From Mythology to History
The route from Delphi to Necromanteion, then to Olympus, and finally to Delhi is approximately 450 kilometers long. The area of the Orphic Circle, which is centered around Metropolis (Ω), covers roughly 25,500 square kilometers. This represents one-fifth of Greece's total land and island area, which is approximately 132,000 square kilometers.
This entire region is steeped in the myths of ancient civilizations, to which modern myths have been added. The history of these earlier civilizations has transformed into mythology, creating connections among them. For instance, Agamemnon of Mycenae has become associated with Zeus-Agamemnon. When Aeschylus (525-456 B.C.) presented his trilogy "Oresteia" in 458 B.C., which includes the tragedies "Agamemnon," "The Libation Bearers," and "The Eumenides," the audience did not distinguish between reality and fiction. Instead, they were primarily focused on the meaning of the tragedy.
- Clytaemnestra hesitates before striking Agamemnon
However, it was not until 1871 A.D., when H. Schliemann announced the discovery of Priam’s city, Troy, that people began to learn about Mycenaean civilization. Schliemann expanded Greek history, transforming Agamemnon from myth into reality, similarly validating the existence of the Minoan civilization and thus enhancing Greek prehistory. Notably, C. Cavafis (1863-1933) was educated without any knowledge of Mycenaean or Minoan history, learning instead about their mythology.
Modern mythology, as seen in science fiction films like "Conan" and "The Matrix," incorporates elements from these ancient myths, even though the storylines are different and adapted to contemporary contexts. For example, in "Conan the Barbarian," featuring Arnold Schwarzenegger, there is a scene where a serpent transforms into a powerful temple figure. This parallels the myth of Apollo slaying the Python (chthonic forces) in Delphi and highlights the richness of mythology evident in this region, which its inhabitants use to enhance their cultural identity.
- Apollo killing Python
The contribution of the Mycenaeans in shaping this new religious mythology was significant, though their ideological beliefs did not drastically change. Given their former dominant status, altering long-established customs within their civilization proved challenging. Instead, their influence lay primarily in the realm of construction.
From 1100 to 800 B.C., over a span of 300 years, various architectural designs were explored to develop a style suitable for rectilinear architecture. Mycenaean structures, such as the Treasury of Atreus, exemplified curvilinear architecture. However, the subsequent rectilinear architecture seemed to avoid large surfaces with arches and domes to maintain a clear distinction between the divine (celestial) and the mortal (chthonic) realms. This distinction was vital to the believers, who might become confused if the structural designs were identical for both celestial and chthonic gods. Moreover, celestial gods were perceived as more beautiful, powerful, and immortal than their chthonic counterparts, who were often seen as malformed and weaker. To maintain the symbolic hierarchy between the two realms, chthonic gods were kept imprisoned beneath the earth by the celestial gods.
A new architectural orientation emerged, emphasizing aesthetics, power, and a sense of immortality. This led to the repetitive use of previous designs for sanctuaries. Additionally, the careful selection of materials, color schemes, proportions, and decorations was primarily driven by aesthetic concerns. The symmetry and geometric shapes, along with the correction of optical distortions, were seen as manifestations of the power inherent in the structure itself. The concept of immortality was symbolically and geo-dynamically represented by the orientations and symbolic axes that precisely defined a building's location. Therefore, ancient architecture transcended mere aesthetics; it embodied profound ideals beyond its surface. Greek architecture metaphysically conveyed deep religious meanings.
Prior to becoming theology during the Byzantine period, religion served as a philosophy of shapes and numbers. Because of this geometric foundation, God was referred to as "The Architect of the Universe."
Whether or not the Orphics predated other cultural influences is of lesser importance than the impact of Orphic poems on the Greek world, which transformed the psychological landscape of its people. It is unrealistic to expect the society of 1100 B.C., which was striving for coexistence, to simultaneously manage such complexities.
By entering the Orphic circle, we discover a mythological park spanning approximately 25,500 square kilometers. Within this vast landscape, the actors are the very inhabitants of the country.
