Inspirational Figs Quotes

The soul grows into lovely habits as easily as into ugly ones, and the moment a life begins to blossom into beautiful words and deeds, that moment a new standard of conduct is established, and your eager neighbors look to you for a continuous manifestation of the good cheer, the sympathy, the ready wit, the comradeship, or the inspiration, you once showed yourself capable of. Bear figs for a season or two, and the world outside the orchard is very unwilling you should bear thistles.

A fig for those by law protected! Liberty's a glorious feast! Courts for cowards were erected, Churches built to please the priest!

Inspiration is for amateurs--the rest of us just show up and get to work. - Chuck Close

She could have wept. It was bad, it was bad, it was infinitely bad! She could have done it differently of course; the colour could have been thinned and faded; the shapes etherealised; that was how Paunceforte would have seen it. But then she did not see it like that. She saw the colour burning on a framework of steel; the light of a butterfly’s wing lying upon the arches of a cathedral. Of all that only a few random marks scrawled upon the canvas remained. And it would never be seen; never be hung even, and there was Mr Tansley whispering in her ear, “Women can’t paint, women can’t write ...” She now remembered what she had been going to say about Mrs Ramsay. She did not know how she would have put it; but it would have been something critical. She had been annoyed the other night by some highhandedness. Looking along the level of Mr Bankes’s glance at her, she thought that no woman could worship another woman in the way he worshipped; they could only seek shelter under the shade which Mr Bankes extended over them both. Looking along his beam she added to it her different ray, thinking that she was unquestionably the loveliest of people (bowed over her book); the best perhaps; but also, different too from the perfect shape which one saw there. But why different, and how different? she asked herself, scraping her palette of all those mounds of blue and green which seemed to her like clods with no life in them now, yet she vowed, she would inspire them, force them to move, flow, do her bidding tomorrow. How did she differ? What was the spirit in her, the essential thing, by which, had you found a crumpled glove in the corner of a sofa, you would have known it, from its twisted finger, hers indisputably? She was like a bird for speed, an arrow for directness. She was willful; she was commanding (of course, Lily reminded herself, I am thinking of her relations with women, and I am much younger, an insignificant person, living off the Brompton Road). She opened bedroom windows. She shut doors. (So she tried to start the tune of Mrs Ramsay in her head.) Arriving late at night, with a light tap on one’s bedroom door, wrapped in an old fur coat (for the setting of her beauty was always that—hasty, but apt), she would enact again whatever it might be—Charles Tansley losing his umbrella; Mr Carmichael snuffling and sniffing; Mr Bankes saying, “The vegetable salts are lost.” All this she would adroitly shape; even maliciously twist; and, moving over to the window, in pretence that she must go,—it was dawn, she could see the sun rising,—half turn back, more intimately, but still always laughing, insist that she must, Minta must, they all must marry, since in the whole world whatever laurels might be tossed to her (but Mrs Ramsay cared not a fig for her painting), or triumphs won by her (probably Mrs Ramsay had had her share of those), and here she saddened, darkened, and came back to her chair, there could be no disputing this: an unmarried woman (she lightly took her hand for a moment), an unmarried woman has missed the best of life. The house seemed full of children sleeping and Mrs Ramsay listening; shaded lights and regular breathing.

Alla fine, la felicità sta tutta nell'uscire vivo dalle cose che non ti ammazzano

But there comes to birth no common spawn From the love of a priest for a leprechaun, And you never have seen and you never will see Such things as the things that swaddled me!

Failure is just success rounded down, my friend!

The Jumblies I They went to sea in a Sieve, they did, In a Sieve they went to sea: In spite of all their friends could say, On a winter's morn, on a stormy day, In a Sieve they went to sea! And when the Sieve turned round and round, And every one cried, 'You'll all be drowned!' They called aloud, 'Our Sieve ain't big, But we don't care a button! we don't care a fig! In a Sieve we'll go to sea!' Far and few, far and few, Are the lands where the Jumblies live; Their heads are green, and their hands are blue, And they went to sea in a Sieve. II They sailed away in a Sieve, they did, In a Sieve they sailed so fast, With only a beautiful pea-green veil Tied with a riband by way of a sail, To a small tobacco-pipe mast; And every one said, who saw them go, 'O won't they be soon upset, you know! For the sky is dark, and the voyage is long, And happen what may, it's extremely wrong In a Sieve to sail so fast!' Far and few, far and few, Are the lands where the Jumblies live; Their heads are green, and their hands are blue, And they went to sea in a Sieve. III The water it soon came in, it did, The water it soon came in; So to keep them dry, they wrapped their feet In a pinky paper all folded neat, And they fastened it down with a pin. And they passed the night in a crockery-jar, And each of them said, 'How wise we are! Though the sky be dark, and the voyage be long, Yet we never can think we were rash or wrong, While round in our Sieve we spin!' Far and few, far and few, Are the lands where the Jumblies live; Their heads are green, and their hands are blue, And they went to sea in a Sieve. IV And all night long they sailed away; And when the sun went down, They whistled and warbled a moony song To the echoing sound of a coppery gong, In the shade of the mountains brown. 'O Timballo! How happy we are, When we live in a Sieve and a crockery-jar, And all night long in the moonlight pale, We sail away with a pea-green sail, In the shade of the mountains brown!' Far and few, far and few, Are the lands where the Jumblies live; Their heads are green, and their hands are blue, And they went to sea in a Sieve. V They sailed to the Western Sea, they did, To a land all covered with trees, And they bought an Owl, and a useful Cart, And a pound of Rice, and a Cranberry Tart, And a hive of silvery Bees. And they bought a Pig, and some green Jack-daws, And a lovely Monkey with lollipop paws, And forty bottles of Ring-Bo-Ree, And no end of Stilton Cheese. Far and few, far and few, Are the lands where the Jumblies live; Their heads are green, and their hands are blue, And they went to sea in a Sieve. VI And in twenty years they all came back, In twenty years or more, And every one said, 'How tall they've grown! For they've been to the Lakes, and the Torrible Zone, And the hills of the Chankly Bore!' And they drank their health, and gave them a feast Of dumplings made of beautiful yeast; And every one said, 'If we only live, We too will go to sea in a Sieve,--- To the hills of the Chankly Bore!' Far and few, far and few, Are the lands where the Jumblies live; Their heads are green, and their hands are blue, And they went to sea in a Sieve.

Sitti knows that modern-day wars are fought over simple things, like the length and fit of a shirt—the shorter the sleeve, the greater the misfortune. Many times she wants to ask the one-hundred-year-old fig tree in the village center what it is like to be born from nothing and grow into something. She wants to know what it is like to bear fruit every year and not expect anything in return. She wants to know what it is like to be respected for what she could give—no more and no less.

According to the gospels, Christ healed diseases, cast out devils, rebuked the sea, cured the blind, fed multitudes with five loaves and two fishes, walked on the sea, cursed a fig tree, turned water into wine and raised the dead. How is it possible to substantiate these miracles? The Jews, among whom they were said to have been performed, did not believe them. The diseased, the palsied, the leprous, the blind who were cured, did not become followers of Christ. Those that were raised from the dead were never heard of again. Can we believe that Christ raised the dead? A widow living in Nain is following the body of her son to the tomb. Christ halts the funeral procession and raises the young man from the dead and gives him back to the arms of his mother. This young man disappears. He is never heard of again. No one takes the slightest interest in the man who returned from the realm of death. Luke is the only one who tells the story. Maybe Matthew, Mark and John never heard of it, or did not believe it and so failed to record it. John says that Lazarus was raised from the dead. It was more wonderful than the raising of the widow’s son. He had not been laid in the tomb for days. He was only on his way to the grave, but Lazarus was actually dead. He had begun to decay. Lazarus did not excite the least interest. No one asked him about the other world. No one inquired of him about their dead friends. When he died the second time no one said: “He is not afraid. He has traveled that road twice and knows just where he is going.” We do not believe in the miracles of Mohammed, and yet they are as well attested as this. We have no confidence in the miracles performed by Joseph Smith, and yet the evidence is far greater, far better. If a man should go about now pretending to raise the dead, pretending to cast out devils, we would regard him as insane. What, then, can we say of Christ? If we wish to save his reputation we are compelled to say that he never pretended to raise the dead; that he never claimed to have cast out devils. We must take the ground that these ignorant and impossible things were invented by zealous disciples, who sought to deify their leader. In those ignorant days these falsehoods added to the fame of Christ. But now they put his character in peril and belittle the authors of the gospels. Christianity cannot live in peace with any other form of faith. If that religion be true, there is but one savior, one inspired book, and but one little narrow grass-grown path that leads to heaven. Why did he not again enter the temple and end the old dispute with demonstration? Why did he not confront the Roman soldiers who had taken money to falsely swear that his body had been stolen by his friends? Why did he not make another triumphal entry into Jerusalem? Why did he not say to the multitude: “Here are the wounds in my feet, and in my hands, and in my side. I am the one you endeavored to kill, but death is my slave”? Simply because the resurrection is a myth. The miracle of the resurrection I do not and cannot believe. We know nothing certainly of Jesus Christ. We know nothing of his infancy, nothing of his youth, and we are not sure that such a person ever existed. There was in all probability such a man as Jesus Christ. He may have lived in Jerusalem. He may have been crucified; but that he was the Son of God, or that he was raised from the dead, and ascended bodily to heaven, has never been, and, in the nature of things, can never be, substantiated.

the true honour of things; we become alternately merchants and merchandise, and we ask, not what a thing truly is, but what it costs.” –Seneca, c. 4 BC–65 AD “To you, all you have seems small: to me, all I have seems great. Your desire is insatiable, mine is satisfied. See children thrusting their hands into a narrow-necked jar, and striving to pull out the nuts and figs it contains: if they fill the hand, they cannot pull it out again, and then they fall to tears. Let go a few of them, and then you can draw out the rest!’ You, too, let your desire go! Covet not many things, and you will obtain.” –Epictetus, 55–135 AD “Beauty of style and harmony and grace and good rhythm depend on simplicity.” –Plato, c. 427 BC–c. 347 BC “The only wealth which you will keep forever is the wealth you have given away.” –Marcus Aurelius, 121–180 AD

Cos'altro posso fare per incoraggiarvi a far fronte alla vita? Ragazze, dovrei dirvi – e per favore ascoltatemi, perché comincia la perorazione – che a mio parere siete vergognosamente ignoranti. Non avete mai fatto scoperte di alcuna importanza. Non avete mai fatto tremare un impero, né condotto in battaglia un esercito. Non avete scritto i drammi di Shakespeare, e non avete mai impartito i benefici della civiltà ad una razza barbara. Come vi giustificate? È facile dire, indicando le strade, le piazze, le foreste del globo gremite di abitanti neri e bianchi e color caffè, tutti freneticamente indaffarati nell'industria, nel commercio, nell'amore: abbiamo avuto altro da fare. Senza la nostra attività nessuno avrebbe solcato questi mari, e queste terre fertili sarebbero state deserto. Abbiamo partorito e allevato e lavato e istruito, forse fino all'età di sei o sette anni, i milleseicentoventitré milioni di esseri umani che secondo le statistiche sono attualmente al mondo; e questa fatica, anche ammettendo che qualcuno ci abbia aiutate, richiede tempo. C'è del vero in quel che dite – non lo nego. Ma nello stesso tempo devo ricordarvi che fin dal 1866 esistevano in Inghilterra almeno due colleges femminili; che, a partire dal 1880, una donna sposata poteva, per legge, possedere i propri beni; e nel 1919 – cioè più di nove anni fa – le è stato concesso il voto? Devo anche ricordarvi che da ben dieci anni vi è stato aperto l'accesso a quasi tutte le professioni? Se riflettete su questi immensi privilegi e sul lungo tempo in cui sono stati goduti, e sul fatto che in questo momento devono esserci quasi duemila donne in grado di guadagnare più di cinquecento sterline l'anno, in un modo o nell'altro, ammetterete che la scusa di mancanza di opportunità, di preparazione, di incoraggiamento, di agio e di denaro non regge più. Inoltre gli economisti ci dicono che la signora Seton ha avuto troppi figli. Naturalmente dovete continuare a far figli, ma, così dicono, solo due o tre a testa, non dieci o dodici.

Fig-tree, for such a long time I have found meaning in the way you almost completely omit your blossoms and urge your pure mystery, unproclaimed, into the early ripening fruit. Like a curved pipe of a fountain, your arching boughs drive the sap downward and up again: and almost without awakening it bursts out of sleep, into its sweetest achievement. Like the god stepping into the swan. ......But we still linger, alas, we, whose pride is in blossoming; we enter the overdue interior of our final fruit and are already betrayed. In only a few does the urge to action rise up so powerfully the they stop, glowing in their heart's abundance, while, like the soft night air , the temptation to blossom touches their tender mouths, touches their eyelids, softly: heroes perhaps, and those chosen to disappear early, whose veins Death the gardener twists into a different pattern. These plunge on ahead: in advance of their own smile like the team of galloping horses before the triumphant pharaoh in the mildly hollowed reliefs at Karnak. The hero is strangely close to those who died young. Permanence does not concern him. He lives in continual ascent, moving on into the ever-changed constellation of perpetual danger. Few could find him there. But Fate, which is silent about us, suddenly grows inspired and sings him into the storm of his onrushing world. I hear no one like him. All at once I am pierced by his darkened voice, carried on the streaming air. Then how gladly I would hide from the longing to be once again oh a boy once again, with my life before me, to sit leaning on future arms and reading of Samson, how from his mother first nothing, then everything, was born. Wasn't he a hero inside you mother? didn't his imperious choosing already begin there, in you? Thousands seethed in your womb, wanting to be him, but look: he grasped and excluded—, chose and prevailed. And if he demolished pillars, it was when he burst from the world of your body into the narrower world, where again he chose and prevailed. O mothers of heroes, O sources of ravaging floods! You ravines into which virgins have plunged, lamenting, from the highest rim of the heart, sacrifices to the son. For whenever the hero stormed through the stations of love, each heartbeat intended for him lifted him up, beyond it; and, turning away, he stood there, at the end of all smiles,—transfigured.

Mi piacerebbe lasciare una traccia di noi tre insieme, un testamento della nostra esistenza. Un indizio che questa famiglia è esistita, che siamo stati capaci anche di volerci bene nello stesso momento, di saper stare nella stessa porzione di mondo senza farci venire caldo ai piedi.

of the church in the distance, for which Millet used the church of Chailly-en-Bière in the Île-de-France as a model. Moments before, they had been busy at work harvesting their modest potato field, as shown by the pathetically small basket at their feet. Though it fetched only a small sum at the Salon of 1860, the work became wildly popular in the 1870s and eventually would be one of the most widely replicated images of the nineteenth century. Originally purchased for one thousand francs, it fetched as much as half a million francs just thirty years later, as a result of a bidding war between the Louvre and the American Art Association. Fig. 47. Jean-François Millet, The Angelus, 1859 While some interpreted The Angelus as a religious work, as an expression of simple and humble piety, others saw it as a socialist statement, in which Millet was supposed to have paid homage to the growing worker movement in France. It is unlikely that Millet intended either; as he later said, the picture was inspired by a childhood memory in which “my grandmother, hearing the church bell ringing while we were working in the fields, always made us stop work to say the Angelus prayer for the poor departed.” Dalí was fascinated by the picture. Like Vincent van Gogh, he used it as inspiration for his own work, including a series of paintings in the early 1930s entitled The Architectural Angelus of Millet and Gala and the Angelus of Millet Preceding the Imminent Arrival of the Conical Anamorphoses. He explained his fascination with the Angelus in an essay entitled “The Tragic Myth of Millet’s Angelus,” in which he revealed that “In June 1932 appears in my mind all of a sudden, without any recent recollection nor any conscious association that lends itself to an immediate explanation, the image of Millet’s L’Angelus.” It made a strong impression on him, he continues, because for him it is “the most enigmatic, the most dense, and the richest in unconscious thoughts ever to have existed.” Fig. 48. Salvador Dalí, Archaeological Reminiscence of Millet’s Angelus, c. 1934 In fact, the painting did not strike Dalí as a rural image of devotion at all but as a source of great inner disquiet and a perfect example of what the paranoiac-critical process could discern that others didn’t. What he saw was a man “who stands hypnotized—and destroyed—by the mother. He seems to me to take on the attitude of the

we didn’t know what was impossible. Neither, apparently, did he: He was among the first to believe that Hollywood movie execs would care a fig about what was happening in academia.

In this chapter we will look at the entire edifice of QFT. We will see that it is based on three simple principles. We will also list some of its achievements, including some new insights and understandings not previously mentioned. THE FOUNDATION QFT is an axiomatic theory that rests on a few basic assumptions. Everything you have learned so far, from the force of gravity to the spectrum of hydrogen, follows almost inevitably from these three basic principles. (To my knowledge, Julian Schwinger is the only person who has presented QFT in this axiomatic way, at least in the amazing courses he taught at Harvard University in the 1950's.) 1. The field principle. The first pillar is the assumption that nature is made of fields. These fields are embedded in what physicists call flat or Euclidean three-dimensional space-the kind of space that you intuitively believe in. Each field consists of a set of physical properties at every point of space, with equations that describe how these particles or field intensities influence each other and change with time. In QFT there are no particles, no round balls, no sharp edges. You should remember, however, that the idea of fields that permeate space is not intuitive. It eluded Newton, who could not accept action-at-a-distance. It wasn't until 1845 that Faraday, inspired by patterns of iron filings, first conceived of fields. The use of colors is my attempt to make the field picture more palatable. 2. The quantum principle (discetization). The quantum principle is the second pillar, following from Planck's 1900 proposal that EM fields are made up of discrete pieces. In QFT, all physical properties are treated as having discrete values. Even field strengths, whose values are continues, are regarded as the limit of increasingly finer discrete values. The principle of discretization was discovered experimentally in 1922 by Otto Stern and Walther Gerlach. Their experiment (Fig. 7-1) showed that the angular momentum (or spin) of the electron in a given direction can have only two values: +1/2 or -1/2 (Fig. 7-1). The principle of discretization leads to another important difference between quantum and classical fields: the principle of superposition. Because the angular momentum along a certain axis can only have discrete values (Fig. 7-1), this means that atoms whose angular momentum has been determined along a different axis are in a superposition of states defined by the axis of the magnet. This same superposition principle applies to quantum fields: the field intensity at a point can be a superposition of values. And just as interaction of the atom with a magnet "selects" one of the values with corresponding probabilities, so "measurement" of field intensity at a point will select one of the possible values with corresponding probability (see "Field Collapse" in Chapter 8). It is discretization and superposition that lead to Hilbert space as the mathematical language of QFT. 3. The relativity principle. There is one more fundamental assumption-that the field equations must be the same for all uniformly-moving observers. This is known as the Principle of Relativity, famously enunciated by Einstein in 1905 (see Appendix A). Relativistic invariance is built into QFT as the third pillar. QFT is the only theory that combines the relativity and quantum principles.

You might even say there is a tree for every mood and every moment. When you have something precious to give to the universe, a song or a poem, you should first share it with a golden oak before anyone else. If you are feeling discouraged and defenceless, look for a Mediterranean cypress or a flowering horse chestnut. Both are strikingly resilient, and they will tell you about all the fires they have survived. And if you want to emerge stronger and kinder from your trials, find an aspen to learn from–a tree so tenacious it can fend off even the flames that aim to destroy it. If you are hurting and have no one willing to listen to you, it might do you good to spend time beside a sugar maple. If, on the other hand, you are suffering from excessive self-esteem, do pay a visit to a cherry tree and observe its blossoms, which, though undoubtedly pretty, are no less ephemeral than vainglory. By the time you leave, you might feel a bit more humble, more grounded. To reminisce about the past, seek out a holly to sit under; to dream about the future, choose a magnolia instead. And if it is friends and friendships on your mind, the most suitable companion would be a spruce or a ginkgo. When you arrive at a crossroads and don’t know which path to take, contemplating quietly by a sycamore might help. If you are an artist in need of inspiration, a blue jacaranda or a sweetly scented mimosa could stir your imagination. If it is renewal you are after, seek a wych elm, and if you have too many regrets, a weeping willow will offer solace. When you are in trouble or at your lowest point, and have no one in whom to confide, a hawthorn would be the right choice. There is a reason why hawthorns are home to fairies and known to protect pots of treasure. For wisdom, try a beech; for intelligence, a pine; for bravery, a rowan; for generosity, a hazel; for joy, a juniper; and for when you need to learn to let go of what you cannot control, a birch with its white-silver bark, peeling and shedding layers like old skins. Then again, if it’s love you’re after, or love you have lost, come to the fig, always the fig.

You might even say there is a tree for every mood and every moment. When you have something precious to give to the universe, a song or a poem, you should first share it with a golden oak before anyone else. If you are feeling discouraged and defenceless, look for a Mediterranean cypress or a flowering horse chestnut. Both are strikingly resilient, and they will tell you about all the fires they have survived. And if you want to emerge stronger and kinder from your trials, find an aspen to learn from – a tree so tenacious it can fend off even the flames that aim to destroy it. If you are hurting and have no one willing to listen to you, it might do you good to spend time beside a sugar maple. If, on the other hand, you are suffering from excessive self-esteem, do pay a visit to a cherry tree and observe its blossoms, which, though undoubtedly pretty, are no less ephemeral than vainglory. By the time you leave, you might feel a bit more humble, more grounded. To reminisce about the past, seek out a holly to sit under; to dream about the future, choose a magnolia instead. And if it is friends and friendships on your mind, the most suitable companion would be a spruce or a ginkgo. When you arrive at a crossroads and don’t know which path to take, contemplating quietly by a sycamore might help. If you are an artist in need of inspiration, a blue jacaranda or a sweetly scented mimosa could stir your imagination. If it is renewal you are after, seek a wych elm, and if you have too many regrets, a weeping willow will offer solace. When you are in trouble or at your lowest point, and have no one in whom to confide, a hawthorn would be the right choice. There is a reason why hawthorns are home to fairies and known to protect pots of treasure. For wisdom, try a beech; for intelligence, a pine; for bravery, a rowan; for generosity, a hazel; for joy, a juniper; and for when you need to learn to let go of what you cannot control, a birch with its white-silver bark, peeling and shedding layers like old skins. Then again, if it’s love you’re after, or love you have lost, come to the fig, always the fig.

your mind, the most suitable companion would be a spruce or a ginkgo. When you arrive at a crossroads and don’t know which path to take, contemplating quietly by a sycamore might help. If you are an artist in need of inspiration, a blue jacaranda or a sweetly scented mimosa could stir your imagination. If it is renewal you are after, seek a wych elm, and if you have too many regrets, a weeping willow will offer solace. When you are in trouble or at your lowest point, and have no one in whom to confide, a hawthorn would be the right choice. There is a reason why hawthorns are home to fairies and known to protect pots of treasure. For wisdom, try a beech; for intelligence, a pine; for bravery, a rowan; for generosity, a hazel; for joy, a juniper; and for when you need to learn to let go of what you cannot control, a birch with its white-silver bark, peeling and shedding layers like old skins. Then again, if it’s love you’re after, or love you have lost, come to the fig, always the fig.

Inspiration is for amateurs—the rest of us just show up and get to work.

Anomala è considerata una forma, una struttura, un aspetto che si manifesta a bassa frequenza e quindi con una certa rarità. Ciò che è raro è, di per sé, visto con una certa curiosità ed è anomalo proprio perché non riconducibile alla forma canonica, a quella della maggioranza della popolazione. Ma ciò non è in assoluto contro la natura, essendo questo fenomeno, per il fatto stesso che si realizza, previsto dalle leggi naturali.

My father was a man of iron will. He had a red beard and eyes like caves. He married my mother sensibly for the triple joy of her widowhood, the three estates, but he was concerned - as an English country gentleman and an epitome of the chivalric virtues - with the making of a son. Having heard well of the giant's child-inspiring powers, my father takes my mother by the hand and leads her up to him the night before their wedding. It had been a hot day, the hottest day that any man could remember, the skylarks swooning in the sticky air, milk turning sour in the cows' udders. At the end of that hottest day now it is suddenly Midsummer Eve and the giant stands out bold and wonderful and monstrous on his long green Dorset hill, the moon at the full above his knobbled club. My father lays my mother down on the giant's thistle, in the modest shade of Mr Wiclif's burgeoning fig tree. 'Dear hart,' he says, taking off his spurs and his liripipe hat, 'I shall require an heir.' If ever widow woman blushed then my mother blushed hot when she saw my father unbuttoned above her in the moonlight. 'My womb,' she says, 'is empty.' My father engages the key in the lock. It is well-oiled. He turns and enters and makes himself at home. 'I have been told,' he says, 'that any true woman,' he says, 'childless,' he adds, 'who lies,' he says, 'on the Cerne giant, - my father takes a shuddering juddering breath - 'conceives without fail,' he explains. My father goes on, without need of saying. It is sixty yards if it is an inch from the top to the toe of the giant of Cerne Abbas. The creature's club alone must be every bit of forty yards. 'O Gog,' says my mother eventually. 'O Gog, O Gog, O Gog.' 'I do believe,' says my father, 'Magog.' Now, in the moment of my conception, as a star falls into my mother's left eye, as the wind catches its breath, as the little hills skip for joy, and the moon hides her face behind a cloud - a bit of local history. When St Augustine came calling in those parts the people of Cerne tied a tail to his coat and whipped him out of their valley. The saint was furious. He got down on his knees and prayed to God to give tails to all the children that were born in Dorset. 'Right,' said the Omnipotence. This went on, tails, tails, tails, tails, until the folk regretted their pagan manners. When they expressed their regret, St Austin came back and founded the abbey, calling it Cernal because he was soon seeing his visions there - from the Latin, 'cerno', I see, and the Hebrew, 'El, God. That's enough history. I prefer mystery.