A Quote by Marlon Brando

We make up any excuse to preserve myths about people we love, but the reverse is also true; if we dislike an individual we adamantly resist changing our opinion, even when somebody offers proof of his decency, because it's vital to have myths about both the gods and devils in our lives.
The more real things get, the more like myths they become. There have always been myths, but the myths of earlier times were, Im convinced, bad ones, because they made people sick. So certainly, if we can tell evil stories to make people sick, we can also tell good myths that make them well.
I think we're always in the process of writing and rewriting the story of our lives, forming our experiences into a narrative that makes sense. Much of that work involves demythologizing family myths and cultural myths - getting free of what we have been told about ourselves.
It may be said that myths give to the transcendent reality an immanent, this-worldly objectivity. Myths speak about gods and demons as powers on which man knows himself to be dependent, powers whose favors he needs, powers whose wrath he fears. Myths express the knowledge that man is not master of the world and his life, that the world within which he lives is full of riddles and mysteries and that human life also is full of riddles and mysteries.
I stick closely to the structure of the myths. I may have some fun with the mythology by changing the environment to modern-day, but the structure of the myths, the monsters, the relationships of the gods - none of that is made up.
It's only recently that I've come to understand that writers are not marginal to our society, that they, in fact, do all our thinking for us, that we are writing myths and our myths are believed, and that old myths are believed until someone writes a new one.
Myths are the prototype for all stories. When we write a story on our own it can't help but link up with all sorts of myths. Myths are like a reservoir containing every story there is.
I have decided to tell the story of my life as best I can, so that my children can separate the truth from the myths that others have created about me, as myths are created about everyone swept up in the turbulent and distorting maelstrom of celebrity in our culture.
There are two gods. The god our teachers teach us about, and the God who teaches us. The god about whom people usually talk, and the God who talks to us. The god we learn to fear, and the God who speaks to us of mercy. The god who is somewhere up on high, and the God who is here in our daily lives. The god who demands punishment, and the God who forgives us our trespasses. The god who threatens us with the torments of Hell, and the God who shows us the true path. There are two gods. A god who casts us off because of our sins, and a God who calls to us with His love.
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.
writers are makers, not just transmitters, of myths. Literature offers not only myths but counter-myths, just as life offers counter-experiences - experiences that confound what you thought you thought, or felt, or believed.
It helps to regard soul as an active intelligence, forming and plotting each person's fate. Translators use "plot" to render the ancient Greek word mythos in English. The plots that entangle our souls and draw forth our characters are the great myths. That is why we need a sense of myth and knowledge of different myths to gain insight into our epic struggles, our misalliances, and our tragedies. Myths show the imaginative structures inside our messes, and our human characters can locate themselves against the background of the characters of myth.
Myths, as compared with folk tales, are usually in a special category of seriousness: they are believed to have "really happened,"or to have some exceptional significance in explaining certain features of life, such as ritual. Again, whereas folk tales simply interchange motifs and develop variants, myths show an odd tendency to stick together and build up bigger structures. We have creation myths, fall and flood myths, metamorphose and dying-god myths.
Now the myths represent the Gods themselves and the goodness of the Gods subject always to the distinction of the speakable and the unspeakable, the revealed and the unrevealed, that which is clear and that which is hidden: since, just as the Gods have made the goods of sense common to all, but those of intellect only to the wise, so the myths state the existence of Gods to all, but who and what they are only to those who can understand.
"The myths," says Horace in his Ars Poetica, "have been invented by wise men to strengthen the laws and teach moral truths." While Horace endeavored to make clear the very spirit and essence of the ancient myths, Euhemerus pretended, on the contrary, that "myths were the legendary history of kings and heroes, transformed into gods by the admiration of the nations." It is the latter method which was inferentially followed by Christians when they agreed upon the acceptation of euhemerized patriarchs, and mistook them for men who had really lived.
As we were developing 'Umbral', and I was delving into the mythology and legends, I had a sudden realisation. 'Wasteland' is about people who fervently believe new myths and legends, but they turn out to be false; whereas 'Umbral' is about people who reject ancient myths and legends, but they turn out to be true!
There is something feeble, and a little contemptible, about a man who cannot face the perils of life without the help of comfortable myths. Almost inevitably some part of him is aware that they are myths and that he believes them only because they are comforting. But he dare not face this thought, and he therefore cannot carry his own reflection to any logical conclusion.
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