They who shall enter into [the] joy [of the Lord] shall know what is going on outside in the outer darkness. . .The saints'. . . knowledge, which shall be great, shall keep them acquainted. . .with the eternal sufferings of the lost.
The same fire" (which he decides to be material) " torments the damned in hell and the just in purgatory...The least pain in purgatory exceeds the greatest in this life.
Wherefore no name can be found for a new fossil [element] which indicates its peculiar and characteristic properties (in which position I find myself at present), I think it is best to choose such a denomination as means nothing of itself and thus can give no rise to any erroneous ideas. In consequence of this, as I did in the case of Uranium, I shall borrow the name for this metallic substance from mythology, and in particular from the Titans, the first sons of the earth. I therefore call this metallic genus TITANIUM.
That's the great thing about rock n' roll: the myth is ultimately more important than the reality. And that's what you learn - you just learn to go with the mythology.
You have the entire gamut of human experience captured in the mythology of the Yoruba. This is what makes the Yoruba mythology a natural source material for me in my creative endeavours.
The interface of history and myth is where my stories take place anyway, and there's always a way I'm trying to tap mythologies with the perfect understanding that history will trump mythology.
The way superheroes dominate the fictional landscape now, along with dystopian futures and zombies. Yeah, definitely - I think these stories function as a kind of mythology for us.
People who become great leaders are those who take time to reflect every day on the big questions: Who am I? What is my purpose? Who are my heroes in history, mythology, and religion? What are my unique talents and how do I express them? These are the qualities of silent reflection that make a great leader, like Jesus.
For me, fantasy and speculative science fiction are the genres that feel closest to how I feel about being alive. Like, when I feel the most invigorated by just even a walk down the block in twilight, when the street lamps are just coming on and there's mist and some shadowy thing in silhouette in a window, I naturally invest all of those things with deep mythology and mystery and meaning. I think I need to believe in that version of reality because I get very scared when I don't.
The mythology around colorblindness leads people to imagine that if poor kids of color are failing or getting locked up in large numbers, it must be something wrong with them. It leads young kids of color to look around and say: "There must be something wrong with me, there must be something wrong with us. Is there something inherent, something different about me, about us as a people, that leads us to fail so often, that leads us to live in these miserable conditions, that leads us to go in and out of prison?"
I think this mythology - that we're all beyond race, of course our police officers aren't racist, of course our politicians don't mean any harm to people of color - this idea that we're beyond all that (so it must be something else) makes it difficult for young people as well as the grown-ups to be able to see clearly and honestly the truth of what's going on. It makes it difficult to see that the backlash against the Civil Rights Movement manifested itself in the form of mass incarceration, in the form of defunding and devaluing schools serving kids of color and all the rest.
In the United States, the immigrant experience occupies a very central place in American mythology. And sometimes, that place wavers between acceptance and rejection.
Fantasy, in addition to being great storytelling, moves us at some unique and profound level. It has, I think, the power of mythology, or ancient dreams we have always and forever shared. In it, we find our real world and our real selves.
Favorite books and authors while growing up - I'd need a book to list them all. For the sake of brevity: Shakespeare, Dickens, Mark Twain, Victor Hugo, world's mythology, the Arthurian legends. And the unabridged dictionary. And they're still my favorites. They get better each time I read them.
I think young people really do care. They want to build their life on something that's solid and makes sense, that's rational, that's not built on mythology, make-believe and wishful thinking.
I suppose every poet has his own private mythology. Maybe he's unaware of it. People tell me that I have evolved a private mythology of tigers, of blades, of labyrinths, and I"m unaware of the fact this is so. My readers are finding it all the time. But I think perhaps that is the duty of poet.
You don't have to try to be contemporary. You are already contemporary. What one has in mythology is being evolved all the time. Personally, I think I can do with Greek and Old Norse mythology. For example, I don't think I stand in need of planes or of railways or of cars.
For black people in the western hemisphere, if you can't generate a mythology that creates models of heroism and power out of the mythology that you had, then that means that somehow the mythology you had was not only feeble and weak, but that you are ultimately a powerless people. That's a notion that, I think, that can't be accepted.
The gods in Yoruba mythology are not remote at all. They're benign, they're malign, they are mischievous, like Eshu for instance, tricksters, rascally, fornicators, that's a similarity to Greek mythology, for instance, you know. They're not saints, they're not saints. They're powerful. It's why they're not tyrannical. Of course, a number of them are also very, you know, benevolent, you know, there are saintly virtues to be found in them.
I rarely use mythology for its own sake because, as a theatre person, the mythological figures are in fact humanity to the ninth degree and Yoruba mythology in particular has fascination of being one of the most humanised mythologies in the world.
Mythology can be used, and has been used, even to re-state, you know, the very urgent problems of the world.
The mythology in rock n' roll is that I'm a bit of a loose cannon. Yet I've produced more music than anybody in my generation. So how much of a loose cannon am I? But the general public believes that I'm a loose cannon, so let them believe it. I'm not going to correct them.
I've come across a novel called The Palm-Wine Drinkard, by the Nigerian writer Amos Tutuola, that is really remarkable because it is a kind of fantasy of West African mythology all told in West African English which, of course, is not the same as standard English.
If you want to put your rock 'n' roll into mythology, [A Period of Transition] is from the Daddy Cool school.
I work really out of mythology, so often I work out of a story that has remained lodged inside somehow, or I work out of history, you know, out of a sense of historical inevitability with characters.
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