Being Portrayed As The Villain Quotes

I transformed Medusa,' Athena continued, 'so that she would have protection against all those who would try to harm her.' 'That's bullshit. You didn't give her a choice, did you?' Lore bit back. 'And now history remembers her as a villain who deserved to die.' 'No. That is what men have portrayed her as, through art, through tales. They imagined her hideous because they feared to meet the true gaze of a woman, to witness the powerful storm that lives inside, waiting. She was not defeated by my uncle's assault. She was merely reborn as a being who could gaze back at the world, unafraid. Is that not what your own line did for centuries, staring out from behind her mask?

I transformed Medusa," Athena continued, "so that she would have protection against all those who would try to harm her." "That's bullshit. You didn't give her a choice, did you?" Lore bit back. "And now history remembers her as a villain who deserved to die." "No. That is what men have portrayed her as, through art, through tales," Athena said. "They imagined her hideous because they feared to meet the true gaze of a woman, to witness the powerful storm that lives inside, waiting. She was not defeated by my uncle's assault. She was merely reborn as a being who could gaze back at the world, unafraid. Is that not what your own line did for centuries, staring out from behind her mask?

You know how it is, being a royal,” he says, with an airy wave of his hand. “You’re always trying to portray your best self for your subjects, your warriors, your friends. If you can’t talk to your enemies, who can you talk to?

[T]he demonization of Mahmud [of Ghazni] and the portrayal of his raid on Somnath as an assault on Indian religion by Muslim invaders dates only from the early 1840s. In 1842 the British East Indian Company suffered the annihilation of an entire army of some 16,000 in the First Afghan War (1839-42). Seeking to regain face among their Hindu subjects after this humiliating defeat, the British contrived a bit of self-serving fiction, namely that Mahmud, after sacking the temple of Somnath, carried off a pair of the temple's gates on his way back to Afghanistan. By 'discovering' these fictitious gates in Mahmud's former capital of Ghazni, and by 'restoring' them to their rightful owners in India, British officials hoped to be admired for heroically rectifying what they construed as a heinous wrong that had caused centuries of distress among India's Hindus. Though intended to win the latters' gratitude while distracting all Indians from Britain's catastrophic defeat just being the Khyber, this bit of colonial mischief has stoked Hindus' ill-feeling toward Muslims ever since. From this point on, Mahmud's 1025 sacking of Somnath acquired a distinct notoriety, especially in the early twentieth century when nationalist leaders drew on history to identify clear-cut heroes and villains for the purpose of mobilizing political mass movements. By contrast, Rajendra Chola's raid on Bengal remained largely forgotten outside the Chola country.

I gave her fury power,” Athena said quietly. Lore turned to her confused. “I transformed Medusa,” Athena continued, “so that she would have protection from those who would try to harm her.” “That’s bullshit. You didn’t give her a choice, did you?” Lore but back. “And now history remembers her as a villain who deserved to die.” “No. That is what men have portrayed her as, through art, through tales,” Athena said. “They imagined her hideous because they feared to meet the true gaze of a woman, to witness the powerful storm that lives inside, waiting. She was not defeated by my uncle’s assault. She was merely reborn as a being who could gaze back at the world, unafraid. Is that no what your own line did for centuries, staring out from behind her mask?