/wiki/Special:BookSources/978-1-4744-9479-3). Retrieved 21 December 2025. {{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: |work= ignored ([help](https://en.wikipedia.org/wiki/Help:CS1_errors#periodical_ignored))

1. ^ [***a***](#cite_ref-:3_37-0) [***b***](#cite_ref-:3_37-1) Freer, Scott (2015). ["Modernist Mythopoeia"](https://link.springer.com/book/10.1057/9781137035516). *SpringerLink*. [doi](/source/Doi_(identifier)):[10.1057/9781137035516](https://doi.org/10.1057%2F9781137035516).

1. ^ [***a***](#cite_ref-Omrani_2025_38-0) [***b***](#cite_ref-Omrani_2025_38-1) Omrani, Reza; Habibzadeh, Hamed (2025). ["Modernist Echoes: The Role of Tradition, Language, and Myth in Eliot, Shamlou, and Sepehri"](https://ltr.atu.ac.ir/article_17989_en.html). *Literary Text Research*. **29** (103): 126–142. [doi](/source/Doi_(identifier)):[10.22054/ltr.2024.81065.3882](https://doi.org/10.22054%2Fltr.2024.81065.3882).

1. **[^](#cite_ref-FOOTNOTEMcConnell19796_39-0)** [McConnell 1979](#CITEREFMcConnell1979), p. 6.

1. **[^](#cite_ref-FOOTNOTEMcConnell19795,_99_40-0)** [McConnell 1979](#CITEREFMcConnell1979), pp. 5, 99: 'film is a perfect model of the epic paradigm: the founder of the land, the man who walls in and defines the human space of a given culture...'.

1. **[^](#cite_ref-FOOTNOTEMcConnell197915_41-0)** [McConnell 1979](#CITEREFMcConnell1979), p. 15.

1. **[^](#cite_ref-FOOTNOTEMcConnell197921_42-0)** [McConnell 1979](#CITEREFMcConnell1979), p. 21.

1. **[^](#cite_ref-FOOTNOTEMcConnell197913,_83–93_43-0)** [McConnell 1979](#CITEREFMcConnell1979), pp. 13, 83–93.

1. **[^](#cite_ref-44)** Hart, 2002. Evidently quoting Moyers quoting Lucas in *Time*, 26 April 1999.

1. **[^](#cite_ref-FOOTNOTEMcConnell197918_45-0)** [McConnell 1979](#CITEREFMcConnell1979), p. 18.

1. **[^](#cite_ref-46)** Lyden, John. 2000. "[The Apocalyptic Cosmology of Star Wars](https://web.archive.org/web/20070721074055/http://www.unomaha.edu/jrf/LydenStWars.htm) (Abstract)." *The Journal of Religion & Film* 4(1).

1. ^ [***a***](#cite_ref-greydanus_47-0) [***b***](#cite_ref-greydanus_47-1) Greydanus, Steven D. (2000–2006). ["An American mythology: Why *Star Wars* still matters"](https://decentfilms.com/articles/starwars). *Decent Films*. [Archived](https://web.archive.org/web/20120206024753/https://decentfilms.com/articles/starwars) from the original on 6 February 2012. Retrieved 1 November 2022.

1. **[^](#cite_ref-48)** Hart, 2002. Quoting Ebert on *Star Wars* in his series *The Great Movies*.

1. **[^](#cite_ref-49)** Hart, Steven. 2002 April. "[Galactic gasbag](https://web.archive.org/web/20071217031351/http://dir.salon.com/story/ent/movies/feature/2002/04/10/lucas/)." *Salon.com*.

1. **[^](#cite_ref-50)** Puterbaugh, Parke. *Phish: The Biography*. Philadelphia: Da Capo Press, 65–67. Print.

1. **[^](#cite_ref-51)** ["Phish.Net: The Lizards Lyrics"](http://phish.net/song/the-lizards/lyrics). *phish.net*.

1. ^ [***a***](#cite_ref-MacDonald_52-0) [***b***](#cite_ref-MacDonald_52-1) [MacDonald, Ian](/source/Ian_MacDonald) (1975). ["An Irresistible Life Force"](https://web.archive.org/web/20120227200309/http://www.orkalarm.co.uk/orkalarm04/04_an_irresistible_life_force.htm). *Ork Alarm!*. Archived from the original on 27 February 2012. Retrieved 16 October 2009.

1. ^ [***a***](#cite_ref-TinyMixTapes_53-0) [***b***](#cite_ref-TinyMixTapes_53-1) ["Magma: Mekanik Destruktiw Kommandoh"](https://web.archive.org/web/20080615144824/http://tinymixtapes.com/Magma). *[Tiny Mix Tapes](/source/Tiny_Mix_Tapes)*. Archived from [the original](http://www.tinymixtapes.com/Magma) on 15 June 2008. Retrieved 16 October 2009.

1. **[^](#cite_ref-Telegraph_54-0)** Culshaw, Peter (1 October 2009). ["Magma interview for Celestial Mass"](https://www.telegraph.co.uk/culture/music/rockandpopfeatures/6250004/Magma-interview-for-Celestial-Mass.html). *[The Daily Telegraph](/source/The_Daily_Telegraph)*. London. Retrieved 16 October 2009.

1. ^ [***a***](#cite_ref-:0_55-0) [***b***](#cite_ref-:0_55-1) ["Does King Gizzard & The Lizard Wizard's 'Gizzverse' Really Exist?"](https://cosmicmagazine.com.au/features/what-is-king-gizzard-the-lizard-wizards-gizzverse-does-it-really-exist/). *Cosmic*. Retrieved 11 June 2025.

1. ^ [***a***](#cite_ref-:1_56-0) [***b***](#cite_ref-:1_56-1) Ferrier, Aimee (1 July 2023). ["What is the Gizzverse?"](https://faroutmagazine.co.uk/what-is-the-gizzverse/). *faroutmagazine.co.uk*. Retrieved 11 June 2025.

1. **[^](#cite_ref-57)** ["CoC: Immortal: Interview : 5/19/1999"](http://www.chroniclesofchaos.com/articles.aspx?id=1-223). Retrieved 13 January 2018.

1. **[^](#cite_ref-58)** ["About the Society"](https://www.mythsoc.org/about.htm). [Mythopoeic Society](/source/Mythopoeic_Society). Retrieved 14 January 2024.

## Bibliography

Wikimedia Commons has media related to [Mythopoeia](https://commons.wikimedia.org/wiki/Category:Mythopoeia).

**Inklings**

Tolkien:

- Adcox, John. 2003. "[Can Fantasy be Myth? Mythopoeia and The Lord of the Rings](http://www.mythicjourneys.org/passages/septoct2003/newsletterp8.html)." *The Newsletter of the [Mythic Imagination Institute](/source/Mythic_Imagination_Institute)*, September/October 2003.

- Menion, Michael. 2003/2004. "[Tolkien Elves and Art, in J.R.R. Tolkien's Aesthetics](https://web.archive.org/web/20070621043345/http://www.firstworld.ca/tolkien/elvesandart.html)." *Firstworld.ca*. (commentary on the poem "[Mythopoeia](/source/Mythopoeia_(poem))").

- [Chance, Jane](/source/Jane_Chance) (2004). *Tolkien and the Invention of Myth: A Reader*. University Press of Kentucky. [ISBN](/source/ISBN_(identifier)) [0-8131-2301-1](https://en.wikipedia.org/wiki/Special:BookSources/0-8131-2301-1).

C.S. Lewis, George MacDonald:

- [Lobdell, Jared](/source/Jared_Lobdell) (1 July 2004). [*The Scientifiction Novels of C.S. Lewis: Space and Time in the Ransom Stories*](https://books.google.com/books?id=cCZKg37FDEoC&pg=PA162). McFarland. p. 162. [ISBN](/source/ISBN_(identifier)) [0-7864-8386-5](https://en.wikipedia.org/wiki/Special:BookSources/0-7864-8386-5).

- Lewis, C.S. (1946). [*The Great Divorce*](/source/The_Great_Divorce). Collins. 0-00-628056-0.

**Film-making as myth-making**

- McConnell, Frank D. (1979). *Storytelling and Mythmaking: Images from Film and Literature*. Oxford University Press, Incorporated. [ISBN](/source/ISBN_(identifier)) [978-0-19-503210-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-19-503210-9).

Lucas:

- Hart, Steven. 2002 April. "[Galactic gasbag](https://web.archive.org/web/20071217031351/http://dir.salon.com/story/ent/movies/feature/2002/04/10/lucas/)." *Salon.com*.

- Greydanus, Steven D. 2006. "[An American Mythology: Why Star Wars Still Matters](http://www.decentfilms.com/sections/articles/starwars.html)." *Decent Film Guide*.

- Lyden, John. 2000. "[The Apocalyptic Cosmology of Star Wars](https://web.archive.org/web/20070721074055/http://www.unomaha.edu/jrf/LydenStWars.htm) (Abstract)." *The Journal of Religion & Film* 4(1).

v t e Film genres By style Action Heroic bloodshed Hong Kong action Adventure Art Biographical Comedy Action Black Commedia all'italiana Sexy Dramedy Gross out Horror Parody Mo lei tau Remarriage Romantic Sex Screwball Silent Slapstick Cyberpunk Japanese Documentary Animated City symphony Direct cinema Docudrama Mockumentary Mondo Pseudo Semi Travel Video essay Drama Calligrafismo Dramedy Historical Legal Psychological Erotic Category III films Commedia sexy all'italiana Pink Sexploitation Thriller Educational Social guidance Epic Sword-and-sandal Experimental Exploitation see Exploitation film template Fantasy Comedy Contemporary Fantastique High Historical Magic realism Science Film noir Mexican film noir Neo-noir Pulp noir Tech noir Gothic Romance Southern Space Suburban Urban Horror Arthouse Black Body Cannibal Chinese horror Christmas horror Comedy Eco Fantastique Found footage German underground Ghost Giallo List of films Holiday Japanese horror Korean horror Lovecraftian Melodrama Korean Natural New French Extremity Psycho-biddy Psychological Science fiction Slasher Splatter Satanic Maximalist film Minimalist film Mumblecore Musical Arthouse Backstage Jukebox Musicarello Operetta Sceneggiata Mystery Detective Occult detective Whodunit Giallo Crossover Pornographic Hardcore pornography Softcore pornography (Malayalam) Propaganda Reality Romantic Comedy Bromantic Fantasy Gothic Paranormal Thriller Science fiction Art Comedy Fantastique Fantasy Gothic Horror Military New Wave Space opera Steampunk Tokusatsu Western Slice of life Iyashikei Slow cinema Survival Thriller Comedy Erotic Financial Giallo Legal New French Extremity Political Psychological Romantic Techno Transgressive Cinema of Transgression Extreme cinema New French Extremity Trick By theme Animals Beach party Body swap Buddy Buddy cop Female Cabrito Cannibal Chicano Colonial Coming-of-age Concert Crime Detective Gangster Gentleman thief Gokudō Gong'an Heist Heroic bloodshed Hood Mafia Mafia comedy Mumbai underworld Poliziotteschi Yakuza Cute Girls Doing Cute Things Dance Disaster Apocalyptic Drug Psychedelic Stoner Dystopian Ecchi Ero guro Ethnographic Exploitation Blaxploitation Mexploitation Turksploitation Extraterrestrial Food and drink Gendai-geki Ghost Goona-goona epic Gothic Romance Space Suburban Girls with guns Harem Hentai Lolicon Shotacon Tentacle erotica Homeland Isekai Jidaigeki Samurai Kaitō LGBTQ Yaoi Yuri Luchador Magical girl Martial arts Bruceploitation Chopsocky Gun fu Kung fu Ninja Wuxia Mecha Anime Monster Giant monster Kaiju Mummy Vampire Zombie Zombie comedy Mountain Mouth of Garbage Muslim social Nature Environmental issues Opera Outlaw biker Ozploitation Partisan film Prison Women Race Rape and revenge Road Rubble Rumberas Sageuk Sexploitation Bavarian porn Commedia sexy all'italiana Mexican sex comedy Nazi exploitation Pornochanchada Nunsploitation Sex report Shoshimin-eiga Slavery Slice of life Snuff South Seas Sports Spy Eurospy Superhero Surfing Swashbuckler Sword-and-sandal Sword and sorcery Travel imaginary voyage Trial Vigilante War Anti-war Euro War Submarine Western Acid Contemporary Western Dacoit Western Fantasy Florida Horror Horse opera Meat pie Northern Ostern Revisionist Science fiction Singing cowboy Space Spaghetti Weird Western Zapata Western By movement or period Absolute American eccentric cinema Australian New Wave Auteur films Berlin School Bourekas Brighton School British New Wave Kitchen sink realism Budapest school Calligrafismo Cannibal boom Cinema da Boca do Lixo Cinéma du look Cinema Novo Cinema of Moral Anxiety Cinema of Transgression Cinéma pur Commedia all'italiana Czechoslovak New Wave Documentary Film Movement Dogme 95 Erra Cinema European art cinema Film d'art Film gris Free Cinema French Impressionist French New Wave German Expressionist German underground horror Golden Age of Argentine cinema Golden Age of Mexican Cinema Golden Age of Nigerian Cinema Grupo Cine Liberación Heimatfilm Hollywood on the Tiber Hong Kong New Wave Indiewood Iranian New Wave New Sensibility Italian futurist Italian neorealist Japanese New Wave Kammerspielfilm L.A. Rebellion Lettrist Modernist film Mumblecore Neorealist New French Extremity New German New generation New Hollywood New Nollywood New Objectivity New Queer No Wave Nuevo Cine Mexicano Pan-Indian film Parallel cinema Persian Film Philippine New Wave Poetic realist Polish Film School Poliziotteschi The Prague film school Prussian film Pure Film Movement Remodernist Romanian New Wave Slow cinema Spaghetti Western Socialist realist Social realist Kitchen sink realism Soviet parallel Structural Surrealist Sword-and-sandal Taiwan New Cinema Tarantinoesque Telefoni Bianchi Thai New Wave Third Cinema Toronto New Wave Vulgar auteurism Yugoslav Black Wave By demographic Adult Black Children and family Anime Men Seinen Stag Teen Shōnen Shōjo Women Chick flick Josei By format, technique, approach, or production 3D Actuality Animation Anime Art Cartoon Computer Stop-motion Traditional Anthology Art B movie Behind-the-scenes Black and white Blockbuster Cinéma vérité Classical Hollywood cinema Collage Color Compilation Composite Computer screen Cult midnight movie Database cinema Direct-to-video ONA OVA Docufiction Ethnofiction Experimental Abstract Feature Featurette Film à clef Film-poem Found footage Geezer teaser High concept Hyperlink cinema Independent Guerrilla filmmaking List of American independent films Interstitial art Live action animation Low-budget Major film studios Masala Maximalist film Message picture Meta-film Minimalist film Mockbuster Modernist film Musical short Mythopoeia Neorealist No-budget One-shot Paracinema Participatory Poetry Postmodernist Reverse motion Satire Sceneggiata Semidocumentary Serial Shinpa Short Silent Slow cinema Socialist realist Sound Television film Underground Video nasty Vulgar auteurism Z movie Category

v t e The Inklings Members Owen Barfield Jack A. W. Bennett Lord David Cecil Nevill Coghill Hugo Dyson Adam Fox Robert Havard C. S. Lewis Warren Lewis J. R. R. Tolkien Christopher Tolkien Charles Williams Visitors James Dundas-Grant Colin Hardie Gervase Mathew R. B. McCallum Courtenay Edward Stevens John Wain Charles Leslie Wrenn Related Coalbiters The Eagle and Child Lamb & Flag, Oxford Marion E. Wade Center Mythopoeic Society Mythlore journal * Mythopoeic Awards The Inklings (1978 book)

Authority control databases GND

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Adapted from the Wikipedia article [Mythopoeia](https://en.wikipedia.org/wiki/Mythopoeia) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/Mythopoeia?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.