Quotes About Myth

Myth is a tale once believed as truth; believed, it is not myth, but religion. A tale once religiously believed that has come to be called a myth is something of religion corrupted with disbelief. What are beliefs for some societies but myths for others cannot fill spiritual vacancies in the life of those others.

How then can we account for the persistence of the myth that inside the empty nest lives a shattered and depressed shell of a woman--a woman in constant pain because her children no longer live under her roof? Is it possible that a notion so pervasive is, in fact, just a myth?

Sellars's "myth of Jones" is deployed against what Sellars calls "the myth of the categorial Given": the idea that to be aware of something is to be aware of it as something. This short circuit between "awareness of" and "awareness as" inhibits the project of self-understanding because it perpetuates the assumption that there is a point where being and knowing coincide.

A myth... is a metaphor for a mystery beyond human comprehension. It is a comparison that helps us understand, by analogy, some aspect of our mysterious selves. A myth, in this way of thinking, is not an untruth but a way of reaching a profound truth.

I know that there's this one Albanian myth that's always reflected on, and I think it reflects on the actual core culture. That myth is called The Besa. B-E-S-A. The Besa is a word that Albanians use to mean avow, but it's such a strong promise, that even past death, one cannot break that promise. It is unfathomable. So if you give someone your besa, life or death, heaven or hell, you have to fulfill that besa.

A myth is far truer than a history, for a history only gives a story of the shadows, whereas a myth gives a story of the substances that cast the shadows.

There's a strange myth of Anglo-Saxonism. When the University of Virginia was founded by Thomas Jefferson, for example, its law school offered the study of "Anglo-Saxon Law." And that myth of Anglo-Saxonism carries right over into the early twentieth century.

Greatness is a transitory experience. It is never consistent. It depends in part upon the myth-making imagination of humankind. The person who experiences greatness must have a feeling for the myth he or she is in. That person must reflect what is projected upon him or her.

You have to think of your brand as a kind of myth. A myth is a compelling story that is archetypal, if you know the teachings of Carl Jung. It has to have emotional content and all the themes of a great story: mystery, magic, adventure, intrigue, conflicts, contradiction, paradox.

You must forgive everyone. Now many would say that "We cannot forgive, it's very difficult." But it's a myth whether you forgive or don't forgive. What do you do? You don't do anything. But when you don't forgive, then you are playing into wrong hands. That means you are torturing yourself, while those who have troubled you are quite happy.

News objectivity is a twentieth-century myth. We only complain about propaganda when we don't agree with it.

Evolution is a myth. God creates the future the way he wants it.

Myth and tool mutually constitute each other.

The act of abortion positions women at their most powerful, and that is why it is so strongly opposed by many in society. Historically viewed as and conditioned to be passive, dependent creatures, victims of biological circumstance, women often find it difficult to embrace this power over life and death. They fall prey to the assumption, the myth, that they cannot be trusted with it.

I think everyone can relate to the werewolf myth - because we've all, as a result of alcohol, drugs, exhaustion, rage, gone off the leash and come to regret it later. I appeal to this psychologically - the unleashed id - but with a biological cause; I'm hopefully making possible supernatural circumstances.

If the myth of pure evil is that evil is committed with the intention of causing harm and an absence of moral considerations, then it applies to very few acts of so-called 'pure evil' because most evildoers believe what they are doing is forgivable or justifiable.

I think the Sixties in some ways is a barrier to young people today. They think of it, you know, what we're doing is not that. But it's partly the myth of the Sixties. It always felt embattled and small. It always, almost always, was a small group of people relative to the opposition around.

The hero, whether god or goddess, man or woman, the figure in a myth or the dreamer of a dream discovers and assimilates his opposite (his own unsuspected self) either by swallowing it or by being swallowed.

The second thing that happened is, DNA analysis is much more sophisticated. All you have to do now is spit in a test tube and you find out all kind of things in six weeks - where they are from in Africa or Europe. You can prove or disprove the fundamental African-American myth that you descended from a Cherokee great, great grandmother.

There's the whole myth about rocket science. It's really not that hard. It's not brain surgery.

Were it part of our everyday education and comment that the corporation is an instrument for the exercise of power, that it belongs to the process by which we are governed, there would then be debate on how that power is used and how it might be made subordinate to the public will and need. This debate is avoided by propagating the myth that the power does not exist.

The romantic myth of the artist says that you are the Source. I have no illusion about that. Native Americans don't believe they are the Source. They have access to the Source. Endless access. But don't get confused.

As a guiding principle I believe that every poem must be its own sole freshly created universe, and therefore have no belief n 'tradition' or a common myth-kitty or casual allusions in poems to other poems or poets, which last I find unpleasantly like the talk of literary understrappers letting you see they know the right people.

Global warming - at least the modern nightmare vision - is a myth. I am sure of it and so are a growing number of scientists. But what is really worrying is that the world's politicians and policy makers are not.

As Plotinus tells us, we elected the body, the parents, the place, and the circumstances that suited the soul and that, as the myth says, belongs to its necessity.

History shows us that the songs - the myth, the experience and the emotion - live longer the less you explain.

When animals do something noble we say they are behaving ‘like humans’. When humans do something disgusting we say they are behaving ‘like animals’. Clumsy use of the English language perpetuates the myth that animals are inferior and disposable beings.

It is easy to imagine fantasy as physical and myth as real. We do it almost every moment. We do this as we dream, as we think, and as we cope with the world about us. But these worlds of fantasy that we form into the solid things around us are the source of our discontent. They inspire our search to find ourselves.

When we start making distinctions between soul and spirit, we're in very, very murky waters. There is the whole issue of the English language, which has a rather limited vocabulary when it comes to psychological descriptions, not to speak of spiritual descriptions. We're good mythically - the English language is superb for myth. But we're not very good for psychology or spirituality.

The storyteller is deep inside everyone of us. The story-maker is always with us. Let us suppose our world is attacked by war, by the horrors that we all of us easily imagine. Let us suppose floods wash through our cities, the seas rise . . . but the storyteller will be there, for it is our imaginations which shape us, keep us, create us - for good and for ill. It is our stories that will recreate us, when we are torn, hurt, even destroyed. It is the storyteller, the dream-maker, the myth-maker, that is our phoenix, that represents us at our best, and at our most creative.

Arthuriana has become a genre in itself, more like TV soap opera where people think they know the characters. All that's fair enough, but it does remove the mythic power of the feminine and masculine principles. So I prefer it in its original form, even if you have to wade through Mallory's 'Le Morte d'Arthur' - people smashing people for pages and pages! It still has the resonances of myth about it, which makes it work for me. I don't want to know if Mordred led an unhappy childhood or not.

Anxiety projection can and does occur - in myth, in music, in fiction, and in the doctor's office too. That doesn't make it the basis of everything.

What dazzles us in Stacy Schiff's Cleopatra are not the alluring mythologies about the evasive queen, but the astonishing if rare historical facts that Schiff has meticulously and lovingly excavated. Schiff offers not just Cleopatra's story but the story of an amazing era, one that has vanished but still affects us, questioning the way we look at myth, history, and ourselves.

The myth of the impossible dream is more powerful than all the facts of history.

The kindly God who lovingly fashioned each and every one of us and sprinkled the sky with shining stars for our delight - that God is, like Santa Claus, a myth of childhood, not anything [that] a sane, undeluded adult could literally believe in. That God must either be turned into a symbol for something less concrete or abandoned altogether.

Is it not grotesque when the representatives of an antiquated myth-sorcery, who believes in trinity, angels, devils, hell, virgin-birth, bodily Ascension, making of water into wine, wine to blood, - when they want to impress us with their "science"?

I never looked at Noah as an animal collector. I always thought of him as an apocalyptic character. I read everything I found about it and was surprised to find that in all religions there is the story of the flood, and that one "hero" saved the world. This proved that Noah and his Ark - were not a religious myth, and is evidence that humanity really went through the flood.

The West Wing seems to be feeding the myth about how presidential politics are.

Vulnerability is not weakness. And that myth is profoundly dangerous... I define vulnerability as emotional risk, exposure, uncertainty. It fuels our daily lives.

Despite the myth that men are less committed, they are predisposed to desire marriage.

From the first place of liquid darkness, within the second place of air and light, I set down the following record with its mixture of fact and truths and memories of truths and its direction toward the Third Place, where the starting point is myth.

Myth must be kept alive. The people who can keep it alive are the artists of one kind or another.

There are many beliefs that we have seen as truth in Western civilization for hundreds of years. We live according to these "truths" and as a result manifesting a life using those beliefs, which can be very self-destructive. So these beliefs will affect decisions in economics and politics and everything else that we do. One myth-perception is our continued emphasis of a Newtonian materialistic world, which by definition emphasizes the primacy of matter and somewhat ignores or minimizes the influence of the immaterial part of the universe.

It is only myth that attempts to say how the universe came to be, either four thousand or twenty billion years ago.

We are faced with the task of convincing a myth infatuated world that love and curiosity are sufficient and you don't have to delude yourself and frighten yourself with Iron Age fairy tales. This is a monumental task. I don't think there is an intellectual struggle more worthy of our efforts.

If you take myth and folklore, and these things that speak in symbols, they can be interpreted in so many ways that although the actual image is clear enough, the interpretation is infinitely blurred, a sort of enormous rainbow of every possible colour you could imagine.

I was there when Abbe Georges Lemaître first proposed this [Big Bang] theory. ... There is no rational reason to doubt that the universe has existed indefinitely, for an infinite time. .... It is only myth that attempts to say how the universe came to be, either four thousand or twenty billion years ago.

The director, Antoine Fuqua, relies on small details, which anchor the vigilante-as-saint myth in at least a minimal degree of reality.