Rebellion per se is not a virtue. If it were, we would have some heroes on very low levels.
...America has enjoyed the doubtful blessing of a single-track mind. We are able to accommodate, at a time, only one national hero; and we demand that that hero shall be uniform and invincible. As a literate people we are preoccupied, neither with the race nor the individual, but with the type. Yesterday, we romanticized the "tough guy;" today, we are romanticizing the underprivileged, tough or tender; tomorrow, we shall begin to romanticize the pure primitive.
Napoleon was indeed the man sent by God to help the youth of France! Who is to take his place?
Athletes are American princes and the locker room is their castle. Some of them behave in princely fashion, become legitimate heroes to us all. And some are jerks.
Boswell, when he speaks of his Life of Johnson, calls it my magnum opus, but it may more properly be called his opera, for it is truly a composition founded on a true story, in which there is a hero with a number of subordinate characters, and an alternate succession of recitative and airs of various tone and effect, all however in delightful animation.
Mothers tend to encourage their sons to run away and romp.... Mothers of little boys often complain that "There's no controlling him." "He's all over the place...." The complaints are tinged with more than a little pride at the boy's marvelous independence and masculine bravado. It's almost as though the mother enjoyed being overwhelmed by her spectacular conquering hero.
No phallic hero, no matter what he does to himself or to another to prove his courage, ever matches the solitary, existential courage of the woman who gives birth.
Nelson's famous signal before the Battle of Trafalgar was not: "England expects that every man will be a hero." It said: "Englandexpects that every man will do his duty." In 1805 that was enough. It should still be.
Mark Zuckerberg will be a hero to many young entrepreneurs 20 years from now. Bill Gates will be a hero to others, and they will look to those [people] like I read books when I was in my teens about Rockefeller or Carnegie.
The most powerful drive in the ascent of man is his pleasure in his own skill. He loves to do what he does well and, having done it well, he loves to do it better. You see it in his science. You see it in the magnificence with which he carves and builds, the loving care, the gaiety, the effrontery. The monuments are supposed to commemorate kings and religions, heroes, dogmas, but in the end the man they commemorate is the builder.
We become male automatically because of the Y chromosome and the little magic peanut, but if we are to become men we need the helpof other men--we need our fathers to model for us and then to anoint us, we need our buddies to share the coming-of-age rituals with us and to let us join the team of men, and we need myths of heroes to inspire us and to show us the way.
As a guy develops and practices his masculinity, he is accompanied by an invisible male chorus of all the other guys, who hiss orcheer as he attempts to approximate the masculine ideal, who push him to sacrifice more of his humanity for the sake of his masculinity, and who ridicule him when he holds back. The chorus is made up of all the guy's comrades and rivals, his buddies and bosses, his male ancestors and his male cultural heroes--and above all, his father, who may have been a real person in his life, or may have existed only as the myth of the man who got away.
You know, I often thought that the gangster and the artist are the same in the eyes of the masses. They're admired and hero-worshipped but there is always present underlying desire to see them destroyed at the peak of their glory.
Fantasy works inwards upon its author, blurring the boundary between the visioned and the actual, and associating itself ever moreclosely with the Ego, so that the child who has fantasied himself a murderer ends by becoming a Loeb or a Leopold. The creative Imagination works outwards, steadily increasing the gap between the visioned and the actual, till this becomes the great gulf fixed between art and nature. Few writers of crime-stories become murderers--if any do, it is not the result of identifying themselves with their murderous heroes.
When it looks at great accomplishments, the world, bent on simplifying its images, likes best to look at the dramatic, picturesquemoments experienced by its heroes.... But the no less creative years of preparation remain in the shadow.
Why I love the ancients so much? Aside from everything else, when I read them, the entire past between them and me unfolds at thesame time. The hearts of how many heroes and poets may have been set on fire by Plutarch's biographies which now inspire me with their own and with borrowed flames!
the beauty of America, neither cool jazz nor devoured Egyptian heroes, lies in lives in the darkness I inhabit in the midst of sterile millions
The invention of film has given our generation the dubious advantage of watching our acting heroes deteriorate before our eyes.
I love and honour [Paulus Aemilius, in Plutarch's Lives], for his fondness for his children, which instead of blushing at, he avows and glories in: and that at an age, when almost all the heros and great men thought that to make their children and family a secondary concern, was the first proof of their superiority and greatness of soul.
I'll tell you...why Wonder Woman worked. Or Bionic Woman. Or any of those [shows] really. It was because it wasn't about brawn...it was about brains. And yes, she happened to be beautiful, she happened to be kind of extraordinary in some way, but she wasn't a guy. And I think that, [now], they...put out a female hero, and all they are doing is changing the costume from a man to a woman...they're not showcasing any of the tremendous dichotomies than women possess in term of softness and toughness, sweetness and grit, inner and outer strength.
We aren't heroes out there in the military. We're just Patriots.
My brother is one of my true heroes. Steady and sober where I am impulsive and emotional.
The first typical adolescent of modern times was Wagner's Siegfried. : the music of Siegfried expressed for the first time that combination of (provisional) purity, physical strength, naturism, spontaneity and joie de vivre which was to make the adolescent the hero of our twentieth century, the century of adolescence.
I was never disappointed by the people I've admired. And the choices I made when I was in a position where it was do-or-die were made with my heroes in mind.
I think the idea of a heightened reality and then the fantasy that we're able to be swept up in, and then these larger than life heroes and the possibility of someone much more powerful than we are and greater, that can come and save the day, so to speak, is inspiring.
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