From Mythology to History

The route Delphi – Necromanteion – Olympus – Delhi is roughly 450 kilometers long. The surface of the Orphic circle centered around Metropolis (Ω) is roughly 25.500 square kilometers, namely 1/5 of the territorial span of Greece, which is roughly 132.000 square kilometers of land and island surface.
This entire surface is covered in myths of older civilizations, to which new ones are added. On the other hand the History of the previous civilizations become Mythology, with some sort of connection between them, for example Agamemnon of Mycenae became Zeus-Agamemnon. So then when Aeschylus (525-457 B.C.) presented in 458 B.C. his trilogy Oresteia, which includes the tragedies Agamemnon, The Libation Bearers and The Eumenides, the audience did not distinguish reality from fiction, neither were they interested in doing so, because their attention was focused on the meaning of the tragedy.

Clytaemnestra hesitates before striking Agamemnon

Clytaemnestra hesitates before striking Agamemnon

This way however, up until 1871 A.D., when H. Schliemann made the first announcement about the city of Priam, Troy, nobody knew anything about the Mycenean civilization. Schliemann then, expanded Greek History and the myth of Agamemnon became reality; the same goes also for the Minoan civilization, by which Greek prehistory was expanded. Namely, C. Cavafis (1863-1933) was not taught in his school about the history of the Myceneans and the Minoans, but rather their Mythology.
Modern day mythology, in science fiction films like Conan or The Matrix, uses the vocabulary and the logic of these myths, even though the story lines of the films are different and have been adapted to the modern era, to be more accessible to the public. For example in the film Conan the Barbarian, starring the actor Arnold Schwarzenegger, the scene of the death of the serpent which transformed into a man of power of the temple and the central scene of the march to the temple on top of the mountain, with thousands of believers extending throughout the valley, comes from the myth of Apollo who slays the Python (chthonic forces) in Delphi. This shows a mythological wealth, which we noticed in this route in the Greek region and which is used by its inhabitants to raise their cultural level.

Apollo killing Python

Apollo killing Python

The contribution of the Myceneans who spearheaded this new religious mythology was great, not so much in the ideological area of the religion (since it would be difficult for them as a former dominant people to change the habits that were established through time in their own civilization), but rather in the area of construction.
From 1100 to 800 B.C., namely for 300 years, several construction templates must have been proposed, to find the type that would fit the rectilinear architecture, since there were already the Mycenean projects like the Treasury of Atreus representing the curvilinear architecture. As far as the rectilinear architecture is concerned, it seems that they did not follow the solution of the large surfaces, with the arcs arches and domes, because it would not differentiate Up from Down of the religious template based on the ideological character of the religion; the believer would be subsequently confused, if the structural representation was the same for the celestial and chthonic gods. Moreover the differentiation between the celestial and chthonic gods was based on another important element, namely that the celestial gods were more beautiful, more powerful and immortal.
Thus, the chthonic gods (not however the ones who come from the celestial Pantheon and are in a transitional state, like for example Persephone) are malformed, less powerful, and in order for the system Up-Down to work, are kept by the celestial gods imprisoned in the earth.
Of course at this point a new construction orientation is created. The surface building should be aesthetically pleasing, show its power and be immortal. So the constant repetition of the sanctuaries, based on previous buildings, serve this purpose.
On the other hand, the obsession in the choice of materials, the colors, ratio and decoration, is solely a matter of aesthetics The symmetry, the geometrical shapes and the correction of optical errors are associated with the power stemming from the geometrical structure of the building. Now as far as immortality, this is symbolically and geodynamically expressed based on the orientations and symbolic axes which accurately define the position of the building. Subsequently the architecture of the Ancients is not just the result of aesthetics, only to give a pleasant visage to the building, but expresses some ideals, besides surface. Greek architecture metaphysically translates some deep religious meanings.

Religion, before it became Theology during the Byzantine period was the philosophy of shapes and numbers. Due to this geometrical structure, God was called “The Architect of the Universe”.
If the Orphics preexisted or not is less important than when the Orphic Poems emerged and influenced the Greek world, changing the psychological world of the Greeks. Because nobody can demand from the world of 1100 B.C., which practically tries to coexist, to simultaneously be inspired by an ideal standard.

Taking the route into the Orphic circle, we realize that we are in a mythological park of approximately 25.500 square kilometers. Inside a vast scenery, were the actors were the very inhabitants of the country.