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.
”The Constitutional Rebellion of 1905-1911 forced the weak Qajar dynasty to agree to Iran’s first constitution and parliament. Foreshadowing the 1979 revolution, the revolt was launched by the same powerful troika–the clergy, bazaar merchants, and the intelligentsia–that would come together again later in the century. Their goal was to curtail the monarchy’s power.”
“On the days of false spring it was very nice, after boxing and taking a shower, to walk along the streets smelling the spring in the air and stop at a cafe to sit and watch people and read the paper and drink vermouth; then go down to the hotel and have lunch with Catherine.”
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).”