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We are accustomed to the artist scoundrel or specialist in vice, and unaccustomed to the creator in whom passion and reason and moral integrity hold in balance. But greatness of intellect and feeling, or soul and conduct — magnanimity, in short — does occur; it is not a myth for boy scouts, and its reality is important, if only to give us the true range of the term "human," which we so regularly define by its lower reaches.
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Preface to the 3rd edition of Berlioz and the Romantic Century (1969)

 

Jacques Barzun

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The hearer of myth, regardless of his level of culture, when he is listening to a myth, forgets, as it were, his particular situation and is projected into another world, into another universe which is no longer his poor little universe of every day. . . . The myths are true because they are sacred, because they tell him about sacred beings and events. Consequently, in reciting or listening to a myth, one resumes contact with the sacred and with reality, and in so doing one transcends the profane condition, the "historical situation." In other words one goes beyond the temporal condition and the dull self-sufficiency which is the lot of every human being simply because every human being is "ignorant" — in the sense that he is identifying himself, and Reality, with his own particular situation. And ignorance is, first of all, this false identification of Reality with what each one of us appears to be or to possess.

 

Mircea Eliade

 

Were I called on to define, very briefly, the term "Art," I should call it "the reproduction of what the Senses perceive in Nature through the veil of the soul." The mere imitation, however accurate, of what is in Nature, entitles no man to the sacred name of "Artist".

 

Edgar Allan Poe

 

Myth is an extremely complex cultural reality, which can be approached and interpreted from various and complementary viewpoints.
Speaking for myself, the definition that seems least inadequate because most embracing is this: Myth narrates a sacred history; it relates an event that took place in primordial Time, the fabled time of the "beginnings." In other words myth tells how, through the deeds of Supernatural Beings, a reality came into existence, be it the whole of reality, the Cosmos, or only a fragment of reality — an island, a species of plant, a particular kind of human behavior, an institution. Myth, then, is always an account of a "creation"; it relates how something was produced, began to be. Myth tells only of that which really happened, which manifested itself completely. The actors in myths are Supernatural Beings. They are known primarily by what they did in the transcendent times of the "beginnings." hence myths disclose their creative activity and reveal the sacredness (or simply the "supernaturalness") of their works. In short, myths describe the various and sometimes dramatic breakthroughs of the sacred (or the "supernatural") into the World. It is this sudden breakthrough of the sacred that really establishes the World and makes it what it is today. Furthermore, it is as a result of the intervention of Supernatural Beings that man himself is what he is today, a mortal, sexed, and cultural being.

 

Mircea Eliade

 

It goes without saying that only inner greatness possess a true value ("une valeur véritable,", Fr.) . Any attempt to rise up (or at rising up, - "s'élever", Fr.) outwardly above others, or to want (or wish) to impose one's superiority, denote a lack of moral greatness, since we do not try to replace ("suppléer", Fr.) in that way (.... in French "par l?", Fr.) to what, if we did really possess it, would have no need whatsoever to flaunt itself.

 

African Spir

 

I now define "moral behavior" as "behavior that tends toward survival." I won't argue with philosophers or theologians who choose to use the word "moral" to mean something else, but I do not think anyone can define "behavior that tends toward extinction" as being "moral" without stretching the word "moral" all out of shape.

 

Robert A. Heinlein