English Folklore Quotes

There are two kinds of truth: the truth that lights the way and the truth that warms the heart. The first of these is science, and the second is art. Neither is independent of the other or more important than the other. Without art science would be as useless as a pair of high forceps in the hands of a plumber. Without science art would become a crude mess of folklore and emotional quackery. The truth of art keeps science from becoming inhuman, and the truth of science keeps art from becoming ridiculous." (Great Thought, February 19, 1938)

Finally, I’d say to anyone who wants to tell these tales, don’t be afraid to be superstitious. If you have a lucky pen, use it. If you speak with more force and wit when wearing one red sock and one blue one, dress like that. When I’m at work I’m highly superstitious. My own superstition has to do with the voice in which the story comes out. I believe that every story is attended by its own sprite, whose voice we embody when we tell the tale, and that we tell it more successfully if we approach the sprite with a certain degree of respect and courtesy. These sprites are both old and young, male and female, sentimental and cynical, sceptical and credulous, and so on, and what’s more, they’re completely amoral: like the air-spirits who helped Strong Hans escape from the cave, the story-sprites are willing to serve whoever has the ring, whoever is telling the tale. To the accusation that this is nonsense, that all you need to tell a story is a human imagination, I reply, ‘Of course, and this is the way my imagination works.

We invariably have an internalised personal code of honour, an inner voice that embodies us with a sincere, strong sense of decency that surpasses Rag, Tag & Bobtail’s acquiescence to law and ethics. Think Captain Jack Sparrow from Pirates of the Caribbean, Terry McCann from Minder or the heroic English folklore outlaw, Robin Hood.

Fairies weren’t always pretty mites. That was just tales people told for babies.

I've been very influenced by folklore, fairy tales, and folk ballads, so I love all the classic works based on these things -- like George Macdonald's 19th century fairy stories, the fairy poetry of W.B. Yeats, and Sylvia Townsend Warner's splendid book The Kingdoms of Elfin. (I think that particular book of hers wasn't published until the 1970s, not long before her death, but she was an English writer popular in the middle decades of the 20th century.) I'm also a big Pre-Raphaelite fan, so I love William Morris' early fantasy novels. Oh, and "Lud-in-the-Mist" by Hope Mirrlees (Neil Gaiman is a big fan of that one too), and I could go on and on but I won't!

Cabinet is a conscious, explicit attempt to portray the Doctor himself as myth. “He’s a mischief, a leprechaun, a boojum,” says one character, bookseller and collector of incunabula, Syme. “The Doctor is a myth. He’s straight out of Old English folklore, typical trickster figure really.”29 Neither part of an ongoing narrative, nor specifically located within the series’ past, Cabinet is in a position to challenge the portrayal of the Doctor.

One of the effects of indoctrination, of passing into the anglo-centrism of British West Indian culture, is that you believe absolutely in the hegemony of the King's English and in the proper forms of expression. Or else your writing is not literature; it is folklore, or worse. And folklore can never be art. Read some poetry by West Indian writers--some, not all--and you will see what I mean. The reader has to dissect anglican stanza after anglican stanza for Caribbean truth, and may never find it. The anglican ideal -- Milton, Wordsworth, Keats -- was held before us with an assurance that we were unable, and would never be able, to achieve such excellence. We crouched outside the cave.

In 869 we have an event which rapidly achieved almost mythic status in English Christian folklore: the horrible martyrdom of King Edmund of East Anglia by the appalling Ivar the Boneless, who according to some traditions brought a great Viking army to England in pursuit of revenge for the killing of his father, the semi-legendary Ragnar Lothbrok, executed by the king of Northumbria.

One such individual was Amos Tutuola, who was a talented writer. His most famous novels, The Palm-Wine Drinkard, published in 1946, and My Life in the Bush of Ghosts, in 1954, explore Yoruba traditions and folklore. He received a great deal of criticism from Nigerian literary critics for his use of “broken or Pidgin English.” Luckily for all of us, Dylan Thomas, the Welsh poet and writer, was enthralled by Tutuola’s “bewitching literary prose” and wrote glowing reviews that helped Tutuola’s work attain international acclaim. I still believe that Tutuola’s critics in Nigeria missed the point. The beauty of his tales was fantastical expression of a form of an indigenous Yoruba, therefore African, magical realism. It is important to note that his books came out several decades before the brilliant Gabriel García Márquez published his own masterpieces of Latin American literature, such as One Hundred Years of Solitude.

In the years leading up to Hitler, many völkisch groups appeared in Germany; the English equivalent “folk” doesn’t quite convey the blend of mythology, folklore, legend, and nationalism that the German term suggests. Jung’s emphasis on history and myth, as well as his rejection of scientific materialism, made these groups sympathetic to his work, as opposed to Freud’s which, along with being Jewish, was reductionist. Although much has been made of it,29 Jung’s own connection, if any,30 to the völkisch movement is unclear. The only strong link is his friendship with the German indologist J. W. Hauer, who founded the German Faith Movement in 1932, a religious society aimed at replacing Christianity in German-speaking countries with an anti-Christian and anti-Semitic modern paganism based on German literature and Hindu scripture. Hauer, an ardent Nazi, hoped his movement would become the official religion of the Reich. Hitler, however, thought little of Hauer and laughed at his followers who “made asses of themselves by worshipping Wotan and Odin and the ancient, but now obsolete, German mythology,”31 a remark that says much about Hitler’s cynicism toward the völkisch ideology he nevertheless exploited to gain power.

Twelve years ago I left Boston and New York, and moved east and west at the same time. East, to a little village in Devon, England, a town I’ve been familiar with for years, since my friends Brian and Wendy Froud and Alan Lee all live there. It had long been my dream to live in England, so I finally bought a little old cottage over there. But I decided, both for visa and health reasons, living there half the year would be better than trying to cope with cold, wet Dartmoor winters. At that point, Beth Meacham had moved out to Arizona, and I discovered how wonderful the Southwest is, particularly in the wintertime. Now I spend every winter-spring in Tucson and every summer-autumn in England. Both places strongly affect my writing and my painting. They’re very opposite landscapes, and each has a very different mythic history. In Tucson, the population is a mix of Native Americans, Mexican Americans, and Euro-Americans of various immigrant backgrounds — so the folklore of the place is a mix of all those things, as well as the music and the architecture. The desert has its own colors, light, and rhythms. In Devon, by contrast, it’s all Celtic and green and leafy, and the color palette of the place comes straight out of old English paintings — which is more familiar to me, growing up loving the Pre-Raphaelites and England’s ‘Golden Age’ illustrators. I’ve learned to love an entirely different palette in Arizona, where the starkness of the desert is offset by the brilliance of the light, the cactus in bloom, and the wild colors of Mexican decor.

In Devon, England, a rare ritual has been recorded wherein the stag represented the offense or misconduct (often of a sexual nature) of a local person. A mock “hunt” was enacted with characters playing the stag, dog, and hunters. This strange and noisy pageant of implication was run through the village, ending finally at the doorstep of the offender. There the stag was “killed” with all ceremony, even including the bursting of a bladder full of blood. It was thought that after such a communal condemnation, the offender would leave the village never to return

There are two kinds of truth: the truth that lights the way and the truth that warms the heart. The first of these is science, and the second is art. Neither is independent of the other or more important than the other. Without art science would be as useless as a pair of high forceps in the hands of a plumber. Without science art would become a crude mess of folklore and emotional quackery. The truth of art keeps science from becoming inhuman, and the truth of science keeps art from becoming ridiculous.

The Englishmen in the Middle East divided into two classes. Class one, subtle and insinuating, caught the characteristics of the people about him, their speech, their conventions of thought, almost their manner. He directed men secretly, guiding them as he would. In such frictionless habit of influence his own nature lay hid, unnoticed. Class two, the John Bull of the books, became the more rampantly English the longer he was away from England. He invented an Old Country for himself, a home of all remembered virtues, so splendid in the distance that, on return, he often found reality a sad falling off and withdrew his muddle-headed self into fractious advocacy of the good old times. Abroad, through his armoured certainty, he was a rounded sample of our traits. He showed the complete Englishman. There was friction in his track, and his direction was less smooth than that of the intellectual type: yet his stout example cut wider swathe. Both sorts took the same direction in example, one vociferously, the other by implication. Each assumed the Englishman a chosen being, inimitable, and the copying him blasphemous or impertinent. In this conceit they urged on people the next best thing. God had not given it them to be English; a duty remained to be good of their type. Consequently we admired native custom; studied the language; wrote books about its architecture, folklore, and dying industries. Then one day, we woke up to find this chthonic spirit turned political, and shook our heads with sorrow over its ungrateful nationalism - truly the fine flower of our innocent efforts. The French, though they started with a similar doctrine of the Frenchman as the perfection of mankind (dogma amongst them, not secret instinct), went on, contrarily, to encourage their subjects to imitate them; since, even if they could never attain the true level, yet their virtue would be greater as they approached it. We looked upon imitation as a parody; they as a compliment.

Nothing could be more agreeable than a juicy English apple- and yet here were apples mixed up with broom sticks, and witches, and old fashioned folklore and a murdered child.

And then they came, a troop of horse appearing out of the smoke, great shadows magnified by the sun behind them. Forty horsemen, they came out of the yellow and red sulphu- rous gloom, a host of shapeshifting spectres, barghest wraiths – dread shag gytrash. The riders were faceless, dark shadows in barred steel helmets. But their mounts glared, foamed and tossed their heads as they came on, red and white eyes, bared teeth, nostrils snorting the very smoke they breathed. Over all came the crash and thud of hooves and steel harness.

It is as if there is another world just waiting to be discovered if only we can learn to see in a new way. Up until the seventeenth century most people in England took little notice of the prehistoric monuments that littered the land. Viewing them as a nuisance, they often dismantled them to clear fields or to provide building materials. Even so, folklore and stories lingered around many of them,

Fates are an often-misunderstood concept in European folklore, and the western obsession with Greek mythology is partially to blame. We tend to conceptualize the three fates as just three major Goddesses, like the Greek Moirae. Similar figures are found throughout Europe, but the situation in other European traditions tends to be more complex. The word “fairy” in many European languages, including English and Italian (fata) and French (fée) actually comes from the Latin word “fata” or “fate.

And then they came, a troop of horse appearing out of the smoke, great shadows magnified by the sun behind them. Forty horsemen, they came out of the yellow and red sulphurous gloom, a host of shapeshifting spectres, barghest wraiths – dread shag gytrash. The riders were faceless, dark shadows in barred steel helmets. But their mounts glared, foamed and tossed their heads as they came on, red and white eyes, bared teeth, nostrils snorting the very smoke they breathed. Over all came the crash and thud of hooves and steel harness.