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Read through the most famous quotes by topic #magi
The fantastic postulates that there are forces in the outside world, and in our own natures, which we can neither know nor control, and these forces may even constitute the essence of our existence, beneath the comforting rational surface. The fantastic is, moreover, a product of human imagination, perhaps even an excess of imagination. It arises when laws thought to be absolute are transcended, in the borderland between life and death, the animate and the inanimate, the self and the world; it arises when the real turns into the unreal, and the solid presence into vision, dream or hallucination. The fantastic is the unexpected occurrence, the startling novelty which goes contrary to all our expectations of what is possible. The ego multiplies and splits, time and space are distorted. ↗
A major determining factor by which a superior human can be isolated from his average counterparts is his very isolation—the degree to which he naturally removes himself from mass-media input and stimuli. You cannot be an elitist, a Magician, and be plugged into the system. ↗
Possibly there are few imaginative writers who have not a leaning, secret or avowed, to the occult. The creative gift is in very close relationship with the Great Force behind the universe; for aught we know, may be an atom thereof. It is not strange, therefore, that the lesser and closer of the unseen forces should send their vibrations to it occasionally; or, at all events, that the imagination should incline its ear to the most mysterious and picturesque of all beliefs ↗
I was struck that morning, as I would occasionally be struck the entire time I was in India, by the notion that the town was brown-skinned and black-haired, that their facial features approached my own. There was a solidarity, unexpected, unreasoning, that I felt with the people I passed on the street. They were, during those moments, my people, and though I had my difficulties with the subtleties of their language, thought our manners of dress and thought were distinct, though, perhaps, these people that I passed did not regard themselves as bound together in any particular way, at these instants I would disregard such nuance and imagine a profound relationship between us. Later, during stretches more lucid, I'd marvel at this rush of emotion and wonder as to its source. ↗
It's just like any relationship," Raelin told him with a grin, while Aldri practiced over and over again. "You need to coax her, persuade her, impress her, not knock her over the head with a mallet. Sometimes, for complicated things, you even need to grovel a little—but I'll teach you that later, some of the syllables in Faerilíca can take weeks to learn correctly. For now, keep trying to catch her eye in silence." "But magic is only converted energy and emotion," Aldri reminded him. "I already possess it, I only need to use it." "And just how do you want to take ten minutes' running energy or your liking for the color blue, and throw it out in front of you as an arrow-stopping shield, hm? ↗
We heard of this woman who was out of control. We heard that she was led by her feelings. That her emotions were violent. That she was impetuous. That she violated tradition and overrode convention. That certainly her life should not be an example to us. (The life of the plankton, she read in this book on the life of the earth, depends on the turbulence of the sea) We were told that she moved too hastily. Placed her life in the stream of ideas just born. For instance, had a child out of wedlock, we were told. For instance, refused to be married. For instance, walked the streets alone, where ladies never did, and we should have little regard for her, even despite the brilliance of her words. (She read that the plankton are slightly denser than water) For she had no respect for boundaries, we were told. And when her father threatened her mother, she placed her body between them. (That because of this greater heaviness, the plankton sink into deeper waters) And she went where she should not have gone, even into her sister's marriage. And because she imagined her sister to be suffering what her mother had suffered, she removed her sister from that marriage. (And that these deeper waters provide new sources of nourishment) That she moved from passion. From unconscious feeling, allowing deep and troubled emotions to control her soul. (But if the plankton sinks deeper, as it would in calm waters, she read) But we say that to her passion, she brought lucidity (it sinks out of the light, and it is only the turbulence of the sea, she read) and to her vision, she gave the substance of her life (which throws the plankton back to the light). For the way her words illuminated her life we say we have great regard. We say we have listened to her voice asking, "of what materials can that heart be composed which can melt when insulted and instead of revolting at injustice, kiss the rod?" (And she understood that without light, the plankton cannot live and from the pages of this book she also read that the animal life of the oceans, and hence our life, depends on the plankton and thus the turbulence of the sea for survival.) By her words we are brought to our own lives, and are overwhelmed by our feelings which we had held beneath the surface for so long. And from what is dark and deep within us, we say, tyranny revolts us; we will not kiss the rod. ↗
Like wine, Provençal magic had its own distinctive terroir. It was rich and chaotic and romantic. It was a night-magic, confabulated out of moons and silver, wine and blood, knights and fairies, wind and rivers and forests. It concerned itself with good and evil but also with the vast intermediate realm in between, the realm of mischief. ↗
Fairy tales for adult readers remained popular throughout Europe well into the 19th century — particularly in Germany, where the Brothers Grimm published their massive collection of German fairy tales (revised and edited to reflect the Brothers’ patriotic and patriarchal ideals), providing inpiration for novelists, poets, and playrights among the German Romantics. Recently, fairy tale scholars have re–discovered the enormous body of work produced by women writers associated with the German Romantics: Grisela von Arnim, Sophie Tieck Bernhardi, Karoline von Günderrode, Julie Berger, and Sophie Albrecht, to name just a few. ↗
#fairy-tales-for-adults #feminism #germany #magical-stories #stories
I have since learned that although the festival of Imbolc was far less romantic and far more practical to our Celtic ancestors than the initial image portrayed to me by Mrs Darley, it was no less magical, for it marked the beginning of the lambing season which to the Celts meant the difference between survival and extinction. ↗
#carole-carlton #imbolc #irish-celts #lughnasadh #moon-magic
