Faun Quotes

This is the land of Narnia,' said the Faun, 'where we are now; all that lies between the lamp-post and the great castle of Cair Paravel on the eastern sea.

You point your feet out too much when you walk,” Will went on. He was busy polishing an apple on his shirtfront, and appeared not to notice Tessa glaring at him. “Camille walks delicately. Like a faun in the woods. Not like a duck.” “I do not walk like a duck.” “I like ducks,” Jem observed diplomatically. “Especially the ones in Hyde Park.” He glanced sideways at Will; both boys were sitting on the edge of the high table, their legs dangling over the side. “Remember when you tried to convince me to feed poultry pie to the mallards in the park to see if you could breed a race of cannibal ducks?” “They ate it too,” Will reminisced. “Bloodthirsty little beasts. Never trust a duck.

Please let him come, and give me the resilience & guts to make him respect me, be interested, and not to throw myself at him with loudness or hysterical yelling; calmly, gently, easy baby easy. He is probably strutting the backs among crocuses now with seven Scandinavian mistresses. And I sit, spiderlike, waiting, here, home; Penelope weaving webs of Webster, turning spindles of Tourneur. Oh, he is here; my black marauder; oh hungry hungry. I am so hungry for a big smashing creative burgeoning burdened love: I am here; I wait; and he plays on the banks of the river Cam like a casual faun.

Human nature will not flourish, any more than a potato, if it be planted and replanted, for too long a series of generations, in the same worn-out soil. My children have had other birthplaces, and, so far as their fortunes may be within my control, shall strike their roots into unaccustomed earth.

Suddenly I saw in front of me the Statue of the Faun, the Statue that I love above all others. There was his calm, faintly smiling face; there was his forefinger gently pressed to his lips. [...] Hush! he told me. Be comforted!

A decent human being is ashamed at being somebody's boss!

In consiliis nostris fatum nostrum est, the words read. “In our choices lie our fate.

You point your feet out too much when you walk,” Will went on. He was busy polishing an apple on his shirtfront, and appeared not to notice Tessa glaring at him. “Camille walks delicately. Like a faun in the woods. Not like a duck” “I do not walk like a duck.” “I like ducks,” Jem observed diplomatically. “Especially the ones in Hyde Park.

A faun,” Bryce said. “Interesting. I heard the Greeks actually trusted their goat men.” Hedge bleated. “I’m a satyr. And you can trust I’m going to put this bat upside your head, you little punk.

Gee, I wasn't as up on my Native American traditions as the chick who used to call herself Faun fucking Windsong even though she was fifteen sixteenths as lily-white as me. Imagine that.

. . .in August in Mississippi there’s a few days somewhere about the middle of the month when suddenly there’s a foretaste of fall, it’s cool, there’s a lambence, a soft, a luminous quality to the light, as though it came not from just today but from back in the old classic times. It might have fauns and satyrs and the gods and---from Greece, from Olympus in it somewhere. It lasts just for a day or two, then it’s gone. . .the title reminded me of that time, of a luminosity older than our Christian civilization.

Wood always remembers it was once a living tree, alive and breathing in both kingdoms, the one above and the one below.

In our choices lie our fate

Mortals don't understand life is not a book you close only after you read the last page. There is no last page in the Book of Life, for the last one is always the first page of another story.

The only difference between a satyr and a faun,” I said, “is what we see in them. And what they see in themselves. Plant this tree somewhere special.” I looked up at the dryads. “Tend it and make it grow healthy and tall. This was Don the faun, a hero.

You see, for me [art]'s not one of life's ornaments, rococo relaxation to be greeted affably after a day of hard work; I'm inverted on this : for me it's my very breath, the one thing necessary, and all else is excretion and a latrine.

A forced smile is uglier than a frown.

Her mother said fairy tales didn't have anything to do with the world, but Ofelia knew better. They had taught her everything about it.

Libraries don't keep secrets; they reveal them.

Sometimes the objects we hold dear give away who we are even more than the people we love.

Although we may wish for it, true magic is a scary thing.

That was the use of knives for women: to cut food for the men who killed with their knives… who killed those women's husbands, their sons, and their daughters.

Secrets. They add to the darkness of the world but they also make you want to find out more...

Only books talked about all the things adults didn't want you to ask about--Life. Death. Good and Evil. And what else truly mattered in life.

It may cost you, my Queen. It may cost you dear." "All the best journeys do, faun.

The raindrops were tears too. The whole world was crying.

Out of the trees wild people stepped forth, gods Fauns and Satyrs and Dwarfs. Out of the river rose the river god with his Naiad daughters. And all these and all the beasts and birds in their different voices, low or high or thick or clear, replied: "Hail, Aslan. We hear and obey. We are awake. We love. We think. We speak. We know.

My mother used to read to me every night when I was little. We got through most of the major fantasy books of that time. The Narnia books by C.S. Lewis were my favorites and, later, Tolkien's The Lord of the Rings. I started making dolls to fill in the gaps of the dolls I had. Obviously we couldn't buy centaurs and fauns and elves and fairies, so I made them to play with the normal dolls I had. I must have been about six years old when I started making fantasy dolls.

When she finally wrapped her arms around the girl, the softness stirring in her heart frightened her. It was dangerous to be soft in this world.

I am less to you than your ivory Hermes or your silver Faun. You will like them always. How long will you like me? Till I have my first wrinkle, I suppose. I know, now, that when one loses one's good looks, whatever they may be, one loses everything. Your picture has taught me that. Lord Henry Wotton is perfectly right. Youth is the only thing worth having. When I find that I am growing old, I shall kill myself.

Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed.

It is the surest test of genuine love, that it brings back our early simplicity to the worldliest of us.

Evil seldom takes shape immediately. It is often little more than a whisper at first. A glance. A betrayal. But then it grows and takes root, still invisible, unnoticed. Only fairy tales give evil a proper shape. The big bad wolves, the evil kings, the demons, and devils . . .

Carmen Cardoso believed the most dangerous tale of all: the one of the prince who would save her.

We feel immortal when we are young. Or maybe we just don’t care that much about death yet?

This is the land of Narnia,' said the Faun, 'where we are now; all that lies between the lamp-post and the great castle of Cair Paravel....

Reyna managed a smile. She was starting to appreciate the differences between satyrs and fauns. If she ever fell asleep with a faun on duty, she'd wake up with her supplies stolen, a moustache drawn on her face and the faun long gone. Coach Hedge was different – mostly good different, though he did have an unhealthy obsession with martial arts and baseball bats.

I have orders to bring Reyna in alive to stand trial for treason. I have no orders to bring you in alive, or the faun.” “Satyr!” the coach yelled. He kicked a skeleton in its bony crotch, which seemed to hurt Hedge more than the redcoat. “Ow! Stupid British dead guys!

So much cruelty. She’d seen too much of it in this place. Sometimes she wondered whether it covered her heart like mold by now.

The entry wound cried a single tear of blood. Such an insignificant wound, but Death was nesting in it.

Hey, I'd love to help,' Don said. 'It's just I remembered this appointment -' 'Fauns don't make appointments,' Lavinia said. 'I double-parked my car -' 'You don't have a car.' 'I need to feed my dog -' 'Don!" Lavinia snapped. "You owe me.

But all things lost can be found again, the trees whispered.

Sometimes even the healers are turned into butchers by the darkness of this world.

Her mother said fairy tales didn’t have anything to do with the world, but Ofelia knew better. They had taught her everything about it.

Only her master knew her true name, for in the Magic Kingdom to know a name was to own the being that carried it.

How many nature spirits does it take to carry a coffin? The answer is unknowable, since all the dryads and fauns except one scattered into the trees as soon as they realized work was involved.

You know what I mean. Is it true the folk hereabouts”—he pointed to the land ahead—“are cripples? Missing half their hindquarters?” “The fauns? Cripples?” I laughed. “By the gods who made them, no!

We’d better…” Frank pointed to the stable doors. “Uh, we’re supposed to meet for breakfast. Would you explain what you did—I mean didn’t do? I mean…I really don’t want that faun—I mean satyr—to kill me.

Like I said, everything began with images: a faun… At first there wasn’t even anything Christian about them; that element pushed itself in of its own accord. And archetypes, he says. You know about those? p 217

What city doesn’t like to brag about itself? The gargoyle fauns leaned off the front of the buildings, whispering about their sex lives. The fat catfish in the greenhouse swore they had stock market tips. The horses on the carousel reared their heads, ready for a battle against the mermaid statues in the pond. An electric train rode around and around a tiny mountain in the toy-shop window, while its Lilliputian passengers dreamed in tiny berths.

He was enchanted by the architecture of the city. Merry amoretti wove garlands above windows. Roguish fauns and naked nymphs peeked down at Billy from festooned cornices. Stone monkeys frisked among scrolls and seashells and bamboo.

When man has finally fulfilled his death wish by wiping out anything that breathes, including himself, Pan will return to a world made innocent again.

I am less to you than your ivory Hermes or your silver Faun. You will like them always. How long will you like me? Till I have my first wrinkle, I suppose. I know, now, that when one loses one's good looks, whatever they may be, one loses everything.

The pure, absolute quality and nature of each note in itself are only appreciated by the strummer. For some notes have all the sea in them, and some cathedral bells; others a woodland joyance and a smell of greenery; in some fauns dance to the merry reed, and even the grave centaurs peep out from their caves. Some bring moonlight, and some the deep crimson of a rose's heart; some are blue, some red, and others will tell of an army with silken standards and march-music. And throughout all the sequence of suggestion, up above the little white men leap and peep, and strive against the imprisoning wires; and all the big rosewood box hums as it were full of hiving bees.

- Te prometo una cosa -dijo Faun-: Cuando estemos juntos, sólo estaremos tú y yo, y no importará nada que haya fuera. Pero te ruego que me perdones cuando no estemos solos. - ¿Me pides que confíe en ti? Faun negó con la cabeza. - No, no confíes en mí -respondió con tono afligido-. No te fíes nunca de mí, sobre todo si estoy con Tam.

Wenda's chest and hips shrank, her shoulders and arms turned muscular and her body became lean and hard where it had been rounded and soft. The hair of her head shortened drastically, and a mustache sprouted on her upper lip. Her delicate human feet had become hard hooves. She was now not a nymph but a faun. Physically; she would never be male in spirit.

The heroes cleansed our world of chthonic terrors -- earthborn monsters that endangered mankind and threatened to choke the rise of civilisation. So long as dragons, giants, centaurs and mutant beasts infested the air, earth and seas we could never spread out with confidence and transform the wild world into a place of safety for humanity. In time, even the benevolent minor deities would find themselves elbowed out by the burgeoning and newly confident human race. The nymphs, dryads, fauns, satyrs and sprites of the mountains, streams, meadows and oceans could not compete with our need and greed for land to quarry, farm and build upon. The rise of a spirit of rational enquiry and scientific understanding pushed the immortals further from us. The world was being reshaped as a home fit for mortal beings only. Today, of course, some of the rarer and more vulnerable mortal creatures that have shared the world with us are undergoing the same threats to their natural territories that cuased the end of the nymphs and woodland spirits. Habitat loss and species extinction have all happened before. The days of the gods themselves were numbered too. Prometheus's gift of fire, as Zeus had feared, would one day allow us to do even without the Olympians.

It's always just a few who know where to look and how to listen, that is true. But for the best stories, a few are just enough.

Oh Hilda, what a treasure of sweet faith and pure imagination you hide under that little straw hat!

Anything you raise by the way of spirits you have to put back yourself.

Sometimes we need to see what we feel so we can know about it.

It is hard to have secrets one cannot share, or to believe in a truth that others don't want to see.

Ofelia's mother didn't know it, but she also believed in a fairy tale. Carmen Cardoso believed the most dangerous tale of all: the one of the prince who would save her.

We need to get some fauns up in this piece.

Marsyas skidded to a halt, the assorted satyrs, fauns, and Maenads behind bumping into him and each other in a concertina of confusion.

Especially after I read Pete DeVries recent scintillant “Afternoon of a Faun.” There are ways and ways to have a love affair. Above all, one must not be serious about it.

We’re following a guide we know nothing about. How do we know which side that bird is on? Why shouldn’t it be leading us into a trap?” “That’s a nasty idea. Still--a robin, you know. They’re good birds in all the stories I’ve ever read. I’m sure a robin wouldn’t be on the wrong side.” “If it comes to that, which is the right side? How do we know that the fauns are in the right and the Queen (yes, I know we’ve been told she’s a witch) is in the wrong? We don’t really know anything about either.” “The Faun saved Lucy.” “He said he did, But how do we know? And there’s another thing too. Has anyone the least idea of the way home from here?” “Great Scott!” said Peter. “I hadn’t thought of that.” “And no chance of dinner, either,” said Edmund.

The only piece of home Ofelia had been able to take with her were some of her books. She closed her fingers firmly around the one on her lap, caressing the cover. When she opened the book, the white pages were so bright against the shadows that filled the forest and the words they offered granted shelter and comfort. The letters were like footprints in the snow, a wide white landscape untouched by pain, unharmed by memories too dark to keep, too sweet to let go of.

The Song Of The Happy Shepherd The woods of Arcady are dead, And over is their antique joy; Of old the world on dreaming fed; Grey Truth is now her painted toy; Yet still she turns her restless head: But O, sick children of the world, Of all the many changing things In dreary dancing past us whirled, To the cracked tune that Chronos sings, Words alone are certain good. Where are now the warring kings, Word be-mockers?—By the Rood, Where are now the watring kings? An idle word is now their glory, By the stammering schoolboy said, Reading some entangled story: The kings of the old time are dead; The wandering earth herself may be Only a sudden flaming word, In clanging space a moment heard, Troubling the endless reverie. Then nowise worship dusty deeds, Nor seek, for this is also sooth, To hunger fiercely after truth, Lest all thy toiling only breeds New dreams, new dreams; there is no truth Saving in thine own heart. Seek, then, No learning from the starry men, Who follow with the optic glass The whirling ways of stars that pass— Seek, then, for this is also sooth, No word of theirs—the cold star-bane Has cloven and rent their hearts in twain, And dead is all their human truth. Go gather by the humming sea Some twisted, echo-harbouring shell. And to its lips thy story tell, And they thy comforters will be. Rewording in melodious guile Thy fretful words a little while, Till they shall singing fade in ruth And die a pearly brotherhood; For words alone are certain good: Sing, then, for this is also sooth. I must be gone: there is a grave Where daffodil and lily wave, And I would please the hapless faun, Buried under the sleepy ground, With mirthful songs before the dawn. His shouting days with mirth were crowned; And still I dream he treads the lawn, Walking ghostly in the dew, Pierced by my glad singing through, My songs of old earth’s dreamy youth: But ah! she dreams not now; dream thou! For fair are poppies on the brow: Dream, dream, for this is also sooth.

Jean had always found her sister hard work. Even before she was born-again. To be honest, it was slightly better after she was born-again. Because then there was a reason for Eileen being hard work. You knew you'd never get on because she was going to heaven and you weren't, so you could give up trying. But, God, the woman could make you feel greedy and self-centered just by the way she wore a shapeless faun cardigan.

Evil seldom takes shape immediately. It is often little more than a whisper at first. A glance. A betrayal. But then it grows and takes root, still invisible, unnoticed. Only fairy tales give evil a proper shape.

Every young sculptor seems to think that he must give the world some specimen of indecorous womanhood, and call it Eve, Venus, a Nymph, or any name that may apologize for a lack of decent clothing. I am weary, even more than I am ashamed, of seeing such things. Nowadays people are as good as born in their clothes, and there is practically not a nude human being in existence. An artist, therefore, as you must candidly confess, cannot sculpture nudity with a pure heart, if only because he is compelled to steal guilty glimpses at hired models. The marble inevitably loses its chastity under such circumstances. An old Greek sculptor, no doubt, found his models in the open sunshine, and among pure and princely maidens, and thus the nude statues of antiquity are as modest as violets, and sufficiently draped in their own beauty. But as for Mr. Gibson's colored Venuses (stained, I believe, with tobacco juice), and all other nudities of to-day, I really do not understand what they have to say to this generation, and would be glad to see as many heaps of quicklime in their stead.

I said to myself, with all the ardour of a sculptor, that this man was a faun’s statue out of antique Hellas, dug from a temple’s ruins and brought somehow to life in our stifling age only to feel the chill and pressure of devastating years.

This young woman,” said Diana, “was responsible for the destruction of the Triumvirate’s fleet.” “Well, I had a lot of help,” Lavinia said. “I don’t understand,” I said, turning to Lavinia. “You made all those mortars malfunction?” Lavinia looked offended. “Well, yeah. Somebody had to stop the fleet. I did pay attention during siege-weapon class and ship-boarding class. It wasn’t that hard. All it took was a little fancy footwork.” Hazel finally managed to pick her jaw off the pavement. “Wasn’t that hard?” “We were motivated! The fauns and dryads did great.” She paused, her expression momentarily clouding, as if she remembered something unpleasant. “Um…besides, the Nereids helped a lot. There was only a skeleton crew aboard each yacht. Not, like, actual skeletons, but—you know what I mean. Also, look!” She pointed proudly at her feet, which were now adorned with the shoes of Terpsichore from Caligula’s private collection. “You mounted an amphibious assault on an enemy fleet,” I said, “for a pair of shoes.” Lavinia huffed. “Not just for the shoes, obviously.” She tap-danced a routine that would’ve made Savion Glover proud. “Also to save the camp, and the nature spirits, and Michael Kahale’s commandos.” Hazel held up her hands to stop the overflow of information. “Wait. Not to be a killjoy—I mean, you did an amazing thing!—but you still deserted your post, Lavinia. I certainly didn’t give you permission —” “I was acting on praetor’s orders,” Lavinia said haughtily. “In fact, Reyna helped. She was knocked out for a while, healing, but she woke up in time to instill us with the power of Bellona, right before we boarded those ships. Made us all strong and stealthy and stuff.” Hazel asked, “Is it true about Lavinia acting on your orders?” Reyna glanced at our pink-haired friend. The praetor’s pained expression said something like, I respect you a lot, but I also hate you for being right. “Yes,” Reyna managed to say. “Plan L was my idea. Lavinia and her friends acted on my orders. They performed heroically.” Lavinia beamed. “See? I told you.” The assembled crowd murmured in amazement, as if, after a day full of wonders, they had finally witnessed something that could not be explained.

Sometimes the objects we hold dear give away who we are even more than the people we love. The glass of the watch had cracked in the hand of Vidal’s father at the very moment he died, which his son took as proof that things could survive death if only one kept them clean and in perfect order.

The wheels of the pocket watch began to move in their perfect rhythm, confirming once again that there was no end to well-kept order. Immortality was clean and precise. For sure it didn't need a heart. A heartbeat became irregular so easily and at the end it stopped, however carefully one treated it.

Let us come to the point now. It would be nice to hold on to the common belief that the UFOs are craft from a superior space-civilization, because this is a hypothesis science fiction has made widely acceptable, and because we are not altogether unprepared, scientifically and even, perhaps, militarily, to deal with such visitors. Unfortunately, however, the theory that flying saucers are material objects from outer space manned by a race originating on some other planet is not a complete answer. However strong the current belief in saucers from space, it cannot be stronger than the Celtic faith in the elves and the fairies, or the medieval belief in lutins, or the fear throughout the Christian lands, in the first centuries of our era, of demons and satyrs and fauns. Certainly, it cannot be stronger than the faith that inspired the writers of the Bible—a faith rooted in daily experiences with angelic visitation.

Ar maigumu, par kuru reizēm kauns Un kas nemaz nav pieņemts vīru dabā, Un kuru nepazīst, kas vēl ir jauns. Ar maigumu, par kuru reizēm kauns, Ir pilna kreisā roka man un labā. Jo cilvēks jauns ir tā kā gribīgs fauns, Kam visas puķes uzzied tikai nabā. Ak, tik daudz maiguma, ka reizēm kauns, Kas nav nemaz tā pieņemts vīru dabā.

It is said in those districts that not all the trains which run on the city’s tracks are listed in Metropolitan Transit’s compendious schedule. The residents will tell you that after midnight, on some nights, there will be other trains, trains whose cry is different, the bellow of some great beast fighting for its life. And if you watch those trains go past, behind those bright flickering windows you will see passengers unlike any passengers you have seen when riding the trains yourself: men with wings, women with horns, beast-headed children, fauns and dryads and green-skinned people more beautiful than words can describe. In 1893, a schoolteacher swore that she saw a unicorn; in 1934, a murderer turned himself into the police, weeping, saying that he saw his victims staring at him from a train as it howled past the station platform on which he stood. These are the seraphic trains. The stories say they run to Heaven, Hell, and Faërie. They are omens, but no one can agree on what they portend. And although you will never meet anyone who has seen or experienced it, there are persistent rumors, unkillable rumors, that sometimes, maybe once a century, maybe twice, a seraphic train will stop in its baying progress and open its doors for a mortal. Those who know the story of Thomas the Rhymer—and even some who don’t—insist that all these people, blest or damned as they may be, must be poets.

Poet: should you receive the applause of the people, ask yourself: what have I done wrong? ! And if your second book is so received as well, then cast away your pen: you can never be great. […] Art for the people? ! : leave that slogan to the Nazis and Communists: it’s just the opposite: the people (everyman!) are obligated to struggle their way to art!

If dogs had gods, those they worshiped would wag their tails and bark. If sheep had gods, they would follow woolly deities who grazed. As the world is, almost all folk have many things in common, as if the gods who shaped them were using certain parts of a pattern over and over again. The folk striding towards us through the green, green grass might have been the pattern itself, the pattern from whose rearranged pieces the rest of us had been clumsily reassembled. As bronze, which had brought us here, is an alloy of copper and tin, so I saw that sirens were an alloy of these folk and birds, sphinxes of them and birds and lions, satyrs of them and goats, fauns of them and horses. And I saw that we centaurs blended these folk and horses as well, though in different proportions, as one bronze will differ from another depending on how much is copper and how much tin. Is it any wonder, then, that, on seeing this folk, I at once began to wonder if I had any true right to exist? “Who are you? What is your folk?” I asked him. “I am Geraint,” he answered. “I am a man.

Donatello, you had better take one of those gay, boyish artists for your companion,” said Miriam, when she found the Italian youth at her side.

Death is a lover to be feared and there was only one way to overcome that fear - by being her executioner.

15 Minutes!" Muttered Vidal, who like all monsters, like death, was always punctual.

They stopped on the bridge to look into the swift eddying flow of the yellow Tiber, a mud puddle in strenuous motion;

they have so fraid us with bull beggers, spirits, witches, urchens, elves, hags, fairies, satyrs, pans, faunes, syrens, kit with the can'sticke, tritons, centaurs, dwarfes, giants, imps, calcars, conjurors, nymphes, changlings, incubus, Robin good fellow, the spoorne, the mare, the man in the oke, the hell waine, the fierdrake, the puckle, Tom thombe, hobgobblin, Tom tumbler, boneless, and such other bugs, that we are afraid of our own shadowes. In so much as some never feare the divell, but in a darke night; and then a polled sheepe is a perillous beast and manie times is taken for our father’s soule, speciallie in a churchyard where a right hardie man heretofore scant durst passe by night, but his haire would stand upright

The Elsinore's bow tilted skyward while her stern fell into a foaming valley. Not a man had gained his feet. Bridge and men swept back toward me and fetched up against the mizzen-shrouds. And then that prodigious, incredible old man appeared out of the water, on his two legs, upright, dragging with him, a man in each hand, the helpless forms of Nancy and the Faun. My heart leapt at beholding this mighty figure of a man-killer and slave-driver, it is true, but who sprang first into the teeth of danger so that his slaves might follow, and who emerged with a half-drowned slave in either hand. I knew augustness and pride as I gazed--pride that my eyes were blue, like his; that my skin was blond, like his; that my place was aft with him, and with the Samurai, in the high place of government and command. I nearly wept with the chill of pride that was akin to awe and that tingled and bristled along my spinal column and in my brain. As for the rest--the weaklings and the rejected, and the dark-pigmented things, the half-castes, the mongrel-bloods, and the dregs of long-conquered races--how could they count? My heels were iron as I gazed on them in their peril and weakness. Lord! Lord! For ten thousand generations and centuries we had stamped upon their faces and enslaved them to the toil of our will.

Don’t you see? We can’t just go home, not after this. It is all on my account that the poor Faun has got into this trouble. He hid me from the Witch and showed me the way back. That’s what it means by comforting the Queen’s enemies and fraternizing with Humans. We simply must try to rescue him.” “A lot we could do!” said Edmund, “when we haven’t even got anything to eat!” “Shut up--you!” said Peter, who was still very angry with Edmund.

When Marsyas was 'torn from the scabbard of his limbs' - DELLA VAGINA DELLA MEMBRE SUE, to use one of Dante's most terrible Tacitean phrases - he had no more song, the Greek said. Apollo had been victor. The lyre had vanquished the reed. But perhaps the Greeks were mistaken. I hear in much modern Art the cry of Marsyas. It is bitter in Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is in the deferred resolutions of Chopin's music. It is in the discontent that haunts Burne- Jones's women. Even Matthew Arnold, whose song of Callicles tells of 'the triumph of the sweet persuasive lyre,' and the 'famous final victory,' in such a clear note of lyrical beauty, has not a little of it; in the troubled undertone of doubt and distress that haunts his verses, neither Goethe nor Wordsworth could help him, though he followed each in turn, and when he seeks to mourn for THYRSIS or to sing of the SCHOLAR GIPSY, it is the reed that he has to take for the rendering of his strain. But whether or not the Phrygian Faun was silent, I cannot be. Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind. Between my art and the world there is now a wide gulf, but between art and myself there is none. I hope at least that there is none.

Long Live King Peter! Long Live Queen Susan! Long Live King Edmund! Long Live Queen Lucy!” “Once a King or Queen in Narnia, always a King or Queen. Bear it well, Sons of Adam! Bear it well, Daughters of Eve!” said Aslan. And through the eastern door, which was wide open, came the voices of the mermen and the mermaids swimming close to the castle steps and singing in honor of their new Kings and Queens. So the children sat in their thrones and scepters were put into their hands and they gave rewards and honors to all their friends, to Tumnus the Faun, and to the Beavers, and Giant Rumblebuffin, to the leopards, and the good centaurs and the good dwarfs, and to the lion. And that night there was a great feast in Cair Paravel, and revelry and dancing, and gold flashed and wine flowed, and answering to the music inside, but stranger, sweeter, and more piercing, came the music of the sea-people. But amid all these rejoicings Aslan himself quietly slipped away. And when the Kings and Queens noticed that he wasn’t there, they said nothing about it. For Mr. Beaver had warned them. “He’ll be coming and going,” he had said. “One day you’ll see him and another you won’t. He doesn’t like being tied down--and of course he has other countries to attend to. It’s quite all right. He’ll often drop in. Only you mustn’t press him. He’s wild, you know. Not like a tame lion.

There was a nice brown egg, lightly boiled, for each of them, and then sardines on toast, and then buttered toast, and then toast with honey, and then a sugar-topped cake. And when Lucy was tired of eating, the Faun began to talk. He had wonderful tales to tell of life in the forest. He told about the midnight dances and how the Nymphs who lived in the wells and the Dryads who lived in the trees came out to dance with the Fauns; about long hunting parties after the milk-white stag who could give you wishes if you caught him; about feasting and treasure-seeking with the wild Red Dwarfs in deep mines and caverns far beneath the forest floor; and then about summer when the woods were green and old Silenus on his fat donkey would come to visit them, and sometimes Bacchus himself, and then the streams would run with wine instead of water and the whole forest would give itself up to jollification for weeks on end.

Allow me to introduce myself. My name is Tumnus.” “I am very pleased to meet you, Mr. Tumnus,” said Lucy. “And may I ask, O Lucy, Daughter of Eve,” said Mr. Tumnus, “how you have come into Narnia?” “Narnia?” What’s that?” said Lucy. “This is the land of Narnia,” said the Faun, “where we are now; all that lies between the lamppost and the great castle of Cair Paravel on the Eastern Sea. And you--you have come from the wild woods of the west?” “I--I got in through the wardrobe in the spare room,” said Lucy. “Ah,” said Mr. Tumnus in a rather melancholy voice, “if only I had worked harder at geography when I was a little faun, I should no doubt know all about those strange countries. It is too late now.” “But they aren’t countries at all,” said Lucy, almost laughing. “It’s only just back there--at least--I’m not sure. It is summer there.” “Meanwhile,” said Mr. Tumnus, “it is winter in Narnia, and has been for ever so long, and we shall both catch cold if we stand here talking in the snow. Daughter of Eve from the far land of Spare Oom where eternal summer reigns around the bright city of War Drobe, how would it be if you came and had tea with me?

When she opened the book, the white pages were so bright against the shadows that filled the forest and the words they offered granted shelter and comfort. The letters were like footprints in the snow, a wide white landscape untouched by pain, unharmed by memories too dark to keep, too sweet to let go of.

In Broadway, I suddenly found myself face to face with William de la Touche Clancey. "Well!" A long drawn-out syllable, in which fear and condescension were unpleasantly mingled. "What is the young Old Patroon about to turn his hand to next?" "The Vauxhall Gardens, I should think." My dislike of Clancey is almost physical. Yet I stare at him with fascination; note that his protuberant eyes are yellowish; that he scratches himself compulsively; that his tongue darts in and out of his mouth like a lizard's catching flies. "Of the delicious nymphs you sport with there?" "Of the delicious fauns, too — and their goatish friends." "Uh-huh..." A long, drawn-out attempt at sounding amused failed of its object. "I hope you realize that your editor's unholy passion for the Negro grows more embarrassing each day. If I were he I should beware. He might simply vanish one dark night." "Murdered? Or sold into slavery?" Clancey recently delighted his admirers by proposing that since the institution of slavery has been an integral part of every high civilization (and peculiarly well-adapted to those nations that follow the word as well as the spirit of Old and New Testaments), poor whites should be bought and sold as well as blacks. "I don't believe that poor sick Mr. Leggett would command a high price in the bazaar. Only his diseased mind would have a certain morbid interest to the special collector. You, on the other hand, ought to fetch a pretty price." "More than the usual two dollars you pay?" Two dollars is the current rate for a male prostitute. "Much more! Why, just for those pink Dutch cheeks alone!" It would be nice to record that I thought to something terminal to say but in my rage I could think of absolutely nothing and so left him with the last word.

Though I could guess which doorknob was for Wendell's kingdom, I could not resist trying the loveliest first: the tiny turquoise sea. Hardly daring to breathe, I turned the doorknob, and the door swung open with a gentle sigh. Salt wind spilled into the faerie's house. Before me stretched a dry, rocky coastline punctuated by groves of yellowish trees. The turquoise sea was endless and far too bright, broken only by an ellipsis of rugged islands. Just beyond the door was a spindly olive tree and a cairn of white pebbles. Largely to see if I could, I reached through and took one--- the sun beat down upon my arm, a most curious sensation, while the rest of me felt only the cozier warmth of the faerie's alpine home. I closed the door. "Greece," I murmured. "I think. It looks to be situated either in the mortal world or a place of overlap, like Poe's door. I had no idea the nexus led there--- they have no stories of tree fauns in Greece. Perhaps they do not use it much?

Miriam admired the statue of a beautiful youth, a pearlfisher; who had got entangled in the weeds at the bottom of the sea, and lay dead among the pearl-oysters, the rich shells, and the seaweeds, all of like value to him now. “The poor young man has perished among the prizes that he sought,” remarked she. “But what a strange efficacy there is in death! If we cannot all win pearls, it causes an empty shell to satisfy us just as well. I like this statue, though it is too cold and stern in its moral lesson; and, physically, the form has not settled itself into sufficient repose.

Oh, Mr. Tumnus—I’m so sorry to stop you, and I do love that tune—but really, I must go home. I only meant to stay for a few minutes.” “It’s no good now, you know,” said the Faun, laying down its flute and shaking its head at her very sorrowfully. “No good?” said Lucy, jumping up and feeling rather frightened. “What do you mean? I’ve got to go home at once. The others will be wondering what has happened to me.” But a moment later she asked, “Mr. Tumnus! Whatever is the matter?” for the Faun’s brown eyes had filled with tears and then the tears began trickling down its cheeks, and soon they were running off the end of its nose; and at last it covered its face with its hands and began to howl. “Mr. Tumnus! Mr. Tumnus!” said Lucy in great distress. “Don’t! Don’t! What is the matter? Aren’t you well? Dear Mr. Tumnus, do tell me what is wrong.” But the Faun continued sobbing as if its heart would break. And even when Lucy went over and put her arms round him and lent him her handkerchief, he did not stop. He merely took the handkerchief and kept on using it, wringing it out with both hands whenever it got too wet to be any more use, so that presently Lucy was standing in a damp patch.

A long time ago, in the underground realm, where there are no lies or pain, there lived a Princess who dreamed of the human world. She dreamed of blue skies, soft breeze, and sunshine. One day, eluding her keepers, the Princess escaped. Once outside, the brightness blinded her and erased every trace of the past from her memory. She forgot who she was and where she came from. Her body suffered cold, sickness, and pain. Eventually, she died. However, her father, the King, always knew that the Princess' soul would return, perhaps in another body, in another place, at another time. And he would wait for her, until he drew his last breath, until the world stopped turning...

Throw the offerings!" Agnes and her husband had returned--- I could just make them out, clambering unsteadily down the hillside with their lanterns raised. In an act of ill-advised and entirely undeserved kindness, they had gathered up a handful of villagers to ride to the rescue of the idiot scholars who had tangled with the most fearsome of the local Folk, despite their warnings. A strangled sound escaped me, something between a sob and laugh. "Get back!" Eichorn shouted at the villagers. Rose was clambering to his feet, wheezing, for the fauns had released him to snatch at the "offerings" tossed their way by the villagers. I would have expected bloody hunks of meat, but instead, ludicrously, they seemed to be throwing vegetables--- carrots and onions, predominantly. How did it happen? The scene is a blur of noise and movement, to my memory. I believe I was laughing at the time--- yes, laughing. The image of those nightmarish beasts appeased by a hail of carrots was too much for my frayed composure, and for a moment it seemed this would become another story I told at conferences or to rouse a laugh from my students. For the Folk are terrible indeed, monsters or tyrants or both, but are they not also ridiculous? Whether they be violent beasts distracted by vegetables, or creatures powerful enough to spin straw into gold, which they will happily exchange for a simple necklace, or a great king overthrown by his own cloak, there is a thread of the absurd weaving through all faerie stories, to which the Folk themselves are utterly oblivious.

In the poem, Inanna, unveiled, sees her own mysterious depth, Ereshkigal, who glares back at her. She has an immediate, full experience of her underworld self. That naked moment is like the fifth scene in the Villa of Mysteries where the faun, looking into a mirror bowl, sees reflected back a mask of terrible Dionysus as lord of the underworld. It is the moment of self-confrontation for the goddess of active life and love. Archetypally, these eyes of death are implacable and profound, seeing an immediateness that finds pretense, ideals, even individuality and relatedness, irrelevant. They also hold and enable the mystery of a radically different, precultural mode of perception. Like the eyes in the skulls around the house of the Russian nature goddess and witch, Baba-Yaga, they perceive with an objectivity like that of nature itself and our dreams, boring into the soul to find the naked truth, to see reality beneath all its myriad forms and the illusions and defenses it displays. Western science once aspired to such vision. But we humans do not have such objective eyes. We can see only limited and relative, indeterminate truths. We and our subjectivity are part of the reality we seek to see. Before the vision of Ereshkigal, however, objective reality is unmasked. It is nothing"Neti,neti," as the Sanskrit says and yet everything, the place of paradox behind the veil of the Great Goddess and the temple of wisdom. These eyes see from and embody the starkness of the abyss that takes all back, reduces the dancing, playing maya of the goddess to inert matter and stops life on earth.