Mythology In Literature Quotes

Time, which sees all things, has found you out.

When he, whoever of the gods it was, had thus arranged in order and resolved that chaotic mass, and reduced it, thus resolved, to cosmic parts, he first moulded the Earth into the form of a mighty ball so that it might be of like form on every side … And, that no region might be without its own forms of animate life, the stars and divine forms occupied the floor of heaven, the sea fell to the shining fishes for their home, Earth received the beasts, and the mobile air the birds … Then Man was born:… though all other animals are prone, and fix their gaze upon the earth, he gave to Man an uplifted face and bade him stand erect and turn his eyes to heaven.

We ache with the yearning that turns half into whole and offer no excuses for the beauty of our souls.

myths reflect centuries of oral tradition in non-literate as well as literate peoples – when it comes to the supernatural, there's no beating folklore.” - Breena Malloy from Bitter Frost by Kailin Gow

I think part of why I have so many books around me and why I read every day is because I mythologize the writer. I don’t do that with any other artists.

I have a master’s degree in medieval literature. Wyverns—or firedrakes, if you prefer—were once common in European mythology and legends.” “But you . . . you’re my accountant,” Sarah sputtered. “Do you have any idea how many English majors are accountants?” Vivian asked with raised eyebrows.

Connectedness is of the essence of all things of all types. It is of the essence of types, that they be connected. Abstraction from connectedness involves the omission of an essential factor in the fact considered. No fact is merely itself. The penetration of literature and art at their height arises from our dumb sense that we have passed beyond mythology; namely, beyond the myth of isolation.

In the Roman world, Ovid’s Metamorphoses – that extraordinary mythological epic about people changing shape (and probably the most influential work of literature on Western art after the Bible) – repeatedly returns to the idea of the silencing of women in the process of their transformation.

You have a lot to learn, young man. Philosophy. Theology. Literature. Poetry. Drama. History. Archeology. Anthropology. Mythology. Music. These are your tools as much as brush and pigment. You cannot be an artist until you are civilized. You cannot be civilized until you learn. To be civilized is to know where you belong in the continuum of our art and your world. To surmount the past, you must know the past.

Plan harm for another and harm yourself most, The evil we hatch always comes home to roost.

I’ve heard the name before: Anubis. An Egyptian name. The name of a god. The god of the dead.

You are like the winged goddess from Greek mythology. As beautiful and soaring like an angel as her". #MilanoVeneziani. #ItalianPassion:

No one that night turned into literature, nothing that we did or didn't entered the mythology of boys growing into men or girls fighting to be people.

Little did they suspect that the years would end by wearing away the disharmony. Little did they suspect that La Mancha and Montiel and the knight's frail figure would be, for the future, no less poetic than Sinbad's haunts or Ariosto's vast geographies. For myth is at the beginning of literature, and also at its end.

Pluto claimed that in ancient times, all humans had been a combination of male and female. Each person had two heads, four arms, four legs. Supposedly, these combo-humans had been so powerful they made the gods uneasy, so Zeus split them in half - man and woman. Ever since, humans had felt incomplete. They spent their whole lives searching for their other halves.

Humbling women seems to me a chief pastime of poets. As if there can be no story unless we crawl and weep

She comes closer to me. She is beautiful, in the way lightning striking across a storm-swept sky is beautiful: dangerous and distant.

Literature is still doing the same job that mythology did earlier, but filling in its huge cloudy shapes with sharper lights and deeper shadows.

We have to look at the figures of speech a writer uses, his images and symbols, to realize that underneath all the complexity of human life that uneasy stare at an alien nature is still haunting us, and the problem of surmounting it still with us. Above all, we have to look at the total design of a writer's work, the title he gives to it, and the his main theme, which means his point in writing it, to understand that literature is still doing the same job that mythology did earlier, but filling in its huge cloudy shapes with sharper lights and deeper shadows. [p.32]

Why has not England a great mythology? Our folklore has never advanced beyond daintiness, and the greater melodies about our country-side have all issued through the pipes of Greece. Deep and true as the native imagination can be, it seems to have failed here. It has stopped with the witches and the fairies. It cannot vivify one fraction of a summer field, or give names to half a dozen stars. England still waits for the supreme moment of her literature—for the great poet who shall voice her, or, better still for the thousand little poets whose voices shall pass into our common talk.

The other one, the one called Borges, is the one things happen to. I walk through the streets of Buenos Aires and stop for a moment, perhaps mechanically now, to look at the arch of an entrance hall and the grillwork on the gate. I know of Borges from the mail and see his name on a list of professors or in a biographical dictionary. I like hourglasses, maps, eighteenth-century typography, the taste of coffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into the attributes of an actor. It would be an exaggeration to say that ours is a hostile relationship. I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. Besides I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things. Spinoza knew that all things long to persist in their being; the stone eternally wants to be a stone, and the tiger a tiger. I shall remain in Borges, not in myself (if it is true that I am someone), but I recognize myself less in his books than in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I shall have to imagine other things. Thus my life is a flight and I lose everything and everything belongs to oblivion, or to him. I do not know which of us has written this page.

Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know.

Dark, dark! The horror of darkness, like a shroud, wraps me and bears me on through mist and cloud.

Are we Greeks, or are we barbarians?

Greeks were the first people to make coherent narratives, a literature even, of their gods, monsters, and heroes.

I'm accustomed to thinking of literature as a search for knowledge; in order to move onto existential terrain I need to consider it in relation to anthropology, ethnology, and mythology.

Now I could appreciate the merits of a broad, poetical, powerful interpretation, or rather it was to this that those epithets were conventionally applied, but only as we give the names of Mars, Venus, Saturn to planets which have nothing mythological about them. We feel in one world, we think, we give names to things in another; between the two we can establish a certain correspondence, but not bridge the gap.

Poshlust,” or in a better transliteration poshlost, has many nuances, and evidently I have not described them clearly enough in my little book on Gogol, if you think one can ask anybody if he is tempted by poshlost. Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic, and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing, we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know. Poshlost speaks in such concepts as “America is no better than Russia” or “We all share in Germany’s guilt.” The flowers of poshlost bloom in such phrases and terms as “the moment of truth,” “charisma,” “existential” (used seriously), “dialogue” (as applied to political talks between nations), and “vocabulary” (as applied to a dauber). Listing in one breath Auschwitz, Hiroshima, and Vietnam is seditious poshlost. Belonging to a very select club (which sports one Jewish name—that of the treasurer) is genteel poshlost. Hack reviews are frequently poshlost, but it also lurks in certain highbrow essays. Poshlost calls Mr. Blank a great poet and Mr. Bluff a great novelist. One of poshlost’s favorite breeding places has always been the Art Exhibition; there it is produced by so-called sculptors working with the tools of wreckers, building crankshaft cretins of stainless steel, Zen stereos, polystyrene stinkbirds, objects trouvés in latrines, cannonballs, canned balls. There we admire the gabinetti wall patterns of so-called abstract artists, Freudian surrealism, roric smudges, and Rorschach blots—all of it as corny in its own right as the academic “September Morns” and “Florentine Flowergirls” of half a century ago. The list is long, and, of course, everybody has his bête noire, his black pet, in the series. Mine is that airline ad: the snack served by an obsequious wench to a young couple—she eyeing ecstatically the cucumber canapé, he admiring wistfully the hostess. And, of course, Death in Venice. You see the range.

In literature it is only the wild that attracts us. Dullness is but another name for tameness. It is the uncivilized free and wild thinking in Hamlet and the Iliad, in all the scriptures and mythologies, not learned in the schools, that delights us.

The landscape of Singapore is different now. Modern buildings scratch the skyline with a pomp and display that wasn't there in days gone by. Old and new come together to create a modern Singapore that was still in the process of being made as I grew up.

And let Apollo drive Prince Hector back to battle, breathe power back in his lungs, make him forget the pain that racks his heart. Let him whip the Achaeans in headlong panic rout and roll them back once more, tumbling back on the oar-swept ships of Peleus' son Achilles. And he, will launch his comrade Patroclus into action and glorious Hector will cut him down with a spear in front of Troy, once Patroclus has slaughtered whole battalions of strong young fighting men and among them all, my shining son Sarpedon. But then - enraged for Patroclus - brilliant Achilles will bring Prince Hector down. And then, from that day on, I'll turn the tide of war: back the fighting goes, no stopping it, ever.

There’s one big thing I know, to pay back injury done to me with terrible injuries.

It is humiliating to have to confess that this conceit of Peter was one of his most fascinating qualities. To put it with brutal frankness, there never was a cockier boy.

linear brains can't curve a thought.

But this is ruin! New waves breaking in To wreck us, ere we are righted from the old!

I think people should take mythology much more seriously, because it tells us an awful lot about the history of the human race. We tend to dismiss it as 'fairy tales,' when it isn't. Fairy tales in themselves are about fundamentals of human nature. And they keep being reinvented in different ways. Fantasy acknowledges that, whereas a lot of modern literature is trying to distance itself from 'story,' never mind anything else. Which is why a lot of books are read by the critics, then people buy them, put them on their shelves, and don't really read them much, because they're not very interesting!

The influence of Greek art and literature became so powerful in Rome that ancient Roman deities were changed to resemble the corresponding Greek gods, and were considered to be the same. Most of them, however, in Rome had Roman names. These were Jupiter (Zeus), Juno (Hera), Neptune (Poseidon), Vesta (Hestia), Mars (Ares), Minerva (Athena), Venus (Aphrodite), Mercury (Hermes), Diana (Artemis), Vulcan or Mulciber (Hephaestus), Ceres (Demeter).

The library was a great sprawling complex with rolls and rolls of paper tucked into many shelves. Between the reading rooms were courtyards with living fountains and singing birds and butterflies that would transform into handsome young women to guide or entertain anyone who stayed there any length of time. I saw one among the stacks, explaining an older style of calligraphy to the newly appointed Heavenly Marine Official of the South China Sea. In another wing, a librarian stepped from her chrysalis for the first time, reciting T’ang Dynasty poetry to the flowers. That’s how I knew I was in the right section.

The spiritual man in mythology, in literature and in the great world religions has an excess of life, he knows he has it, makes no apology for it, and finally recognizes that he does not even need to protect or guard it. It is not for him. It is for others. His life is not his own. His life is not about him. It is about God.

May you say the things I have tried to say long after I am not there to say them. G. B. Smith’s words were a clear call to Ronald Tolkien to begin the great work that he had been meditating for some time, a grand and astonishing project with few parallels in the history of literature. He was going to create an entire mythology.

Werewolves had been so rationalized and medicalized by the year 1000 that they became subject to a medieval type of “heroin chic” romanticism in literature, in which they were frequently portrayed as attractive, lonely, suffering, victimized, self-sacrificing, chivalrous heroes in fictional and mythological tales emerging during the Grail romance era. The “chivalrous werewolf” narratives often feature a noble knight or prince who transforms into a werewolf to protect the subject of his romantic love, but while he is a werewolf she betrays him by stealing his transformative device—either a potion, a ring, a belt or his clothes—trapping him forever in his lovelorn werewolf state.25

TELLUS: Why, she is but a woman.
 ENDYMION: No more was Venus. TELLUS: She is but a virgin.
 ENDYMION: No more was Vesta.
 TELLUS: She shall have an end.
 ENDYMION: So shall the world. TELLUS: Is not her beauty subject to time? ENDYMION: No more than time is to standing still. TELLUS: Wilt thou make her immortal? ENDYMION: No, but incomparable

The rocks pummeled her belly. Something rose in her throat and when she tried to speak, from her mouth she dislodged a rock. She was made of rocks. She couldn’t move from the fossilized casing she’d once called her body. Heat crackled nearby. A conversation wove through the fire. A child’s sweaty body curled at her lap, chest rhythms of breathing, up and down, pressing against her. 'I didn’t want to believe it was happening again.

Nor does it matter from the standpoint of a comparative study of symbolic forms whether Christ or the Buddha ever actually lived and performed the miracles associated with their teachings. The religious literatures of the world abound in counterparts of those two great lives. And what one may learn from them all, finally, is that the savior, the hero, the redeemed one, is the one who has learned to penetrate the protective wall of those fears within, which exclude the rest of us, generally, in our daylight and even our dreamnight thoughts, from all experience of our own and the world’s divine ground. The mythologized biographies of such saviors communicate the messages of their world-transcending wisdom in world-transcending symbols - which, ironically, are then generally translated back into such verbalized thoughts as built the interior walls in the first place.

In literature it is only the wild that attracts us. Dullness is only another name for tameness. It is the untamed, uncivilized, free, and wild thinking in Hamlet, in the Iliad, and in all the scriptures and mythologies that delights us, — not learned in the schools, not refined and polished by art. A truly good book is something as wildly natural and primitive, mysterious and marvellous, ambrosial and fertile, as a fungus or a lichen.

In the place Calliope had bled, a trail of corn sprouted behind her. She picked the two tallest corn shoots then sat beside two large, smooth stone metates for grinding. From within her husk rebozo, she pulled a mano, shucked the corn, laid it on the altar, and with the mano in both hands, she began moving with the weight of her whole body, the strength of her shoulders and back pressing down through her arms, back and forth, shearing, until the corn became a fine yellow powder. The Ancients sang her on as she worked. When the Earth has had enough, she will shake her troubles off. She will shake her troublemakers off. She scooped this and mashed it into the butter of her hands. Rolled it into a ball, flattened it again. Shaped and shaped until the corn grew into a child, who sprang from the stone of her hands, laughing. For she was finished, and sank into the earth, solid, hardened, at peace. And as her corn-made child ran from the mound to the grass below, the spirits intoned. The Earth has all the power she needs. When she decides to use her power, you will know.

Why has not England a great mythology? our folklore has never advanced beyond daintiness, and the greater melodies about our country-side have all issued through the pipes of Greece. Deep and true as the native imagination can be, it seems to have failed here. It has stopped with the witches and the fairies. It cannot vivify one fraction of a summer field, or give names to half a dozen stars. England still waits for the supreme moment of her literature—for the great poet who shall voice her, or, better still for the thousand little poets whose voices shall pass into our common talk. At

This unusual situation is due to the fact that the tablet omits all outbreaks of the conventional literary structure – Anu opened his mouth to speak, saying to the lady Ishtar … followed by Ishtar opened her mouth to speak, saying to her father, Anu … Gilgamesh VI: 87–88; 92–93 – with which Babylonian narrative literature is, not to put too fine a point on it, slightly tiresomely littered. In fact, I cannot come up with another example of Babylonian mythological or epic literature that is devoid of this characteristic speech-linking device. Its repetitive nature at first sight looks like a remnant of oral literature, where things are repeated more than we would repeat them today, which the modern connoisseur of cuneiform literature just has to accept, or appreciate as atmospheric and authentic. On reflection, however, it is just the opposite. The characteristic dependence on this formula originates in the very transition from oral to written literature, for who is speaking at any one time will always be clear in a storyteller’s presentation, but the process of writing down what has previously been spoken aloud creates ambiguity for the reader unless each speaker is clearly identified.

Recounting the narrative of our personal story in a methodical and chronological manner helps us see our life in a historical perspective. Telling our personal stories allows us to bring hibernated memories out of seclusion. Reexamination of our historical existence under the light of growing conscious awareness assist us make psychological breakthroughs. Analyzing the elemental substance of our personal story from a sundry of viewpoints employing techniques of literature, philosophy, logical reasoning, and abstract thinking assist us perceive our discrete chronicle in symbolic terms and in mythological context.

A shock of light. Unbelievable light. Blood orange swallowing the Albuquerque evening. A pulling in, taking back, reclaiming something stolen. Halfway home from her Saturday-morning lecture, Calliope Santiago drove across the river toward West Mesa and the Sleeping Sisters, ancient cinder-cone volcanoes in the distance marking the stretch of desert where she lived. Only now she could see no farther than two feet ahead of her from the blinding light, the splotches in her eyes bursting like bulbs in an antique camera. She blinked, not sure what she was seeing. She meant to cover her eyes. Meant to shield her sight.

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.

The introduction of Christianity in Iceland was attended by no violence. While in the other countries mentioned above the monarchical form of government prevailed, and the people were compelled by their rulers to accept the gospel of Christ, the Icelanders enjoyed civil liberty, had a democratic form of government, and accepted the new religion by the vote of their representatives in the Althing, or Parliament, which convened at Thingvolls in the summer of 1000; and in this way we are able to account for all the heathen and vernacular literature that was put into writing and preserved for us by that remarkable people, who inhabited the island of the icy sea.

The wu in wuxia means both “to cut” and “to stop.” It also refers to the weapon—usually a sword—carried by the assassin, the hero of the story. The genre became very popular during the Song Dynasty [960–1279]. These stories often depicted a soldier in revolt, usually against a corrupt political leader. In order to stop corruption and the killing of innocent people, the hero must become an assassin. So wuxia stories are concerned with the premise of ending violence with violence. Although their actions are motivated by political reasons, the hero’s journey is epic and transformative—physically, emotionally, and spiritually. In the Tang Dynasty, a prominent poet named Li Bai wrote some verses about an assassin. This is the earliest example I know of wuxia literature. Gradually, the genre gave shape to ideas and stories that had been percolating in historical and mythological spheres. Although these stories were often inspired by real events of the past, to me they feel very contemporary and relevant. It’s one of the oldest genres in Chinese literature, and there are countless wuxia novels today. I began to immerse myself in these novels when I was in elementary school, and they quickly became my favorite things to read. I started with newer books and worked my way back to the earliest writing from the Tang Dynasty.

The other one, the one called Borges, is the one things happen to. I walk through the streets of Buenos Aires and stop for a moment, perhaps mechanically now, to look at the arch of an entrance hall and the grillwork on the gate; I know of Borges from the mail and see his name on a list of professors or in a biographical dictionary. I like hourglasses, maps, eighteenth-century typography, the taste of coffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into the attributes of an actor. It would be an exaggeration to say that ours is a hostile relationship; I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. Besides, I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things. Spinoza knew that all things long to persist in their being; the stone eternally wants to be a stone and the tiger a tiger. I shall remain in Borges, not in myself (if it is true that I am someone), but I recognize myself less in his books than in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I shall have to imagine other things. Thus my life is a flight and I lose everything and everything belongs to oblivion, or to him. I do not know which of us has written this page.

It is already the fashion to diminish Eliot by calling him derivative, the mouthpiece of Pound, and so forth; and yet if one wanted to understand the apocalypse of early modernism in its true complexity it would be Eliot, I fancy, who would demand one's closest attention. He was ready to rewrite the history of all that interested him in order to have past and present conform; he was a poet of apocalypse, of the last days and the renovation, the destruction of the earthly city as a chastisement of human presumption, but also of empire. Tradition, a word we especially associate with this modernist, is for him the continuity of imperial deposits; hence the importance in his thought of Virgil and Dante. He saw his age as a long transition through which the elect must live, redeeming the time. He had his demonic host, too; the word 'Jew' remained in lower case through all the editions of the poems until the last of his lifetime, the seventy-fifth birthday edition of 1963. He had a persistent nostalgia for closed, immobile hierarchical societies. If tradition is, as he said in After Strange Gods--though the work was suppressed--'the habitual actions, habits and customs' which represent the kinship 'of the same people living in the same place' it is clear that Jews do not have it, but also that practically nobody now does. It is a fiction, a fiction cousin to a myth which had its effect in more practical politics. In extenuation it might be said that these writers felt, as Sartre felt later, that in a choice between Terror and Slavery one chooses Terror, 'not for its own sake, but because, in this era of flux, it upholds the exigencies proper to the aesthetics of Art.' The fictions of modernist literature were revolutionary, new, though affirming a relation of complementarity with the past. These fictions were, I think it is clear, related to others, which helped to shape the disastrous history of our time. Fictions, notably the fiction of apocalypse, turn easily into myths; people will live by that which was designed only to know by. Lawrence would be the writer to discuss here, if there were time; apocalypse works in Woman in Love, and perhaps even in Lady Chatterley's Lover, but not n Apocalypse, which is failed myth. It is hard to restore the fictive status of what has become mythical; that, I take it, is what Mr. Saul Bellow is talking about in his assaults on wastelandism, the cant of alienation. In speaking of the great men of early modernism we have to make very subtle distinctions between the work itself, in which the fictions are properly employed, and obiter dicta in which they are not, being either myths or dangerous pragmatic assertions. When the fictions are thus transformed there is not only danger but a leak, as it were, of reality; and what we feel about. all these men at times is perhaps that they retreated inso some paradigm, into a timeless and unreal vacuum from which all reality had been pumped. Joyce, who was a realist, was admired by Eliot because he modernized myth, and attacked by Lewis because he concerned himself with mess, the disorders of common perception. But Ulysses ,alone of these great works studies and develops the tension between paradigm and reality, asserts the resistance of fact to fiction, human freedom and unpredictability against plot. Joyce chooses a Day; it is a crisis ironically treated. The day is full of randomness. There are coincidences, meetings that have point, and coincidences which do not. We might ask whether one of the merits of the book is not its lack of mythologizing; compare Joyce on coincidence with the Jungians and their solemn concordmyth, the Principle of Synchronicity. From Joyce you cannot even extract a myth of Negative Concord; he shows us fiction fitting where it touches. And Joyce, who probably knew more about it than any of the others, was not at tracted by the intellectual opportunities or the formal elegance of fascism.

The Threatened One" It is love. I will have to hide or flee. Its prison walls grow larger, as in a fearful dream. The alluring mask has changed, but as usual it is the only one. What use now are my talismans, my touchstones: the practice of literature, vague learning, an apprenticeship to the language used by the flinty Northland to to sing of its seas and its swords, the serenity of friendship, the galleries of the library, ordinary things, habits, the young love of my mother, the soldierly shadow cast by my dead ancestors, the timeless night, the flavor of sleep and dream? Being with you or without you is how I measure my time. Now the water jug shatters above the spring, now the man rises to the sound of birds, now those who look through the windows are indistinguishable, but the darkness has not brought peace. It is love, I know it; the anxiety and relief at hearing your voice, the hope and the memory, the horror at living in succession. It is love with its own mythology, its minor and pointless magic. There is a street corner I do not dare to pass. Now the armies surround me, the rabble. (This room is unreal. She has not seen it) A woman’s name has me in thrall. A woman’s being afflicts my whole body.

The other one, the one called Borges, is the one things happen to. I walk through the streets of Buenos Aires and stop for a moment, perhaps mechanically now, to look at the arch of an entrance hall and the grillwork on the gate; I know of Borges from the mail and see his name on a list of professors or in a biographical dictionary. I like hourglasses, maps, eighteenth-century typography, the taste of coffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into the attributes of an actor. It would be an exaggeration to say that ours is a hostile relationship; I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. Besides, I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things. Spinoza knew that all things long to persist in their being; the stone eternally wants to be a stone and the tiger a tiger. I shall remain in Borges, not in myself (if it is true that I am someone), but I recognize myself less in his books than in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I shall have to imagine other things. Thus my life is a flight and I lose everything and everything belongs to oblivion, or to him. I do not know which of us has written this page.

Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.

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.

Tempestuous plains tell the tale, Windswept wastes do bewail, Haunting Spirit of the land, Seeks the living, seeks the damned. Horizoned edge sheared with grass, Dark Storm Rising in the pass, Ageless Spirit seeks the path, To torment souls to the last. Brooding Spirit upon the plain, Thunderhead gathers for the rain. Light grows dim then bolts with pain, On dry Earth her sin is stained. (Frightened creatures do stampede, Into night, they do recede). Ungodded hand on seasoned blade, Reaps the harvest of the Age. Released from her eternal din, Spirit of the Age rises again. Seeking to plunder and consume, Those who were proud, those who presumed. Spirits rage while storm draws nigh, Upon burning plain and emblazoned sky. It is said giants grapple in the Earth so deep, To contend for souls that they might keep. The Storm spirit now searches the high and the low, To seek her manchild victim in the fields below. Leaves bad wasteland to claim but a fallen man, Denying it Heaven, crowning it, ‘Son of the Damned.’ Treacherous Spirit of the far lost night, Tramples souls down denying them light. Storm seethes with furious hiss, Leads men on to bottomless pit. This most ancient of foes has come from her den, To seek the living, to make ready those dead. A living sacrifice is her soul desire, To snatch the soul for black funeral pyre. A double-damned devil, that is she, This one who lies, who claims to make free. A lying spirit, that is her domain, A storm-wracked Fury of self-proclaim. Onward she seeks, this bleak Northern wind, Searching for naught but for a soul akin. Amidst the howling and the rage, To murder again, that is her trade. As this spirit of graves left the plain, She left a wake of dead in shrouded train. Now down from the plain Storm did come, Unto those cities wherein was no sun. There with whirlwind she did rip and scour, For those souls of whom she could tear and devour. She comes to seek the living and the dead, Those who were frightened, those with no dread. Thus upon those she did acclaim, “I am the Mistress of the living and the slain.” O’ haunting Spirit of this land, Taker of life, maker of the damned. --On Villainess Storm, Ch. One Valley of the Damned

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.

Chapter 1, “Esoteric Antiquarianism,” situates Egyptian Oedipus in its most important literary contexts: Renaissance Egyptology, including philosophical and archeological traditions, and early modern scholarship on paganism and mythology. It argues that Kircher’s hieroglyphic studies are better understood as an antiquarian rather than philosophical enterprise, and it shows how much he shared with other seventeenth-century scholars who used symbolism and allegory to explain ancient imagery. The next two chapters chronicle the evolution of Kircher’s hieroglyphic studies, including his pioneering publications on Coptic. Chapter 2, “How to Get Ahead in the Republic of Letters,” treats the period from 1632 until 1637 and tells the story of young Kircher’s decisive encounter with the arch-antiquary Peiresc, which revolved around the study of Arabic and Coptic manuscripts. Chapter 3, “Oedipus in Rome,” continues the narrative until 1655, emphasizing the networks and institutions, especially in Rome, that were essential to Kircher’s enterprise. Using correspondence and archival documents, this pair of chapters reconstructs the social world in which Kircher’s studies were conceived, executed, and consumed, showing how he forged his career by establishing a reputation as an Oriental philologist. The next four chapters examine Egyptian Oedipus and Pamphilian Obelisk through a series of thematic case studies. Chapter 4, “Ancient Theology and the Antiquarian,” shows in detail how Kircher turned Renaissance occult philosophy, especially the doctrine of the prisca theologia, into a historical framework for explaining antiquities. Chapter 5, “The Discovery of Oriental Antiquity,” looks at his use of Oriental sources, focusing on Arabic texts related to Egypt and Hebrew kabbalistic literature. It provides an in-depth look at the modus operandi behind Kircher’s imposing edifice of erudition, which combined bogus and genuine learning. Chapter 6, “Erudition and Censorship,” draws on archival evidence to document how the pressures of ecclesiastical censorship shaped Kircher’s hieroglyphic studies. Readers curious about how Kircher actually produced his astonishing translations of hieroglyphic inscriptions will find a detailed discussion in chapter 7, “Symbolic Wisdom in an Age of Criticism,” which also examines his desperate effort to defend their reliability. This chapter brings into sharp focus the central irony of Kircher’s project: his unyielding antiquarian passion to explain hieroglyphic inscriptions and discover new historical sources led him to disregard the critical standards that defined erudite scholarship at its best. The book’s final chapter, “Oedipus at Large,” examines the reception of Kircher’s hieroglyphic studies through the eighteenth century in relation to changing ideas about the history of civilization.

ONE of the evil results of the political subjection of one people by another is that it tends to make the subject nation unnecessarily and excessively conscious of its past. Its achievements in the old great days of freedom are remembered, counted over and exaggerated by a generation of slaves, anxious to convince the world and themselves that they are as good as their masters. Slaves cannot talk of their present greatness, because it does not exist; and prophetic visions of the future are necessarily vague and unsatisfying. There remains the past. Out of the scattered and isolated facts of history it is possible to build up Utopias and Cloud Cuckoo Lands as variously fantastic as the New Jerusalems of prophecy. It is to the past — the gorgeous imaginary past of those whose present is inglorious, sordid, and humiliating — it is to the delightful founded-on-fact romances of history that subject peoples invariably turn. Thus, the savage and hairy chieftains of Ireland became in due course “the Great Kings of Leinster,” “the mighty Emperors of Meath.” Through centuries of slavery the Serbs remembered and idealised the heroes of Kossovo. And for the oppressed Poles, the mediaeval Polish empire was much more powerful, splendid, and polite than the Roman. The English have never been an oppressed nationality; they are in consequence most healthily unaware of their history. They live wholly in the much more interesting worlds of the present — in the worlds of politics and science, of business and industry. So fully, indeed, do they live in the present, that they have compelled the Indians, like the Irish at the other end of the world, to turn to the past. In the course of the last thirty or forty years a huge pseudo-historical literature has sprung up in India, the melancholy product of a subject people’s inferiority complex. Industrious and intelligent men have wasted their time and their abilities in trying to prove that the ancient Hindus were superior to every other people in every activity of life. Thus, each time the West has announced a new scientific discovery, misguided scholars have ransacked Sanskrit literature to find a phrase that might be interpreted as a Hindu anticipation of it. A sentence of a dozen words, obscure even to the most accomplished Sanskrit scholars, is triumphantly quoted to prove that the ancient Hindus were familiar with the chemical constitution of water. Another, no less brief, is held up as the proof that they anticipated Pasteur in the discovery of the microbic origin of disease. A passage from the mythological poem of the Mahabharata proves that they had invented the Zeppelin. Remarkable people, these old Hindus. They knew everything that we know or, indeed, are likely to discover, at any rate until India is a free country; but they were unfortunately too modest to state the fact baldly and in so many words. A little more clarity on their part, a little less reticence, and India would now be centuries ahead of her Western rivals. But they preferred to be oracular and telegraphically brief. It is only after the upstart West has repeated their discoveries that the modern Indian commentator upon their works can interpret their dark sayings as anticipations. On contemporary Indian scholars the pastime of discovering and creating these anticipations never seems to pall. Such are the melancholy and futile occupations of intelligent men who have the misfortune to belong to a subject race. Free men would never dream of wasting their time and wit upon such vanities. From those who have not shall be taken away even that which they have.

All great works of literature contain variations and combinations, overt or implied, of such archetypal conflicts inherent in the condition of man, which first occur in the symbols of mythology, and are restated in the particular idiom of each culture and period.

Genesis 1 sits in stark contrast to that dark mythological polytheism. The biblical account has as its chief purpose to glorify the one Creator God who is the sole God of all reality. The water at creation (1:2) is certainly no deity, and it is not God’s foe that needs to be vanquished. It is mere putty in the hands of the Creator. There is no war between Yahweh and the gods of chaos in order to bring about creation. Yahweh is sovereign, and all the elements of creation are at his beck and call. Again, Genesis 1–2 is ardently zealous for monotheism. Not only does this literature not allow the inclusion of other gods; it stridently argues against them with clear polemics.

Most artists wish to receive acclaim for a body of work that will withstand the test of time. Ancient Greece culture produced many works of fiction, history, mythology, drama, and philosophy that scholars consider timeless classics. The classics of Ancient Greece greatly influenced the development of Western Civilization.

The five subsequent volumes, as planned by the author, will consist primarily of source material, that is, they will contain the transliterated texts of the restored Sumerian compositions, together with a translation and commentary as well as the autograph copies of all the pertinent uncopied material in the University Museum utilized for the reconstruction of the texts. Each of these five volumes will be devoted to a particular class of Sumerian composition: (1) epics; (2) myths; (3) hymns; (4) lamentations; (5) "wisdom." It cannot be too strongly stressed that on the day this task is completed and Sumerian literature is restored and made available to scholar and layman, the humanities will be enriched by one of the most magnificent groups of documents ever brought to light. As the earliest creative writings, these documents hold a unique position in the history of civilization. Moreover, because of their profound and enduring influence on the spiritual and religious development of the entire Near East, they are veritable untapped mines and treasure-houses of significant source material and invaluable data ready for exploitation by all the relevant humanities.

We must be satisfied with the soup that is set before us, and not desire to see the bones of the ox out of which it has been boiled.

Find the Seventh Sister, And the girl shall be, Your spiritual guardian, For eternity.

What would you do if you were a goddess, Cotswold?" Her maid, who had been pulling Eleanor's covers up the bed, stilled her motion. Her expression drew together, as though she were considering it. "I suppose I would find the most handsome man in the world and make him my... my..." She waved her hand to indicate the word she shouldn't be saying. "Cotswold!" Eleanor exclaimed, delightedly. "That sounds scandalous!" "Wouldn't it be what you did?" Eleanor shrugged. "I was thinking more along the lines of being able to have and read all the books I wanted to." Cotswold returned to her task. "Choosing a book over a handsome man." She shook her head, mock ruefully. "And here you were wanting to do something scandalous." The honest part was, it would be scandalous. If it were possible to not be a duke's daughter and be someone else, she would choose to work in a bookshop. Not one that sold the material it seemed Lord Alexander wanted to purchase; one with fairy tales and mythological books and any kind of literature where it was just as likely a dragon would drag you off somewhere as a viscount. "I just might," Eleanor said in a defiant tone, making her maid snort.

Art, mythology, religion, philosophy, history, anthropology, science, and medicine along with literature, autobiographies, biographies, essays, memoirs, poetry, and other works of fiction and nonfiction serve as a vast library for us to scour in search of the hidden keys to attaining knowledge and happiness. We glimpse individual revelation along with selective rays of radiance from every person’s conscientious act of documenting their long-term commitment to achieving a gleaming living testament to enlightenment.

This is fine literature! My grandchildren are very excited to read these stories.

The texts of the Bible, of the Iliad and Odyssey, and of the Rig-veda and Avesta, as we have them, have been modified, edited, and redacted by compilers and redactors with varied motives and diverse points of view. Not so our Sumerian literature; it has come down to us as actually inscribed by the ancient scribes of four thousand years ago, unmodified and uncodified by later compilers and commentators.

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Norse mythology and the Western literatures recognize the dwarf as a skilled artisan and renowned smith. These creatures have crafted the most important objects owned by the gods: Thor’s hammer (Mjöllnir), Odin’s spear (Gungnir), Freyr’s boat (Skiðblaðnir), and Freya’s necklace (Brisingamen). In order to obtain this last object, Brisingamen, the goddess had to sleep with each of the four dwarfs that had made it. Dwarfs crafted the golden hair for Thor’s wife, Sif, and they forged the ring Draupnir and a boar with gold bristles (Gullinbursti). Each of these objects was endowed with magical properties, which strongly suggests that the dwarfs knew magic (although we should also note that smiths have always had the reputation of being part sorcerer, as Mircea Eliade has clearly shown50

PERSEPHONE (the spring ballade) Every heart is blooming upon a field of doubt and the flowers autumn reaps - he knows every name about. They grow never in line, although always in the shape of each soul of every lonesome doubt. So whenever I wander along my sorrow's path the horizon behind me glows crimson with all the broken hearts it carries on. A thought yet not dreamt is a love unplanted by hands of grieve - For each who does not bloom by now is long lost in summer's eyes, For autumn reaps but does not give a single tear to water the ground in which he steers sometimes so aimlessly.

One last school issue that we commonly see for adopted children is daydreaming. Adoption is an archetypal theme. We find it in mythology, biblical stories, and fairy tales. It is a theme that occurs again and again in children’s literature and film. When adopted children watch these movies or read these stories in school, they have a tendency to identify with them and to lose focus as they daydream. Daydreaming is a normal occurrence for people who are kept from knowing the truths of their lives and who are living with fantasy. It is a way to reframe things that are hard to understand and to compensate for things that are painful. For many school-aged adopted children, daydreaming is a very understandable and necessary strategy for doing the extra work of forming identity. Daydreaming, though, is often taken as a symptom of attention deficit disorder or attention deficit hyperactive disorder; it is in fact one of the many indicators that leads to the diagnosis of ADD. There are many children who do have this real disorder, and it is important in these cases to find the appropriate behavioral or pharmacological treatments. But, for adopted children, and for some other children in complex or difficult situations, the daydreaming or distracted air is not always an indicator of ADD.

Saxo Grammaticus, or "The Lettered", one of the notable historians of the Middle Ages, may fairly be called not only the earliest chronicler of Denmark, but her earliest writer. In the latter half of the twelfth century, when Iceland was in the flush of literary production, Denmark lingered behind. No literature in her vernacular, save a few Runic inscriptions, has survived. Monkish annals, devotional works, and lives were written in Latin; but the chronicle of Roskild, the necrology of Lund, the register of gifts to the cloister of Sora, are not literature. Neither are the half-mythological genealogies of

Memories of lost love they do enpain, Fleeting images of what once was never again to gain. Hold tight those memories that slip through the mind, To walk in those fields again with her—a dream divined. Oh to be with that lost Valkyrie forevermore again, To hold her hand delicate until the last world’s end. To be at peace once amore in deep loving soul, Husband to wife in embracing hold. How he loved her so, but she was now gone, Leaf to the wind, heart tossed and tumbled torn. Memories like arrows stick deep—ohhh so deep, Shafts of pain and joy assail the soul’s lonely keep. --Angel-Heart, Ch. 22 Valley of the Damned

As she left the cold arena Angel had to laugh, Beaten by that of a wisp girl and her subliming cunning craft. —Jove lay silent in his orbit; brooding, deep, dreamless forweep, And faithful dog Sirius rising tracked behind on dusk’s purpling adeep. Scratched he his chin; counted the cold and early evening stars, He had miles to go that night, they being so very far. Only the music of the wint’ring span, Vanished he away in the shimmering land. . . . . . .

People who achieve great success do so by persistently and successfully meeting the challenges on The Path. Their stories are found in ancient mythology, classic and modern literature, virtually all genres of fiction, great movies, the sacred writings of the world religions, the biographies of great men and women, the lives of successful business people, entrepreneurs, teachers, parents, and the stories of “regular people” who have paid the price of greatness.

In the years leading up to Hitler, many völkisch groups appeared in Germany; the English equivalent “folk” doesn’t quite convey the blend of mythology, folklore, legend, and nationalism that the German term suggests. Jung’s emphasis on history and myth, as well as his rejection of scientific materialism, made these groups sympathetic to his work, as opposed to Freud’s which, along with being Jewish, was reductionist. Although much has been made of it,29 Jung’s own connection, if any,30 to the völkisch movement is unclear. The only strong link is his friendship with the German indologist J. W. Hauer, who founded the German Faith Movement in 1932, a religious society aimed at replacing Christianity in German-speaking countries with an anti-Christian and anti-Semitic modern paganism based on German literature and Hindu scripture. Hauer, an ardent Nazi, hoped his movement would become the official religion of the Reich. Hitler, however, thought little of Hauer and laughed at his followers who “made asses of themselves by worshipping Wotan and Odin and the ancient, but now obsolete, German mythology,”31 a remark that says much about Hitler’s cynicism toward the völkisch ideology he nevertheless exploited to gain power.

As insane as his request sounded to her, the fact that he already saw her nakedness the day before made her calm down a little. “He even covered my nakedness and gifted me with a beautiful dress,” she thought to herself. He held her hand and led her to the Nile river’s shore. He let go and stood back watching her.

The first time Kiya met Hapi was over a year ago. On that day, she was at the temple - not to sell pigeons and bread as usual, but to pray and offer sacrifices on the altar of Horus - the God of protection.

He knelt down beside her and slowly rubbed a soft, muculent mix on her bare skin like a sculptor at work. It carried the pleasurable smell of wet earth. With his fingertips, he gently stroked every part of her body; and with every stroke, she groaned softly. She felt the pain that filled every bone in her body, yet she also felt the immense sensation of pleasure and comfort that was so foreign to her

Yet the great “Why?” always at the center of the little “whats” and “hows” that makes religions into mythologies is often stronger in dead temples than in living.

If no other knowledge deserves to be called useful but that which helps to enlarge our possessions or to raise our station in society, then Mythology has no claim to the appellation. But if that which tends to make us happier and better can be called useful, then we claim that epithet for our subject. For Mythology is the handmaid of literature; and literature is one of the best allies of virtue and promoters of happiness.

Our book is not for the learned, nor for the theologian, nor for the philosopher, but for the reader of English literature, of either sex, who wishes to comprehend the allusions so frequently made by public speakers, lecturers, essayists, and poets, and those which occur in polite conversation. We trust our young readers will find it a source of entertainment; those more advanced, a useful companion in their reading; those who travel, and visit museums and galleries of art, an interpreter of paintings and sculptures; those who mingle in cultivated society, a key to allusions which are occasionally made; and last of all, those in advanced life, pleasure in retracing a path of literature which leads them back to the days of their childhood and revives at every step the associations of the morning of life.

...the familiar and much-told myth of Hercules. Early versions of the story are found on decorated Greek vases, from around the sixth century BC. A recent version can be found in the Iron Man films.

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.

It is noteworthy that about the year 1200, the Nibelungenlied, with its poetic version of the Siegfried story, was written, probably in Austria. At approximately the same time or within seven decades, The Saga of the Volsungs was compiled in Iceland with far fewer chivalric elements than its German counterpart. Almost all the Old Norse narrative material that has survived—whether myth, legend, saga, history, or poetry—is found in Icelandic manuscripts, which form the largest existing vernacular literature of the medieval West. Among the wealth of written material is Snorri Sturluson’s Prose Edda, a thirteenth century Icelandic treatise on the art of skaldic poetry and a handbook of mythological lore. The second section of Snorri’s three-part prose work contains a short and highly readable summary of the Sigurd cycle which, like the much longer prose rendering of the cycle in The Saga of the Volsungs, is based on traditional Eddic poems (Jesse Byock)

And inspiration will come also from the hero-stories of the world, and especially of our own people; from science and art if taught by people who are really scientists and artists, and not merely persons with certificates from Mr T W Russell; from literature enjoyed as literature and not studied as ‘texts’; from the associations of the school place; finally and chiefly from the humanity and great-heartedness of the teacher.

The story is alternately hopeful and discouraging. Parish boundaries in the urban North served to foster communities of the sort admired by contemporary intellectuals at one historical moment, but proved unable to separate “community” from racial mythology at another. Parochial institutions strengthened individuals while occasionally becoming rallying points for bigotry. The extant literature on religion and race sidesteps this complexity.

The prevailing emphasis of the [Biblical] narratives, in any case, does move away from mythology. What is crucial for the literary understanding of the Bible is that this impulse to shape a different kind of narrative in prose had powerfully constructive consequences in the new medium that the ancient Hebrew writers fashioned for their monotheistic purposes. Prose narration, affording writers a remarkable range and flexibility in the means of presentation, could be utilized to liberate fictional personages from the fixed choreography of timeless events and thus could transform storytelling from ritual rehearsal to the delineation of the wayward paths of human freedom, the quirks and contradictions of men and women seen as moral agents and complex centers of motive and feeling….Because it is a literature that breaks away from the old cosmic hierarchies, the Bible switches from a reliance on metaphor … toward the indeterminacy, the shifting causal concatenations, the ambiguities of fiction made to resemble the uncertainties of life in history. And for that movement, I would add, the suppleness of prose as a narrative medium was indispensable.

Christianity is the prince of myths, the ultimate and final myth, what our scholar of medieval literature called a "true myth." By this he meant that Christianity was a mythological picture of the world with one important and extraordinary difference: its mythological features entered into history and time and wore a face.

The heart of the issue is the modern principle, that does not hold much water, death of us, sever from the bosom thine breast and dispersed, surmounted morals by sadist of uncivil. Mammoth falling gradually dying without remorse, history hidden on the hills and caves, decipher not, roots abandoned for modern indulgence, eyes see not, civilization dying in the orb of beauty when wine blinds us. Rivers moving upstream, oceans feeding rivers, deserts with dense pine trees, oasis with mackerels, the amazons’ sands with camel foot prints, the Savanah snow rain paint beauty of pandas. Mother is blinded by mammon, father drunk with savory of rum while it digs, it destroys the spirit while it penetrates the cudgel spell.

Minister and favorite of the Emperor Augustus. He was distinguished for the wisdom of his counsels, and his rare abilities as a statesman. Although himself an indifferent poet, he was still a patron of literature and literary men; Virgil, Horace, Ovid and other celebrated writers of the Augustan age, were among his most intimate friends. Such was the care with which Mæcenas sought out and rewarded every species of merit, that his name is proverbially used to denote a generous patron.

The Purānas, which are encyclopedic repositories of traditional wisdom, including everything from cosmology to philosophy to stories about kings and holy men. They contain many yogic legends and teachings. The following are especially important: the Bhāgavata-Purāna (also known as Shrīmad-Bhāgavata), Shiva-Purāna, and Devī-Bhāgavata-Purāna (a Tantric work). The so-called Yoga-Upanishads (some twenty texts), most of which were composed after 1000 C.E. and include three extensive works: the Darshana-Upanishad, Yoga-Shikhā-Upanishad and Tejo-Bindu-Upanishad. The texts of Hatha-Yoga, such as the Goraksha-Samhitā, Hatha-Yoga-Pradīpikā, Hatha-Ratna-Avalī, Gheranda-Samhitā, Shiva-Samhitā, Yoga-Yājnavalkya, Yoga-Bīja, Yoga-Shāstra of Dattātreya, Sat-Karma-Samgraha, and the Shiva-Svarodaya, which are all available in English. Vedāntic scriptures like the voluminous Yoga-Vāsishtha, which teaches Jnāna-Yoga, and its traditional abridgment, the Laghu-Yoga-Vāsishtha, both available in English renderings. The literature of the bhakti-mārga or devotional path, which is especially prominent among the Vaishnavas (worshipers of Vishnu) and Shaivas (worshipers of Shiva). There is a considerable literature on bhakti in both Sanskrit and Tamil, as well as various vernacular languages. In particular, I can recommend Nārada’s Bhakti-Sūtra, Shāndilya’s Bhakti-Sūtra, and the extensive Bhāgavata-Purāna, which is a detailed (mythological) account of the birth, life, and death of the God-man Krishna, with many wonderful and inspiring stories of yogins and ascetics. This beautiful work contains the Uddhāva-Gītā, Krishna’s final esoteric instruction to sage Uddhāva. Goddess worship from a Tantric viewpoint is the core of the Devī-Bhāgavata-Purāna, which should also be studied. In addition, sincere Yoga students should also read and ponder the great yogic texts associated with the different schools of Buddhism and Jainism. To encounter the world of Yoga through its literature will challenge the practitioner in many ways: The texts, even in translation and with notes, are often difficult to comprehend and demand serious concentration and perseverance. Yet we do not have to become scholars, but our study (svādhyāya) will show us what it takes to be a real yogin and what magnificent tools Yoga puts at our disposal. It will also further our self-understanding and strengthen our commitment to practice. In his Treasury of Good Advice (1.6), Sakya Pāndita, who was one of the great scholar-adepts of Vajrayāna Buddhism, wrote: Even if one were to die first thing tomorrow, today one must study. Although one may not become a sage in this life, knowledge is firmly accumulated for future lives, just as secured assets can be used later.

Yaga de Winter was her own private joke; the old country loved literature a little too well.

It is only in recent years that tales of dragons and mythological beasts have been relegated to the ranks of "mere" children's stories and fairy tales. But it is wise to remember that such stories shaped humankind's love of literature, of all manner of written work. The image of the roaming bard, gracing the ears of his listeners with an account of gods and goddesses, of Cerberus and the Minotaur, of narratives now considered as classics set aside for serious study in their original and ancient languages, is one we would do well to remember. Those tales are the foundation of us, of our very societies. And so perhaps we should not be so quick to dismiss something "fantastical" as being beneath notice, as it would be akin to dismissing a gleaming facet of human history from our time on this earth.