By Friedrich Wilhelm Joseph Von Schelling, Mason Richey, Markus Zisselsberger
Translated the following into English for the 1st time, F. W. J. Schelling's 1842 lectures at the Philosophy of Mythology are an early instance of interdisciplinary pondering. In looking to exhibit the advance of the concept that of the divine Godhead in and during quite a few mythological platforms (particularly of historical Greece, Egypt, and the close to East), Schelling develops the concept many philosophical techniques are born of religious-mythological notions. In so doing, he brings jointly the basic relatedness of the advance of philosophical platforms, human language, heritage, old artwork varieties, and spiritual concept. alongside the way in which, he engages in analyses of contemporary philosophical perspectives concerning the origins of philosophy's conceptual abstractions, in addition to literary and philological analyses of historical literature and poetry.
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The first three products of space as the first element are: 1) Erebus, the coverer; this is the name applied to that darkness which covered substance before something else was created out of it; 2) Nyx, not the night, but here too we should stay with the original meaning; the name comes from νύειν (νεύειν), “nutare”, “vergere”, to incline downwards; for the immediate consequence (thus product) of space is movement, but the first and simplest movement is the downward one, falling. These two between them now generate Æther and Hemera, clarity and brightness; for when darkness, which the cosmogonic poet represents as something corporeal and resembling a fine mist, espouses Nyx, that is to say falls away, then overhead it becomes clear and bright.
Of gods, if one has no wish to introduce them arbitrarily, not a trace. The whole, evidence of a mode of thought which one must tend to regard as more atheistic than theistic. 24 With this we have arrived at the high point of Hermann‟s theory, which, as you will see, has far more to offer than Heyne‟s on the whole weak attempt to remove all originally religious significance from mythology. At the same time, though, it becomes evident that Hermann himself restricts his explanation to the genuinely mythological gods.
If we look further back, then we encounter next the Egyptians. The theology of the Egyptians is shaped in stone in the form of giant edifices and colossal images, but a versatile poetry, holding sway together with the gods as an independent entity, free of its origin, seems  completely foreign to them. With the exception of a single lugubrious dirge and some ancestral songs, to which, as Herodotus expressly says,8 XXX no more were added, there is no trace of poetry among them. Herodotus neither mentions a poet comparable with the Greek ones, a poet whom he, being so fond of comparisons, would surely not have omitted to name, nor, up to now, has any of the numerous inscriptions on obelisks or temple walls proved to be a poem.