Myths And Heroes Quotes

We've searched our database for all the quotes and captions related to Myths And Heroes. Here they are! All 100 of them:

It'll be dangerous," Nyssa warned him. "Hardship, monsters, terrible suffering. Possibly none of you will come back alive." "Oh." Suddenly Leo didn't look so excited. Then he remembered everyone was watching. "I mean... Oh, cool! Suffering? I love suffering! Let's do this.
Rick Riordan (The Lost Hero (The Heroes of Olympus, #1))
Atlantis?' Jason asked. 'That's a myth,' Percy said. 'Uh...don't we deal in myths?' 'No, I mean it's a MADE-UP myth. Not like, an actual true myth.' 'So this is why Annabeth is the brains of the operation, huh?
Rick Riordan (The Blood of Olympus (The Heroes of Olympus, #5))
Wherever the poetry of myth is interpreted as biography, history, or science, it is killed.
Joseph Campbell (The Hero With a Thousand Faces)
In myths, the hero survives. The evil is vanquished. The world is set right. Sometimes there are celebrations, and sometimes there are funerals. The dead are buried. The living move on. Nothing changes. Everything changes. This is a myth. This is not a myth.
V.E. Schwab (A Conjuring of Light (Shades of Magic, #3))
Well, it's like that myth about the hero. He made wings out of wax so he could fly, but when he got too close to the Sun, to God, the wax melted and he crashed to the ground
Hiromu Arakawa (Fullmetal Alchemist, Vol. 1)
Myths are stories about people who become too big for their lives temporarily, so that they crash into other lives or brush against gods. In crisis their souls are visible.
Anne Carson (Grief Lessons: Four Plays by Euripides)
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.
Simona Panova (Nightmarish Sacrifice (Cardew))
The agony of breaking through personal limitations is the agony of spiritual growth. Art, literature, myth and cult, philosophy, and ascetic disciplines are instruments to help the individual past his limiting horizons into spheres of ever-expanding realization. As he crosses threshold after threshold, conquering dragon after dragon, the stature of the divinity that he summons to his highest wish increases, until it subsumes the cosmos. Finally, the mind breaks the bounding sphere of the cosmos to a realization transcending all experiences of form - all symbolizations, all divinities: a realization of the ineluctable void.
Joseph Campbell (The Hero With a Thousand Faces)
Whether you call someone a hero or a monster is all relative to where the focus of your consciousness may be.
Joseph Campbell (The Power of Myth)
THAT Perseus always won. That's why my momhad named me after him, even if he was son of Zeus ann I was son of Posidon. The original Perseus was one of the only heros in the greek myths who got a happy ending. The others died-betrayed, mauled, mutilated, poisoned, or cursed by the gods. My mom hoped i would inherit Perseus's luck. Judging by how my life was going so far, i wasn't too optimistic.
Rick Riordan (The Sea of Monsters (Percy Jackson and the Olympians, #2))
The latest incarnation of Oedipus, the continued romance of Beauty and the Beast, stand this afternoon on the corner of 42nd Street and Fifth Avenue, waiting for the traffic light to change.
Joseph Campbell (The Hero With a Thousand Faces)
Myths and legends die hard in America. We love them for the extra dimension they provide, the illusion of near-infinite possibility to erase the narrow confines of most men's reality. Weird heroes and mould-breaking champions exist as living proof to those who need it that the tyranny of 'the rat race' is not yet final.
Hunter S. Thompson (The Great Shark Hunt: Strange Tales from a Strange Time (The Gonzo Papers, #1))
Dream is the personalized myth, myth the depersonalized dream; both myth and dream are symbolic in the same general way of the dynamic of the psyche. But in the dream the forms are quirked by the peculiar troubles of the dreamer, whereas in myth the problems and solutions sown are directly valid for all mankind
Joseph Campbell (The Hero With a Thousand Faces)
The American Negro has the great advantage of having never believed the collection of myths to which white Americans cling: that their ancestors were all freedom-loving heroes, that they were born in the greatest country the world has ever seen, or that Americans are invincible in battle and wise in peace, that Americans have always dealt honorably with Mexicans and Indians and all other neighbors or inferiors, that American men are the world's most direct and virile, that American women are pure. Negroes know far more about white Americans than that; it can almost be said, in fact, that they know about white Americans what parents—or, anyway, mothers—know about their children, and that they very often regard white Americans that way. And perhaps this attitude, held in spite of what they know and have endured, helps to explain why Negroes, on the whole, and until lately, have allowed themselves to feel so little hatred. The tendency has really been, insofar as this was possible, to dismiss white people as the slightly mad victims of their own brainwashing.
James Baldwin (The Fire Next Time)
...most people in the ancient world, did not make a sharp distinction between myth and reality. The two were intimately tied together in their spiritual experience. That is to say, they were less interested in what actually happened, than in what it meant. It would have been perfectly normal, indeed expected, for a writer in the ancient world, to tell tales of gods and heroes, whose fundamental facts would have been recognized as false, but whose underlying message would have been seen as true.
Reza Aslan (Zealot: The Life and Times of Jesus of Nazareth)
The place where the story happened was a world on the back of four elephants perched on the shell of a giant turtle. That's the advantage of space. It's big enough to hold practically anything, and so, eventually, it does. People think that it is strange to have a turtle ten thousand miles long and an elephant more than two thousand miles tall, which just shows that the human brain is ill-adapted for thinking and was probably originally designed for cooling the blood. It believes mere size is amazing. There's nothing amazing about size. Turtles are amazing, and elephants are quite astonishing. But the fact that there's a big turtle is far less amazing than the fact that there is a turtle anywhere.
Terry Pratchett (The Last Hero (Discworld, #27; Rincewind, #7))
Ellwood smiled, and a sudden, dry bleakness spread over Gaunt’s heart as he thought of Hercules, and Hector, and all the heroes in myth who found happiness briefly, only for it not to be the end of the story.
Alice Winn (In Memoriam)
The ego is as you think of yourself. You in relation to all the commitments of your life, as you understand them. The self is the whole range of possibilities that you've never even thought of. And you're stuck with you're past when you're stuck with the ego. Because if all you know about yourself is what you found out about yourself, well, that already happened. The self is a whole field of potentialities to come through.
Joseph Campbell (The Hero's Journey: Joseph Campbell on His Life & Work (Works))
Through action, a Man becomes a Hero Through death, a Hero becomes a Legend Through time, a Legend becomes a Myth and by learning from the myth a man takes action.
Corazon
To animals they were just the weather, just part of everything. But humans arose and gave them names, just as people filled the starry sky with heroes and monsters, because this turned them into stories. And humans loved stories, because once you'd turned things into stories, you could change the stories.
Terry Pratchett (Wintersmith (Discworld, #35; Tiffany Aching, #3))
And so every one of us shares the supreme ordeal —carries the cross of the redeemer— not in the bright moments of his tribe's great victories, but in the silences of his personal despair.
Joseph Campbell (The Hero With a Thousand Faces)
Like Achilles, the hero who forgot his heel, or like Icarus who, flying close to the sun, forgot that his wings were made of wax, we should be wary when triumphant ideas seem unassailable, for then there is all the more reason to predict their downfall.
Dwight Longenecker (The Romance of Religion: Fighting for Goodness, Truth, and Beauty)
Hero,” he said softly, in a manner that was much like his father’s. “Vengeance and glory are the ways of the Greeks and the Trojans. We are of the Herdsmen.
Sulari Gentill (Chasing Odysseus (Hero Trilogy, #1))
It’s a bizarre but widespread myth that only heroes have good qualities, and the only qualities heroes have are good; villains are, by definition, all bad. Bullshit.
K.J. Parker (Prosper's Demon)
They had a wonderful romantic night together. In fact it was so wonderful that at one point Zeus excused himself, took his phone into the bathroom and texted Helios, the sun god: Bro, take a few days off. I need this night to last!
Rick Riordan (Percy Jackson and the Greek Heroes (Percy Jackson's Greek Myths Book 2))
WOW DID I JUST SEE LIL B? THE MYTH ?? THE AMERICAN HERO AND LEGEND? WORLD WIDE LEGEND! I MEAN I DIDNT EVEN THINK HE WAS HUMAN
Brandon McCartney
This myth called bravery, which is half-panic, half-lunacy (in my case, all panic), pays for all; in England you can’t be a hero and bad. There’s practically a law against it.
George MacDonald Fraser (Flashman (The Flashman Papers, #1))
The multitude of men and women choose the less adventurous way of the comparatively unconscious civic and tribal routines. But these seekers, too, are saved—by virtue of the inherited symbolic aids of society, the rites of passage, the grace-yielding sacraments, given to mankind of old by the redeemers and handed down through millenniums. It is only those who know neither an inner call nor an outer doctrine whose plight truly is desperate; that is to say, most of us today, in this labyrinth without and within the heart. Alas, where is the guide, that fond virgin, Ariadne, to supply the simple clue that will give us courage to face the Minotaur, and the means then to find our way to freedom when the monster has been met and slain?
Joseph Campbell (The Hero With a Thousand Faces)
Poseidon spent almost all his time pursuing a perfectly exhausting quantity of beautiful girls and boys and fathering by the girls an even greater number of monsters, demigods and human heroes - Percy Jackson and Theseus to name but two.
Stephen Fry (Mythos: The Greek Myths Retold (Stephen Fry's Great Mythology, #1))
Tragedy is born of myth, not morality. Prometheus and Icarus are tragic heroes. Yet none of the myths in which they appear has anything to do with moral dilemmas. Nor have the greatest Greek tragedies. If Euripides is the most tragic of the Greek playwrights, it is not because he deals with moral conflicts but because he understood that reason cannot be the guide of life.
John Gray (Straw Dogs: Thoughts on Humans and Other Animals)
Whoever takes me captive won't live long enough to enjoy it
Bernard Evslin (Heroes, Gods and Monsters of the Greek Myths)
I suppose I've always had a yearning, in spite of the fact that I am temperamentally unsuited to the role in every possible way, to be a hero out of myth, golden and reckless, galloping bareback to meet my fate on a wild horse no other man could ride.
Tana French (In the Woods (Dublin Murder Squad, #1))
In myths, the hero survives. The evil is vanquished. The world is set right. Sometimes there are celebrations, and sometimes there are funerals. The dead are buried. The living move on. Nothing changes. Everything changes. This is a myth. This is not a myth.
V.E. Schwab (A Conjuring of Light (Shades of Magic, #3))
The idea of a singular hero and a manifest destiny just makes us lazy. There is no destiny. There is choice, there is action, and any other narrative perpetuates a myth that someone else out there will fix our problems with a magic sword and a blessing from the gods.
Tade Thompson (Rosewater (The Wormwood Trilogy, #1))
Otrera led her warriors on tons of successful campaigns across Asia Minor and into Greece. They founded two famous cities on the western coast of Turkey – Smyrna and Ephesus. Why they picked those names, I don’t know. I would’ve gone with Buttkickville and Smackdown City, but that’s just me.
Rick Riordan (Percy Jackson and the Greek Heroes (Percy Jackson's Greek Myths Book 2))
But are they heroes or mere dreamers?
Gaius Valerius Flaccus (Argonautica (Loeb Classical Library No. 286))
Just another game he played in a world where heroes were legends and honor was a myth.
Michael J. Sullivan (Theft of Swords (The Riyria Revelations, #1-2))
But these myths are full of violence and we should at least ask why it is the violence against women that is removed in order to make our heroes uncomplicated adventurers.
Natalie Haynes (Pandora's Jar: Women in the Greek Myths)
Old myths, old gods, old heroes have never died. They are only sleeping at the bottom of your mind, waiting for our call. We have need for them. They represent the wisdom of our race.
Stanley Kunitz
Me, I like the theory that Amazon comes from the Persian term ha-mazan, which means warriors. I like that theory because Annabeth likes that theory, and if I don’t like what she likes she gets all ha-mazan on me.
Rick Riordan (Percy Jackson and the Greek Heroes (Percy Jackson's Greek Myths Book 2))
... the All is everywhere, and anywhere may become the seat of power. Any blade of grass may assume, in myth, the figure of the savior and conduct the questing wanderer into the sanctum sanctorum of his own heart.
Joseph Campbell (The Hero With a Thousand Faces)
When your hero falls from grace, all fairy tales are uncovered Myth exposed and pain magnified, the grace pays uncovered He told me to be strong, but I confused to see it so weak You say never to give up, and it hurts to see what comes to be When your hero falls soley the stars, and so does the reception of tomorrow Without my hero, theres only me alone, to deal with my sorrow Your heart ceases to work, and your soul is not happy at all What are you expected to do, when your only hero falls
Tupac Shakur
FEAR NOT, said a voice from the glitter. I AM ZEUS, LORD OF THE SKY. YOU LOOK FINE, GIRL. DO YOU WANT TO HANG OUT?
Rick Riordan (Percy Jackson and the Greek Heroes (Percy Jackson's Greek Myths Book 2))
O Great Teller of the Future and Inhaler of Volcanic Gas!’ said the king. ‘Can I get a boy child over here, or what?
Rick Riordan (Percy Jackson and the Greek Heroes (Percy Jackson's Greek Myths Book 2))
It is the destiny of children of spirit to soar too close to the sun and fall no matter how many times they are warned of the danger. Some will make it, but many do not.
Stephen Fry (Heroes: The Greek Myths Reimagined (Stephen Fry's Great Mythology, #2))
What separates history from myth is that history takes in the whole picture, whereas myth averts our eyes from the truth when it turns men into heroes and gods.
Nancy Isenberg (Fallen Founder: The Life of Aaron Burr)
Disease is surely one of the ways in which we are tried by life and offered the chance to be heroic. Though few of us will win Olympic gold medals or slay dragons, disease can be the spark or gift that allows many of us to live out our personal myths and become heroes.
Bernie S. Siegel
And when all was done and all was said, we sat silently staring at the moon's reflection on the rippling river, soaking it all in. The differences between people, cultures and times. The monsters. The myths. The heroes. The victims. The love and loss. Loss and love.
Alys Arden (The Casquette Girls (The Casquette Girls, #1))
Matters of immense import may depend on such issues, but we can never do more than guess the outcomes of the roads we do not take.
Stephen Fry (Heroes: The Greek Myths Reimagined (Stephen Fry's Great Mythology, #2))
The real hero is always a hero by mistake; he dreams of being an honest coward like everybody else. If it had been possible, he would have settled the matter otherwise, and without bloodshed. He doesn’t boast of his own death or of others’. But he doesn’t repent. He suffers and keeps his mouth shut; if anything, others then exploit him, making him a myth, while he, the man worthy of esteem, was only a poor creature who reacted with dignity and courage in an event bigger than he was.
Umberto Eco (Travels in Hyperreality (Harvest Book))
You will not find the truth but the truth will find you,’ ‘Seek not to know, but know to seek,’ ‘You don’t make mistakes, mistakes make you
Stephen Fry (Heroes: The Greek Myths Reimagined (Stephen Fry's Great Mythology, #2))
It is not easy to soothe the immortal gods from their vengeance.
Sulari Gentill (Chasing Odysseus (Hero Trilogy, #1))
There are only two real people in fiction – the storyteller and the listener
Lee Child (The Hero: The Enduring Myth That Makes Us Human)
This is what happens when an outlaw kidnaps a scholar of myths and legends.
Doris Egan (Two-Bit Heroes (Ivory, #2))
What could you possibly write at Gates of Hades?” Cadmus asked. “Keep your spirits up.” Lycon sheathed the dagger he’d used to chisel the trunk. Cadmus shook his head. “Idiot.
Sulari Gentill (Chasing Odysseus (Hero Trilogy, #1))
The battlefield is symbolic of the field of life, where every creature lives on the death of another. A realization of the inevitable guilt of life may so sicken the heart, that like Hamlet, or like Arjuna, one may refuse to go on with it. On the other hand, like most of the rest of us, one may invent a false finally unjustified image of oneself as an exceptional phenomenon in the world--not guilty as others are, but justified in one's inevitable sinning, because one represents the good. Such self-righteousness leads to a misunderstanding, not only of oneself, but of the nature of both Man and the Cosmos. The goal of the myth is to dispel the need for such life-ignorance by affecting a reconciliation of the individual consciousness with the universal will, and this is affected through a realization of the true relationship of the passing phenomena of time to the imperishable life that lives and dies in all.
Joseph Campbell (The Hero With a Thousand Faces)
The great wheel of fire of ancient wisdom, silence and word engendering the myth of the origin, human action engendering the epic voyage toward the other; historical violence revealing the tragic flaw of the hero who must then return to the land of origin; myth of death and renewal and silence from which new words and images will arise, keeps on turning in spite of the blindness of purely lineal thought.
Carlos Fuentes (Myself with Others: Selected Essays)
They’ve moved out of the society that would have protected them, and into the dark forest, into the world of fire, of original experience. Original experience has not been interpreted for you, and so you’ve got to work out your life for yourself. Either you can take it or you can’t. You don’t have to go far off the interpreted path to find yourself in very difficult situations. The courage to face the trials and to bring a whole new body of possibilities into the field of interpreted experience for other people to experience—that is the hero’s deed.
Joseph Campbell (The Power of Myth)
If your mind and spirit are directed to your task, everything else will follow. Relax.” “But focus,” said Hermes. “Relaxation without focus leads to failure.” “Focus without relaxation leads to failure just as surely,” said Athena. “So concentrate . . .” said Perseus. “Exactly.” “. . . but calmly?” “Concentrate calmly. You have it.
Stephen Fry (Heroes: The Greek Myths Reimagined (Stephen Fry's Great Mythology, #2))
Even the gods were impressed. They descended from Olympus and loaded Hercules down with so much swag, it got embarrassing. Hermes
Rick Riordan (Percy Jackson and the Greek Heroes (Percy Jackson's Greek Myths Book 2))
I am Atalanta. I belong to this mountain, to the clan of mountain bears.” “I am Meleager,” he said. “I belong to Atalanta.
Bernard Evslin (Heroes, Gods and Monsters of the Greek Myths)
Right. Fantastic. Now I'm supposed to do something heroic, right?" "Please. For one thing, you're not the type. Second, I am tired of women and men of destiny. The idea of a singular hero and a manifest destiny just makes us all lazy. There is no destiny. There is choice, there is action, and any other narrative perpetuates a myth that someone else out there will fix our problems with a magic sword and a blessing from the gods.
Tade Thompson (Rosewater (The Wormwood Trilogy, #1))
When I became convinced that the Universe is natural – that all the ghosts and gods are myths, there entered into my brain, into my soul, into every drop of my blood, the sense, the feeling, the joy of freedom. The walls of my prison crumbled and fell, the dungeon was flooded with light and all the bolts, and bars, and manacles became dust. I was no longer a servant, a serf or a slave. There was for me no master in all the wide world -- not even in infinite space. I was free -- free to think, to express my thoughts -- free to live to my own ideal -- free to live for myself and those I loved -- free to use all my faculties, all my senses -- free to spread imagination's wings -- free to investigate, to guess and dream and hope -- free to judge and determine for myself -- free to reject all ignorant and cruel creeds, all the "inspired" books that savages have produced, and all the barbarous legends of the past -- free from popes and priests -- free from all the "called" and "set apart" -- free from sanctified mistakes and holy lies -- free from the fear of eternal pain -- free from the winged monsters of the night -- free from devils, ghosts and gods. For the first time I was free. There were no prohibited places in all the realms of thought -- no air, no space, where fancy could not spread her painted wings -- no chains for my limbs -- no lashes for my back -- no fires for my flesh -- no master's frown or threat – no following another's steps -- no need to bow, or cringe, or crawl, or utter lying words. I was free. I stood erect and fearlessly, joyously, faced all worlds. And then my heart was filled with gratitude, with thankfulness, and went out in love to all the heroes, the thinkers who gave their lives for the liberty of hand and brain -- for the freedom of labor and thought -- to those who fell on the fierce fields of war, to those who died in dungeons bound with chains -- to those who proudly mounted scaffold's stairs -- to those whose bones were crushed, whose flesh was scarred and torn -- to those by fire consumed -- to all the wise, the good, the brave of every land, whose thoughts and deeds have given freedom to the sons of men. And then I vowed to grasp the torch that they had held, and hold it high, that light might conquer darkness still.
Robert G. Ingersoll
Who are you? Where do you fit into poetry and myth? Do you know who I think you are, Ramsay? I think you are Fifth Business. You don't know what that is? Well, in opera in a permanent company of the kind we keep up in Europe you must have a prima donna -- always a soprano, always the heroine, often a fool; and a tenor who always plays the lover to her; and then you must have a contralto, who is a rival to the soprano, or a sorceress or something; and a basso, who is the villain or the rival or whatever threatens the tenor. "So far, so good. But you cannot make a plot work without another man, and he is usually a baritone, and he is called in the profession Fifth Business, because he is the odd man out, the person who has no opposite of the other sex. And you must have Fifth Business because he is the one who knows the secret of the hero's birth, or comes to the assistance of the heroine when she thinks all is lost, or keeps the hermitess in her cell, or may even be the cause of somebody's death if that is part of the plot. The prima donna and the tenor, the contralto and the basso, get all the best music and do all the spectacular things, but you cannot manage the plot without Fifth Business! It is not spectacular, but it is a good line of work, I can tell you, and those who play it sometimes have a career that outlasts the golden voices. Are you Fifth Business? You had better find out.
Robertson Davies (Fifth Business (The Deptford Trilogy, #1))
If we make our own history, if we tell stories that bring us together, we'll be stronger. It'll give us something to believe in. The sickos can't do that – they're no better than animals – but we can. Every battle we win we have to tell the story over and over, so that we can win more battles. People love stories. They've told stories since even before they could write. Myths and legends, stories of heroes and villains, gods and monsters. Real things happened, the story got told and then the stories became legends. That's what we've got to do – tell our own heroic stories.
Charlie Higson (The Fear (The Enemy #3))
Men! It’s not that they’re brutish, boorish, shallow and insensitive – though I dare say many are. It’s just that they’re so damned blind. So incredibly stupid. Men in myth and fiction at least. In real life we are keen, clever and entirely without fault of course.
Stephen Fry (Heroes: Mortals and Monsters, Quests and Adventures (Stephen Fry's Great Mythology, #2))
That’s a myth,” Percy said. “Uh...don’t we deal in myths?” “No, I mean it’s a made-up myth. Not, like, an actual true myth.” “So this is why Annabeth is the brains of the operation, then?” “Shut up, Grace.
Rick Riordan (The Blood of Olympus (The Heroes of Olympus, #5))
Remember,” cautioned the centaur, “modesty. Observance of the gods. In a fight, do not do what you want to do, but what you judge your enemy least wants you to. You cannot control others if you cannot control yourself. Those who most understand their own limitations have the fewest.
Stephen Fry (Heroes: The Greek Myths Reimagined (Stephen Fry's Great Mythology, #2))
Otrera, we meet at last,’ he said. ‘Dang, girl, you’re fine.’ Otrera’s knees shook. It’s not every day you meet one of your favourite gods. But she didn’t bow or kneel. She was done bowing to men, even Ares. Also,
Rick Riordan (Percy Jackson and the Greek Heroes (Percy Jackson's Greek Myths Book 2))
People ask me, 'Who is your hero?' My answer, my true answer, is that I am my hero, the me I aspire to be, the very best at everything I put my hand to, treating people with dignity and respect because it's the right thing to do, surmounting obstacles with justice and empathy and compassion. I don't need anyone else to live my life for me, to mold me, to tell me what is or isn't possible. I don't need a path to follow. I create my own path. I live up to my own dreams. I demand greatness of mind, body, and spirit, not someone else's, but my own. I am my own hero. Are you yours?
Chris Kluwe (Beautifully Unique Sparkleponies: On Myths, Morons, Free Speech, Football, and Assorted Absurdities)
The future is what it is,” said Largeman. “Your people have been poisoned with the myths of lone men turning the tide, improbable tales of heroes outrunning explosions with their feet. Such tales are forbidden here. Events are laid forth and they cannot be turned. There are no heroes, Mr. Wong.
David Wong (John Dies at the End (John Dies at the End, #1))
The happy ending of the fairy tale, the myth, and the divine comedy of the soul is to be read, not as a contradiction, but as a transcendence of the universal tragedy of man. The objective world remains what it was, but, because of a shift of emphasis within the subject, is beheld as though transformed.
Joseph Campbell (The Hero With a Thousand Faces)
The moral, I suppose, would be that the first requirements for a heroic career are the knightly virtues of loyalty, temperance, and courage. The loyalty in this case is of two degrees or commitments: first, to the chosen adventure, but then, also, to the ideals of the order of knighthood. Now, this second commitment seems to put Gawain's way in opposition to the way of the Buddha, who when ordered by the Lord of Duty to perform the social duties proper to his caste, simply ignored the command, and that night achieved illumination as well as release from rebirth. Gawain is a European and, like Odysseus, who remained true to the earth and returned from the Island of the Sun to his marriage with Penelope, he has accepted, as the commitment of his life, not release from but loyalty to the values of life in this world. And yet, as we have just seen, whether following the middle way of the Buddha or the middle way of Gawain, the passage to fulfillment lies between the perils of desire and fear.
Joseph Campbell (The Power of Myth)
...you and I will be dust and half-remembered tales before they even start to build that city. But it will come, and when it does, this sword will still be there to see it. Kiriath steel — built to harm, built to last. When all the damage it’s done and the grief it’s caused have been forgotten, even by the gods, when the Kiriath themselves have passed into discredited myth, this murderous fucking ... thing ... will hang unused, and harmless, and gaped at by children. That’s how it ends, Gil. With no one to remember, or care, or understand what this thing could do when you set it free.
Richard K. Morgan (The Steel Remains (A Land Fit for Heroes, #1))
Do you enjoy stories, young lady?” “What kind of stories?” “The best kind, of course,” Slowswift said, tapping his book. “The kind about monsters and myths. Longtales, some call them—stories told by skaa around the fires, whispering of mistwraiths, sprites, and brollins and such.
Brandon Sanderson (The Hero of Ages (Mistborn, #3))
Freed hands both rising for the pommel now, so natural, so smooth, it was like Kiriath machinery, as if he were machinery, a cunningly crafted clockwork Kiriath mannequin, built to complement the steel. He felt the accustomed kiss of the grip on his palms, felt the grin on his face turn into a snarl. Cold chime as the scabbard gave up its embrace. And the Ravensfriend came out.
Richard K. Morgan (The Steel Remains (A Land Fit for Heroes, #1))
Because the media always serve up heroes and villians, there had to be the terrible mothers, the anti-Madonnas, the hideous counterexamples good mothers were meant to revile. We regret to report that nearly all of these women were African American and were disproportionately featured as failed mothers in news stories about "crack babies," single, teen mothers, and welfare mothers.
Susan J. Douglas (The Mommy Myth: The Idealization of Motherhood and How It Has Undermined All Women)
What makes someone mythic is not whether or not he lived, or lived well, but whether or not he was larger than life. Mythic heroes were – and are – outrageous and outstanding. They are phenomenal. They distil some collective ideal or fantasy. That’s why we can speak of ‘the myth of John Lennon’, but not ‘the myth of John Major’. And it’s also why Theseus made it and Lycurgus didn’t.
Helen Morales (Classical Mythology: A Very Short Introduction)
All of the great mythologies and much of the mythic story-telling of the world are from the male point of view. When I was writing The Hero with a Thousand Faces and wanted to bring female heroes in, I had to go to the fairy tales. These were told by women to children, you know, and you get a different perspective. It was the men who got involved in spinning most of the great myths. The women were too busy; they had too damn much to do to sit around thinking about stories. [...] In the Odyssey, you'll see three journeys. One is that of Telemachus, the son, going in quest of his father. The second is that of the father, Odysseus, becoming reconciled and related to the female principle in the sense of male-female relationship, rather than the male mastery of the female that was at the center of the Iliad. And the third is of Penelope herself, whose journey is [...] endurance. Out in Nantucket, you see all those cottages with the widow's walk up on the roof: when my husband comes back from the sea. Two journeys through space and one through time.
Joseph Campbell
But through years of myth-making and fear-sowing, Christianity meta-morphosed antichrists into a single Antichrist, an apocalyptic villain and Christian bogeyman used to scare people as much as Santa Claus is used to regulate children's behavior. After years of studying the concept, I began to realize the Antichrist is a character--a metaphor--who exists in nearly all religions under different names, and maybe there is some truth in it, a need for such a person. But from another perspective, this person could be seen as not a villain but a final hero to save people from their own ignorance. The apocalypse doesn't have to be fire and a brimstone. It could happen on a personal level.
Marilyn Manson (The Long Hard Road Out of Hell)
Frank grabbed a tourist brochure stuck under the napkin dispenser. He began to read it. Piper patted Leo’s arm, like she couldn’t believe he was really here. Nico stood at the edge of the group, eyeing the passing pedestrians as if they might be enemies. Coach Hedge munched on the salt and pepper shakers. Despite the happy reunion, everybody seemed more subdued than usual—like they were picking up on Leo’s mood. Jason had never really considered how important Leo’s sense of humor was to the group. Even when things were super serious, they could always depend on Leo to lighten things up. Now, it felt like the whole team had dropped anchor. “So then Jason harnessed the venti,” Hazel finished. “And here we are.” Leo whistled. “Hot-air horses? Dang, Jason. So basically, you held a bunch of gas together all the way to Malta, and then you let it loose.” Jason frowned. “You know, it doesn’t sound so heroic when you put it that way.” “Yeah, well. I’m an expert on hot air. I’m still wondering, why Malta? I just kind of ended up here on the raft, but was that a random thing, or—” “Maybe because of this.” Frank tapped his brochure. “Says here Malta was where Calypso lived.” A pint of blood drained from Leo’s face. “W-what now?” Frank shrugged. “According to this, her original home was an island called Gozo just north of here. Calypso’s a Greek myth thingie, right?” “Ah, a Greek myth thingie!” Coach Hedge rubbed his hands together. “Maybe we get to fight her! Do we get to fight her? ’Cause I’m ready.” “No,” Leo murmured. “No, we don’t have to fight her, Coach.” Piper frowned. “Leo, what’s wrong? You look—” “Nothing’s wrong!” Leo shot to his feet. “Hey, we should get going. We’ve got work to do!” “But…where did you go?” Hazel asked. “Where did you get those clothes? How—” “Jeez, ladies!” Leo said. “I appreciate the concern, but I don’t need two extra moms!” Piper smiled uncertainly. “Okay, but—” “Ships to fix!” Leo said. “Festus to check! Earth goddesses to punch in the face! What are we waiting for? Leo’s back!” He spread his arms and grinned. He was making a brave attempt, but Jason could see the sadness lingering in his eyes. Something had happened to him…something to do with Calypso.
Rick Riordan (The House of Hades (Heroes of Olympus, #4))
In the specially Christian case we have to react against the heavy bias of fatigue. It is almost impossible to make the facts vivid, because the facts are familiar; and for fallen men it is often true that familiarity is fatigue. I am convinced that if we could tell the supernatural story of Christ word for word as of a Chinese hero, call him the Son of Heaven instead of the Son of God, and trace his rayed nimbus in the gold thread of Chinese embroideries or the gold lacquer of Chinese pottery, instead of in the gold leaf of our own old Catholic paintings, there would be a unanimous testimony to the spiritual purity of the story. We should hear nothing then of the injustice of substitution or the illogicality of atonement, of the superstitious exaggeration of the burden of sin or the impossible insolence of an invasion of the laws of nature. We should admire the chivalry of the Chinese conception of a god who fell from the sky to fight the dragons and save the wicked from being devoured by their own fault and folly. We should admire the subtlety of the Chinese view of life, which perceives that all human imperfection is in very truth a crying imperfection. We should admire the Chinese esoteric and superior wisdom, which said there are higher cosmic laws than the laws we know.
G.K. Chesterton (The Everlasting Man)
There were two things about this particular book (The Golden Book of Fairy Tales) that made it vital to the child I was. First, it contained a remarkable number of stories about courageous, active girls; and second, it portrayed the various evils they faced in unflinching terms. Just below their diamond surface, these were stories of great brutality and anguish, many of which had never been originally intended for children at all. (Although Ponsot included tales from the Brothers Grimm and Andersen, the majority of her selections were drawn from the French contes de fées tradition — stories created as part of the vogue for fairy tales in seventeenth century Paris, recounted in literary salons and published for adult readers.) I hungered for a narrative with which to make some sense of my life, but in schoolbooks and on television all I could find was the sugar water of Dick and Jane, Leave it to Beaver and the happy, wholesome Brady Bunch. Mine was not a Brady Bunch family; it was troubled, fractured, persistently violent, and I needed the stronger meat of wolves and witches, poisons and peril. In fairy tales, I had found a mirror held up to the world I knew — where adults were dangerous creatures, and Good and Evil were not abstract concepts. (…) There were in those days no shelves full of “self–help” books for people with pasts like mine. In retrospect, I’m glad it was myth and folklore I turned to instead. Too many books portray child abuse as though it’s an illness from which one must heal, like cancer . . .or malaria . . .or perhaps a broken leg. Eventually, this kind of book promises, the leg will be strong enough to use, despite a limp betraying deeper wounds that might never mend. Through fairy tales, however, I understood my past in different terms: not as an illness or weakness, but as a hero narrative. It was a story, my story, beginning with birth and ending only with death. Difficult challenges and trials, even those that come at a tender young age, can make us wiser, stronger, and braver; they can serve to transform us, rather than sending us limping into the future.
Terri Windling (Mirror, Mirror on the Wall: Women Writers Explore Their Favorite Fairy Tales)
So one of my core themes in The Myth of Male Power—that history’s controlling force was not patriarchy, but survival—is still ignored. Instead, the leading universities’ women’s studies and “gender studies” courses still emanate from the Marxist and Civil Rights model of oppressor vs. oppressed. We’ll see in this book exactly why the dichotomy of oppressor/oppressed is both inaccurate and, more important, undermines love and women’s empowerment. In virtually every leading university this leads to a demonizing of men and masculinity that distorts the very essence of traditional masculinity—being socialized to be a hero by being willing to sacrifice oneself in war or in work. The possibility that being socialized to be disposable is not genuine power is, to this day, either considered radical, heretical, or, most frequently, not considered.
Warren Farrell (The Myth of Male Power)
It is during that return, that pause, that Sisyphus interests me. A face that toils so close to stones is already stone itself! I see that man going back down with a heavy yet measured step toward the torment of which he will never know the end. That hour like a breathing-space which returns as surely as his suffering, that is the hour of consciousness. At each of those moments when he leaves the heights and gradually sinks toward the lairs of the gods, he is superior to his fate. He is stronger than his rock. If this myth is tragic, that is because its hero is conscious. Where would his torture be, indeed, if at every step the hope of succeeding upheld him? The workman of today works everyday in his life at the same tasks, and his fate is no less absurd. But it is tragic only at the rare moments when it becomes conscious. Sisyphus, proletarian of the gods, powerless and rebellious, knows the whole extent of his wretched condition: it is what he thinks of during his descent. The lucidity that was to constitute his torture at the same time crowns his victory. There is no fate that cannot be surmounted by scorn.
Albert Camus (The Myth of Sisyphus and Other Essays)
The monster, Hitler, died like Uther, frightened, hiding, haunted by his crimes and his wholly reasonable belief that all decent human beings would turn their backs on him. Who really cares where Hitler’s bones lie, or how he died, as long as he is safely dead? Now, in the twenty-first century, Karl Marx’s grave in a London cemetery is no longer a rallying cry to the poisoned idea that the end justifies the means. We shall never know for certain where Arthur lies, or if he even lived. If he was a myth, then it was necessary for human beings to invent him. Hail, Arthur, King of the Britons! I wish another hero would take your place, now that the west has such a need of you.
M.K. Hume
Often in actual life, and not infrequently in the myths and popular tales, we encounter the dull case of the call unanswered; for it is always possible to turn the ear to other interests. Refusal of the summons converts the adventure into its negative. Walled in boredom, hard work, or "culture," the subject loses the power of significant affirmative action and becomes a victim to be saved. His flowering world becomes a wasteland of dry stones and his life feels meaningless—even though, like King Minos, he may through titanic effort succeed in building an empire of renown. Whatever house he builds, it will be a house of death: a labyrinth of cyclopean walls to hide from him his Minotaur.
Joseph Campbell (The Hero With a Thousand Faces)
The function of ritual and myth is to make possible, and then to facilitate, the jump—by analogy. Forms and conceptions that the mind and its senses can comprehend are presented and arranged in such a way as to suggest a truth or openness beyond. And then, the conditions for meditation having been provided, the individual is left alone. Myth is but the penultimate; the ultimate is openness—that void, or being, beyond the categories —into which the mind must plunge alone and be dissolved. Therefore, God and the gods are only convenient means—themselves of the nature of the world of names and forms, though eloquent of, and ultimately conducive to, the ineffable. They are mere symbols to move and awaken the mind, and to call it past themselves.
Joseph Campbell (The Hero With a Thousand Faces)
They will remain shut away behind a hedge of thorns. The journey in search of soul is difficult and even dangerous because it requires that we relinquish the certainty of what we think we know and what we have been taught for generations to believe. It means surrendering the desire to be in control and opening ourselves to a quest, a path of discovery. Many myths and fairy tales emphasize the need for surrender and trust in the strange non-rational guidance offered by animals or shamans on the quest. As the hero follows their guidance, so the hedge opens, the way unfolds. Following the guidance and wisdom of the instinct is the royal road into the realm of soul.
Anne Baring (The Dream of the Cosmos: A Quest for the Soul)
Violence against Men As Women’s Liberation Thelma and Louise was widely touted as a film of women’s liberation. (It was, for example, the only film celebrated by the National Organization for Women at its twenty-fifth convention.) Never in American history have two men been celebrated as heroes of men’s liberation after they deserted their wives, met one female jerk after another, and then killed one woman and left another woman stuffed in a trunk in 120-degree desert heat. Male serial killers are condemned—not celebrated—at men’s liberation conventions. The moment a men’s movement calls it a sign of empowerment or brotherhood when men kill women is the moment I will protest it as fascism.
Warren Farrell (The Myth of Male Power)
MOYERS: So if my private dreams are in accord with the public mythology, I'm more likely to live healthily in that society. But if my private dreams are out of step with the public – CAMPBELL: -- you'll be in trouble. If you're forced to live in that system, you'll be a neurotic. MOYERS: But aren't many visionaries and even leaders and heroes close to the edge of neuroticism? CAMPBELL: Yes, they are. MOYERS: How do you explain that? CAMPBELL: They've moved out of the society that would have protected them, and into the dark forest, into the world of fire, of original experience. Original experience has not been interpreted for you, and so you've got to work out your life for yourself. Either you can take it or you can't. You don't have to go far off the interpreted path to find yourself in very difficult situations. The courage to face the trials and to bring a whole new body of possibilities into the field of interpreted experience for other people to experience -- that is the hero's deed.
Joseph Campbell (The Power of Myth)
Wherever the poetry of myth is interpreted as biography, history, or science, it is killed. The living images become only remote facts of a distant time or sky. Furthermore, it is never difficult to demonstrate that as science and history mythology is absurd. When a civilization begins to reinterpret its mythology in this way, the life goes out of it, temples become museums, and the link between the two perspectives is dissolved. Such a blight has certainly descended on the Bible and on a great part of the Christian cult. To bring the images back to life, one has to seek, not interesting applications to modern affairs, but illuminating hints from the inspired past. When these are found, vast areas of half-dead iconography disclose again their permanently human meaning.
Joseph Campbell (The Hero With a Thousand Faces)
I decided to write a myth." "Have you figured out a topic? A moral conundrum?" "Yes." "What is it?" I heard Jack's chair creak. "It's about how there's no such thing as redemption," I whispered. "How you deserve what you get,and no higher power can save you." Mrs. Stone didn't answer immediately. The only sound in the room came from my own breathing. "What about heroes?" I hunched over and scribbled a few lines on my notebook. "There are no heroes." Sure,it wasn't an optimistic paper,but it was the only thing I could write passionately about. She was quiet for a moment again. When she spoke,her voice was gentle. "Okay. I'm excited to see what you put together." I nodded. "And,Mr. Caputo? Everything going well with the personal essay?" I could only assume he nodded, because Mrs. Stone returned to the front of the classroom. My right hand started to tremble,and I clenched my pencil and began scribbling. "You don't really believe that, do you?" Jack's voice was soft. I lifted my head, allowing my eyes to meet his for the first time in weeks. "It doesn't matter what I believe." I looked down at my notebook. "Wait," he said. I turned back. "What?" He shrugged,then spoke in a low murmur. "Just stop hiding behind your hair for a minute." I closed my eyes,but I didn't turn away. "You're making things difficult, Jack Caputo," I whispered. "At least you remember my name." I remembered everything. The first time he called me his girlfriend. The first time he told me he loved me. The first time I started to question whether or not I'd be able to hold on to him.The first time I knew I had to come back to see him again, at whatever cost.
Brodi Ashton (Everneath (Everneath, #1))
The ruinous deeds of the ravaging foe (Beowulf) The best-known long text in Old English is the epic poem Beowulf. Beowulf himself is a classic hero, who comes from afar. He has defeated the mortal enemy of the area - the monster Grendel - and has thus made the territory safe for its people. The people and the setting are both Germanic. The poem recalls a shared heroic past, somewhere in the general consciousness of the audience who would hear it. It starts with a mention of 'olden days', looking back, as many stories do, to an indefinite past ('once upon a time'), in which fact blends with fiction to make the tale. But the hero is a mortal man, and images of foreboding and doom prepare the way for a tragic outcome. He will be betrayed, and civil war will follow. Contrasts between splendour and destruction, success and failure, honour and betrayal, emerge in a story which contains a great many of the elements of future literature. Power, and the battles to achieve and hold on to power, are a main theme of literature in every culture - as is the theme of transience and mortality. ................ Beowulf can be read in many ways: as myth; as territorial history of the Baltic kingdoms in which it is set; as forward-looking reassurance. Questions of history, time and humanity are at the heart of it: it moves between past, present, and hope for the future, and shows its origins in oral tradition. It is full of human speech and sonorous images, and of the need to resolve and bring to fruition a proper human order, against the enemy - whatever it be - here symbolised by a monster and a dragon, among literature's earliest 'outsiders'. ....... Beowulf has always attracted readers, and perhaps never more than in the 1990s when at least two major poets, the Scot Edwin Morgan and the Irishman Seamus Heaney, retranslated it into modern English. Heaney's version became a worldwide bestseller, and won many awards, taking one of the earliest texts of English literature to a vast new audience.
Ronald Carter (The Routledge History of Literature in English: Britain and Ireland)
One wonders why no one in church history has ever been considered a heretic for being unloving. People were anathematized and often tortured and killed for disagreeing on matters of doctrine or on the authority of the church. But no one on record has ever been so much as rebuked for not loving as Christ loved. Yet if love is to be placed above all other considerations (Col. 3:14; 1 Peter 4:8), if nothing has any value apart from love (1 Cor. 13:1–3), and if the only thing that matters is faith working in love (Gal. 5:6), how is it that possessing Christlike love has never been considered the central test of orthodoxy? How is it that those who tortured and burned heretics were not themselves considered heretics for doing so? Was this not heresy of the worst sort? How is it that those who perpetrated such things were not only not deemed heretics but often were (and yet are) held up as “heroes of the faith”? If there is an answer to this question, I believe it lies in the deceptive power of the sword. While God uses the sword of governments to preserve law, order, and justice, as we have seen, there is a corrupting principality and power always at work. Much like the magical ring in Tolkien’s Lord of the Rings, the sword has a demonic power to deceive us. When we pick it up, we come under its power. It convinces us that our use of violence is a justified means to a noble end. It intoxicates us with the unquenchable dream of redemptive violence and blinds us to our own iniquities, thereby making us feel righteous in overpowering the unrighteousness of others. Most of the slaughtering done throughout history has been done by people who sincerely believed they were promoting “the good.” Everyone thinks their wars are just, if not holy. Marxists, Nazis, the Khmer Rouge, Islamic terrorists, and Christian crusaders have this in common.
Gregory A. Boyd (The Myth of a Christian Nation: How the Quest for Political Power Is Destroying the Church)
The earliest storytellers were magi, seers, bards, griots, shamans. They were, it would seem, as old as time, and as terrifying to gaze upon as the mysteries with which they wrestled. They wrestled with mysteries and transformed them into myths which coded the world and helped the community to live through one more darkness, with eyes wide open and hearts set alight. "I can see them now, the old masters. I can see them standing on the other side of the flames, speaking in the voices of lions, or thunder, or monsters, or heroes, heroines, or the earth, or fire itself -- for they had to contain all voices within them, had to be all things and nothing. They had to have the ability to become lightning, to become a future homeland, to be the dreaded guide to the fabled land where the community will settle and fructify. They had to be able to fight in advance all the demons they would encounter, and summon up all the courage needed on the way, to prophesy about all the requisite qualities that would ensure their arrival at the dreamt-of land. "The old masters had to be able to tell stories that would make sleep possible on those inhuman nights, stories that would counter terror with enchantment, or with a greater terror. I can see them, beyond the flames, telling of a hero's battle with a fabulous beast -- the beast that is in the hero." "The storyteller's art changed through the ages. From battling dread in word and incantations before their people did in reality, they became the repositories of the people's wisdom and follies. Often, conscripted by kings, they became the memory of a people's origins, and carried with them the long line of ancestries and lineages. Most important of all, they were the living libraries, the keepers of legends and lore. They knew the causes and mutations of things, the herbs, trees, plants, cures for diseases, causes for wars, causes of victory, the ways in which victory often precipitates defeat, or defeat victory, the lineages of gods, the rites humans have to perform to the gods. They knew of follies and restitutions, were advocates of new and old ways of being, were custodians of culture, recorders of change." "These old storytellers were the true magicians. They were humanity's truest friends and most reliable guides. Their role was both simple and demanding. They had to go down deep into the seeds of time, into the dreams of their people, into the unconscious, into the uncharted fears, and bring shapes and moods back up into the light. They had to battle with monsters before they told us about them. They had to see clearly." "They risked their sanity and their consciousness in the service of dreaming better futures. They risked madness, or being unmoored in the wild realms of the interspaces, or being devoured by the unexpected demons of the communal imagination." "And I think that now, in our age, in the mid-ocean of our days, with certainties collapsing around us, and with no beliefs by which to steer our way through the dark descending nights ahead -- I think that now we need those fictional old bards and fearless storytellers, those seers. We need their magic, their courage, their love, and their fire more than ever before. It is precisely in a fractured, broken age that we need mystery and a reawoken sense of wonder. We need them to be whole again.
Ben Okri (A Way of Being Free)
The United States had been created through an act of disloyalty. No matter how eloquently the Declaration of Independence had attempted to justify the American rebellion, a residual guilt hovered over the circumstances of the country's founding. Arnold changed all that. By threatening to destroy the newly created republic through, ironically, his own betrayal, Arnold gave this nation of traitors the greatest of gifts; a myth of creation. The American people had come to revere George Washington, but a hero alone was not sufficient to bring them together. Now they had the despised villain Benedict Arnold. They knew both what they were fighting for - and against. The story of American's genesis could finally move beyond the break with the mother country and start to focus on the process by which thirteen former colonies could become a nation. As Arnold had demonstrated, the real enemy was not Great Britain, but those Americans who sought to undercut their fellow citizens commitment to one another. Whether it was Joseph Reed's willingness to promote his state's interests at the expenses of what was best for the country as a whole or Arnold's decision to sell his loyalty to the highest bidder, the greatest danger to America's future cam from self-serving opportunism masquerading as patriotism. At this fragile state in the country's development, a way had to be found to strengthen rather than destroy the existing framework of government. The Continental Congress was far from perfect, but it offered a start to what could one day be a great nation. By turning traitor, Arnold had alerted the American people to how close they had all come to betraying the Revolution by putting their own interests ahead of their newborn country's. Already the name Benedict Arnold was becoming a byword for that most hateful of crimes: treason against the people of the United States.
Nathaniel Philbrick (Valiant Ambition: George Washington, Benedict Arnold, and the Fate of the American Revolution (The American Revolution Series))
Thus, the person of experience and reflection writes history. Anyone who has not experienced life on a greater and higher level than everyone else will not know how to interpret the greatness and loftiness of the past. The utterance of the past is always an oracular pronouncement. You will understand it only as builders of the future and as people who know about the present. People now explain the extraordinarily deep and far-reaching effect of Delphi by the particular fact that the Delphic priests had precise knowledge about the past. It is appropriate now to understand that only the man who builds the future has a right to judge the past. In order to look ahead, set yourselves an important goal, and at the same time control that voluptuous analytical drive with which you now lay waste the present and render almost impossible all tranquility, all peaceful growth and maturing. Draw around yourself the fence of a large and extensive hope, an optimistic striving. Create in yourselves a picture to which the future is to correspond, and forget the myth that you are epigones. You have enough to plan and to invent when you imagine that future life for yourselves. But in considering history do not ask that she show you the 'How?' and the 'With what?' If, however, you live your life in the history of great men, then you will learn from history the highest command: to become mature and to flee away from that paralyzing and prohibiting upbringing of the age, which sees advantages for itself in not allowing you to become mature, in order to rule and exploit you, the immature. And when you ask after biographies, then do not ask for those with the refrain 'Mr. Soandso and His Age' but for those whose title page must read 'A Fighter Against His Age.' Fill your souls with Plutarch, and dare to believe in yourselves when you have faith in his heroes. With a hundred people raised in such an unmodern way, that is, people who have become mature and familiar with the heroic, one could permanently silence the entire noisy pseudo-education of this age.
Friedrich Nietzsche (Untimely Meditations)
I wish I had asked myself when I was younger. My path was so tracked that in my 8th-grade yearbook, one of my friends predicted— accurately— that four years later I would enter Stanford as a sophomore. And after a conventionally successful undergraduate career, I enrolled at Stanford Law School, where I competed even harder for the standard badges of success. The highest prize in a law student’s world is unambiguous: out of tens of thousands of graduates each year, only a few dozen get a Supreme Court clerkship. After clerking on a federal appeals court for a year, I was invited to interview for clerkships with Justices Kennedy and Scalia. My meetings with the Justices went well. I was so close to winning this last competition. If only I got the clerkship, I thought, I would be set for life. But I didn’t. At the time, I was devastated. In 2004, after I had built and sold PayPal, I ran into an old friend from law school who had helped me prepare my failed clerkship applications. We hadn’t spoken in nearly a decade. His first question wasn’t “How are you doing?” or “Can you believe it’s been so long?” Instead, he grinned and asked: “So, Peter, aren’t you glad you didn’t get that clerkship?” With the benefit of hindsight, we both knew that winning that ultimate competition would have changed my life for the worse. Had I actually clerked on the Supreme Court, I probably would have spent my entire career taking depositions or drafting other people’s business deals instead of creating anything new. It’s hard to say how much would be different, but the opportunity costs were enormous. All Rhodes Scholars had a great future in their past. the best paths are new and untried. will this business still be around a decade from now? business is like chess. Grandmaster José Raúl Capablanca put it well: to succeed, “you must study the endgame before everything else. The few who knew what might be learned, Foolish enough to put their whole heart on show, And reveal their feelings to the crowd below, Mankind has always crucified and burned. Above all, don’t overestimate your own power as an individual. Founders are important not because they are the only ones whose work has value, but rather because a great founder can bring out the best work from everybody at his company. That we need individual founders in all their peculiarity does not mean that we are called to worship Ayn Randian “prime movers” who claim to be independent of everybody around them. In this respect, Rand was a merely half-great writer: her villains were real, but her heroes were fake. There is no Galt’s Gulch. There is no secession from society. To believe yourself invested with divine self-sufficiency is not the mark of a strong individual, but of a person who has mistaken the crowd’s worship—or jeering—for the truth. The single greatest danger for a founder is to become so certain of his own myth that he loses his mind. But an equally insidious danger for every business is to lose all sense of myth and mistake disenchantment for wisdom.
Peter Thiel (Zero to One: Notes on Startups, or How to Build the Future)
few years later, Demeter took a vacation to the beach. She was walking along, enjoying the solitude and the fresh sea air, when Poseidon happened to spot her. Being a sea god, he tended to notice pretty ladies walking along the beach. He appeared out of the waves in his best green robes, with his trident in his hand and a crown of seashells on his head. (He was sure that the crown made him look irresistible.) “Hey, girl,” he said, wiggling his eyebrows. “You must be the riptide, ’cause you sweep me off my feet.” He’d been practicing that pickup line for years. He was glad he finally got to use it. Demeter was not impressed. “Go away, Poseidon.” “Sometimes the sea goes away,” Poseidon agreed, “but it always comes back. What do you say you and me have a romantic dinner at my undersea palace?” Demeter made a mental note not to park her chariot so far away. She really could’ve used her two dragons for backup. She decided to change form and get away, but she knew better than to turn into a snake this time. I need something faster, she thought. Then she glanced down the beach and saw a herd of wild horses galloping through the surf. That’s perfect! Demeter thought. A horse! Instantly she became a white mare and raced down the beach. She joined the herd and blended in with the other horses. Her plan had serious flaws. First, Poseidon could also turn into a horse, and he did—a strong white stallion. He raced after her. Second, Poseidon had created horses. He knew all about them and could control them. Why would a sea god create a land animal like the horse? We’ll get to that later. Anyway, Poseidon reached the herd and started pushing his way through, looking for Demeter—or rather sniffing for her sweet, distinctive perfume. She was easy to find. Demeter’s seemingly perfect camouflage in the herd turned out to be a perfect trap. The other horses made way for Poseidon, but they hemmed in Demeter and wouldn’t let her move. She got so panicky, afraid of getting trampled, that she couldn’t even change shape into something else. Poseidon sidled up to her and whinnied something like Hey, beautiful. Galloping my way? Much to Demeter’s horror, Poseidon got a lot cuddlier than she wanted. These days, Poseidon would be arrested for that kind of behavior. I mean…assuming he wasn’t in horse form. I don’t think you can arrest a horse. Anyway, back in those days, the world was a rougher, ruder place. Demeter couldn’t exactly report Poseidon to King Zeus, because Zeus was just as bad. Months later, a very embarrassed and angry Demeter gave birth to twins. The weirdest thing? One of the babies was a goddess; the other one was a stallion. I’m not going to even try to figure that out. The baby girl was named Despoine, but you don’t hear much about her in the myths. When she grew up, her job was looking after Demeter’s temple, like the high priestess of corn magic or something. Her baby brother, the stallion, was named Arion. He grew up to be a super-fast immortal steed who helped out Hercules and some other heroes, too. He was a pretty awesome horse, though I’m not sure that Demeter was real proud of having a son who needed new horseshoes every few months and was constantly nuzzling her for apples. At this point, you’d think Demeter would have sworn off those gross, disgusting men forever and joined Hestia in the Permanently Single Club. Strangely, a couple of months later, she fell in love with a human prince named Iasion (pronounced EYE-son, I think). Just shows you how far humans had come since Prometheus gave them fire. Now they could speak and write. They could brush their teeth and comb their hair. They wore clothes and occasionally took baths. Some of them were even handsome enough to flirt with goddesses.
Rick Riordan (Percy Jackson's Greek Gods)