“She was a stone-faced statue when Horace shut the door and locked it. He walked down the hall, locked the door to the front of the chamber, went upstairs, and made himself some bacon and eggs for breakfast.”
“They could not feel my anguish nor see the concern in my eyes. They would wake up in the morning as if nothing had happened and make their breakfasts and go to work or school or take care of their children as if the day were like any other. But it wouldn’t be, and I knew it, regardless of what greeted me ahead.”
“Our laws are enacted and altered by human determination, and within their secular jurisdiction each of us is free to seek his own destiny, his own truth, to quest for this or for that and to find it through his own doing.”
The Hero with a Thousand Faces (1949) by Joseph Campbell is the book that awakened in writers and storytellers in publishing and in screenwriting to the larger scope of mythology as metaphor and to the underlining structure of stories.
One of the last sections is “The Functioning of Myth” and Campbell goes into great deal to extrapolate the introductory section. “The ends for which men strive in the world,” writes Campbell, “are three– no more, no less; namely: love and pleasure (kāma), power and success (artha: pronounced ‘art-ha’), and lawful order and moral virtue (dharma).