... it is a welcome symptom in an age which is commonly denounced as materialistic, that it makes heroes of men whose goals lie wholly in the intellectual and moral sphere.
There is a determined though unseen bravery that defends itself foot by foot in the darkness against the fatal invasions of necessity and dishonesty. Noble and mysterious triumphs that no eye sees, and no fame rewards, and no flourish of triumph salutes. Life, misfortunes, isolation, abandonment, poverty, are battlefields that have their heroes; obscure heroes, sometimes greater than the illustrious heroes.
In the Indian film industry, especially those of us who are in mainstream cinema, we invariably play a typical hero's role. More often than not, we cater to the public perception. However, there is a latent desire in most actors to do a role where you can go all out and experiment.
The moral equalizes all; enriches, empowers all. It is the coin which buys all, and which all find in their pocket. Under the whipof the driver, the slave shall feel his equality with saints and heroes.
The other terror that scares us from self-trust is our consistency; a reverence for our past act or word, because the eyes of others have no other data for computing our orbit than our past acts, and we are loath to disappoint them.
Tragedy warms the soul, elevates the heart, can and ought to create heroes. In this sense, perhaps, France owes a part of her great actions to Corneille.
Men who have sacrifice their well-being, and even their lives, for the cause of truth or the public good, are, from an empirical point of view - which scorn ("fait fi", Fr.) virtue and altruism - regarded as insane or fools; but, from a moral standpoint, they are heros who do honour ("qui honorent", Fr.) humanity.