Hammer And Anvil Quotes

Life's a forge! Yes, and hammer and anvil, too! You'll be roasted, smelted, and pounded, and you'll scarce know what's happening to you. But stand boldly to it! Metal's worthless till it's shaped and tempered! More labor than luck. Face the pounding, don't fear the proving; and you'll stand well against any hammer and anvil.

In real life it is always the anvil that breaks the hammer...

I would rather be the hammer than the anvil

You must be either the servant or the master, the hammer or the anvil.

Tell people the hammered truth, and it will ring like steel against an anvil.

For all your years prepare, And meet them ever alike; When you are the anvil, bear-- When you are the hammer, strike.

For all your days prepare And meet them ever alike When you are the anvil, bear - When you are the hammer, strike.

For all your days prepare, And meet them ever alike: When you are the anvil, bear-When you are the hammer, strike.

Hammer the iron that lies on your anvil instead of daydreaming about working silver.

Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare sieze the fire? And what shoulder, & what art. Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet? What the hammer? what the chain? In what furnace was thy brain? What the anvil? what dread grasp Dare its deadly terrors clasp? When the stars threw down their spears, And watered heaven with their tears, Did he smile his work to see? Did he who made the Lamb make thee? Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry?

Suffer or triumph, be the hammer or the anvil.

What the hammer? What the Chains? In what furnace was thy brain? Where the anvil? What dread grasp? Dare its deadly terrors clasp?

The blades sang like the strokes of a hammer on a blacksmith's anvil echoing in the empty churchyard.

It is always the anvil that breaks the hammer, never the other way about.

Freedom is hammered out on the anvil of discussion, dissent, and debate.

Carpenters don’t make their saws and hammers, tailors don’t make their scissors and needles, and plumbers don’t make their wrenches, but blacksmiths can make their hammers, tongs, anvils, and chisels

That there is in this world neither brains, nor goodness, nor good sense, but only brute force. Bloodshed. Starvation. Death. That there was not the slightest hope not even a glimmer of hope, of justice being done. It would never happen. No one would ever do it. The world was just one big Babi Yar. And there two great forces had come up against each other and were striking against each other like hammer and anvil, and the wretched people were in between, with no way out; each individual wanted only to live and not be maltreated, to have something to eat, and yet they howled and screamed and in their fear they were grabbing at each other’s throats, while I, little blob of watery jelly, was sitting in the midst of this dark world. Why? What for? Who had done it all? There was nothing, after all, to hope for! Winter. Night.

Ordinary effort, ordinary result. ... Luck is the residue of design. Be steadfast. The anvil outlasts the hammer.

But if we understand anything of the unconscious, we know that it cannot be swallowed. We also know that it is dangerous to suppress it, because the unconscious is life and this life turns against us if suppressed, as happens in neurosis. Conscious and unconscious do not make a whole when one of them is suppressed and injured by the other. If they must contend, at least let it be a fair fight with equal rights on both sides. Both are aspects of life. Consciousness should defend its reason and protect itself, and the chaotic life of the unconscious should be given the chance of having its way too - as much of it as we can stand. This means open conflict and open collaboration at once. That, evidently, is the way human life should be. It is the old game of hammer and anvil: between them the patient iron is forged into an indestructible whole, an ‘individual.’ This, roughly, is what I mean by the individuation process.

The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin's Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes' mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin's folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge's fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin's halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep. -The Song of Durin

Lay me on an anvil, O God. Beat me and hammer me into a crowbar. Let me pry loose old walls. Let me lift and loosen old foundations. Lay me on an anvil, O God. Beat me and hammer me into a steel spike. Drive me into the girders that hold a skyscraper together. Take red-hot rivets and fasten me into the central girders. Let me be the great nail holding a skyscraper through blue nights into white stars.

Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man’s a blacksmith, and one’s a whitesmith, and one’s a goldsmith, and one’s a coppersmith. Diwisions among such must come, and must be met as they come. If there’s been any fault at all to-day, it’s mine. You and me is not two figures to be together in London; nor yet anywheres else but what is private, and beknown, and understood among friends. It ain’t that I am proud, but that I want to be right, as you shall never see me no more in these clothes. I’m wrong in these clothes. I’m wrong out of the forge, the kitchen, or off th’ meshes. You won’t find half so much fault in me if you think me in forge dress, with my hammer in my hand, or even my pipe. You won’t find half so much fault in me if, supposing as you should ever wish to see me, you come and put your head in at the forge window and see Joe the blacksmith, there, at the old anvil, in the old burnt apron, sticking to the old work. I’m awful dull, but I hope I’ve beat out something nigh the rights of this at last. And so God bless you, dear old Pip, old chap, God bless you!

Entrepreneurship is when an individual retrieves a red hot idea from the creativity furnace without the constraint of the heat of lean resources, and with each persistent blow of the innovation hammer shapes the still malleable idea against the anvil of passion, vision, insight, strategy, and principles to forge a fitting vessel of a creative concern.

Never was the victory of patience more complete than in the early church. The anvil broke the hammer by bearing all the blows that the hammer could place upon it. The patience of the saints was stronger than the cruelty of tyrants.

In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? And what shoulder and what art Could twist the sinews of thy heart? And, when thy heart began to beat, What dread hand and what dread feet? What the hammer? what the chain? In what furnace was thy brain? What the anvil? what dread grasp Dare its deadly terrors clasp?

My kinfolks thought more about character than about culture. They said culture could be acquired but character had to be formed. Character had to be hammered into shape like hot iron on an anvil. It had to be molded in the most exact and unrelenting form.

A man who governs his passions is master of his world. We must either command them or be enslaved by them. It is better to be a hammer than an anvil.

The pain you are feeling is merely the strike of every hammer blow on the anvil as you are being forged.

... it is to your credit that you recognize that if he was a monster then it was other monstrous things which made him so. The iron forged on the anvil cannot be blamed for the hammer...

It is a mistake to read too many good books when quite young. A man once told me that he had read all the books that mattered. Cross-questioned, he appeared to have read a great many, but they seemed to have made only a slight impression. How many had he understood? How many had entered into his mental composition? How many had been hammered on the anvils of his mind and afterwards ranged in an armoury of bright weapons ready to hand? It is a great pity to read a book too soon in life. The first impression is the one that counts….Young people should be careful in their reading, as old people in eating their food. They should not eat too much. They should chew it well.

Writing a novel is a bit like making a sword. First, you take all the raw material and melt it down in a crucible, then you take it to the anvil and hammer out as many of the impurities as possible before folding and turning the whole thing over on itself and hammering it out again. The more often you can fold it over and incorporate another layer the stronger it will be. Finally, put an edge on it, give it a handle to show to the world, and the job's done. The result should be something flexible and elegant; perfectly balanced, of suitable length and, above all with a point to it.

As he sat before the elderly Irishman in his boxcar, the moment of realization suddenly tumbled into Elefante’s consciousness with startling efficiency, landing on his insides with a heaviness that felt like a blacksmith’s hammer falling on an anvil.

And what shoulder, & what art, Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand? & what dread feet? What the hammer? what the chain, In what furnace was thy brain? What the anvil? what dread grasp, Dare its deadly terrors clasp! When the stars threw down their spears And water'd heaven with their tears: Did he smile his work to see?

To the south, swords flashed and blood watered the trodden earth instead of rain. To the north, armies marched, the pounding of their boots the drum of death, their banners clouding the sky with the shadow of evil. In the west, the races of humanity were smitten as metal is beaten between hammer and anvil. There, in their homeland, they possessed only ruined dreams, gnawing hunger and soul-eating poverty. The east alone offered hope, and thither they fled. But hope burned to ash, and was blown back in their faces as a choking wind.

her smile of understanding and acceptance that said, “All intangibles are forgiven, I accept them and more—your faults, your dips and turns, everything, because our love is a hammer forged at the anvil of God and not even your most foolish, irrational act can break it.” That look.

You are strong, tempered like steel in the fire and by the blows of the hammer of life. Nothing will break you again, only make you stronger and more whole. Perfection is the pride of those who have not lived, who know not these things in their arrogance. They remain the same - raw and without form. The hammer never touches them, and they lie on the shelf, gathering dust, slowly tarnishing and fading and crumbling. the blows of the hammer in the fire refine us into bright shining glory for the roles we play in life - until we are one with the anvil, becoming immune to the hammer's little knocks, and smile at it.

Stand like a beaten anvil, when thy dream Is laid upon thee, golden from the fire. Flinch not, though heavily through that furnace-gleam The black forge-hammers fall on thy desire. Demoniac giants round thee seem to loom. 'Tis but the world-smiths heaving to and fro. Stand like a beaten anvil. Take the doom Their ponderous weapons deal thee, blow on blow. Needful to truth as dew-fall to the flower Is this wild wrath and this implacable scorn. For every pang, new beauty, and new power, Burning blood-red shall on thy heart be born. Stand like a beaten anvil. Let earth's wrong Beat on that iron and ring back in song.

Ah, yes. Perhaps I have confused you. There was a time when my mind was full of darkness. Then Brother Oats helped me to the light, and I was born.’ ‘Oh, religion stuff.’ ‘But here I am. You asked why I am strong? When I lived in the dark of the forge, I used to lift weights. The tongs at first, and then the little hammer and then the biggest hammer, and then one day I could lift the anvil. That was a good day. It was a little freedom.’ ‘Why was it so important to lift the anvil?’ ‘I was chained to the anvil.

God shapes us with a hammer of pain on an anvil of duty. I cannot imagine what shape we will be when He is finished.

Snowmageddon. Dirty glacial clouds hammered the city's anvil. On the District of Columbia’s northwestern edge, gusts of snow rolled across the Park Road Bridge like volcanic ash.

When you leave the familiar and enter the unknown, your fear becomes refined by experience and hammered into tools of survival on the anvil of anxiety.

We will respond, even in the face of irony and slander, with the sweetness of love. We can afford to take this attitude because good anvils do not fear the blows of many hammers.

Whoever will not be a hammer in history, will be an anvil.

For the time being there is only one alternative: to be the hammer or the anvil.

You must either conquer and rule or serve and lose, suffer or triumph, be the anvil or the hammer.

The truth of Voltaire’s observation offers itself perpetually,” he told Bellini, that every man in Europe “must be either the hammer or the anvil.

if thou could’st, blacksmith, glad enough would I lay my head upon thy anvil, and feel thy heaviest hammer between my eyes

For all your days prepare And meet them ever alike When you are the anvil, bear When you are the hammer, strike.

Hammer away, ye hostile bands. Your hammers break; God’s anvil stands.

For all your days prepare And meet them ever alike When you are the anvil, bear - When you are the hammer, strike.

Life takes each of us to the anvil, shapes us with fire and hammer, and some of us break while some of us become stronger, more able to face the day. Even happy.

And as soon as you accepted that the man’s breakdown was a consequence of his war experience rather than his own innate weakness, then inevitably the war became the issue. And the therapy was a test, not only of the genuineness of the individual’s symptoms, but also of the validity of the demands the war was making on him. Rivers had survived partly by suppressing his awareness of this. But then along came Sassoon and made the justifiability of the war a matter for constant, open debate, and that suppression was no longer possible. At times it seemed to Rivers that all his other patients were the anvil and that Sassoon was the hammer. Inevitably there were times when he resented this. As a civilian, Rivers’s life had consisted of asking questions, and devising methods by which truthful answers could be obtained, but there are limits to how many fundamental questions you want to ask in a working day that starts before eight am and doesn’t end till midnight.

All creatures on Earth have been hammered on the anvil of its gravity, for example, which influences size and morphology. So I am sceptical about finding armoured reptiles who can fly and spout flames.

Dare you see a Soul at the White Heat? Then crouch within the door— Red—is the Fire’s common tint— But when the vivid Ore Has vanquished Flame’s conditions— It quivers from the Forge Without a color, but the Light Of unannointed Blaze— Least Village, boasts it’s Blacksmith— Whose Anvil’s even ring Stands symbol for the finer Forge That soundless tugs—within— Refining these impatient Ores With Hammer, and with Blaze Until the designated Light Repudiate the Forge—

Caladan Brood, the menhired one, winter-bearing, barrowed and sorrowless . . .” Calot picked up the next lines.   “. . . in a tomb bereaved of words, and in his hands that have crushed anvils—” Tattersail continued, “the hammer of his song— he lives asleep, so give silent warning to all—wake him not.

Now it was winter. He hated the damp of Paris. “Behold me at length on the vaunted scene of Europe!” Jefferson wrote in 1785.48 “I find the general fate of humanity here most deplorable. The truth of Voltaire’s observation offers itself perpetually, that every man here must be either the hammer or the anvil.” As much as Jefferson loved France, residence abroad gave him a greater appreciation for his own nation. “My God! How little do my countrymen know what precious blessings they are in possession of, and which no other people on earth enjoy,” Jefferson wrote Monroe.49 “I confess I had no idea of it myself.

Conscious and unconscious do not make a whole when one of them is suppressed and injured by the other. If they must contend, let it at least be a fair fight with equal rights on both sides. Both are aspects of life. Consciousness should defend its reason and protect itself, and the chaotic life of the unconscious should be given the chance of having its way too—as much of it as we can stand. This means open conflict and open collaboration at once. That, evidently, is the way human life should be. It is the old game of hammer and anvil: between them the patient iron is forged into an indestructible whole, an “individual.

The days became for Christina endless preparation. Ceaseless winds tore through her massing battle ranks, the grey cold sun above marking the timeless date. With skies of blue and cloud overhead, driving, uncompromising time stood still, lingering, as if giving Christina precious eons to perfect her shaving straight razor cuts of mind and sword. She worked alone now, forging the essence of herself in the policies and ways of hammer and anvil, pounding away with the classic, living Japanese blade. Her deft hands spun dervishly, wroughting out the iron of her will, fashioning a blade-mind remade unto her. --Brickley, The Lady and the Samurai

We are a biological species arising from Earth’s biosphere as one adapted species among many; and however splendid our languages and cultures, however rich and subtle our minds, however vast our creative powers, the mental process is the product of a brain shaped by the hammer of natural selection upon the anvil of nature.

Rome the crucible, but also the furnace, the boiling metal, the hammer, and the anvil as well, visible proof of the changes and repetitions of history, one place in the world where man will have most passionately lived. The great fire of Troy from which a fugitive had escaped, taking with him his aged father, his young son, and his household goods, had passed down to us that night in this flaming festival. I thought also, with something like awe, of conflagrations to come. These millions of lives past, present, and future, these structures newly arisen from ancient edifices and followed themselves by structures yet to be born, seemed to me to succeed each other in time like waves; by chance it was at my feet that night in this flaming festival.

FUCK There are people who will tell you that using the word fuck in a poem indicates a serious lapse of taste, or imagination, or both. It’s vulgar, indecorous, an obscenity that crashes down like an anvil falling through a skylight to land on a restaurant table, on the white linen, the cut-glass vase of lilacs. But if you were sitting over coffee when the metal hit your saucer like a missile, wouldn’t that be the first thing you’d say? Wouldn’t you leap back shouting, or at least thinking it, over and over, bell-note riotously clanging in the church of your brain while the solicitous waiter led you away, wouldn’t you prop your shaking elbows on the bar and order your first drink in months, telling yourself you were lucky to be alive? And if you wouldn’t say anything but Mercy or Oh my or Land sakes, well then I don’t want to know you anyway and I don’t give a fuck what you think of my poem. The world is divided into those whose opinions matter and those who will never have a clue, and if you knew which one you were I could talk to you, and tell you that sometimes there’s only one word that means what you need it to mean, the way there’s only one person when you first fall in love, or one infant’s cry that calls forth the burning milk, one name that you pray to when prayer is what’s left to you. I’m saying in the beginning was the word and it was good, it meant one human entering another and it’s still what I love, the word made flesh. Fuck me, I say to the one whose lovely body I want close, and as we fuck I know it’s holy, a psalm, a hymn, a hammer ringing down on an anvil, forging a whole new world.

Tyger, tyger, burning bright In the forest of the night, What immortal hand or eye Could Frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? And what shoulder and what art Could twist the sinews of thy heart? And, when thy heart began to beat, What dread hand and what dread feet? What the hammer? what the chain? In what furnace was thy brain? What the anvil? - The Tyger

Pip, dear old chap, life is made of ever so many partings welded together, as I may say, and one man’s a blacksmith, and one’s a whitesmith, and one’s a goldsmith, and one’s a coppersmith. Diwisions among such must come, and must be met as they come. If there's been any fault at all to-day, it's mine. You and me is not two figures to be together in London; nor yet anywheres else but what is private, and beknown, and understood among friends. It ain't that I am proud, but that I want to be right, as you shall never see me no more in these clothes. I'm wrong in these clothes. I'm wrong out of the forge, the kitchen, or off th'meshes. You won't find half so much fault in me if you think of me in my forge dress, with my hammer in my hand, or even my pipe. You won't find half so much fault in me if, supposing as you should ever with to see me, you come and put your head in at the forge winder and see Joe the blacksmith, there, at the old anvil, in the old burnt apron, sticking to the old work.

[T]he heart is a very unreliable coinpass, and even will and knowledge, as all ideological factors in general, are not to be trusted as guides if they are without any material basis…. [I]t is not love nor help which is the guiding rule of our time, but hammer or anvil. In reality it is thus: who does not want to be a servant must try to become a master. Under such conditions it is idle to hope that people will sacrifice realities for ideal precepts. We are not sentimental enough to expect such things. Though we use moral arguments in our struggle against the bourgeois, we do all we can to stimulate our class consciousness.

You have to do something,” Kestrel had said. The woman blinked, bleary-eyed. “Go tell the guards to let Smith out. He’s imprisoned in the barracks. He--” “I know,” the woman had said. “He’s been released.” “He has? By whom?” The slave looked away. “It was Rax’s decision. He said you could complain to him if you didn’t like it.” Those last words sounded like a lie. They didn’t even make sense. But the woman patted her hand and said, “I saw Smith myself, in the slaves’ quarters. He’s not too worse for wear. Don’t worry, my lady.” The face of the woman, whose name Kestrel had forgotten, filled with such sympathy that she had told her to leave. Kestrel remembered the woman’s expression. She looked at the shredded letter and saw again its written words--so snide, so understanding. They didn’t understand. No one did. They were wrong. Kestrel slipped back under the blankets. Some hours later, she called for a slave and asked her to open a window. Cold air poured in, and Kestrel shivered until she heard a distant ringing, the sound of hammer against anvil. Arin must know that she couldn’t come to him. Why didn’t he come to her? She could make him. If she sent an order, he would obey. But she didn’t want his obedience. She wanted him to want to see her. Kestrel flinched at this thought and the pain it brought with it. She knew that even if everyone believed the wrong thing of her, they were also too close to being right.

The auctioneer turned to face her. He raised his knife again. Kestrel had just enough time to remember the sound of a hammer against anvil, to think of all the weapons Arin had forged, and to realize that if he had wanted to make more on the side it wouldn’t have been heard. The auctioneer advanced on her. Not hard at all. “No,” said Arin. “She’s mine.” The man paused. “What?” Arin strolled toward them, stepping in the housekeeper’s blood. He stood next to the auctioneer, his stance loose and careless. “She’s mine. My prize. Payment for services rendered. A spoil of war.” Arin shrugged. “Call her what you like. Call her my slave.” Shame poured into Kestrel, as poisonous as anything her friends must have drunk at the ball. Slowly, the auctioneer said, “I’m a little worried about you, Arin. I think you’ve lost clarity on the situation.” “Is there something wrong with treating her the way she treated me?” “No, but--” “The Valorian army will return. She’s the general’s daughter. She’s too valuable to waste.” The auctioneer sheathed his knife, but Kestrel couldn’t sheathe her dread. This sudden alternative to death didn’t seem like a better one. “Just remember what happened to your parents,” the auctioneer told Arin. “Remember what Valorian soldiers did to your sister.” Arin’s gaze cut to Kestrel. “I do.” “Really? Where were you during the assault on the estate? I expected to find my second-in-command here. Instead, you were at a party.

Dear Jesus, I do not want to know the wisdom of the world; I do not want to know on whose anvil snowflakes are hammered, or the hiding place of darkness, or from whose womb came the ice, or why the gold falls to the earth, earthly, and fire climbs to the heavens, heavenly; I do not want to know literature and science, nor the four dimensional universe in which we live; I do not want to know the length of the universe in terms of light years; I do not want to know the breadth of the earth as it dances about the chariot of the sun; I do not want to know the heights of the stars, chaste candles of the night; I do not want to know the depth of the sea, nor the secrets of its watery palace. I want to be ignorant of all these things.

Tyger Tyger, burning bright, In the forests of the night; What immortal hand or eye, Could frame thy fearful symmetry? In what distant deeps or skies. Burnt the fire of thine eyes? On what wings dare he aspire? What the hand, dare seize the fire? And what shoulder, & what art, Could twist the sinews of thy heart? And when thy heart began to beat. What dread hand? & what dread feet? What the hammer? what the chain, In what furnace was thy brain? What the anvil? what dread grasp. Dare its deadly terrors clasp? When the stars threw down their spears And water'd heaven with their tears: Did he smile his work to see? Did he who made the Lamb make thee? Tyger Tyger burning bright, In the forests of the night: What immortal hand or eye, Dare frame thy fearful symmetry?

The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin’s Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes’ mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin’s folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge’s fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin’s halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep.

How is a cloud outlined? Granted whatever you choose to ask, concerning its material, or its aspect, its loftiness and luminousness,—how of its limitation? What hews it into a heap, or spins it into a web? Cold is usually shapeless, I suppose, extending over large spaces equally, or with gradual diminution. You cannot have, in the open air, angles, and wedges, and coils, and cliffs of cold. Yet the vapor stops suddenly, sharp and steep as a rock, or thrusts itself across the gates of heaven in likeness of a brazen bar; or braids itself in and out, and across and across, like a tissue of tapestry; or falls into ripples, like sand; or into waving shreds and tongues, as fire. On what anvils and wheels is the vapor pointed, twisted, hammered, whirled, as the potter’s clay? By what hands is the incense of the sea built up into domes of marble?

He kept his distance from the villa. It was too easy to slip in Kestrel’s presence. One day, Lirah came to the forge. Arin was sure that he was being called to serve as Kestrel’s escort somewhere. He felt an eager dread. “Enai would like to see you,” Lirah said. Arin set the hammer on the anvil. “Why?” His interactions with Enai had been limited, and he liked to keep them that way. The woman’s eyes were too keen. “She’s very sick.” Arin considered this, then nodded, following Lirah from the forge. When they entered the cottage, they could hear the sounds of sleep from beyond the open bedroom door. Enai coughed, and Arin heard fluid in her lungs. The coughing subsided, then gave way to ragged breath. “Someone should fetch a doctor,” Arin told Lirah. “Lady Kestrel has gone for one. She was very upset. She’ll return soon, I hope.” Haltingly, Lirah said, “I’d like to stay with you, but I have to get back to the house.” Arin barely noticed her touch his arm before leaving him. Reluctant to wake Enai, Arin studied the cottage. It was snug and well maintained. The floor didn’t creak. There were signs, everywhere, of comfort. Slippers. A stack of dry wood. Arin ran a hand along the smooth mantel of the fireplace until he touched a porcelain box. He opened it. Inside was a small braid of dark blond hair with a reddish tinge, looped in a circle and tied with golden wire. Although he knew he shouldn’t, Arin traced the braid with one fingertip. “That’s not yours,” a voice said. He snatched his hand away. He turned, his face hot. Through the open bedroom door, Arin saw Enai staring at him from where she lay. “I’m sorry.” He set the lid on the box. “I doubt it,” she muttered, and told him to come near. Arid did, slowly. He had the feeling he was not going to like this conversation. “You spend a lot of time with Kestrel,” Enai said. He shrugged. “I do what she asks.” Enai held his gaze. Despite himself, he looked away first. “Don’t hurt her,” the woman said. It was a sin to break a deathbed promise. Arin left without making one.

Arin watched the fire flare crimson. Then he went outside and surveyed the grounds, saw through leafless trees that no one was near. He could steal a few minutes. When he stepped back inside the forge, he leaned against the anvil. With one hand he pulled a book from its hiding place behind the kindling box, and in the other he held a hammer so that, if in danger of being caught, he could more quickly pretend to have been working. He began to read. It was a book he had seen in Kestrel’s possession, one on the history of the Valorian empire. He had taken it from the library after she had returned it, weeks ago. What would she say, if she saw him reading a book about his enemy, in his enemy’s tongue? What would she do? Arin knew this: her gaze would measure him, and he would sense a shift of perception within her. Her opinion of him would change as daylight changed, growing or losing shadow. Subtle. Almost indiscernible. She would see him differently, though he wouldn’t know in what way. He wouldn’t know what it meant. This had happened, again and again, since he had come here. Sometimes he wished he had never come here. Well. Kestrel couldn’t see him in the forge, or know what he read, because she couldn’t leave her rooms. She couldn’t even walk. Arin shut the book, gripped it between rigid fingers. He nearly threw it into the fire. I will have you torn limb from limb, the general had said. That wasn’t why Arin stayed away from her. Not really. He forced his thoughts from his head. He hid the book where it had been. He busied himself with quiet work, heating iron and charcoal in a crucible to produce steel. It took some time before Arin realized he was humming a dark tune. For once, he didn’t stop himself. The pressure of song was too strong, the need for distraction too great. Then he found that the music caged behind his closed teeth was the melody Kestrel had played for him months ago. He felt the sensation of it, low and alive, on his mouth. For a moment, he imagined it wasn’t the melody that touched his lips, but Kestrel. The thought stopped his breath, and the music, too.

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.

When the Archchancellor spoke, it was calmly and carefully, every word hammered on the anvil of self-control.

The anvil breaks a legion of hammers—by quietly bearing their blows.

April 2 MORNING “He answered him to never a word.” — Matthew 27:14 HE had never been slow of speech when He could bless the sons of men, but He would not say a single word for Himself. “Never man spake like this Man,” and never man was silent like Him. Was this singular silence the index of His perfect self-sacrifice? Did it show that He would not utter a word to stay the slaughter of His sacred person, which He had dedicated as an offering for us? Had He so entirely surrendered Himself that He would not interfere in His own behalf, even in the minutest degree, but be bound and slain an unstruggling, uncomplaining victim? Was this silence a type of the defenselessness of sin? Nothing can be said in palliation or excuse of human guilt; and, therefore, He who bore its whole weight stood speechless before His judge. Is not patient silence the best reply to a gainsaying world? Calm endurance answers some questions infinitely more conclusively than the loftiest eloquence. The best apologists for Christianity in the early days were its martyrs. The anvil breaks a host of hammers by quietly bearing their blows. Did not the silent Lamb of God furnish us with a grand example of wisdom? Where every word was occasion for new blasphemy, it was the line of duty to afford no fuel for the flame of sin. The ambiguous and the false, the unworthy and mean, will ere long overthrow and confute themselves, and therefore the true can afford to be quiet, and finds silence to be its wisdom. Evidently our Lord, by His silence, furnished a remarkable fulfillment of prophecy. A long defence of Himself would have been contrary to Isaiah’s prediction. “He is led as a lamb to the slaughter, and as a sheep before her shearers is dumb, so He openeth not His mouth.” By His quiet He conclusively proved Himself to be the true Lamb of God. As such we salute Him this morning. Be with us, Jesus, and in the silence of our heart, let us hear the voice of Thy love.

How much for a picture with the girl?” one of the men called, nodding at Lily. Another man whistled and others chortled. Oren stiffened. He tipped up his derby, and his eyebrows narrowed into a scowl. “I’ve got two rules here today, boys.” Lily stifled a smile. She’d heard Oren’s lecture plenty of times. She could only imagine what he’d say if he found out about Jimmy Neil’s attack of the night before. He’d never let her go anywhere by herself again. Oren pulled his corncob pipe out of his mouth and pointed the stem at the men. “One—you keep your filthy hands off Lily, and I’ll keep my hands off your puny chicken necks.” Except for the rhythmic ring of hammer on anvil coming from the crudely built log cabin that served as a shop for the camp blacksmith, silence descended over the clearing. “Two,” Oren continued, “you keep your shifty eyes off Lily, and I’ll keep from blowing a hole through your pea-brain heads.” With that, he toed the rifle, which he always laid on the ground in front of the tripod. She saw no need to tell them Oren had never shot anyone, at least not yet.

The anvil outlasts the hammer.

Flattered by Loki’s speeches, the Dwarfs who were in the forge took up the bar of fine gold and flung it into the fire. Then taking it out and putting it upon their anvil they worked on the bar with their tiny hammers until they beat it into threads that were as fine as the hairs of one’s head. But that was not enough. They had to be as fine as the hairs on Sif’s head, and these were finer than anything else. They worked on the threads, over and over again, until they were as fine as the hairs on Sif’s head. The threads were as bright as sunlight, and when Loki took up the mass of worked gold it flowed from his raised hand down on the ground. It was so fine that it could be put into his palm, and it was so light that a bird might not feel its weight.

news of all this reached [John], but he said that he did not care about the child, since he still had the anvils and the hammers to forge even finer ones’.

They were going to do that thing that they did. When they moved like lightning and struck like the hammer on the anvil. Soldiers know, feel, these things. And luck rose about them, as if they were magi casting words of power with the hooves of their horses.

For five nights in a row, again and again, at different locations and in different positions he had offered me everything. Maybe his specialty was showing not only his prick but also his testicles, hair, belly, and top of his thighs. There was a certain merciless openness in this. The relief of his stomach, thighs, and loins, his head, and his entire splendid figure eerily reminded me of the man with anvil and hammer one can see on the twenty-forint bill. On each occasion, I had stupidly run away from him. To my shame, in the light of day I would take out the twenty-forint bill to see him and be with him. I couldn’t forget him. The only difference between him and his image on the bill was that on the latter the artist had used drapery to conceal the loins.

Was our malleable character forged insipidly on the anvil of regret or did we have the courage to wield the hammer

You hammered the iron that lay on your anvil instead of daydreaming about working silver.

If you are stuck between a hammer and anvil, the only option you have left is to evade diligently. Repercussions and reminisce of it might seem like unscrupulous or injustice. However, let the time to speak, it has the power to reverse the entire equation.

I am sure that I have run more swiftly with a lame leg than I ever did with a sound one. I am certain that I have seen more in the dark than ever I saw in the light, – more stars, most certainly, – more things in heaven if fewer things on earth. The anvil, the fire, and the hammer, are the making of us; we do not get fashioned much by anything else. That heavy hammer falling on us helps to shape us; therefore let affliction and trouble and trial come.

Dear Jesus, I do not want to know the wisdom of the world; I do not want to know on whose anvil snowflakes are hammered, or the hiding place of darkness, or from whose womb came the ice, or why the gold falls to the earth, earthly, and fire climbs to the heavens, heavenly; I do not want to know literature and science, nor the four dimensional universe in which we live; I do not want to know the length of the universe in terms of light years; I do not want to know the breadth of the earth as it dances about the chariot of the sun; I do not want to know the heights of the stars, chaste candles of the night; I do not want to know the depth of the sea, nor the secrets of its watery

Then said Rog in a great voice: "Who now shall fear the Balrogs for all their terror? See before us the accursed ones who for ages have tormented the children of the Noldoli, and who now set a fire at our backs with their shooting. Come ye of the Hammer of Wrath and we will smite them for their evil." Thereupon he lifted his mace, and its handle was long; and he made a way before him by the wrath of his onset even unto the fallen gate: but all the people of the Stricken Anvil ran behind like a wedge, and sparks came from their eyes for the fury of their rage. A great deed was that sally, as the Noldoli sing yet, and many of the Orcs were borne backward into the fires below; but the men of Rog leapt even upon the coils of the serpents and came at those Balrogs and smote them grievously, for all they had whips of flame and claws of steel, and were in stature very great. They battered them into nought, or catching at their whips wielded these against them, that they tore them even as they had aforetime torn the Gnomes; 1 and the number of Balrogs that perished was a marvel and dread to the hosts of Melko, for ere that day never had any of the Balrogs been slain by the hand of Elves or Men.

Remember, the anvil does not get broken even if you keep on striking it, but it breaks all the hammers. You must do the same. Just hold on, and these fires will not consume you. If the fire should burn up your piety, it would only prove that your piety was not worth having. If you cannot stand a few jokes and jeers, then you are not built together in that habitation of God that He has made fireproof

Remember, the anvil does not get broken even if you keep on striking it, but it breaks all the hammers. You must do the same. Just hold on, and these fires will not consume you. If the fire should burn up your piety, it would only prove that your piety was not worth having. If you cannot stand a few jokes and jeers, then you are not built together in that habitation of God that He has made fireproof. Endure to the end, and you will find that this difficult situation, this severe discipline, did you much good and made you a better man than you ever would have been if you had been gently rocked on the lap of piety and kept from the battle.

The path of self-development presents us with necessary periods of isolation from others. Later the isolation ends and we are put to use by the Cosmos. Thus, life seems to be an anvil, Fate a hammer for shaping our spiritual awareness.

Henry...your father was a brave man." He continued attacking the metal with a sledgehammer, brutally hacking at the anvil. She wasn't sure he had heard her. Then, he stopped short, the hammer hanging heavy in the air, the fire snapping in front of him. "I was close enough to smell it," he seethed, not turning. "But I was afraid. I hid from it." Clang! I didn't do anything. "I should have done something." Clang! "I should have saved him." Valerie saw that he was destroying all of their half-finished projects. They would remain that way forever. "I've lost someone, too, Henry—I know how it is. Please, come away from the fire." He didn't. Clang! "Henry, please." One of the fiery specks spat out of the forge an landed on Henry's arm, searing his flesh. Punishing himself, he did not stop to remove it until finally, with one quick motion, he gestured violently towards the door, shaking it off. "Valerie, leave," he snarled. "I don't want you to see me like this.

He rose and standing in the dark he began to chant in a deep voice, while the echoes ran away into the roof. The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin’s Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes’ mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin’s folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge’s fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin’s halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep. ‘I

I dreamed once after he died that Lord Goodsleep came to me in the night on a stallion made of storm clouds,” she admitted. “He was monstrously large, with a pair of shining golden scissors in his hand, and he approached me while I slept and snipped me wide open from my neck to my navel, as if my skin were made of muslin. Then he took a pair of iron tongs and lifted out my heart—it was a crystalline globe, just a lovely thing, really, throwing dazzling sparks all over the sky like a magic lamp.” Fergal’s eyes lit. “How wonderful.” “He rolled it around in his fingers as if he were inspecting a plum… then he laid it on an anvil and smashed it with a silver hammer—not enough to turn it to dust, just enough to leave jagged edges upon it all the way around. Then he pushed it back inside of me with no concern whatsoever for my anguish, and he stitched me up tightly, so that when I woke, I would possess a pain that could never be dissolved.

The basic fact is that Christianity as it was born in the mind of this Jewish teacher and thinker appears as a technique for the oppressed . . . It was upon the anvil of the Jewish community’s relations with Rome that Jesus hammered out the vital content of his concept of love for one’s enemy. Howard Thurman, Jesus and the Disinherited

Henry Wadsworth Longfellow wrote that we must choose between being an anvil or a hammer. We’ll either mold the world, or be molded by it. If you never go deep, you will always be the anvil. And the surest path to being the hammer is depth.

Tongues are more dreadful instruments than can be made with hammers and anvils, and the harm that they inflict cuts deeper and spreads wider.

in her Montreal office the day a batch of rejection letters arrived, ripping them into pieces and dropping them on the floor for the hired help to clean up. ‘This world is messed up, I tell you. People are cruel and insensitive, they’re out to screw each other. There’s no love or compassion. This’, she sliced her book violently in the air like an ancient mythical hammer, heading for an unforgiving anvil, ‘will teach

Thunder belches around him, but it does not affect him, nothing affects him, as he sits enthroned in his Olympic indifference over the hectic course of life—an anvil for the gods to hammer on.

So the hammers of infidels have been pecking away at this book for ages, but the hammers are worn out, and the anvil still endures. If this book had not been the book of God, men would have destroyed it long ago. Emperors and popes, kings and priests, princes and rulers have all tried their hand at it; they die and the book still lives.