Mythology Character Quotes

Oh, he did look like a deity – the perfect balance of danger and charm, he was at the same time fascinating and inaccessible, distant because of his demonstrated flawlessness, and possessing such strength of character that he was dismaying and at the same time utterly attractive in an enticing and forbidden way.

I'm a damsel, I'm in distress, I can handle this. Have a nice day!

Hinduism comes closest to being a nature religion. Rivers, rocks, trees, plants, animals, and birds all play their part, both in mythology and everyday worship. This harmony is most evident in remote places like this, and I hope it does not loose its unique character in the ruthless urban advance.

The drug of love was no escape, for in its coils lie latent dreams of greatness which awaken when men and women fecundate each other deeply. Something is always born of man and woman lying together and exchanging the essences of their lives. Some seed is always carried and opened in the soil of passion. The fumes of desire are the womb of man's birth and often in the drunkeness of caresses history is made, and science, and philosophy. For a woman, as she sews, cooks, embraces, covers, warms, also dreams that the man taking her will be more than a man, will be the mythological figure of her dreams, the hero, the discoverer, the builder....Unless she is the anonymous whore, no man enters woman with impunity, for where the seed of man and woman mingle, within the drops of blood exchanged, the changes that take place are the same as those of great flowing rivers of inheritance, which carry traits of character from father to son to grandson, traits of character as well as physical traits. Memories of experience are transmitted by the same cells which repeated the design of a nose, a hand, the tone of a voice, the color of an eye. These great flowing rivers of inheritance transmitted traits and carried dreams from port to port until fulfillment, and gave birth to selves never born before....No man and woman know what will be born in the darkness of their intermingling; so much besides children, so many invisible births, exchanges of soul and character, blossoming of unknown selves, liberation of hidden treasures, buried fantasies...

The cultural work done in the past by gods and epic sagas is now done by laundry-detergent commercials and comic-strip character

In prehistoric times, early man was bowled over by natural events: rain, thunder, lightning, the violent shaking and moving of the ground, mountains spewing deathly hot lava, the glow of the moon, the burning heat of the sun, the twinkling of the stars. Our human brain searched for an answer, and the conclusion was that it all must be caused by something greater than ourselves - this, of course, sprouted the earliest seeds of religion. This theory is certainly reflected in faery lore. In the beautiful sloping hills of Connemara in Ireland, for example, faeries were believed to have been just as beautiful, peaceful, and pleasant as the world around them. But in the Scottish Highlands, with their dark, brooding mountains and eerie highland lakes, villagers warned of deadly water-kelpies and spirit characters that packed a bit more punch.

Most people assume that a muse is a creature of perfect beauty, poise and grace. Like the creatures from Greek mythology. They're wrong. In fact, there should be a marked absence of perfection in a muse--a gaping hole between what she is and what she might be. The ideal muse is a woman whose rough edges and contradictions drive you to fill in the blanks of her character. She is the irritant to your creativity. A remarkable possibility, waiting to be formed.

That is the voice of a place like this, where dead voices echo. They attract men and women of all kinds. But only certain gods visit here…

I took ‘em because nobody else had found ‘em yet. I brought ‘em here ta be protected from mortals that didn’t know the kinda power they once had, that might try ta unlock it again.

The man you are seeing is no man, Andy. He was Odin Borson, Allfather and King of Asgard. His wolves were Freki and Geri and his hall was Valhalla. He was my father and the father of many others. And he was your father.

When people name cats, they usually do it in one of three categories: food, physical characteristics or mythology,” Morrison explained. “So, you name your cat Sugar, or Smudge, or Zeus. You went with mythology.” “What about people who name their cats for characters in fantasy books?” I picked up Hera’s food bowl from her mat, and got a smaller bowl for the kitten. “Gandalf. Sauron. That sort of thing.” “Covered under mythology.

Partake in reality as an actor in a theatrical play: with attention, dedication and an open heart. But never believe yourself to be your character, for characters spend their lives chasing their own shadows, whereas actors embody the meaning of existence.

PDR: Persons of Dubious Reality; refugees from the collective consciousness. Uninvited visitors who have fallen through the grating that divides the real, from the written. They arrive with their actions hardwired due to their repetitious existence and the older and more basic they are, the more rigidly they stick to them. Characters from cautionary tales are particularly mindless; they do what they do because it's what they've always done. And it's our job to stop them.

To use a distinction made by E. M. Forster when talking about people in novels, the world now went from flat characters to rounded characters—to the development of personalities whose actions could surprise. The fun began.

I am the interpretation of the prophet I am the artist in the coffin I am the brave flag stained with blood I am the wounds overcome I am the dream refusing to sleep I am the bare-breasted voice of liberty I am the comic the insult and the laugh I am the right the middle and the left I am the poached eggs in the sky I am the Parisian streets at night I am the dance that swings till dawn I am the grass on the greener lawn I am the respectful neighbour and the graceful man I am the encouraging smile and the helping hand I am the straight back and the lifted chin I am the tender heart and the will to win I am the rainbow in rain I am the human who won’t die in vain I am Athena of Greek mythology I am the religion that praises equality I am the woman of stealth and affection I am the man of value and compassion I am the wild horse ploughing through I am the shoulder to lean onto I am the Muslim the Jew and the Christian I am the Dane the French and the Palestinian I am the straight the square and the round I am the white the black and the brown I am the free speech and the free press I am the freedom to express I will die for my right to be all the above here mentioned And should threat encounter I’ll pull my pencil

You’re the girl that I have been wanting. You’re the girl that I could see myself with forever. And most importantly, you’re the girl that I’ve fallen in love with.

I'll tear down your realm, starting with this castle.

Jane sobbed even harder, not noticing the sounds of footsteps coming up behind her. A cold wind blew, and she shivered in it. As her eyes hung between tears, she looked out and saw a shape where the car had been. It was a figure, slim and wrapped in a gray shroud. Almost the whole body was covered, save for a single blue eye that stared at her intently. Jane stared back until she felt a warm hand touch her shoulder and a cold voice whisper in her ear. “You are never alone.

The story of Superman is functionally now a mythological influence to heroic characters within other stories that are meant to serve as mythological influences to us real-world humans. His seems to be a sort of prime contemporary hero story from which other contemporary hero stories emerge and draw their influence.

... the Orientalist attitude in general [is profoundly anti-empirical]. It shares with magic and with mythology the self-containing, self-reinforcing character of a closed system, in which objects are what they are because they are what they are, for once, for all time, for ontological reasons that no empirical material can either dislodge or alter.

When reading the history of the Jewish people, of their flight from slavery to death, of their exchange of tyrants, I must confess that my sympathies are all aroused in their behalf. They were cheated, deceived and abused. Their god was quick-tempered unreasonable, cruel, revengeful and dishonest. He was always promising but never performed. He wasted time in ceremony and childish detail, and in the exaggeration of what he had done. It is impossible for me to conceive of a character more utterly detestable than that of the Hebrew god. He had solemnly promised the Jews that he would take them from Egypt to a land flowing with milk and honey. He had led them to believe that in a little while their troubles would be over, and that they would soon in the land of Canaan, surrounded by their wives and little ones, forget the stripes and tears of Egypt. After promising the poor wanderers again and again that he would lead them in safety to the promised land of joy and plenty, this God, forgetting every promise, said to the wretches in his power:—'Your carcasses shall fall in this wilderness and your children shall wander until your carcasses be wasted.' This curse was the conclusion of the whole matter. Into this dust of death and night faded all the promises of God. Into this rottenness of wandering despair fell all the dreams of liberty and home. Millions of corpses were left to rot in the desert, and each one certified to the dishonesty of Jehovah. I cannot believe these things. They are so cruel and heartless, that my blood is chilled and my sense of justice shocked. A book that is equally abhorrent to my head and heart, cannot be accepted as a revelation from God. When we think of the poor Jews, destroyed, murdered, bitten by serpents, visited by plagues, decimated by famine, butchered by each, other, swallowed by the earth, frightened, cursed, starved, deceived, robbed and outraged, how thankful we should be that we are not the chosen people of God. No wonder that they longed for the slavery of Egypt, and remembered with sorrow the unhappy day when they exchanged masters. Compared with Jehovah, Pharaoh was a benefactor, and the tyranny of Egypt was freedom to those who suffered the liberty of God. While reading the Pentateuch, I am filled with indignation, pity and horror. Nothing can be sadder than the history of the starved and frightened wretches who wandered over the desolate crags and sands of wilderness and desert, the prey of famine, sword, and plague. Ignorant and superstitious to the last degree, governed by falsehood, plundered by hypocrisy, they were the sport of priests, and the food of fear. God was their greatest enemy, and death their only friend. It is impossible to conceive of a more thoroughly despicable, hateful, and arrogant being, than the Jewish god. He is without a redeeming feature. In the mythology of the world he has no parallel. He, only, is never touched by agony and tears. He delights only in blood and pain. Human affections are naught to him. He cares neither for love nor music, beauty nor joy. A false friend, an unjust judge, a braggart, hypocrite, and tyrant, sincere in hatred, jealous, vain, and revengeful, false in promise, honest in curse, suspicious, ignorant, and changeable, infamous and hideous:—such is the God of the Pentateuch.

I did not believe (and still do not believe) that an oppressive, willfully ignorant society based around God, guns, and free enterprise is capable of the generosity and compassion exhibited by the Jesus Christ character from Christian mythology.

She turned back to the spot where Kamala had been, and where the bow she'd held still was. Andrea walked over to it and picked it up. She ran her hands over it gently, feeling the intricate designs carved into it, the elegance of the metal guard. Andrea held it out before her and pulled the string back. It came easily, though with all the tensions of a thousand taut muscles. She relaxed the string and looked at the bow with a sad familiarity, as she uttered one word. “Sister.

Later times have laid all the blame upon the Goths and Vandals, but, however unwilling the partizans of the Christian system may be to believe or to acknowledge it, it is nevertheless true, that the age of ignorance commenced with the Christian system.There was more knowledge in the world before that period, than for many centuries afterwards; and as to religious knowledge, the Christian system, as already said, was only another species of mythology; and the mythology to which it succeeded, was a corruption of an ancient system of theism. It is owing to this long interregnum of science, and to no other cause, that we have now to look back through a vast chasm of many hundred years to the respectable characters we call the Ancients. Had the progression of knowledge gone on proportionably with the stock that before existed, that chasm would have been filled up with characters rising superior in knowledge to each other; and those Ancients we now so much admire would have appeared respectably in the background of the scene. But the christian system laid all waste; and if we take our stand about the beginning of the sixteenth century, we look back through that long chasm, to the times of the Ancients, as over a vast sandy desert, in which not a shrub appears to intercept the vision to the fertile hills beyond.

The mythology of Doctor Who has built into it the continuation, evolution, and longevity of the character’s mythical qualities through his regenerative process. I have to agree with Lou Anders, when he states: “Doctor Who is the truest expression of Joseph Campbell’s Hero with a Thousand Faces ever conceived. The idea of an alien, come down to earth, repeatedly dying and resurrecting for the salvation of others is as close to the perpetual reenactment of the eternal Hero’s Journey as you can hope to find.”(6)

When a judge walks into the room, and everybody stands up, you’re not standing up to that guy, you’re standing up to the robe that he’s wearing and the role that he’s going to play. What makes him worthy of that role is his integrity, as a representative of the principles of that role, and not some group of prejudices of his own. So what you’re standing up to is a mythological character. I imagine some kings and queens are the most stupid, absurd, banal people you could run into, probably interested only in horses and women, you know. But you’re not responding to them as personalities, you’re responding to them in their mythological roles. When someone becomes a judge, or President of the United States, the man is no longer that man, he’s the representative of an eternal office; he has to sacrifice his personal desires and even life possibilities to the role that he now signifies.

I stared into the darkness and thought how it mirrored what was inside me, how it hid the demon others called Puck.

I was arrogant. It's a classic story of hubris. I'm like Icarus whose wings melted before he could fuck the sun.

THE 52ND is a unique entry in the YA and Paranormal genres. With a diverse cast of characters, thrilling mythology, and a potential series ahead, Dela knocks it out of the park with THE 52ND.

The influence that Marxism has achieved, far from being the result or proof of its scientific character, is almost entirely due to its prophetic, fantastic, and irrational elements. Marxism is a doctrine of blind confidence that a paradise of universal satisfaction is awaiting us just around the corner. Almost all the prophecies of Marx and his followers have already proved to be false, but this does not disturb the spiritual certainty of the faithful, any more than it did in the case of chiliastic sects.… In this sense Marxism performs the function of a religion, and its efficacy is of a religious character. But it is a caricature and a bogus form of religion, since it presents its temporal eschatology as a scientific system, which religious mythologies do not purport to be.

In the novel Fight Club, the character Jack’s apartment is blown up. All of his possessions—“every stick of furniture,” which he pathetically loved—were lost. Later it turns out that Jack blew it up himself. He had multiple personalities, and “Tyler Durden” orchestrated the explosion to shock Jack from the sad stupor he was afraid to do anything about. The result was a journey into an entirely different and rather dark part of his life. In Greek mythology, characters often experience katabasis—or “a going down.” They’re forced to retreat, they experience a depression, or in some cases literally descend into the underworld. When they emerge, it’s with heightened knowledge and understanding. Today, we’d call that hell—and on occasion we all spend some time there. We surround ourselves with bullshit. With distractions. With lies about what makes us happy and what’s important. We become people we shouldn’t become and engage in destructive, awful behaviors. This unhealthy and ego-derived state hardens and becomes almost permanent. Until katabasis forces us to face it. Duris dura franguntur. Hard things are broken by hard things. The bigger the ego the harder the fall. It would be nice if it didn’t have to be that way. If we could nicely be nudged to correct our ways, if a quiet admonishment was what it took to shoo away illusions, if we could manage to circumvent ego on our own. But it is just not so. The Reverend William A. Sutton observed some 120 years ago that “we cannot be humble except by enduring humiliations.” How much better it would be to spare ourselves these experiences, but sometimes it’s the only way the blind can be made to see.

The final complexity associated with building of a negative character lies in the fact that the image of a subject is often an outcome of parochial, ethnocentric, and orientalist viewpoints. In other words, it can be argued that historical or mythological villains might also have been treated in paradoxical manners. Their negative characteristics would have received much more attention by dominant intellectuals than their positive traits.

Cabinet is a conscious, explicit attempt to portray the Doctor himself as myth. “He’s a mischief, a leprechaun, a boojum,” says one character, bookseller and collector of incunabula, Syme. “The Doctor is a myth. He’s straight out of Old English folklore, typical trickster figure really.”29 Neither part of an ongoing narrative, nor specifically located within the series’ past, Cabinet is in a position to challenge the portrayal of the Doctor.

We have 18 or 19 plays by Euripides, for example, yet he is known to have written almost 100. Only 7 of Aeschylus’s 80 remain, while just 7 plays of Sophocles have come down to us out of 120 known titles. Almost every character you come across when reading the Greek myths had a play about them written by one, other, or all three of the great Athenian masters. The loss of so many of their works might be regarded as the greatest Greek tragedy of them all.

Aside from the encounter with the Sphinx, there is little in Oedipus to connect him to the common run of Greek heroic figures. He strikes us today as a modern tragic hero and political animal; it is hard to picture him shaking hands with Heracles or joining the crew of the Argo. many scholars and thinkers, most notably Friedrich Nietzsche in his book The Birth of Tragedy, have seen in Oedipus a character who works out on stage the tension in Athenians (and all of us) between the reasoning, mathematically literate citizen and the transgressive blood criminal; between the thinking and the instinctual being; between the superego and the id; between the Apollonian and the Dionysian impulses that contend within us. Oedipus is a detective who employs all the fields of enquiry of which the Athenians were so proud -- logic, numbers, rhetoric, order and discovery -- only to reveal a truth that is disordered, shameful, transgressive and bestial.

Religion, then, is far from "useless." It humanizes violence; it protects man from his own violence by taking it out of his hands, transforming it into a transcendent and ever-present danger to be kept in check by the appropriate rites appropriately observed and by a modest and prudent demeanor. Religious misinterpretation is a truly constructive force, for it purges man of the suspicions that would poison his existence if he were to remain conscious of the crisis as it actually took place. To think religiously is to envision the city's destiny in terms of that violence whose mastery over man increases as man believes he has gained mastery over it. To think religiously (in the primitive sense) is to see violence as something superhuman, to be kept always at a distance and ultimately renounced. When the fearful adoration of this power begins to diminish and all distinctions begin to disappear, the ritual sacrifices lose their force; their potency is not longer recognized by the entire community. Each member tries to correct the situation individually, and none succeeds. The withering away of the transcendental influence means that there is no longer the slightest difference between a desire to save the city and unbridled ambition, between genuine piety and the desire to claim divine status for oneself. Everyone looks on a rival enterprise as evidence of blasphemous designs. Men set to quarreling about the gods, and their skepticism leads to a new sacrificial crisis that will appear - retrospectively, in the light of a new manifestation of unanimous violence - as a new act of divine intervention and divine revenge. Men would not be able to shake loose the violence between them, to make of it a separate entity both sovereign and redemptory, without the surrogate victim. Also, violence itself offers a sort of respite, the fresh beginning of a cycle of ritual after a cycle of violence. Violence will come to an end only after it has had the last word and that word has been accepted as divine. The meaning of this word must remain hidden, the mechanism of unanimity remain concealed. For religion protects man as long as its ultimate foundations are not revealed. To drive the monster from its secret lair is to risk loosing it on mankind. To remove men's ignorance is only to risk exposing them to an even greater peril. The only barrier against human violence is raised on misconception. In fact, the sacrificial crisis is simply another form of that knowledge which grows grater as the reciprocal violence grows more intense but which never leads to the whole truth. It is the knowledge of violence, along with the violence itself, that the act of expulsion succeeds in shunting outside the realm of consciousness. From the very fact that it belies the overt mythological messages, tragic drama opens a vast abyss before the poet; but he always draws back at the last moment. He is exposed to a form of hubris more dangerous than any contracted by his characters; it has to do with a truth that is felt to be infinitely destructive, even if it is not fully understood - and its destructiveness is as obvious to ancient religious thought as it is to modern philosophers. Thus we are dealing with an interdiction that still applies to ourselves and that modern thought has not yet invalidated. The fact that this secret has been subjected to exceptional pressure in the play [Bacchae] must prompt the following lines: May our thoughts never aspire to anything higher than laws! What does it cost man to acknowledge the full sovereignty of the gods? That which has always been held as true owes its strength to Nature.

There were fairies at the bottom of my garden and they were torturing someone. Technically they weren’t Fae. My people didn’t like to bloody their hands, they preferred to use sadistic bastards like Spriggans. They’d come for me. Finally. After centuries of waiting, my people had demonstrated how long they could hold a grudge.

The Harry Potter story bears an uncanny resemblance to Luke Skywalker's, in that both characters are in possession of great power they are unaware of, are taught to cultivate it by guardians of mythological truth, face off a foe that killed their parents and rise to save their friends by heading off extraordinary odds to become saviors of their respective worlds.

The ancient Egyptians had already figured this out thousands of years ago, although their knowledge remained embodied in dramatic form.154 They worshipped Osiris, mythological founder of the state and the god of tradition. Osiris, however, was vulnerable to overthrow and banishment to the underworld by Set, his evil, scheming brother. The Egyptians represented in story the fact that social organizations ossify with time, and tend towards willful blindness. Osiris would not see his brother’s true character, even though he could have. Set waits and, at an opportune moment, attacks. He hacks Osiris into pieces, and scatters the divine remains through the kingdom. He sends his brother’s spirit to the underworld. He makes it very difficult for Osiris to pull himself back together.

Even worse. Making vivid, interesting characters out of those girls and women? Mythologizing and novelizing their suffering? No.” The man gives an exaggerated sigh. “I know this argument, and I don’t buy it. If everyone felt the way you do, the world would remain ignorant about things it has every good reason to know. Writers have to bear witness, it’s their vocation. Some would say the writer has no higher calling than to bear witness to injustice and suffering.

The invisible alleyways of the air have twisted through mythology, in and out of landscapes and cultures, from zephyrs to howling gales. I have met the characters of the winds, and know the qualities they bring: the Bora strength and clarity; the Foehn destruction and depression; the Sirocco debilitation; the Mistral beauty and madness. Now it seems, hoping against hope, I am about to know the Helm – if only the Bar will come – and the wildness of the chase fills me, pulls me on.

Warning: “Good Intentions” contains violence, explicit sex, nudity, inappropriate use of church property, portrayals of beings divine and demonic bearing little or no resemblance to established religion or mythology, trespassing, bad language, sacrilege, blasphemy, attempted murder, arguable murder, divinely mandated murder, justifiable murder, filthy murder, sexual promiscuity, kidnapping, attempted rape, arson, dead animals, desecrated graves, gang activity, theft, assault and battery, panties, misuse of the 911 system, fantasy depictions of sorcery and witchcraft, multiple references to various matters of fandom, questionable interrogation tactics, cell phone abuse, reckless driving, consistent abuse of vampires (because they deserve it), even more explicit sex, illegal use of firearms within city limits, polyamory, abuse of authority, hit and run driving, destruction of private property, underage drinking, disturbances of the peace, disorderly conduct, internet harassment, bearers of false witness, mayhem, dismemberment, falsification of records, tax evasion, an uncomfortably sexy mother, bad study habits, and a very silly white guy inappropriately calling another white guy “nigga” (for which he will surely suffer). All characters depicted herein are over the age of 18, with the exception of one little girl who merely needs to get her cat out of a tree. Don’t worry, nothing bad happens to her. She makes it through the story just fine.

In summary, the typical educated Roman of this age was orderly, conservative, loyal, sober, reverent, tenacious, severe, practical. He enjoyed discipline, and would have no nonsense about liberty. He obeyed as a training for command. He took it for granted that the government had a right to inquire into his morals as well as his income, and to value him purely according to his services to the state. He distrusted individuality and genius. He had none of the charm, vivacity, and unstable fluency of the Attic Greek. He admired character and will as the Greek admired freedom and intellect; and organization was his forte. He lacked imagination, even to make a mythology of his own. He could with some effort love beauty, but he could seldom create it. He had no use for pure science, and was suspicious of philosophy as a devilish dissolvent of ancient beliefs and ways. He could not, for the life of him, understand Plato, or Archimedes, or Christ. He could only rule the world.

Madame smiled indulgently. ‘Most people assume that a muse is a creature of perfect beauty, poise and grace. Like the creatures from Greek mythology. They’re wrong. In fact, there should be a marked absence of perfection in a muse – a gaping hole between what she is and what she might be. The ideal muse is a woman whose rough edges and contradictions drive you to fill in the blanks of her character. She is the irritant to your creativity. A remarkable possibility, waiting to be formed.’ Madame

This story twists the ancient myths we grow up with,” Berger says, “where what the reader knows about the Olympian gods, or thinks he knows, is challenged in fresh and curious ways. One god’s journey and actions unimaginably affect the entire universe. Berger took from childhood experiences to create this saga. “My own fascination with Greek mythology and comic books helped bring this story to life. If it weren't for characters like Wonder Woman or ancient heroes like Perseus, this story couldn't have emerged.

[Saturn, or the Latin age of the gods. Year of the world 2491.] 73 This is the age of the gods beginning among the nations of Latium and corresponding in character to the golden age of the Greeks, among whom our mythology will show [544ff] that the first gold was grain, by the harvests of which for many centuries the first nations counted their years [407]. Saturn was so called by the Latins from sati, sown [fields], and is called Chronos by the Greeks, among whom chronos means time, whence comes the word chronology.

This book is so huge, that the mythology took many months to create. There are literally hundreds of characters , and many different worlds described in great detail. It's not the sort of thing that you can simply dash off. I hand-write everything. Now, I've done three drafts on Imajica, which comes to about 14,000 pages. When you're working on a novel, you really must give your life over to the project. This is my eleventh book, and I'm fortunate to know that the audience is there for it. I'm not just writing in the dark.

The concept of furry characters (another term for anthropomorphic animals) is relatively new; it was popularized in the 1980s. But art and stories juxtaposing humans and animals can be traced back thousands of years. The ancient Egyptians, for example, had animalistic deities such as Anubis, who had the head of a jackal. Anthropomorphic kimono-clad foxes, raccoons, dogs, cats, and other animals were a recurring subject in classical Japanese uikyo-e artwork. Further historical examples of anthropomorphic animals can be found in Native American mythology and works of literature like Aesop's fables, wherein talking animals took the roles of humans.

This, one suspects, may have been the reason which moved John to assimilate the newborn man-child to the figure of the avenger, thereby blurring his mythological character as the lovely and lovable divine youth whom we know so well in the figures of Tammuz, Adonis, and Balder. The enchanting springlike beauty of this divine youth is one of those pagan values which we miss so sorely in Christianity, and particularly in the sombre world of the apocalypse—the indescribable morning glory of a day in spring, which after the deathly stillness of winter causes the earth to put forth and blossom, gladdens the heart of man and makes him believe in a kind and loving God.

As Christ, in the Hebrew of the Old Testament, was called Adonai, The Lord, so Tammuz was called Adon or Adonis. Under the name of Mithras, he was worshipped as the "Mediator." As Mediator and head of the covenant of grace, he was styled Baal-berith, Lord of the Covenant --(Judges viii. 33). In this character he is represented in Persian monuments as seated on the rainbow, the wellknown symbol of the covenant. In India, under the name of Vishnu, the Preserver or Saviour of men, though a god, he was worshipped as the great "Victim-Man," who before the worlds were, because there was nothing else to offer, offered himself as a sacrifice. The Hindu sacred writings teach that this mysterious offering before all creation is the foundation of all the sacrifices that have ever been offered since. Do any marvel at such a statement being found in sacred books of a Pagan mythology?

In France they start to read Balzac at school, and judging by the number of editions in circulation people apparently continue to read him long after the end of their schooldays. But if there were an official survey on Balzac’s popularity in Italy, I am afraid he would figure very low down the list. Fans of Dickens in Italy are a small elite who whenever they meet start to reminisce about characters and episodes as though talking of people they actually knew. When Michel Butor was teaching in the United States a number of yean ago, he became so tired of people asking him about Émile Zola, whom he had never read, that he made up his mind to read the whole cycle of Rougon-Macquart novels. He discovered that it was entirely different from how he had imagined it: it turned out to be a fabulous, mythological genealogy and cosmogony, which he then described in a brilliant article.

Let us, in our character of knowers, not be ungrateful towards such determined reversals of the ordinary perspectives and values, with which the mind had for too long raged against itself with an apparently futile sacrilege! In the same way the very seeing of another vista, the very wishing to see another vista, is no little training and preparation of the intellect for its eternal "Objectivity" — objectivity being understood not as "contemplation without interest" (for that is inconceivable and nonsensical), but as the ability to have the pros and cons in one's power and to switch them on and off, so as to get to know how to utilise, for the advancement of knowledge, the difference in the perspective and in the emotional interpretations. But let us, forsooth, my philosophic colleagues, henceforward guard ourselves more carefully against this mythology of dangerous ancient ideas, which has set up a "pure, will-less, painless, timeless subject of knowledge"; let us guard ourselves from the tentacles of such contradictory ideas as "pure reason," "absolute spirituality," "knowledge-in-itself": — in these theories an eye that cannot be thought of is required to think, an eye which ex hypothesi has no direction at all, an eye in which the active and interpreting functions are cramped, are absent; those functions, I say, by means of which "abstract" seeing first became seeing something; in these theories consequently the absurd and the nonsensical is always demanded of the eye. There is only a seeing from a perspective, only a "knowing" from a perspective, and the more emotions we express over a thing, the more eyes, different eyes, we train on the same thing, the more complete will be our "idea" of that thing, our "objectivity." But the elimination of the will altogether, the switching off of the emotions all and sundry, granted that we could do so, what! would not that be called intellectual castration?

There was a fascinating duality about Matthew that Daisy had never encountered in another man. At some moments he was the aggressive, sharp-eyed, buttoned-up businessman who rattled off facts and figures with ease. At other times he was a gentle, understanding lover who shed his cynicism like an old coat and engaged her in playful debates about which ancient culture had the best mythology, or what Thomas Jefferson's favorite vegetable had been. (Although Daisy was convinced it was green peas, Matthew had made an excellent case for tomatoes.) They had long conversations about subjects like history and progressive politics. For a man from a conservative Brahmin background, he had a surprising awareness of reform issues. Usually in their relentless climb up the social ladder, enterprising men forgot about those who had been left on the bottom rungs. Daisy thought it spoke well of Matthew's character that he had a genuine concern for those less fortunate than himself.

Chapter III: Transformation of the Hero 1. Primordial hero and the human We have come two stages: 1) from the immediate emanations of the Uncreated Creating to the fluid yet timeless personages of the mythological age; 2) from these Created CReating Ones to the sphere of human history. The emanations have condensed, consciousness is constricted. Where formerly causal bodies were visible, now only their secondary effects come to focus in the little hard-fact pupil of the human eye. The cosmogonic cycle is now to be carried forward, therefore, not by the gods, who became invisible now, but through heros, more or less human in character, through whom the world destiny is realized. This is the line where creation myths begin to give place to legend-as in the book of Genesis, following expulsion from Eden. Metaphysics yields to prehistory, which s dim and vague at first, but becomes precise in detail slowly. The heros become less fabulous, legend opens into the common dayliight of recorded time.

A herald’s words do not actually save anyone. Rather, a herald’s job is to be a messenger, to proclaim someone and something else. Heralds are stock characters—archetypes—in literature. In J. K. Rowling’s Harry Potter series, Hagrid is the herald; his arrival announces that reality is nothing like Harry thought and a new story is about to begin. In “Cinderella,” the herald carried an invitation to the ball. In ancient Greek mythology, Hermes was the herald of the gods. In ancient Rome, a herald would come into town to announce a new king or a new law or an important event—a royal wedding, a battle won, an enemy defeated. Heralds announce a new reality. Writers seek to proclaim truthfully what is and what can be. Christian writers are heralds; we understand our task as heralding the new reality of the kingdom of God—the wedding feast of the Lamb, a battle won through resurrection, death defeated. We herald that another reality has crashed into our own. We announce the end of the story. We whisper, speak, shout—in sentence and verse—that all things are wrecked and all things will be made new.

Thus the focal points of the Hebrew Paradise story, the woman, the man, the serpent, and the tree, were mostly likely re-interpretations of earlier Near Eastern iconography and mythology. An original myth and icon, which consisted of goddess, sacred snake, sacred tree, and male consort, perhaps the one who aroused the wrath of the goddess by eating her sacred fruit, become re-interpreted, among the Hebrews, into a story involving a foolish woman; a tree bearing fruit which must not be plucked but was plucked nonetheless by the foolish woman; a seductive snake; and a man who gave birth to a female. The Hebrew story not only changes the roles of the main characters in the story; it even shifts the birth process. The Hebrew myth, then, was not the earliest word on the status of women. The antecedents of the Hebrew myth show quite clearly that at least the idealized woman, the goddess, held high status in early Near Eastern societies. This early status was considerably altered later in time by the Hebrews. The Near Eastern goddess, among the Hebrews, degenerated into a mortal scapegoat, one responsible for the ‘greatly multiplied sorrow,’ and the subservience of women in the ensuing centuries.

Despite his earthbound approach and his preoccupation with scientific fact, Aristotle had an acute understanding of the nature and importance of religion and mythology. He pointed out that people who had become initiates in the various mystery religions were not required to learn any facts “but to experience certain emotions and to be put in a certain disposition.”35 Hence his famous literary theory that tragedy effected a purification (katharsis) of the emotions of terror and pity that amounted to an experience of rebirth. The Greek tragedies, which originally formed part of a religious festival, did not necessarily present a factual account of historical events but were attempting to reveal a more serious truth. Indeed, history was more trivial than poetry and myth: “The one describes what has happened, the other what might. Hence poetry is something more philosophic and serious than history; for poetry speaks of what is universal, history of what is particular.”36 There may or may not have been a historical Achilles or Oedipus, but the facts of their lives were irrelevant to the characters we have experienced in Homer and Sophocles, which express a different but more profound truth about the human condition. Aristotle’s account of the katharsis of tragedy was a philosophic presentation of a truth that Homo religiosus had always understood intuitively: a symbolic, mythical or ritual presentation of events that would be unendurable in daily life can redeem and transform them into something pure and even pleasurable.

For this reason the ancients often compared the symbol to water, a case in point being tao, where yang and yin are united. Tao is the “valley spirit,” the winding course of a river. The symbolum of the Church is the aqua doctrinae, corresponding to the wonder-working “divine” water of alchemy, whose double aspect is represented by Mercurius. The healing and renewing properties of this symbolical water—whether it be tao, the baptismal water, or the elixir—point to the therapeutic character of the mythological background from which this idea comes. Physicians who were versed in alchemy had long recognized that their arcanum healed, or was supposed to heal, not only the diseases of the body but also those of the mind. Similarly, modern psychotherapy knows that, though there are many interim solutions, there is, at the bottom of every neurosis, a moral problem of opposites that cannot be solved rationally, and can be answered only by a supraordinate third, by a symbol which expresses both sides. This was the “veritas” (Dorn) or “theoria” (Paracelsus) for which the old physicians and alchemists strove, and they could do so only by incorporating the Christian revelation into their world of ideas. They continued the work of the Gnostics (who were, most of them, not so much heretics as theologians) and the Church Fathers in a new era, instinctively recognizing that new wine should not be put into old bottles, and that, like a snake changing its skin, the old myth needs to be clothed anew in every renewed age if it is not to lose its therapeutic effect.

(AIR) THE BOOK OF LUCIFER THE ENLIGHTENMENT The Roman god, Lucifer, was the bearer for light, the spirit of the air, the personification of enlightenment. In Christian mythology he became synonymous with evil, which was only to have been expected from a religion whose very existence is perpetuated by clouded definitions and bogus values! It is time to set the record straight. False moralisms and occult inaccuracies must be corrected. Entertaining as they might be, most stories and plays about Devil worship must be recognized as the obsolete absurdities they are. It has been said "the truth will make men free". The truth alone has never set anyone free. It is only with DOUBT which will bring mental emancipation. Without the wonderful element of doubt, the doorway through which truth passes would be tightly shut, impervious to the most strenuous poundings of a thousand Lucifers. How understandable that Holy Scripture should refer to the Infernal monarch as the "father of lies" - a magnificent example of character inversion. If one is to believe this theological accusation that the Devil represents falsehood, then it surely must be concurred that it was HE, NOT GOD, THAT ESTABLISHED ALL SPIRITUAL RELIGIONS AND WHO WROTE ALL OF THE HOLY BIBLES! When one doubt is followed by another, the bubble, grown large from long accumulated fallacies, threatens to burst. For those who already doubt supposed truths, this book is revelation. Then Lucifer will have risen. Now is the time for doubt! The bubble of falsehood is bursting and its sound is the roar of the world!

The world can be validly construed as a forum for action, as well as a place of things. We describe the world as a place of things, using the formal methods of science. The techniques of narrative, however – myth, literature, and drama – portray the world as a forum for action. The two forms of representation have been unnecessarily set at odds, because we have not yet formed a clear picture of their respective domains. The domain of the former is the 'objective world' – what is, from the perspective of intersubjective perception. The domain of the latter is 'the world of value' – what is and what should be, from the perspective of emotion and action. The world as forum for action is 'composed,' essentially, of three constituent elements, which tend to manifest themselves in typical patterns of metaphoric representation. First is unexplored territory – the Great Mother, nature, creative and destructive, source and final resting place of all determinate things. Second is explored territory – the Great Father, culture, protective and tyrannical, cumulative ancestral wisdom. Third is the process that mediates between unexplored and explored territory – the Divine Son, the archetypal individual, creative exploratory 'Word' and vengeful adversary. We are adapted to this 'world of divine characters,' much as the 'objective world.' The fact of this adaptation implies that the environment is in 'reality' a forum for action, as well as a place of things. Unprotected exposure to unexplored territory produces fear. The individual is protected from such fear as a consequence of 'ritual imitation of the Great Father' – as a consequence of the adoption of group identity, which restricts the meaning of things, and confers predictability on social interactions. When identification with the group is made absolute, however – when everything has to be controlled, when the unknown is no longer allowed to exist – the creative exploratory process that updates the group can no longer manifest itself. This 'restriction of adaptive capacity' dramatically increases the probability of social aggression and chaos. Rejection of the unknown is tantamount to 'identification with the devil,' the mythological counterpart and eternal adversary of the world-creating exploratory hero. Such rejection and identification is a consequence of Luciferian pride, which states: all that I know is all that is necessary to know. This pride is totalitarian assumption of omniscience – is adoption of 'God’s place' by 'reason' – is something that inevitably generates a state of personal and social being indistinguishable from hell. This hell develops because creative exploration – impossible, without (humble) acknowledgment of the unknown – constitutes the process that constructs and maintains the protective adaptive structure that gives life much of its acceptable meaning. 'Identification with the devil' amplifies the dangers inherent in group identification, which tends of its own accord towards pathological stultification. Loyalty to personal interest – subjective meaning – can serve as an antidote to the overwhelming temptation constantly posed by the possibility of denying anomaly. Personal interest – subjective meaning – reveals itself at the juncture of explored and unexplored territory, and is indicative of participation in the process that ensures continued healthy individual and societal adaptation. Loyalty to personal interest is equivalent to identification with the archetypal hero – the 'savior' – who upholds his association with the creative 'Word' in the face of death, and in spite of group pressure to conform. Identification with the hero serves to decrease the unbearable motivational valence of the unknown; furthermore, provides the individual with a standpoint that simultaneously transcends and maintains the group.

Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that.

A few years ago, a couple of young men from my church came to our home for dinner. During the course of the dinner, the conversation turned from religion to various world mythologies and we began to play the game of ‘Name That Character.” To play this game, you pick a category such as famous actors, superheroes or historical characters. In turn, each person describes events in a famous character’s life while everyone else tries to guess who the character is. Strategically you try to describe the deeds of a character in such a way that it might fit any number of characters in that category. After three guesses, if no one knows who your character is, then you win. Choosing the category of Bible Characters, we played a couple of fairly easy rounds with the typical figures, then it was my turn. Now, knowing these well meaning young men had very little religious experience or understanding outside of their own religion, I posed a trick question. I said, “Now my character may seem obvious, but please wait until the end of my description to answer.” I took a long breath for dramatic effect, and began, “My character was the son of the King of Heaven and a mortal woman.” Immediately both young men smiled knowingly, but I raised a finger asking them to wait to give their responses. I continued, “While he was just a baby, a jealous rival attempted to kill him and he was forced into hiding for several years. As he grew older, he developed amazing powers. Among these were the ability to turn water into wine and to control the mental health of other people. He became a great leader and inspired an entire religious movement. Eventually he ascended into heaven and sat with his father as a ruler in heaven.” Certain they knew who I was describing, my two guests were eager to give the winning answer. However, I held them off and continued, “Now I know adding these last parts will seem like overkill, but I simply cannot describe this character without mentioning them. This person’s birthday is celebrated on December 25th and he is worshipped in a spring festival. He defied death, journeyed to the underworld to raise his loved ones from the dead and was resurrected. He was granted immortality by his Father, the king of the gods, and was worshipped as a savior god by entire cultures.” The two young men were practically climbing out of their seats, their faces beaming with the kind of smile only supreme confidence can produce. Deciding to end the charade I said, “I think we all know the answer, but to make it fair, on the count of three just yell out the answer. One. Two. Three.” “Jesus Christ” they both exclaimed in unison – was that your answer as well? Both young men sat back completely satisfied with their answer, confident it was the right one…, but I remained silent. Five seconds ticked away without a response, then ten. The confidence of my two young friends clearly began to drain away. It was about this time that my wife began to shake her head and smile to herself. Finally, one of them asked, “It is Jesus Christ, right? It has to be!” Shaking my head, I said, “Actually, I was describing the Greek god Dionysus.

We need to be humble enough to recognize that unforeseen things can and do happen that are nobody’s fault. A good example of this occurred during the making of Toy Story 2. Earlier, when I described the evolution of that movie, I explained that our decision to overhaul the film so late in the game led to a meltdown of our workforce. This meltdown was the big unexpected event, and our response to it became part of our mythology. But about ten months before the reboot was ordered, in the winter of 1998, we’d been hit with a series of three smaller, random events—the first of which would threaten the future of Pixar. To understand this first event, you need to know that we rely on Unix and Linux machines to store the thousands of computer files that comprise all the shots of any given film. And on those machines, there is a command—/bin/rm -r -f *—that removes everything on the file system as fast as it can. Hearing that, you can probably anticipate what’s coming: Somehow, by accident, someone used this command on the drives where the Toy Story 2 files were kept. Not just some of the files, either. All of the data that made up the pictures, from objects to backgrounds, from lighting to shading, was dumped out of the system. First, Woody’s hat disappeared. Then his boots. Then he disappeared entirely. One by one, the other characters began to vanish, too: Buzz, Mr. Potato Head, Hamm, Rex. Whole sequences—poof!—were deleted from the drive. Oren Jacobs, one of the lead technical directors on the movie, remembers watching this occur in real time. At first, he couldn’t believe what he was seeing. Then, he was frantically dialing the phone to reach systems. “Pull out the plug on the Toy Story 2 master machine!” he screamed. When the guy on the other end asked, sensibly, why, Oren screamed louder: “Please, God, just pull it out as fast as you can!” The systems guy moved quickly, but still, two years of work—90 percent of the film—had been erased in a matter of seconds. An hour later, Oren and his boss, Galyn Susman, were in my office, trying to figure out what we would do next. “Don’t worry,” we all reassured each other. “We’ll restore the data from the backup system tonight. We’ll only lose half a day of work.” But then came random event number two: The backup system, we discovered, hadn’t been working correctly. The mechanism we had in place specifically to help us recover from data failures had itself failed. Toy Story 2 was gone and, at this point, the urge to panic was quite real. To reassemble the film would have taken thirty people a solid year. I remember the meeting when, as this devastating reality began to sink in, the company’s leaders gathered in a conference room to discuss our options—of which there seemed to be none. Then, about an hour into our discussion, Galyn Susman, the movie’s supervising technical director, remembered something: “Wait,” she said. “I might have a backup on my home computer.” About six months before, Galyn had had her second baby, which required that she spend more of her time working from home. To make that process more convenient, she’d set up a system that copied the entire film database to her home computer, automatically, once a week. This—our third random event—would be our salvation. Within a minute of her epiphany, Galyn and Oren were in her Volvo, speeding to her home in San Anselmo. They got her computer, wrapped it in blankets, and placed it carefully in the backseat. Then they drove in the slow lane all the way back to the office, where the machine was, as Oren describes it, “carried into Pixar like an Egyptian pharaoh.” Thanks to Galyn’s files, Woody was back—along with the rest of the movie.

HB: Given all the theologies you were dealing with, did you receive any outraged letters? NG: I did; but most of them were from comics fans who felt I was creating cruel parodies of the Marvel Comics characters Thor, Loki, and Odin. [Laughter.] At the same time, I received quite a few letters from readers in Denmark, Norway, and Sweden who thanked me for portraying Norse gods accurately. All I really did was follow the actual legends. In Norse mythology, Thor is enormously strong, bearded, and overmuscled; and he’s also quite stupid, and is easily made drunk. And if you rub his hammer, it really does get bigger. [Laughter.] The legends also strongly imply that Thor’s wife is bonking Loki on the side.

The ancient sages used divine characters to create mythologies and scriptures to make them more believable. All scriptures are said to be the words of God so that people are convinced about their veracity and believe them.

What the author put down on the page was just part of it. Characters, settings and plots from their creative minds were brought to life every time someone new read the words. Imaginary lives were created. Mythical worlds were explored. Fantastical creatures existed for new readers to experience.

The love of chess was a passion Paris shared with the billionaire, who was a grandmaster and such a fan of the game that he’d named his company Caïssa, after the Greek mythological character known as “the goddess of chess.

And for a man with no job, few friends, and a family that couldn’t stand him, pretending to be a main character in violent American mythology was as close to belonging as he was ever going to get.

Berserker is a viking word for a warrior who goes so crazy when they fight that it is impossible to stop them. The stories say that Cú Chulainn’s eyes would bulge and his muscles would expand and his veins would stick out like ropes when this happened to him. You didn’t want to be anywhere near Cú Chulainn when he went berserk because he would pretty much kill anything in sight, and those seven pupils meant that he could see a lot of things! But Cú Chulainn was famous long before he fought Queen Maebh’s army and there are many stories about his boyhood and even how he was born.

We have re-examined the goddesses through several millennia, and we have seen a radical change in how the divine feminine has been viewed, first by the goddess-centered societies of the Neolithic, then by the assimilated societies made up of male-centered Indo-Europeans and the more equalitarian folk whom they conquered; and finally by modern societies, many of which worship no personification of the feminine at all. There is a lack of balance in much of modern religion, an imbalance of the character of the divine. This imbalance reflects upon the wellness, in all of its aspects, of our world.

So far, being thirteen is a lot like mythology - by which I mean kind of complicated and a little confusing, with a bunch of crazy characters, some drama, and maybe some lessons for us mortals to understand.

Polytheistic Greek mythology includes some stories that tell of intervention by Zeus in human affairs but others that tell of Zeus’s life among his fellow gods. In the Bible, God, being the only god, does not have that second kind of action through which to present himself. But the peculiarity of God’s character does not end there. God could conceivably engage in some kind of demonstrative action that would serve his own self-presentation apart from any interaction with man: miraculous displays, cosmic disruptions, the creation of other worlds. But in fact he refrains from all such activity. Not only does he lack any social life among other gods but he also lacks what we might call a private life. His only way of pursuing an interest in himself is through mankind.

That’s the whole point of the Greek-mythology angle. The gods toyed with humans. They usually didn’t kill them outright, often manipulating them toward their own demise using their character weaknesses.

I believe a book becomes more complete as each person reads it. Save the Books!

It is true that mythology has an æsthetic interest as well as one for the history of religions; but it is one of the essential elements of the religious life, nevertheless. If the myth were withdrawn from religion, it would be necessary to withdraw the rite also; for the rites are generally addressed to definite personalities who have a name, a character, determined attributes and a history, and they vary according to the manner in which these personalities are conceived.

Lost Cause ideology and the mythology of the Solid South were cudgels employed to demand political conformity among whites to stifle dissent from ruling-class agendas as well as to suppress blacks. In his definitive study of disenfranchisement, The Shaping of Southern Politics: Suffrage Restriction and the Establishment of the One-Party South, 1880-1910, J. Morgan Kousser quotes North Carolina Governor Charles B. Aycock, who made the point succinctly, writing several years after a violent 1898 Democratic putsch ousted the interracial Populist-Republican-Fusion government that had won consecutive statewide elections: "The Democratic party is alone sufficient. We need a united people. We need the combined effort of every North Carolinian. We need the strength which comes from believing alike." Segregation was enforced on whites as well as blacks. That reality is obscured in a contemporary perspective that flattens out history and context into a simple polarity of racism/anti-racism and reduces politics to an unchanging contest of black and white. That perspective compresses historical distinctions between slavery and Jim Crow and ignores the generation of struggle, often enough biracial or interracial, against ruling class power over defining the political and economic character of the post-Emancipation South, as well as ongoing struggle against and within the new order as it consolidated.

Beaumont claimed that many events, places and characters mentioned in the Old Testament covertly allude to the British Isles. After detailed investigations of every island, headland, estuary, river, megalithic site, petroglyph, city and town in England, Ireland, Scotland and Wales, after similar investigations in Europe and Asia, and after a thorough analysis of Homer, Hesiod and other Greek mythographers and historians, Beaumont was convinced that pre- and post-diluvian men from the British Isles were the authors, broadcasters and inspirers of the many tales that appeared in adulterated form in the mythological archive and Bible’s convoluted accounts. According to the Welsh Triads, the

No other supporting player won three Academy Awards, and you would be hard-pressed to name another character actor whose performances frequently overwhelmed those of ostensible leads like Joel McCrea and Barbara Stanwyck in Banjo on My Knee. “We’re supporting you. Be nice to us,” McCrea and Stanwyck joked with Brennan. Those stars had the fights of their lives trying to stay on equal terms with old Walter. Sure, other character actors have had their star turns—especially in television, which gave Ward Bond in Wagon Train, Raymond Burr in Perry Mason, and Harry Morgan in M.A.S.H. their respective moments of fame—but no character actor other than Brennan dominated the Hollywood century of popular entertainment, or attained the iconic status he achieved. To follow Brennan—beginning with his career as a seven-dollar-a-day extra—is to learn all you need to know about Hollywood and its mythologizing of the American dream. Walter Brennan became an archetype, not a stereotype.

Braun the AI took his name from a popular character in Welsh mythology. A great warrior and an intrepid mariner, Braun the Blessed was the high king of the Island of the Mighty. Frequenting the famous ancient stories known as the Welsh Triad, Braun was often portrayed as a giant among mortals and a force of great power. The tales of his ocean navigation and the descriptions of his superhuman size inspired the programmers,

Braun the AI took his name from a popular character in Welsh mythology. A great warrior and an intrepid mariner, Braun the Blessed was the high king of the Island of the Mighty.

Although Christian communities exist that are still vital and missionary, most Western populations now regard Jesus as a sort of idea but not as an event, much less as a person whom the apostles and many witnesses of the Gospel met and loved and to whom they consecrated their whole life. This estrangement from God is not caused by reasoning but by a wish to be detached from him. The atheistic orientation of a life is almost always a decision by the will. Man no longer wishes to reflect on his relationship to God because he himself intends to become God. His model is Prometheus, the mythological character of the race of Titans who stole sacred fire so as to give it to men; the individual has embarked on a strategy of appropriating God instead of adoring him. Before the so-called “Enlightenment” movement, if a man ever tried to take God’s place, to be his equal, or to eliminate him, these were isolated individual phenomena. Atheism

Most people assume that a muse is a creature of perfect beauty, poise and grace. Like the creatures from Greek mythology. They’re wrong. In fact, there should be a marked absence of perfection in a muse – a gaping hole between what she is and what she might be. The ideal muse is a woman whose rough edges and contradictions drive you to fill in the blanks of her character. She is the irritant to your creativity. A remarkable possibility, waiting to be formed.

a woman who seems to be a passive character in major portions of the Ramayana, following her husband through thick and thin, insistent in her demand for the suvarnamrig, finally emerges as a strong woman with a will of her own. However, that is not what she is worshipped for.

Religion begins by offering magical aid to harassed and bewildered men; it culminates by giving to a people that unity of morals and belief which seems so favorable to statesmanship and art; it ends by fighting suicidally in the lost cause of the past. For as knowledge grows or alters continually, it clashes with mythology and theology, which change with geological leisureliness. Priestly control of arts and letters is then felt as a galling shackle or hateful barrier, and intellectual history takes on the character of a “conflict between science and religion.” Institutions which were at first in the hands of the clergy, like law and punishment, education and morals, marriage, and divorce, tend to escape from ecclesiastical control, and become secular, perhaps profane. The intellectual classes abandon the ancient theology and—after some hesitation—the moral code allied with it; literature and philosophy become anticlerical. The movement of liberation rises to an exuberant worship of reason and falls to a paralyzing disillusionment with every dogma and every idea. Conduct, deprived of its religious supports, deteriorates into epicurean chaos; and life itself, shorn of consoling faith, becomes a burden alike to conscious poverty and to weary wealth. In the end a society and its religion tend to fall together, like body and soul, in a harmonious death. Meanwhile among the oppressed another myth arises, gives new form to human hope, new courage to human effort, and after centuries of chaos builds another civilization.

When I asked a Portuguese mathematician of my acquaintance whether he had any insight to offer me on the subject, he replied, “The foundations of mathematics are full of holes and I never felt comfortable dealing with such things.” Full of holes. Earlier generations of mathematicians assumed that the stability of the landscape on which mathematical structures were built was guaranteed by God or nature. They strode in like pioneers or surveyors, their task to map the fundamentals and in so doing secure the territory that future generations would colonize. But then the holes—of which the liar’s paradox is merely one—started popping up, and the mathematicians started falling in. Never mind! Each hole could be plugged. But soon enough another would open, and another, and another . . . Bertrand Russell (1872–1970) spoke for any number of idealistic mathematicians when he wrote in 1907, The discovery that all mathematics follows inevitably from a small collection of fundamental laws, is one which immeasurably enhances the intellectual beauty of the whole: to those who have been oppressed by the fragmentary and incomplete nature of most existing chains of deduction, this discovery comes with all the overwhelming force of a revelation: like a palace emerging from the autumn mist as the traveller ascends an Italian hill-side, the stately storeys of the mathematical edifice appear in their due order and proportion, with a new perfection in every part. I remember that when I read George Eliot’s Middlemarch in college, I was particularly fascinated by the character of Mr. Casaubon, whose lifework was a Key to All Mythologies that he could never finish. If Mr. Casaubon’s Key was doomed to incompletion, my astute professor observed, it was at least in part because “totalizing projects,” by their very nature, ramify endlessly; they cannot hope to harness the multitude of tiny details demanded by words like “all,” just as they cannot hope to articulate every generalization to which their premises (in this case, the idea that all mythologies have a single key) give rise. Perhaps without realizing it, my professor was making a mathematical statement—she was asserting the existence of both the infinite and the infinitesimal—and her objections to Mr. Casaubon’s Key hold as well for any number of attempts on the part of mathematicians to establish a Key to All Mathematics.

The influence that Marxism has achieved, far from being the result or proof of its scientific character, is almost entirely due to its prophetic, fantastic, and irrational elements. Marxism is a doctrine of blind confidence that a paradise of universal satisfaction is awaiting us just round the corner. Almost all the prophecies of Marx and his followers have already proved to be false, but this does not disturb the spiritual certainty of the faithful, any more than it did in the case of chiliastic sects: for it is a certainty not based on any empirical premises or supposed 'historical laws', but simply on the psychological need for certainty. In this sense Marxism performs the function of a religion, and its efficacy is of a religious character. But it is a caricature and a bogus form of religion, since it presents its temporal eschatology as a scientific system, which religious mythologies do not purport to be.

Craters on Mercury have to be named for deceased poets; moon of Uranus are named for Shakespearean characters. For this type of object in the Kuiper belt, the rules said that the name had to be a creation deity in a mythology

These are in actual fact two particular uses of language which confront each other. But one of them has honours, law and force on its side. And this 'universal' language comes just at the right time to lend a new strength to the psychology of the masters: it allows it always to take other men as objects, to describe and condemn at one stroke. It is an adjectival psychology, it knows only how to endow its victims with epithets, it is ignorant of everything about the actions themselves, save the guilty category into which they are forcibly made to fit. These categories are none other than those of classical comedy or treatises of graphology: boastful, irascible, selfish, cunning, lecherous, harsh, man exists in their eyes only through the 'character traits' which label him for society as the object of a more or less easy absorption, the subject of a more or less respectful submission. Utilitarian, taking no account of any state of consciousness, this psychology has nevertheless the pretension of giving as a basis for actions a preexisting inner person, it postulates 'the soul': it judges man as a 'conscience' without being embarrassed by having previously described him as an object.

Ancestry is Garbage (The Sonnet) DNA test may reveal your ancestry, But there is no DNA test for character. IQ may reveal deficit in logical aptitude, There's no IQ test for excellence or genius. If bloodline dictated destiny, We'd still be dangling from trees. Not that we've done much better, But at least there is possibility. In the end we are all monkeys, We all come from the jungle. Question is, have we conquered the jungle that lurks in our heart, have we risen yet above the animal! Ancestry is garbage, IQ is useless, Living humans don't rely on such nonsense. Heart, brain, backbone, these make who we are, Everything else is mythology of the savages.

Buddhism has a mythological figure of the Preta, the “Hungry Ghost.” The traditional figure of the Hungry Ghost represents a deceased person for whom the circumstances of death left the spirit in a deeply deprived state. The images of the Hungry Ghost are of large, grotesque bellies with tiny necks that can’t take in nourishment or find satisfaction. The resonance of these mythological characters is akin to the kind of “ghosts” of our own past who provoke deep, emotionally charged cravings in us. Hungry Ghosts are these old object relational dynamics bound to unconscious instinct. They represent unresolved emotional content trying to work itself out in the present. Unless these hungry ghosts within us are paid adequate attention and made conscious, they will act out repetitively and unconsciously through our Instinctual Drives. Without presence, our lives become ruins full of Hungry Ghosts.

When one speaks of "humanity" the notion lies at the bottom, that humanity is that which separates and distinguishes man from Nature. But such a distinction does not in reality exist: the "natural" qualities and the properly called "human" ones have grown up inseparably together. Man in his highest and noblest capacities is Nature and bears in himself her awful twofold character. His abilities generally considered dreadful and inhuman are perhaps indeed the fertile soil, out of which alone can grow forth all humanity in emotions, actions and works. Thus the Greeks, the most humane men of ancient times, have in themselves a trait of cruelty, of tiger-like pleasure in destruction: a trait, which in the grotesquely magnified image of the Hellene, in Alexander the Great, is very plainly visible, which, however, in their whole history, as well as in their mythology, must terrify us who meet them with the emasculate idea of modern humanity. When Alexander has the feet of Batis, the brave defender of Gaza, bored through, and binds the living body to his chariot in order to drag him about exposed to the scorn of his soldiers, that is a sickening caricature of Achilles, who at night ill-uses Hector's corpse by a similar trailing; but even this trait has for us something offensive, something which inspires horror. It gives us a peep into the abysses of hatred.

Oil Painting, Painted By an Unknown Artist, Describing Sadness, Regret, and Defeat. ''..She felt like a character in a no-name oil painting, drawn by an unknown artist, describing sadness, regret and defeat. She pictured that painting in her mind, and this time lay down on her bed as if taking her place in that painting. It was not strange for her that a character that had been out of place for a long time was now re-entering there. On the contrary, by inhaling the scent of oil painting, Melisa plunged into resignation, as if she had found her place and even what she deserved...' A Quote from Angel Diarys -Babylonian Spell

You made an offering of a battle of gods and demons," Joshua said. "That kind of offer does not go unnoticed. You awoke the souls of your kinsmen inside the mortals they have become.

A central thesis then begins to emerge: man is in his actions and practice, as well as in his fictions, essentially a story-telling animal. He is not essentially, but becomes through his history, a teller of stories that aspire to truth. But the key question for men is not about their own authorship; I can only answer the question ‘What am I to do?’ if I can answer the prior question ‘Of what story or stories do I find myself a part?’ We enter human society, that is, with one or more imputed characters—roles into which we have been drafted —and we have to learn what they are in order to be able to understand how others respond to us and how our responses to them are apt to be construed. It is through hearing stories about wicked step-mothers, lost chddren, good but misguided kings, wolves that suckle twin boys, youngest sons who receive no inheritance but must make their own way in the world and eldest sons who waste their inheritance on riotous living and go into exile to live with the swine, that children learn or mislearn both what a child and what a parent is, what the cast of characters may be in the drama into which they have been born and what the ways of the world are. Deprive children of stories and you leave them unscripted, anxious stutterers in their actions as in their words. Hence there is no way to give us an understanding of any society, including our own, except through the stock of stories which constitute its initial dramatic resources. Mythology, in its original sense, is at the heart of things. Vico was right and so was Joyce. And so too of course is that moral tradition from heroic society to its medieval heirs according to which the telling of stories has a key part in educating us into the virtues.

Added to the exigencies of structure are the necessities developing about the recurring characters in any [television] series. These types must remain stable enough for audience identification and development of residual personality, yet they are also responsible for satisfying the constant demand for variety. Irwin Blacker indicates the problem of developing character as one of the difficulties of creating a classic Western in the television format. If the story is to have any significance, says Blacker, the people in it must change; yet in a Western series the hero cannot risk change. The writer, therefore, must continually use "guest" characters who are able to develop, change, or die within the context of the weekly episode while the hero functions as a catalyst in that action. This constraint, though preventing the series from developing into a significant drama, achieves a twofold purpose necessary to the continuing story: the variety of secondary plots and character retains audience interest; the stability of the continually developing (but basically unchanging) residual personality of the hero sustains audience loyalty.

Society doesn’t function well unless we have shared references. When turning up at a new job, university or party, we all rely on mentioning TV characters like Spock, Bagpuss or Hitler in the confidence that others will know what we’re talking about. In the last 50 years, television has supplanted history, culture and mythology as what we have in common.

the “noble heathen” is a stock character. All that conversion required, according to this theory of natural religion, was for Icelanders to regain sight of God. Unlike the pagans whom Icelanders learned about when they translated and read the lives of the early saints of the Christian church, Nordic pagans were not doomed souls in league with Satan. They were merely sheep who had lost their way.

The logical constraints of the human intellect are very useful but ultimately arbitrary. After all, one cannot logically argue for the absolute validity of logic without begging the question. The obfuscated mind, for not being restricted to such arbitrary constraints, can embody a much greater range of cognition than the intellect. Its symbolic character should be regarded, according to Carl Jung, as an ancient mode of thought that has been superseded - or rather, obfuscated - by the relatively recent acquisition of linguistic thinking.

Hi! Has this ever happened to you? You’ve just finished the latest Dave the Villager book, and all you want to do is talk about it. Will Dave recover from the latest cliffhanger? Will Robo-Steve ever come back for good? Will we really have to wait until Book 50 to see the enderdragon??? So you go and see your friends at school, but all they want to talk about is Surfer Villager. “The Surfer Villager books are great,” they tell you. “You should check them out!” “Don’t talk to me about Surfer Villager!” you yell at them. “The Dave the Villager books are the only books I’ve ever read, and they’re the only books I ever will read! Dave Villager is the greatest author of all time!” “Wait,” they say, “isn’t Dave Villager the character, not the author?” “No, you morons,” you scream, “Dave Villager is the author, and Dave the Villager is the character!” “That’s very confusing,” they reply. “No it’s not!” you bellow, spraying them with spittle. “Is the author’s surname really Villager?” they ask. “Come to think of it, is his first name really Dave?” “Is Dr Block really a doctor?!” you roar. “I DON’T THINK SO!!!” “He might be,” they say. “SHUT UP!!!” you exclaim. And then you run home crying. When you get home, your Aunt Mavis gives you a big hug. “What’s the matter, dear?” Aunt Mavis asks. “Those idiots at school don’t know anything about Dave the Villager,” you sob, wiping the tears from your eyes. “All I want to do is find someone I can discuss my favorite books with. I want to discuss the mythology of the Old People, and whether it’s remained consistent throughout all 28 books! I want to debate whether or not Dave could have prevented the destruction of the mirror universe in Book 20! I want someone to read my Boggo fanfiction!” “Oh, I don’t know about any of that,” says Aunt Mavis. “I haven’t read any unofficial Minecraft fiction in years. I used to read Diary of an Angry Alex, but when the books stopped I was devastated. I vowed never to read any Minecraft books ever again. And that’s a promise I will keep until the day I die. Now I only read Roblox novels.

Many, however, are those who descend into a living hell but relatively few are those who experience the transformation of self that leads to a re-affirmation of life. What differentiates those who remain locked in their misery from those who break free of it? By turning to myth, that most ancient source of the psychology of man, further clues about this process can be discerned. For the rebirth is one of the most common themes of mythology. Countless are the stories in which a hero or heroine is presented with great challenges only to overcome them and in the process to experience a radical transformation in their character. What many of these stories share in common is the element of the sacrifice. The rebirth is only granted to the man or woman who first appeases the gods. But we do not need a god to understand the necessity of the sacrifice as there is a psychological explanation for why a sacrifice can engender a radical personality change.