"When men make gods, there is no God!"
About this Quote
O'Neill's line lands like a stage slap: the problem isn't belief, it's authorship. "When men make gods" turns divinity into a human craft project, something fabricated to explain fear, justify power, or anesthetize grief. The punchline, "there is no God!", isn't a neat atheist mic-drop so much as a moral indictment. A god produced on demand is less a revelation than a ventriloquist dummy; the moment you can manufacture the sacred, you have replaced it with your own voice.
As a dramatist, O'Neill is allergic to comforting metaphysics. His characters keep reaching for meaning and finding a mirror. The subtext is that religion can become a projection screen for the ego: we build gods that look suspiciously like our appetites, our national myths, our patriarchal order, our need to be forgiven without changing. In that sense, "men make gods" also points to gendered authority. The plural "gods" matters: it's not one true divinity but a rotating cast of deities engineered to fit the moment.
The line sits comfortably in the early 20th-century crisis of faith, when industrial modernity, war, and psychoanalysis all made traditional certainty feel staged. O'Neill doesn't offer replacement theology; he offers the harder dramatic truth that any God worth the name can't be a human instrument. If the divine is real, it won't flatter us, it won't be controllable, and it definitely won't be something we can write into the script.
As a dramatist, O'Neill is allergic to comforting metaphysics. His characters keep reaching for meaning and finding a mirror. The subtext is that religion can become a projection screen for the ego: we build gods that look suspiciously like our appetites, our national myths, our patriarchal order, our need to be forgiven without changing. In that sense, "men make gods" also points to gendered authority. The plural "gods" matters: it's not one true divinity but a rotating cast of deities engineered to fit the moment.
The line sits comfortably in the early 20th-century crisis of faith, when industrial modernity, war, and psychoanalysis all made traditional certainty feel staged. O'Neill doesn't offer replacement theology; he offers the harder dramatic truth that any God worth the name can't be a human instrument. If the divine is real, it won't flatter us, it won't be controllable, and it definitely won't be something we can write into the script.
Quote Details
| Topic | God |
|---|---|
| Source | Unverified source: Lazarus Laughed: A Play for an Imaginative Theatre (Eugene O'Neill, 1927)
Evidence: Act II, Scene II (page number not verified from a scan). The quote is consistently attributed (by multiple secondary quote references) to Eugene O’Neill’s play "Lazarus Laughed" and more specifically to Act II, Scene II. A library record confirms the primary-source first edition publication: New ... Other candidates (1) Eugene O'Neill (Eugene O'Neill) compilation37.5% courageous enough to face what he really knew was true that there is no truth fo |
| Featured | This quote was our Quote of the Day on May 17, 2023 |
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