Mead Of Poetry Quotes

What was love, really? Flowers, chocolate, and poetry? Or was it something else? Was it being able to finish someone's jokes? Was it having absolute faith that someone was there at your back? Was it knowing someone so well that they instantly understood why you did the things you did—and shared those same beliefs?

Another power I don't have," said Lissa ruefully. I grinned. "Hey, I have yet to meet any spirit user who can throw a punch like you can. That was poetry in motion, Liss." She groaned.

We hurtled through the sky like things that hurtle through the sky. The wind whipped my face. The snow blinded me. The cold was so bad it made me cold. Okay, yeah, the mead of poetry definitely wasn't working.

What, you don’t think I’m capable of poetry after sex?

I stood on the precipice of something that would change my life. For the last week, Iʹd done a very good job of detaching myself from anything romantic with Dimitri. And yet . . . had I? What was love, really? Flowers, chocolate, and poetry? Or was it something else? Was it being able to finish someoneʹs jokes? Was it having absolute faith that someone was there at your back? Was it knowing someone so well that they instantly understood why you did the things you did—and shared those same beliefs?

Here is the last thing, and a shameful admission it is. When the all-father in eagle form had almost reached the vats, with Suttung immediately behind him, Odin blew some of the mead out of his behind, a splatter wet fart of foul-smelling mead right in Suttung's face, blinding the giant and throwing him off Odin's trail. No one, then or now, wanted to drink the mead that came out of Odin's ass. But whenever you hear bad poets declaiming their bad poetry, filled with foolish similes and ugly rhymes, you will know which of the meads the have tasted.

That’s the joy of myths. The fun comes in telling them yourself—something I warmly encourage you to do, you person reading this. Read the stories in this book, then make them your own, and on some dark and icy winter’s evening, or on a summer night when the sun will not set, tell your friends what happened when Thor’s hammer was stolen, or how Odin obtained the mead of poetry for the gods . . .

Isn’t it weird?” he said, glancing up as I measured salt. “All the variety that life offers? Here we sit, me reading expressions of creativity.” He held up the poetry book, which to my dismay, was now worn and dog-eared. “And you doing scientific and magical calculations. We’re thinking, cerebral beings one minute . . . and the next, completely given over to physical acts of passion. How do we do that? Back and forth, mind and body? How can creatures like us go from extreme to extreme?

But whenever you read bad poets declaiming their bad poetry, filled with foolish similes and ugly rhymes, you will know wich of the meads they have tasted.

Ever since then, we know that those people who can make magic with their words, who can make poems and sagas and weave tales, have tasted the mead of poetry.

No one, then or now, wanted to drink the mead that came out of Odin’s ass. But whenever you hear bad poets declaiming their bad poetry, filled with foolish similes and ugly rhymes, you will know which of the meads they have tasted.

Here is the last thing, and a shameful admission it is. When the all-father in eagle form had almost reached the vats, with Suttung immediately behind him, Odin blew some of the mead out of his behind, a splattery wet fart of foul-smelling mead right in Suttung’s face, blinding the giant and throwing him off Odin’s trail. No one, then or now, wanted to drink the mead that came out of Odin’s ass. But whenever you hear bad poets declaiming their bad poetry, filled with foolish similes and ugly rhymes, you will know which of the meads they have tasted.

Our answer, our opportunity, our chance to change the world has to come from the poetry that is already written on the walls of the soul.

No one, then or now, wanted to drink the mead that came out of Odin's arse. But whenever you hear bad poets declaiming their bad poetry, filled with foolish similes and ugly rhymes, you will know which of the meads they have tasted.

The sagas, however, do not mention any entheogens in any context that I can discover: the special meal prepared for the seeress in Eiriks saga rauöa is of the hearts of animals and is eaten the night before her seiör is to occur. References to drinking in the Eddas (e.g. Mimir's well, the mead of poetry) are ambiguously metaphorical at best (though in a highly speculative mode, Steven Leto (2000) suggests that the use of both A. muscaria and R semilanceata may be represented metaphorically in various poems or sagas). Archaeology, however, gives some evidence, from several hundred henbane seeds found in the pouch of a burial considered to be that of a seeress (Price, pers. com.) and a very small number of cannabis seeds present in the Oseberg burial (often considered to be that of a seeress or a priestess), carefully Placed, Neil Price tells me, between the cushions and feathers piled by the bed.

When the Æsir saw Odin flying, they placed their vats in the courtyard, and when Odin entered Asgard he spat the mead into the vats. It was such a close call, with Suttung almost catching him, that he blew some of the mead out of his rear. No one paid attention to this part, and whoever wanted it took it; we call this the bad poets’ portion. Odin gave Suttung’s mead to the Æsir and to those men who know how to make poetry. For this reason we call poetry Odin’s catch, find, drink or gift, as well as the drink of the Æsir.’ 3

La Belle Dame sans Merci O what can ail thee, knight-at-arms, Alone and palely loitering? The sedge has withered from the lake, And no birds sing. O what can ail thee, knight-at-arms, So haggard and so woe-begone? The squirrel’s granary is full, And the harvest’s done. I see a lily on thy brow, With anguish moist and fever-dew, And on thy cheeks a fading rose Fast withereth too. I met a lady in the meads, Full beautiful—a faery’s child, Her hair was long, her foot was light, And her eyes were wild. I made a garland for her head, And bracelets too, and fragrant zone; She looked at me as she did love, And made sweet moan I set her on my pacing steed, And nothing else saw all day long, For sidelong would she bend, and sing A faery’s song. She found me roots of relish sweet, And honey wild, and manna-dew, And sure in language strange she said— ‘I love thee true’. She took me to her Elfin grot, And there she wept and sighed full sore, And there I shut her wild wild eyes With kisses four. And there she lullèd me asleep, And there I dreamed—Ah! woe betide!— The latest dream I ever dreamt On the cold hill side. I saw pale kings and princes too, Pale warriors, death-pale were they all; They cried—‘La Belle Dame sans Merci Thee hath in thrall!’ I saw their starved lips in the gloam, With horrid warning gapèd wide, And I awoke and found me here, On the cold hill’s side. And this is why I sojourn here, Alone and palely loitering, Though the sedge is withered from the lake, And no birds sing.

In those days there were two dark elves who lived in a fortress by the sea. They did magic there, and feats of alchemy. Like all dwarfs, they built things, wonderful, remarkable things, in their workshop and their forge. But there were things they had not yet made, and making those things obsessed them. They were brothers, and were called Fjalar and Galar. When they heard that Kvasir was visiting a town nearby, they set out to meet him. Fjalar and Galar found Kvasir in the great hall, answering questions for the townsfolk, amazing all who listened. He told the people how to purify water and how to make cloth from nettles. He told one woman exactly who had stolen her knife, and why. Once he was done talking and the townsfolk had fed him, the dwarfs approached. “We have a question to ask you that you have never been asked before,” they said. “But it must be asked in private. Will you come with us?” “I will come,” said Kvasir. They walked to the fortress. The seagulls screamed, and the brooding gray clouds were the same shade as the gray of the waves. The dwarfs led Kvasir to their workshop, deep within the walls of their fortress. “What are those?” asked Kvasir. “They are vats. They are called Son and Bodn.” “I see. And what is that over there?” “How can you be so wise when you do not know these things? It is a kettle. We call it Odrerir—ecstasy-giver.” “And I see over here you have buckets of honey you have gathered. It is uncapped, and liquid.” “Indeed we do,” said Fjalar. Galar looked scornful. “If you were as wise as they say you are, you would know what our question to you would be before we asked it. And you would know what these things are for.” Kvasir nodded in a resigned way. “It seems to me,” he said, “that if you were both intelligent and evil, you might have decided to kill your visitor and let his blood flow into the vats Son and Bodn. And then you would heat his blood gently in your kettle, Odrerir. And after that you would blend uncapped honey into the mixture and let it ferment until it became mead—the finest mead, a drink that will intoxicate anyone who drinks it but also give anyone who tastes it the gift of poetry and the gift of scholarship.” “We are intelligent,” admitted Galar. “And perhaps there are those who might think us evil.” And with that he slashed Kvasir’s throat, and they hung Kvasir by his feet above the vats until the last drop of his blood was drained. They warmed the blood and the honey in the kettle called Odrerir, and did other things to it of their own devising. They put berries into it, and stirred it with a stick. It bubbled, and then it ceased bubbling, and both of them sipped it and laughed, and each of the brothers found the verse and the poetry inside himself that he had never let out.

There is a poem at the heart of things and a mythic story in the heart of each of us. At certain times it is the poetry of life and the mythic imagination of the soul that become necessary in order to heal the wounds inflicted by an excess of reason or an overuse of force.

For the first time, I felt that I had found something really better than myself, and was happy,” Mead later remembered. At Barnard she had friends by choice rather than by chance, a circle of ten or so young women who included the future U.S. poet laureate Léonie Adams. Each year they would adopt a derogatory name as a badge of honor, perhaps something hurled at them by West Side townies or by a professor outraged at some boneheaded behavior or radical political pose. The one that really stuck was the Ash Can Cats, a good label for a group of freethinking, adventurous women, disheveled but intellectually fashionable, half of them Jewish, and all equally acquainted with Bolshevism and the poetry of Edna St. Vincent Millay—bluestockings with bobs. The group apartment on West 116th Street was abuzz with impromptu aphorisms, the tinkle of overturned gin bottles, and campus gossip about affairs with older men and, sometimes, older women. By the summer of 1921, Mead informed the Philadelphia Daily Vacation Bible School that she would no longer be able to serve as director for Bible studies during the long vacation.

There will always be the facts of life to contend with, and there are times when the facts can become overwhelming. Yet, there is a poem at the heart of things and a mythic story in the heart of each of us. At certain times it is the poetry of life and the mythic imagination of the soul that become necessary in order to heal the wounds inflicted by an excess of reason or an overuse of force. When we unfold the story wound within our souls and untie the knots within us, we add presence to the world and contribute to the spirit of life in a specific and authentic way.

Canto I And then went down to the ship, Set keel to breakers, forth on the godly sea, and We set up mast and sail on that swart ship, Bore sheep aboard her, and our bodies also Heavy with weeping, and winds from sternward Bore us out onward with bellying canvas, Circe’s this craft, the trim-coifed goddess. Then sat we amidships, wind jamming the tiller, Thus with stretched sail, we went over sea till day’s end. Sun to his slumber, shadows o’er all the ocean, Came we then to the bounds of deepest water, To the Kimmerian lands, and peopled cities Covered with close-webbed mist, unpierced ever With glitter of sun-rays Nor with stars stretched, nor looking back from heaven Swartest night stretched over wretched men there. The ocean flowing backward, came we then to the place Aforesaid by Circe. Here did they rites, Perimedes and Eurylochus, And drawing sword from my hip I dug the ell-square pitkin; Poured we libations unto each the dead, First mead and then sweet wine, water mixed with white flour. Then prayed I many a prayer to the sickly death’s-heads; As set in Ithaca, sterile bulls of the best For sacrifice, heaping the pyre with goods, A sheep to Tiresias only, black and a bell-sheep. Dark blood flowed in the fosse, Souls out of Erebus, cadaverous dead, of brides Of youths and of the old who had borne much; Souls stained with recent tears, girls tender, Men many, mauled with bronze lance heads, Battle spoil, bearing yet dreory arms, These many crowded about me; with shouting, Pallor upon me, cried to my men for more beasts; Slaughtered the herds, sheep slain of bronze; Poured ointment, cried to the gods, To Pluto the strong, and praised Proserpine; Unsheathed the narrow sword, I sat to keep off the impetuous impotent dead, Till I should hear Tiresias. But first Elpenor came, our friend Elpenor, Unburied, cast on the wide earth, Limbs that we left in the house of Circe, Unwept, unwrapped in sepulchre, since toils urged other. Pitiful spirit. And I cried in hurried speech: “Elpenor, how art thou come to this dark coast? “Cam’st thou afoot, outstripping seamen?” And he in heavy speech: “Ill fate and abundant wine. I slept in Circe’s ingle. “Going down the long ladder unguarded, “I fell against the buttress, “Shattered the nape-nerve, the soul sought Avernus. “But thou, O King, I bid remember me, unwept, unburied, “Heap up mine arms, be tomb by sea-bord, and inscribed: “A man of no fortune, and with a name to come. “And set my oar up, that I swung mid fellows.” And Anticlea came, whom I beat off, and then Tiresias Theban, Holding his golden wand, knew me, and spoke first: “A second time? why? man of ill star, “Facing the sunless dead and this joyless region? “Stand from the fosse, leave me my bloody bever “For soothsay.” And I stepped back, And he strong with the blood, said then: “Odysseus “Shalt return through spiteful Neptune, over dark seas, “Lose all companions.” And then Anticlea came. Lie quiet Divus. I mean, that is Andreas Divus, In officina Wecheli, 1538, out of Homer. And he sailed, by Sirens and thence outward and away And unto Circe. Venerandam, In the Cretan’s phrase, with the golden crown, Aphrodite, Cypri munimenta sortita est, mirthful, orichalchi, with golden Girdles and breast bands, thou with dark eyelids Bearing the golden bough of Argicida. So that: