(urth) The Wizard
danielottojackpetersen at gmail.com
Tue Feb 28 02:11:49 PST 2012
Sorry, I should clarify that I didn't detect any overt Judeo-Christian
elements (especially compared to other major Wolfe works) except Michael.
But, yes, as has been mentioned, the very concept of a Most High God is
lifted straight from Old Testament scripture (and other ancient
Mesopotamian texts?). And yes, Michael's position to the Oden figure is
surely significant (symbolised by size-proportion to tingling effect, I
thought). And yes, I was trying to say that I suspected Wolfe wove his
Catholic worldview deeply into the fabric of Wizard-Knight through various
means other than (what seems to me the mostly absent) way of direct
allusion. I can't remember the ending of The Wizard, but the way The
Knight ended seemed fairly Christian 'eternal reward'/'heaven'-ish (and
again probably subsuming other myths of afterlife).
I guess I'm fairly shocked not to detect a eucharistic element, which
usually seems central to Wolfe's epic works. But maybe that's the point?
On Tue, Feb 28, 2012 at 8:21 AM, James Wynn <crushtv at gmail.com> wrote:
> IIRC when things go to hell, the Most Low God turns and runs away. We see
> his back, so we know he was lying about the worlds being circular. And
> surely the Most Low God must always lie.
> >"I didn't detect any Judeo-Christian element except for the (pretty
> amazing) appearance of
> > Michael the Archangel."
> The ending of The Wizard was as close to straight allegory (Christian
> allegory) as Wolfe gets.
> As for why the connection between Alfather and Michael, well I believe it
> has to do with the fact that in Germany the chapels to St. Michael (that
> is, the angel) were built over sites of worship to Woden.
> Michael consumed all the all nobel aspects of Woden (Odin, All-father). Or
> perhaps as Wolfe sees it, Michael is a *higher form* of Allfather.
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