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I've been actively engaged with mythic imagery ever since I picked up that Rackham book, but it really came into focus for me when I moved from London to the country. As I walked the extraordinary landscape of Dartmoor, I looked at the trees and the rocks and the hills and I could see the personality in those forms...then they metamorphosed under my pencil into faeries, goblins and trolls. After Alan and I published "Faeries", he moved on from the subject of faery folklore to illustrate Tolkien and other literary works...while I discovered that my own exploration of Faerieland had only just begun. In the countryside, the old stories seemed to come alive around me; the faeries were a tangible aspect of the landscape, pulses of spirit, emotion, and light. They "insisted" on taking form under my pencil, emerging on the page before me cloaked in archetypal shapes drawn from nature and myth. I'd attracted their attention, you see, and they hadn't finished with me yet. ↗
Watching him, his hands buried in his pockets—to keep from circling her neck she supposed—she couldn't help but marvel at the curious mix of Southern courtesy and male arrogance, the natural assumption he shouldered of being lawfully in control. "Engaging in a moral battle isn't always hazardous to one's health, you know." "Doesn't look like it's doing wonders for yours." "Saints be praised, it can actually be rewarding." Looking over his shoulder, he halted in the middle of the room. "Irish." "I beg your pardon?" "You. Irish. The green eyes, the tiny bit of red in your hair. Is Connor your real name?" "Yes, why..." she said, stammering. Bloody hell. "Of course." "Liar." She felt the slow, hot roll of color cross her cheeks. "What could that possibly have to do with anything?" "I don't know, but I have a feeling it means something. It's the first I've heard come out of that sassy mouth of yours that didn't sound like some damned speech." He tapped his head, starting to pace again. "What I wonder is, where are you in there? ↗
#historical #repartee #romance #sexy #nature
The Moon rules our emotional nature, how we react in situations, and what is needed in our lives to make us feel emotionally safe and secure. ↗
The symbol of a drama, a symphony, or a dance is useful to correct a certain absurdity which may arise if we talk too much of God planning and creating the world for good and then being frustrated by the free will of the creatures. This may raise the ridiculous idea that the Fall to God by surprise and upset His plan, or else – more ridiculous still – that God planned the whole thing for conditions which, He well knew, were never going to be realized. In fact, of course, God saw the crucifixion in the act of creating the first nebulae. The world is a dance in which good, descending from God, is disturbed by evil arising from the creatures, and the resulting conflict is resolved by God's own assumption of the suffering nature which evil produces. ↗
What humans want most of all, is to be right. Even if we're being right about our own doom. If we believe there are monsters around the next corner ready to tear us apart, we would literally prefer to be right about the monsters, than to be shown to be wrong in the eyes of others and made to look foolish. ↗
Seja como for, as pessoas dedicadas à religião não querem reconhecer a realidade que contradiz o seu conto de fadas. Se realmente vivermos num universo sem Deus, elas perdem o emprego. O fluxo de dinheiro estagna. Por outro lado, há pessoas que escolhem viver a sua vida de uma forma completamente egocêntrica e homicida. Essas sentem que, se nada importa e elas podem fazer o que querem sem sofrer consequeências, vão fazê-lo. Mas também podemos ver as coisas de outra maneira: estamos nós e os outros todos, vivos e num barco salva-vidas, e temos de fazer as coisas da maneira mais decente possível para nós e para eles. A mim parece-me que esta seria uma forma de viver muito mais morale "cristã": reconhecermos a terrível verdade da existência humana e, perante isso, ainda escolhermos ser humanos decentes em vez de nos iludirmos sobre a existência de uma qualquer recompensa paradisíaca ou um qualquer castigo infernal. Parecia-me uma atitude muito mais nobre. Se há recompensa, castigo ou qualquer tipo de pagamento e agimos bem, então não estamos a fazer por razões muito nobres - os chamados princípios cristãos. É como os bombistas suicidas que agem alegadamente de acordo com princípios religiosos ou nacionais bastante nobres quando, na verdade, as suas famílias recebem uma recompensa em dinheiro e congratulam-se com um legado heróico - já para não falar da promessa de virgens para os perpetradores, embora me passe completamente ao lado como é que alguém prefere um grupo de virgens a uma mulher altamente experiente. ↗
A Blessing Just off the highway to Rochester, Minnesota, Twilight bounds softly forth on the grass. And the eyes of those two Indian ponies Darken with kindness. They have come gladly out of the willows To welcome my friend and me. We step over the barbed wire into the pasture Where they have been grazing all day, alone. They ripple tensely, they can hardly contain their happiness That we have come. They bow shyly as wet swans. They love each other. There is no loneliness like theirs. At home once more, They begin munching the young tufts of spring in the darkness. I would like to hold the slenderer one in my arms, For she has walked over to me And nuzzled my left hand. She is black and white, Her mane falls wild on her forehead, And the light breeze moves me to caress her long ear That is delicate as the skin over a girl's wrist. Suddenly I realize That if I stepped out of my body I would break Into blossom. ↗
Even painfully shy and awkward people are not painfully shy or awkward when they are alone. The way to access this natural, comfortable alone-self when you are with others is by choosing to forbid yourself to wonder what "they" are thinking. Instead, force yourself to exist in the instant, then take it- and give it- as it comes. ↗
I don’t see a way in,” Eve whispered. Why are you whispering?” Myrnin whispered back. “Vampires can hear us, anyway. ↗
By the rude bridge that arched the flood, Their flag to April's breeze unfurled, Here once the embattled farmers stood, And fired the shot heard round the world. The foe long since in silence slept; Alike the conqueror silent sleeps; And Time the ruined bridge has swept Down the dark stream which seaward creeps. On this green bank, by this soft stream, We set to-day a votive stone; That memory may their deed redeem, When, like our sires, our sons are gone. Spirit, that made those heroes dare To die, and leave their children free, Bid Time and Nature gently spare The shaft we raise to them and thee. ↗
