“Ghidrah was merely meant to be a modern interpretation of the eight-headed snake of Japanese myth.”

Remarks on Iran http://www.reuters.com/article/idUSTRE6AS02B20101129 10 December 2010.

Source: The Hero With a Thousand Faces

"When I Think Of My People Broken Down", as translated in "The Poetry of Sri Lanka" Journal of South Asian Literature, Vol. 12, No. 1 (Fall-Winter 1976), published by Asian Studies Center, Michigan State University, p. 11 http://www.jstor.org/stable/40872078
Context: The Devil is a Five-headed
Snake, says the father.
The son says, Nay, it's a Six-headed one.And then their hearts burn
with hate for each others —
and they live apart for many years.

The Spiral Dance: A Rebirth of the Ancient Religion of the Goddess (1979)

Source: New Testament and Mythology and Other Basic Writings (1941), p. 9

The Man Who Danced on the Heads of Snakes Dec 2017) https://www.nytimes.com/2017/12/07/opinion/sunday/yemen-saleh-death-legacy.html

Judit Kawaguchi, "Words to Live By: Hiroo Onoda"

Myth and Reality (1963)
Context: 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.

The Psychology of the Child Archetype [Das göttliche Kind] (1941), 1963 translation, II, 1 : The Archetype as a Link with the Past; also in Collected Works, Vol. 9, Part I, p. 160
Context: Not for a moment dare we succumb to the illusion that an archetype can be finally explained and disposed of. Even the best attempts at explanation are only more or less successful translations into another metaphorical language. (Indeed, language itself is only an image.) The most we can do is dream the myth onwards and give it a modern dress. And whatever explanation or interpretation does to it, we do to our own souls as well, with corresponding results for our own well-being. The archetype — let us never forget this — is a psychic organ present in all of us. A bad explanation means a correspondingly bad attitude toward this organ, which may thus be injured. But the ultimate sufferer is the bad interpreter himself.