their own life cycle. Stories that were once true and potent grow old and
infirm, and eventually they die. Today this is happening to some of our deepest
stories, the great myths of our
civilization. In particular, two related stories have created the world we
know today, and both of them are nearing their end.
The first of these world-creating stories is the
Story of Ascent. It is our
story of the people. It says the humanity has risen from a state of nature, a
state of scientific ignorance and technological impotence, to becoming nature's
lords and masters. We have harnessed natural forces, penetrated the mysteries
of the universe, overcome natural limitations with technology.
says the story, our understanding and control will be complete, thanks to
nanotechnology, space travel, infinite energy, social and genetic engineering,
etc. Humanity: conquerors of nature, onward and upward forever!
The second defining story of our civilization is our Story
of Self: that we are discrete and
separate beings living in an objective universe.
You and I are separate -
mutually dependent, perhaps, in a practical way, but independent of each other
or anyone else for our basic being-ness. From the selfish gene of biology to
the rational actor of economics to the flesh-encapsulated soul of religion, all
of our ideologies are aligned with our story of self. And, from the medical
system to the criminal justice system to the money system, all of our social
institutions enact it.
Both of these defining stories are crumbling
around us. Neither is true any more. Few people today greet the
Story of Ascent with the same
near-universal fervor of, say, the 1950s, as all the promises of technotopia
(the end of disease, unlimited energy, a leisure society, space colonies) fade
into legend. Collapse, not ascent, is
the new meme, and this collapse
ushers in new realization of connectedness, of
interdependency, and along with it the end of the story of
the discrete and separate self.
The independent, unencumbered man of reason no longer beckons as an ideal: we
crave now community, intimacy and connection." -
a fable is defined as:a
a deliberately improbable
a tale of legendary
a tale told to excite
an imaginative tale, intended to instruct and
a short mythical narrative of
moral tale (often with animal characters);
a short moral narrative making an edifying
or cautionary point;
a connected series of events, forming the
subject of an epic or dramatic poem.
employing animal characters that
speak and act like humans
intended to enforce some useful truth
In the New Testament a
fable is defined as the traditions and speculations, "cunningly devised
fables", of the Hebrews on
religious questions (1 Tim. 1:4; 4:7; 2 Tim. 4:4;
Titus 1:14; 2 Pet. 1:16). In such passages the word fable means anything
false and unreal. But the word fable is used as
almost equivalent to parable. Thus we have (1) the fable of Jotham, in which
the trees are spoken of as choosing a
king (Judg. 9:8-15); and (2) that of the
cedars of Lebanon and the thistle as Jehoash's answer to Amaziah (2 Kings
a tale or fairy tale is defined as:a short narrative;
common talk with a central
a rumor or piece of gossip, often malicious or untrue;
narrative that relates the details of some real or imaginary event or
incident., or case
an incredible or misleading fable for children using
fantastic accounts to create desired behavior.
Aesop was a storyteller and
lived in ancient Greece around 300
BC. Many of his fables feature animals as main characters, facing the same
situations humans face everyday. Aesop's
fables showed how a human problem can be solved
or how a human lesson is learned. They
typically dealt with emotions such as jealousy,
laziness, and lying and
were designed for the enlightenment and amusement of children as a stepping
stone to the Greek pantehon of
Anderson, who lived in Denmark in the 19th century, as a child was
considered ugly and had very few friends. As a 'loner' he
read quite a bit and
dreamed even more. At 14 years of age
Hans moved to Copenhagen and tried
his hand as an actor when his father died. At the age of 30, he decided to
write down the tales he had been concocting and
telling to children across the countryside to pay for his travels. These tales,
such as "The Princess and the Pea", "The
Emperor's New Clothes" and "The Ugly Duckling" became treasured classical
moral fables told to all of the Creator and Sustainer's children.
Jacob and Wilhelm Grimm were brothers who
lived in Germany in the 19th century.
After their parents died, the brothers traveled around the country and gathered
tales from the local inhabitants. Upon the publication of the tales they had
gathered, the brothers became famous. Included in their collection of
stories are "The Wolf
and the Fox", "Hansel and Gretel"and "Snow White and the Seven
The fables of Aesop,
Hans Christian Anderson and
Jacob and Wilhelm Grimm became
intertwined within Western culture, enriching and enhancing lives with
entertaining fables bearing lessons.
a narrative of mythical
a collection of related narrative stories
a romanticized or
one that inspires legends or achieves
a story regarding humans of
a marvelous nature - avatars
historical narrative unsubstantiated by
the historical record that may or may not
be originally based on a fable or myth
inscription on an object such as a
brief image description accompanying an
An explanatory table
or list of the symbols appearing on a map or chart.
motto, or title, esp. one surrounding the field in a medal or coin,
placed upon an heraldic shield or beneath an engraving or
Legend has it
that there was a queen named Scheherazade who had been captured and
sentenced to death by the
Sultan Schahriah of Arabia. In order
to save her life she told him tales of intrigue
and adventure, stopping at the most exciting part, so he would have to keep her
alive for one more
night to hear
the ending of the fable.
The legebd states that after 1,001
nights, the Sultan granted her freedom and she
became his wife. She then recorded the fables so all could enjoy them. These
fables included 'Sinbad the Sailor', 'Ali Baba and The Forty Thieves', 'The
Barber's story of his First Brother', 'The story of the Husband and the Parrot'
and 'Aladdin and the Magic
Legend comes from the Latin adjective legenda, "for
reading, to be
read," which referred only to
written narratives, not to
traditional tales transmitted orally
from generation to generation. This restriction also applied to the English
word legend when it was first used in the late 14th century in reference to
written accounts of saints' lives, but ever since the 15th century legend has been
used to refer to traditional narrative
myths as well. Today a legend can also be an
individual or achievement worthy of inspiring such a story.
anything whose fame promises to be
enduring, even if the renown is
created more by the mass
media than by Oral Tradition. Thus we
speak of the legendary
accomplishments of a major-league baseball star or
the legendary voice of a famous opera singer.
This usage is common journalistic hyperbole, and 55 percent of the Usage Panel
a story is
a trivial lie
a short story
a short account of
material for literary
or journalistic treatment
a news article or
information regarding something
of past events
the plot of a
a euphemism or
child's word for a lie
prose or verse narrative intended to
interest or amuse the hearer or
A narration, account, report
or recital of regarding the facts of an event
or a series of past events, either true or fictitious.
A complete horizontal division of a building,
constituting the area between two adjacent levels.
The set of rooms on
the same level of a building as a floor, or the space between two
A horizontal division of a building's exterior considered
architecturally, which need not correspond exactly with the stories
within, also written storey.
A story is the distance from one floor to another; as, a story of nine
or ten feet in elevation. The spaces between floors are numbered in order, from
below upward; as, the lower, second, or third story; a house of one story or of
two stories or a building of five stories.
reads a novel for pleasure or
instruction takes an interest in both the closed fictional reality of that
novel and in the ways the book
provides models or examples of the kind of life that a reader might or might
not chose to live.
Novels are not written to be read
objectively or dispassionately, as if by some nonhuman intelligence. A reader
who identifies with the characters in a novel is not reacting in some naive way
that ought to be outgrown or transcended, but is performing one of the
central acts of literary understanding." - Edward Mendelson
There are seven basic plots that
tell the human tale.
Tales have been historically told to relate
experience to those without it.
The first and most basic plot is overcoming the
hero on behalf of a community sets out to overcome some monstrosity.
The malevolent monster personifies the dark power of the human
overshadow the disregarded
hero or heroine
of the second type of plot which involves a Rags to
The hero or
heroine is eventually revealed as someone
exceptional and the
story usually ends on the image of a man and woman
united in perfect compassion.
A third plot, The Quest, centers
on the battle of a hero
and his companions
to reach some far-off and priceless goal.
In the end the power of darkness is overcome,
the treasure is secured
and the kingdom is established.
Again we often see the
hero united with the woman he loves.
The fourth plot is based on a
Journey and Return.
The heros or
drop out of their familiar world
into an abnormal world.
Its strangeness, at first exhilarating, gradually
turns to nightmare until,
in a final thrilling
return to where they began.
A fifth plot is that of Comedy.
Typically this is about the
confusion that keeps a
hero and heroine apart.
misunderstanding is resolved as darkness gives way to
hero and heroine are united and
live happily ever after.
essence of Tragedy is that it shows us what happens when
heros or heroines pass under the spell of the
dark power of the
Initially they enjoy
dreamlike success but gradually
dream turns into nightmare and they are destroyed.
seventh and last plot is Rebirth.
A hero or
heroine is imprisoned by the
egotistical power in a state of Zombiism,
similar to the
living death that encompasses
all who strive
endlessly for material possessions.
hero or heroine
is liberated by
someredeeming figure to end
yet again on an
life and compassion over
death and separation.
Understanding how each of these plots work is the gateway to unraveling the
mystery of how stories work, and why we tell
them. Great archetypal
patterns shape our instinctive drive to
create and follow stories.
myths and fables that survive the centuries all follow one of the
seven basic patterns of Overcoming the
Monster, Rags to Riches, the Quest, Voyage and Return, Comedy, Tragedy or
The ending that resonates with all humankind is the
archetypical image of a man and a woman, masculine and
feminine, brought together in perfect compassion with the light triumphing over
darkness, which is still the most
completely resolved happy ending to any story, legend,
myth or fable.
to represent by
A simple story illustrating a moral or religious lesson.
moral story often with
animal characters as in
A placing beside; a comparison; equivalent to the Hebrew
mashal, a similitude.
A saying or story in which
something is expressed in terms of something
A short allegorical story designed to illustrate or teach
some truth, religious principle, or
A statement or comment
that conveys a meaning indirectly by the use of comparison, analogy,
metaphor or the like.
fictitious narrative of something which might really occur in life or
nature, by means of which a
moral is drawn.
In a more restricted
sense, a comparison of earthly with
heavenly things, "an earthly
story with a heavenly heavenly," as in the parables
Instruction by parables has been in use from before recorded
myth A fictitious
story, individual, or thing.
considered as a group.
A fiction or
half-truth, especially one that forms part of an
traditional story accepted as history;
serves to explain the
worldview of a person.
An individual or thing existing only in
imagination, or whose actual existence is not
A popular belief or
story that has become associated with a individual, institution, or occurrence,
especially one considered to illustrate a
traditional, typically ancient story
dealing with supernatural
beings, ancestors, or heroes that serves as a
fundamental type in the
worldview of a person, as by
explaining aspects of the
natural Earth or delineating the psychology, customs, or
ideals of society.
A story of great but
unknown age which
originally embodied a belief
regarding some fact or
phenomenon of experience, and
in which often the forces of nature and of the soul
are personified; an ancient legend of a god, a hero, the
origin of a
race, etc.; a wonder story of prehistoric
popular fable which
is, or has been, received as historical.
"There is intrinsic value in our myths, and if our
children studied them earnestly, they would see elements common to all myths
and cultures. They would learn that the
Babylonians had many
creation myths and that the most famous one was not about
Marduk but about a
garden, the first garden:
the Judeo-Christian biblical creation myth has its roots in
Babylonian myth."- Denise
of dreamweavers, mythmakers and storytellers
of old, tapping into a great wisdom, foresaw
the inevitable, tragic denouement of humanity's "ascent" to separation, and foresaw as well the
possibility of something
greater being born from its ashes.
This is the
Kingdom of God following
renewal of heaven
and earth following Ragnarok."
are the product of creative story tellers. Miracles are used by the storyteller to
embellish a hero or incident by using a breach
of natural laws as an example of
supernatural power. Using miracles in a story allow characters and
situations to become larger than life thus stirring the emotions of the listener more than an ordinarily
mundane character or event could.
storyteller's perspective there is an attempt to create a mystery in
the listener's mind.
natural mysteries, or
miracles, are based upon the occurrence
of low probability events that naturally happen by
chance from time to time coupled with emotional and/or conceptual
epiphanies experienced within the observer of the
event as something that goes beyond anything previously understood or
experienced. As the conceptual understanding of reality is breached it appears
to the befuddled
intellect as if the very laws of
nature have been breached.
This web site is not a commercial web site and
is presented for educational purposes only.
This website defines a
new perspective with which to engage reality to which its author adheres. The
author feels that the falsification of reality outside personal experience has
created a populace unable to discern propaganda from reality and that this has
been done purposefully by an international corporate cartel through their
agents who wish to foist a corrupt version of reality on the human race.
Religious intolerance occurs when any group refuses to tolerate religious
practices, religious beliefs or persons due to their religious ideology. This
web site marks the founding of a system of philosophy named The Truth of the
Way of Life - a rational gnostic mystery religion based on reason which
requires no leap of faith, accepts no tithes, has no supreme leader, no church
buildings and in which each and every individual is encouraged to develop a
personal relation with the Creator and Sustainer through the pursuit of the
knowledge of reality in the hope of curing the spiritual corruption that has
enveloped the human spirit. The tenets of The Truth of the Way of Life are
spelled out in detail on this web site by the author. Violent acts against
individuals due to their religious beliefs in America is considered a "hate
This web site in no way condones violence. To the contrary the
intent here is to reduce the violence that is already occurring due to the
international corporate cartels desire to control the human race. The
international corporate cartel already controls the world economic system,
corporate media worldwide, the global industrial military entertainment complex
of America and is responsible for the collapse of morals, the elevation of
self-centered behavior and the destruction of global ecosystems. Civilization
is based on cooperation. Cooperation does not occur at the point of a
American social mores and values have declined precipitously over
the last century as the corrupt international cartel has garnered more and more
power. This power rests in the ability to deceive the populace in general
through corporate media by pressing emotional buttons which have been
preprogrammed into the population through prior mass media psychological
operations. The results have been the destruction of the family and the
destruction of social structures that do not adhere to the corrupt
international elites vision of a perfect
world. Through distraction and coercion the direction of thought of the
bulk of the population has been directed toward solutions proposed by the
corrupt international elite that further consolidates their power and which
further their purposes.
All views and opinions presented on this web
site are the views and opinions of individual human men and women that, through
their writings, showed the capacity for intelligent, reasonable, rational,
insightful and unpopular thought. All factual information presented on this web
site is believed to be true and accurate and is presented as originally
presented in print media which may or may not have originally presented the
facts truthfully. Opinion and thoughts have been adapted, edited, corrected,
redacted, combined, added to, re-edited and re-corrected as nearly all opinion
and thought has been throughout time but has been done so in the spirit of the
original writer with the intent of making his or her thoughts and opinions
clearer and relevant to the reader in the present time.
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