Now, when Luke Skywalker unmasks his father, he is taking off the machine role that the father has played. The father was the uniform. That is power, the state role.

We can safely say, therefore, that whereas some moralists may find it possible to make a distinction between two spheres and reigns-one of flesh, the other of the spirit, one of time, the other of eternity-where ever love arises such definitions vanish, and a sense of life awakens in which all such oppositions are at one.

We need myths that will identify the individual not with his local group but with the planet.

The passage of the mythological hero may be over ground, incidentally; fundamentally it is inward--into depths where obscure resistances are overcome, and long lost, forgotten powers are revivified, to be made available for the transfiguration of the world.

For when the heart insists on its destiny, resisting the general blandishment, then the agony is great; so too the danger. Forces, however, will have been set in motion beyond the reckoning of the senses. Sequences of events from the corners of the world will draw gradually together, and miracles of coincidence bring the inevitable to pass.

You know, I didn't write my books for critics and scholars. I wrote them for students and artists. When I hear how much my work has meant to them--well, I can't tell you how happy that makes me. That means that this great stuff of myth, which I have been so privileged to work with, will be kept alive for a whole new generation. That's the function of the artists, you know, to reinterpret the old stories and make them come alive again, in poetry, painting, and now in movies.

When everything is lost, and all seems darkness, then comes the new life and all that is needed.