Myth is much more important and true than history. History is just journalism and you know how reliable that is.

I am not far from believing that, in our own societies, history has replaced mythology and fulfils the same function, that for societies without writing and without archives the aim of mythology is to ensure that as closely as possible—complete closeness is obviously impossible—the future will remain faithful to the present and to the past.

Myth therefore seems to choose history, rather than be chosen by it.

History as inspiration and ideology has a built-in tendency to become self-justifying myth. Nothing is a more dangerous blindfold than this, as the history of modern nations and nationalisms demonstrates.

What is history after all? History is facts which become lies in the end; legends are lies which become history in the end.

in the pre-modern world, when people wrote about the past they were more concerned with what an event had meant. A myth was an event which, in some sense, had happened once, but which also happened all the time. Because of our strictly chronological view of history, we have no word for such an occurrence, but mythology is an art form that points beyond history to what is timeless in human existence, helping us to get beyond the chaotic flux of random events, and glimpse the core of reality. An experience of transcendence has always been part of the human experience. We seek out moments of ecstasy, when we feel deeply touched within and lifted momentarily beyond ourselves. At such times, it seems that we are living more intensely than usual, firing on all cylinders, and inhabiting the whole of our humanity. Religion has been one of the most traditional ways of attaining ecstasy, but if people no longer find it in temples, synagogues, churches or mosques, they look for it elsewhere: in art, music, poetry, rock, dance, drugs, sex or sport. Like poetry and music, mythology should awaken us to rapture, even in the face of death and the despair we may feel at the prospect of annihilation. If a myth ceases to do that, it has died and outlived its usefulness.

Wherever the poetry of myth is interpreted as biography, history, or science, it is killed. The living images become only remote facts of a distant time or sky. Furthermore, it is never difficult to demonstrate that as science and history mythology is absurd. When a civilization begins to reinterpret its mythology in this way, the life goes out of it, temples become museums, and the link between the two perspectives is dissolved. Such a blight has certainly descended on the Bible and on a great part of the Christian cult.

To bring the images back to life, one has to seek, not interesting applications to modern affairs, but illuminating hints from the inspired past. When these are found, vast areas of half-dead iconography disclose again their permanently human meaning.

History is a myth men want to believe.

Why is it that one set of stories is called "mythology", and another set of stories is called "the truth"?

Historical sense and poetic sense should not, in the end, be contradictory, for if poetry is the little myth we make, history is the big myth we live, and in our living, constantly remake.

Myth is not prehistory; it is timeless reality, which repeats itself in history. We may consider our own century’s rediscovery of meaning in myth as a favorable sign.

History is the present. That’s why every generation writes it anew. But what most people think of as history is its end product, myth.

To some extent, mythology is only the most ancient history and biography. So far from being false or fabulous in the common sense, it contains only enduring and essential truth, the I and you, the here and there, the now and then, being omitted. Either time or rare wisdom writes it. Before printing was discovered, a century was equal to a thousand years. The poet is he who can write some pure mythology to-day without the aid of posterity

Mythology is wondrous, a balm for the soul. But its problems cannot be ignored. At worst, it buys inspiration at the price of physical impossibility […]. At best, it purveys the same myopic view of history that made this most fascinating subject so boring and misleading in grade school as a sequential take of monarchs and battles.