Medieval Love Quotes

The eye through which I see God is the same eye through which God sees me; my eye and God's eye are one eye, one seeing, one knowing, one love.

Love, that moves the sun and the other stars

Amor, ch'al cor gentile ratto s'apprende prese costui de la bella persona che mi fu tolta; e 'l modo ancor m'offende. Amor, che a nullo amato amar perdona, Mi prese del costui piacer sì forte, Che, come vedi, ancor non m'abbandona..." "Love, which quickly arrests the gentle heart, Seized him with my beautiful form That was taken from me, in a manner which still grieves me. Love, which pardons no beloved from loving, took me so strongly with delight in him That, as you see, it still abandons me not...

I read and I read; and I was like a medieval king, I had fallen in love with the picture long before I saw the reality.

In the vaults of our hearts and brains, danger waits. All the chambers are not lovely, light and high. There are holes in the floor of the mind, like those in a medieval dungeon floor - the stinking oubliettes, named for forgetting, bottle-shaped cells in solid rock with the trapdoor in the top. Nothing escapes from them quietly to ease us. A quake, some betrayal by our safeguards, and sparks of memory fire the noxious gases - things trapped for years fly free, ready to explode in pain and drive us to dangerous behavior...

And at that moment, a lilting melody lifts to the moon as a single sparrow sings.

The way back will come but once. Be steadfast.

Of all the things that men may heed 'Tis most of love they sing indeed.

I'd rather have a heart of gold Than all the treasure of the world.

For so long, it was just my secret. It burned inside me, and I felt like I was carrying something important, something that made me who I was and made me different from everybody else. I took it with me everywhere, and there was never a moment when I wasn't aware of it. It was like I was totally awake, like I could feel every nerve ending in my body. Sometimes my skin would almost hurt from the force of it, that's how strong it was. Like my whole body was buzzing or something. I felt almost, I don't know, noble, like a medieval knight or something, carrying this secret love around with me.

...for most men are unaware that what is in the power of magicians to accomplish, that the heart can also accomplish by dint of love and bravery.

Ala Moire’s voice whispered in Alastair Munro’s head. “Well done, Alastair. The young King’s heart is for good and God is pleased. In future times he will be known as the Peacemaker and will become the greatest of all the Dewar kings.” History would remember Dewar the Third’s reign as the greatest of the age, sixty years of peace and prosperity, of law and order, and most of all, of humility and love. His journey had begun. Robert Reid – White Light Red Fire

Theologians and other clerks, You won't understand this book, -- However bright your wits -- If you do not meet it humbly, And in this way, Love and Faith Make you surmount Reason, for They are the protectors of Reason's house.

Seulement l'amour entre nous.” Only love between us.

It is, therefore, a great source of virtue for the practiced mind to learn, bit by bit, first to change about in visible and transitory things, so that afterwards it may be possible to leave them behind altogether. The man who finds his homeland sweet is still a tender beginner; he to whom every soil is as his native one is already strong; but he is perfect to whom the entire world is as a foreign land. The tender soul has fixed his love on one spot in the world; the strong man has extended his love to all places; the perfect man has extinguished his. From boyhood I have dwelt on foreign soil and I know with what grief sometimes the mind takes leave of the narrow hearth of a peasant's hut, and I know too how frankly it afterwards disdains marble firesides and panelled halls.

There was something stubborn in me that didn't want to lose weight to attract a man. If the right man came along, he'd be able to see my virtues magically. Once he kissed me, the frog would turn into a prince. I had become a trick question, a heavy disguise, but behind the disobliging exterior was the welcoming child I would always be. Of course, what I'd forgotten was that he was not Parsifal and I was not the Grail; the medievalism of my imagination was not sufficiently up-to-date to recognize that the lover was a shopper and I a product.

Some people are destined to be a lighthouse for a lost comrade.

He envied medieval men’s ability to find strength in God. But for him, believing in God – in God’s love – was an impossibility, though even Cocteau had done it!

Mine was not an Enlightened mind, I now was aware: it was a Gothic mind, medieval in its temper and structure. I did not love cold harmony and perfect regularity of organization; what I sought was variety, mystery, tradition, the venerable, the awful.

Probably every lover imagines that his own love is pure, and that others love like beasts.

Love is no destruction, but rather instruction, nourishment and sustenance for those who trust in it, for Love is repletion and the abyss and the fullness of the sea.

But the detail of the poem shows power akin to genius, and reveals to us that much neglected law of literary history -- that potential genius can never become actual unless it finds or makes the Form which it requires.

The medievals loved to say that God wrote two books: nature and Scripture. And since he is the author of both books, and since this Teacher never contradicts himself, these two books never contradict each other. And since this God who never contradicts himself also gave us the two truth detectors, faith and reason, it follows that faith and reason, properly used, never contradict each other. Therefore, all heresies are contrary to reason. Not all the truths of faith can be proved by reason, but all arguments against the truths of faith can be disproved by reason.

I love the quietness of the library, the gateway to knowledge, to the French language and medieval history and hydraulic engineering and fairy tales, learning in a very primitive form: books, something that's quickly giving way to modern technology.

So this was love then—wanting to give only pleasure to the beloved; constantly searching your mind for love tokens that would bring a smile to her lips or a sparkle to her eyes. He deeply regretted it had come so late in life, but since his heart’s desire was Eleanor who was so much younger than he, it could have been no other way. He was grateful it had come at all.

She was so lovely, it hurt his chest to gaze at her, especially knowing she was courageous and clever too.

The sky was dark and cold as she longed for the one man who could chase away the demons of the night.

Tis said if you will but cast a desire under the crescent moon as stars cross its path, your wish will always come true.

The heart is a map of the world, did you know that?” “I don’t even know what it means,” he said. “I saw a medieval map once. It showed the earth as a flat disc with Jerusalem in the center. Rome was bigger than Africa, and America was not even shown, of course. The heart is that kind of map. The self is in the middle and everything else is out of proportion. You draw the friends of your youth large, then later it’s impossible to rescale them when other more important people need to be added. Anyone who has done you wrong is shown too big, and so is anyone you loved.

She would but be repaid by my taking her to wife, and that I could not grant her, for love cometh of the heart and mot by constraint.

I love you enough to keep you from dying with me... ~ Dane de Falaise

They were ancient history. They were so ancient they made ancient history look modern. Well, okay . . . maybe medieval.

And when he looked over, his dad was dead and glowing on top of the bed. Glare from a street lamp had snuck in through the curtain and had lit up the old boy like some medieval saint.

She had no right to enjoy his touch. She was a terrible friend in that moment, because she wanted him. Oh, how she wanted him to love her! To always be near to hold her and protect her.

When I was a child growing up in Salinas we called San Francisco “the City”. Of course it was the only city we knew, but I still think of it as the City, and so does everyone else who has ever associated with it. A strange and exclusive work is “city”. Besides San Francisco, only small sections of London and Rome stay in the mind as the City. New Yorkers say they are going to town. Paris has no title but Paris. Mexico City is the Capital. Once I knew the City very well, spent my attic days there, while others were being a lost generation in Paris. I fledged in San Francisco, climbed its hills, slept in its parks, worked on its docks, marched and shouted in its revolts. In a way I felt I owned the City as much as it owned me. San Francisco put on a show for me. I saw her across the bay, from the great road that bypasses Sausalito and enters the Golden Gate Bridge. The afternoon sun painted her white and gold---rising on her hills like a noble city in a happy dream. A city on hills has it over flat-land places. New York makes its own hills with craning buildings, but this gold and white acropolis rising wave on wave against the blue of the Pacific sky was a stunning thing, a painted thing like a picture of a medieval Italian city which can never have existed. I stopped in a parking place to look at her and the necklace bridge over the entrance from the sea that led to her. Over the green higher hills to the south, the evening fog rolled like herds of sheep coming to cote in the golden city. I’ve never seen her more lovely. When I was a child and we were going to the City, I couldn’t sleep for several nights before, out of busting excitement. She leaves a mark.

Modern writers usually don't know what it was like to live in the past, but Rushworth-Brown has done this with great skill in this accomplished, atmospheric and thoughtful novel.” — US National Times

Magdalen, who was by far the best choice for Lord Thornbeck. Except me. Avelina would be good for him. She could make him stop scowling, could make him believe in love and goodness. She could love him out of that dark thought pattern he seemed to be in, thinking about his lame ankle and about his poor dead brother and how he could not save him. But

She is a religion practiced by few, Fading fast to the plastic urban promises, So vintage, her beauty sounds fiction, Can’t separate the maiden from the myth, A fragrance meant for folklore, She is the love long forgotten by the roads…

Beauty could not love you back. People were not what they seemed and certainly not what they said. Madness was contagious. Memory served melancholy. The medieval was not so bad. Gravity was a form of nostalgia. There could be virtue in satirizing virtue. Dwight Eisenhower and Werner von Braun had the exact same mouths. No one loved a loser until he completely lost. The capital of Burma was Rangoon.

All medieval and classic cultures of the ancient world, including those on which Tolkien modeled his elves, routinely exposed their young and marriageable women to the fortunes of war, because bearing and raising the next generation of warriors is not needed for equality-loving elves. Equality-loving elves. Who are monarchists. With a class system. Of ranks. Battles are more fun when attractive young women are dismembered and desecrated by goblins! I believe that this is one point where C.S. Lewis, J.R.R. Tolkien, and all Christian fantasy writers from before World War Two were completely agreed upon, and it is a point necessary in order correctly to capture the mood and tone and nuance of the medieval romances or Norse sagas such writers were straining their every artistic nerve and sinew to create. So, wait, we have an ancient and ageless society of elves where the virgin maidens go off to war, but these same virgin maidens must abide by the decision of their father or liege lord for permission to marry? -- The Desolation of Tolkien

If nature abhors a vacuum, historiography loves a void because it can be filled with any number of plausible accounts; Howe, Nicholas, Anglo-Saxon England and the postcolonial void

I cannot tell whether diamonds appeared in his eyes or mine as the shine of adoration became the icon one sees in history, a Byzantine sparkle, Medieval armor against all odds.

You will be the death of me, woman.

This was raw. This was primal. This was real.

Concepts such as love, charity, obligation and tradition all helped to shape medieval attitudes to devotion, but perhaps the most powerful conditioning influence was fear;

Knowing this was the same man from last night now clad again in his hunky knightly armor was a strange aphrodisiac. Yeah, a hot look, no denying.

I'd felt certain of his eros in the months before this unsterile kiss, but perhaps some small and niggling part of me had believed it pity or forbearance, that his medieval virtues compelled him to love me in my dying. But non! It was this wink of time when I whorled toward understanding, into and resting in the arms of love we shared--an uncommon and vulnerable combination of the four loves we'd traveled with and toward: agape, storge, philia, and now, unquestionably, eros. Our journey--riddled with both pain and joy--culminated in a kiss I would never have anticipated as the revelation it became, as the comfort and mastery of love.

Straciliśmy świat i świat stracił nas, co myślisz o tym, Tristanie, mój miły. — Miła, kiedy ciebie mam z sobą, i czegóż mi trzeba? Gdyby i wszystkie światy były z nami, widziałbym tylko jedną ciebie.

But she could make the margrave fall in love with her if she wished. She could. She felt it in the way he looked at her and spoke to her. And what was just as bad was, she could fall in love with him too.

She loves this man and he loves her, and that is the only thing that matters. Let them have their love, Jasper. Now, shut your pie hole. I have come to witness a wedding and I will not hear your voice again.

Humanity does not pass through phases as a train passes though stations: being alive, it has the privilege of always moving yet never leaving anything behind. Whatever we have been, in some sort we still are. Neither the form nor the sentiment of this old poetry has passed away without leaving indelible traces on our minds.

She straightened and crossed her arms. “I can’t sleep with you,” she blurted. … “As you please.” “As you please?” She stepped back, the rough wood of the bench bumping her upper calf. She’d braced herself for a battle and now felt oddly deflated. “You aren’t going to try to talk me into it?” “I need not talk women into lying with me.

The Ebola war wasn't won with modern medicine. It was a medieval war, and it went down as a brutal engagement between ordinary people and a life form that was trying to use the human body as a means of survival through deep time. In order to win this war against an inhuman enemy, people had to make themselves inhuman. They had to suppress their deepest feelings and instincts, tear down the bonds of love and feeling, isolate themselves from or isolate those they loved the most. Human beings had to become like monsters, in order to save their human selves.

How totally different did the world appear to medieval man! For him the earth was eternally fixed and at rest in the centre of the universe…Men were all children of God under the loving care of the Most High, who prepared them for eternal blessedness; and all knew exactly what they should do and how they should conduct themselves in order to rise from a corruptible world to an incorruptible and joyous existence. Such a life no longer seems real to us, even in our dreams.

There will be another betrothal, another Mathilda. You speak of only a respite, and my heart can take just so many such partings before it breaks forever. You are proof enough that each of us lives several lives before we perish. There is wisdom in accepting when one ends and another begins. i love you, Addis. I always will. But there is no place for me in the life you have now.

Once more, the joyful character of the eucharistic gathering must be stressed. For the medieval emphasis on the cross, while not a wrong one, is certainly one-sided. The liturgy is, before everything else, the joyous gathering of those who are to meet the risen Lord and to enter with him into the bridal chamber. And it is this joy of expectation and this expectation of joy that are expressed in singing and ritual, in vestments and in censing, in that whole 'beauty' of the liturgy which has so often been denounced as unnecessary and even sinful. Unnecessary it is indeed, for we are beyond the categories of the 'necessary.' Beauty is never 'necessary,' 'functional' or 'useful.' And when, expecting someone whom we love, we put a beautiful tablecloth on the table and decorate it with candles and flowers, we do all this not out of necessity, but out of love. And the Church is love, expectation and joy.

People seemed to live so differently in the past, with real purpose and romance—true romance—born of suffering and sacrifice and courage, not this modern-day idea of romance made up of cheap words, alcohol, and trivial gestures….yet she also knew this was a stupid desire, a product of her peaceful, privileged life that romanticized suffering as a way to feel something deep and meaningful.

I became one of those annoying people who always say Ciao! Only I was extra annoying, since I would always explain where the word ciao comes from. (If you must know, it's an abbreviation of a phrase used by medieval Venetians as an intimate salutation: Sono il suo schiavo! Meaning: "I am your slave!") Just speaking these words made me feel sexy and happy. My divorce lawyer told me not to worry; she said she had one client (Korean by heritage) who, after a yucky divorce, legally changed her name to something Italian, just to feel sexy and happy again.

A woman wishes to be swept up by a man’s fervent feelings for her, by love and longing and depth of feeling. She does not wish to be married for her father’s coin or her noble birth or because she is a sensible choice. She wants to be wooed, even after she is married, to be cherished and loved for her very self, not just because she has a beautiful face, long after she has passed the age of freshness and youth.” She

You are the husband of my heart, and the love of my life. Wherever I am, whatever I do, you are joined with me and I with you. The part of me that matters will live with you forever. I accept the chain that binds us with joy, because in this unity I have known the purest freedom.

Among Christians, only Protestants have ever believed that work smacks of salvation; the work and prayer of medieval Christendom were interspersed with festivals. The ancient Greeks sought salvation in philosophy, the Indians in meditation, the Chinese in poetry and the love of nature. The pygmies of the African rainforests – now nearly extinct – work only to meet the needs of the day, and spend most of their lives idling.

His heat, his erotic pull—she could feel it. A weird, pulsing, virtual pull tugging at her skin, her nerve endings. Made her want to…touch. Made her want. The more she resisted the urge, the stronger it became. It would be a relief, really. To just…touch. One little touch. Just one.

He dragged his lips up the soft skin of her neck and gently nipped her ear lobe, sipping on the soft flesh. Her hands splayed against his chest. Expecting a shove, his senses careened when her fingers fisted his surcoat. Their ragged breath overloud in the forest, he eased his face away, nose rubbing against her jaw on his retreat, and sought her eyes. Hers darkened and—Lord help him—held no censure, only interest. He stepped back.

Newton was haunted by insanity. He spent hours trying to find hidden messages in the Bible, and wrote over a million words on religion and the occult. He pursued the medieval art of alchemy, obsessively searching for the philosopher’s stone, a mythical substance that alchemists believed had magical properties and could even help humans achieve immortality. At the age of fifty, Newton became fully psychotic and spent a year in an insane asylum.

The sacred rowan is a woman born long, long ago, a woman whose refusal to see love cost first her lover's life, then the lives of her family, her clan, her people. But not her own life. Not quite. In pity and punishment she was turned into an undying tree, a rowan that weeps only in the presence of transcendent love; and the tears of the rowan are blossoms that confer extraordinary grace upon those who can see them. When enough tears are wept, the rowan will be free. She waits inside a sacred ring that can be neither weighed or measured nor touched. She waits for love that is worth her tears. The rowan is waiting still.

In medieval India, the Hindu Vaishnava system of bhakti-yoga (devotional yoga) developed highly sophisticated categories of relation (rasa) to God, including santa (awe and reverence), vatsalya (parental attitude toward God), dasya (servant of God), sakhya (being friends and playmates with God), and madburya (passionate, romantic love).

I wish we could sit together around the fire and tell one another the story of WOMAN, recounting the ceremonies of reverence for our deity and us in Her Image. I wish we could collectively hear the seasoned voices of our aunties, our grand-mothers and their grand-mothers through them, telling the age-old story of the love of woman, the love of life, the love our connection to the great mother Earth, from whence we come and into whose loving womb we will return when this journey is over, to be reborn again.

Love: Such a Soul, says Love, swims in the sea of joy, that is in the sea of delights flowing and streaming from the Divinity, and she feels no joy, for she herself is joy, and so she swims and flows in joy without feeling any joy, for she dwells in joy and joy dwells in her; for through the power of joy she is herself joy, which has changed her into itself. Now they have one common will, like fire and flame, the will of the lover and that of the beloved, for love has changed this Soul into itself. The Soul: Ah, sweetest, pure, divine Love, says this Soul, how sweet is this changing by which I am changed into the thing that i love better than I love myself! And I am so changed that i have therein lost my name for the sake of loving, I who can love so little; and I am changed into that which I love more than myself, that is, into Love, for I love nothing but Love.

Why could he not have chosen some other woman? Why Avelina? But he knew why. It was because she had seemed good and kind and had expressed her thoughts without any false pride or pretense. He had admired her forthrightness and her compassion. And although he had never thought of a wife with strong opinions was a good thing, he actually found he liked her opinions-or at least admired her for having them. He wanted to get to know her, to know everything that was in her heart. He wanted to marry her and, surprising even himself, to love her.

Why do we love to grind our axes so much? How does schlepping that heavy load of medieval weaponry around affect those we encounter in our daily routines? What if it makes us more likely to provoke others? What is so appealing about grinding our axes anyway? Why is it so difficult to stop? How would we interact with people differently if we didn’t do it? What other tools might we cultivate if most of us were willing to lay down our axes, even just for a little while? How much more energy might we have if we weren’t so encumbered? What would you do with that energy?

They were interesting things, stars. Like clouds, you could see them and could not deny their existence. Yet you couldn’t touch them, hold them, or own them. You couldn’t feel them. Love was somewhat the opposite, he pondered. It can’t be seen but it can be felt. It was intangible, like the stars and the clouds, like the heavens and destiny. Yet it existed, he knew this to be true.

And what is it you want?” Her breath caressed his lips. Her eyes were nearly closed, and she leaned her body closer to his. “I want to see you laugh and smile every day. I want to hear you tell me you love me. I want to kiss you . . . every day.” He pulled her body against his. “Now tell me you love me.” “You are very impertinent,” she said, her voice breathless and her cheeks turning pink,

What will be lost, and what saved, of our civilization probably lies beyond our powers to decide. No human group has ever figured out how to design its future. That future may be germinating today not in a boardroom in London or an office in Washington or a bank in Tokyo, but in some antic outpost or other -- a kindly British orphanage in the grim foothills of Peru, a house for the dying in a back street of Calcutta run by a fiercely single-minded Albanian nun, an easy-going French medical team at the starving edge of the Sahel, a mission to Somalia by Irish social workers who remember their own Great Hunger, a nursery program to assist convict-mothers at a New York Prison -- in some unheralded corner where a great-hearted human being is committed to loving o9utcasts in an extraordinary way.

What finally helped was an image from a medieval monk, Brother Lawrence, who saw all of us as trees in winter, with little to give, stripped of leaves and color and growth, whom God loves unconditionally anyway. My priest friend Margaret, who works with the aged and who shared this image with me, wanted me to see that even though these old people are no longer useful in any traditional meaning of the word, they are there to be loved unconditionally, like trees in the winter. When

books that Uncle bought in Odessa or acquired in Heidelberg, books that he discovered in Lausanne or found in Berlin or Warsaw, books he ordered from America and books the like of which exist nowhere but in the Vatican Library, in Hebrew, Aramaic, Syriac, classical and modern Greek, Sanskrit, Latin, medieval Arabic, Russian, English, German, Spanish, Polish, French, Italian, and languages and dialects I had never even heard of, like Ugaritic and Slovene, Maltese and Old Church Slavonic.

Her heart stuttered. She swallowed and pushed back the longing to throw her arms around him. “I do want to marry Jorgen Hartman”—she wrenched her gaze from Jorgen and turned to the margrave—“with all my heart, but I do not accept him to escape punishment or to escape marrying someone I do not love. I accept him because he is the best man I have ever known. He is good and kind and honest. He is exactly the kind of man I would wish to marry. I may not be worthy of him, but I love him.” She

First, that we should love God with our whole heart—that is to say that our thoughts should always be truly directed towards him: and with our whole soul, that is that we should say nothing but what is true, even though we die for it: and with our whole strength, that is that we should perform all our works solely for him; and that we should love ourselves as we ought, that is that doing so we should not look to our advantage but to the perfect will of God: and that we should love our neighbors as ourselves, 3 that is that we should not do or think or say towards our neighbors anything we would not wish them to do to us. These precepts are necessary to all men for their salvation: 4 by no lesser manner of life can anyone have grace.

Reason. And who are you, Love? says Reason. Are you not also one of the Virtues, and one of us, even though you be above us? Love. I am God, says Love, for Love is God, and God is Love, 1 and this Soul is God through its condition of Love, and I am God through my divine nature, and this Soul is God by Love’s just law. 2 So that this my precious beloved is taught and guided by me, without herself, for she has been changed into me. And this is the outcome, says Love, of being nourished by me.

Modernity has abandoned the household gods, not because we have rejected the idolatry as all Christians must, but because we have rejected the very idea of the household. We no longer worship Vesta, but have only turned away from her because our homes no longer have any hearths. Now we worship Motor Oil. If our rejection of the old idols were Christian repentance, God would bless it, but what is actually happening is that we are sinking below the level of the ancient pagans. But when we turn to Christ in truth, we find that He has ordained every day of marriage as a proclamation of his covenant with the church. A man who embraces what is expected of him will find a good wife and a welcoming hearth. He who loves his wife loves himself.

Naturally she knew of him. She had her own copies of these works in the White Acre library. She had read Boehme, though she never admired him. Jacob Boehme was a sixteenth-century cobbler from Germany who had mystical visions about plants. Many people considered him an early botanist. Alma’s mother, on the other hand, had considered him a cesspool of residual medieval superstition. So there was considerable conflict of opinion surrounding Jacob Boehme. The old cobbler had believed in something he called “the signature of all things”—namely, that God had hidden clues for humanity’s betterment inside the design of every flower, leaf, fruit, and tree on earth. All the natural world was a divine code, Boehme claimed, containing proof of our Creator’s love.

The fact that the scientist has succeeded where the magician failed has put such a wide contrast between them in popular thought that the real story of the birth of Science is misunderstood. You will even find people who write about the sixteenth century as if Magic were a medieval survival and Science the new thing that came in to sweep it away. Those who have studied the period know better. There was very little magic in the Middle Ages: the sixteenth and seventeenth centuries are the high noon of magic. The serious magical endeavour and the serious scientific endeavour are twins: one was sickly and died, the other strong and throve. But they were twins. They were born of the same impulse. I allow that some (certainly not all) of the early scientists were actuated by a pure love of knowledge. But if we consider the temper of that age as a whole we can discern the impulse of which I speak. There is something which unites magic and applied science while separating both from the ‘wisdom’ of earlier ages. For the wise men of old the cardinal problem had been how to conform the soul to reality, and the solution had been knowledge, self-discipline, and virtue. For magic and applied science alike the problem is how to subdue reality to the wishes of men: the solution is a technique; and both, in the practice of this technique, are ready to do things hitherto regarded as disgusting and impious—such as digging up and mutilating the dead. If we compare the chief trumpeter of the new era (Bacon) with Marlowe's Faustus, the similarity is striking.

Theologians chided wives who used endearing nicknames for their husbands, because such familiarity on a wife’s part undermined the husband’s authority and the awe that his wife should feel for him. Although medieval Muslim thinkers were more approving of sexual passion between husband and wife than were Christian theologians, they also insisted that too much intimacy between husband and wife weakened a believer’s devotion to God. And, like their European counterparts, secular writers in the Islamic world believed that love thrived best outside marriage.

Whatever else a modern feels when he looks at the night sky, he certainly feels that he is looking out--like one looking out from the saloon entrance on to the dark Atlantic or from the lighted porch upon dark and lonely moors. But if you accepted the Medieval Model you would feel like one looking in. The Earth is 'outside the city wall'. When the sun is up he dazzles us and we cannot see inside. Darkness, our own darkness, draws the veil and we catch a glimpse of the high pomps within the vast, lighted concavity filled with music and life. And, looking in, we do not see, like Meredith's Lucifer, 'the army of unalterable law', but rather the revelry of insatiable love. We are watching the activity of creatures whose experience we can only lamely compare to that of one in the act of drinking, his thirst delighted yet not quenched. For in them the highest of faculties is always exercised without impediment on the noblest object; without satiety, since they can never completely make His perfection their own, yet never frustrated, since at every moment they approximate to Him in the fullest measure of which their nature is capable.

This Soul, says Love, has six wings, 4 just as the Seraphim. She no longer wishes for anything which comes by an intermediary, for that is the proper state of being of the Seraphim; 5 there is no intermediary between their love and God’s love. Love is constantly made new in them6 without any intermediaries, and so too in this Soul, for she does not seek for knowledge of God among the teachers of this world, but by truly despising this world and herself. Ah, God, how great is the difference between the gift that a lover makes to his loved one through an intermediary, and the gift made directly to his loved one by a lover!

Truth loves nothing better than simplicity of truth: that is the lesson Columbe Josse ought to have learned from her medieval readings. But all she seems to have gleaned from her studies is how to make a conceptual fuss in the service of nothing. It is a sort of endless loop, and also a shameless waste of resources, including the courier and my own self. . . . Granted, the young woman has a fairly efficient way with words, despite her youth. But the fact that the middle classes are working themselves to the bone, using their sweat and taxes to finance such pointless and pretentious research leaves me speechless. Every gray morning, day after gloomy day, secretaries, craftsmen, employees, petty civil servants, taxi drivers and concierges shoulder their burdens so that the flower of French youth, duly housed and subsidized, can squander the fruit of all that dreariness upon the altar of ridiculous endeavors . . . Should you devote your time to teaching, to producing a body of work, to research, to culture? It makes no difference. The only thing that matters is your intention: are you elevating thought and contributing to the common good, or rather joining the ranks in the field of study whose only purpose is its own perpetuation, and only function the self-reproduction of the elite - for this turns the University into a sect.

He laced his fingers with hers. With the other hand, he stroked her hair. So tenderly. "Now listen to me, Susanna. Do you remember that first night we met in the cove? I can refresh your memory, if need be. You were wearing that horrid bathing costume, and I was wearing a medieval torture device." She smiled. Only he could make her smile at a time like this. "That night, you suggested we make some promises to each other. Well, we're going to make them now. I'm going to promise not to leave. And you're going to promise not to die. All right?" She opened her mouth to speak, but no sound came out. "I promise to stay at your side," he said, "until this is all over. And for the lifetime after that. Now, make your promise to me." His eyes glistened, and his voice was rough with emotion. "Promise me, Susanna. Tell me you won't die. I can't go on without you, love." She gritted her teeth, and managed a tiny nod. Then the blade pierced her. And if there'd been any air left in her lungs, she would have screamed.

Werewolves had been so rationalized and medicalized by the year 1000 that they became subject to a medieval type of “heroin chic” romanticism in literature, in which they were frequently portrayed as attractive, lonely, suffering, victimized, self-sacrificing, chivalrous heroes in fictional and mythological tales emerging during the Grail romance era. The “chivalrous werewolf” narratives often feature a noble knight or prince who transforms into a werewolf to protect the subject of his romantic love, but while he is a werewolf she betrays him by stealing his transformative device—either a potion, a ring, a belt or his clothes—trapping him forever in his lovelorn werewolf state.25

Charity is obedient1 to no created thing, but only to Love. Charity has nothing of her own, and even if she had anything, she does not say that it is hers at all. Charity abandons her own task and goes off and does that of others. Charity asks no return from any creature, whatever good or happiness she may give. Charity knows no shame or fear or anxiety: she is so upright and true that she cannot bend, whatever happens to her. Charity takes no notice or account of anything under the sun, for the whole world is no more than superfluity and excess. Charity gives to everyone everything that she possesses, and does not withhold even herself, and in addition, she often promises what she does not possess, in her great generosity hoping that the more one gives, the more one will have left.

Correlative to the impulse of aggression is the impulse of resistance to aggression. This impulse is exemplified in the attitude of the Israelites to the Philistines or of medieval Europe to the Mohammedans. The beliefs which it produces are beliefs in the peculiar wickedness of those whose aggression is feared, and in the immense value of national customs which they might suppress if they were victorious. When the war broke out, all the reactionaries in England and France began to speak of the danger to democracy, although until that moment they had opposed democracy with all their strength. They were not insincere in so speaking: the impulse of resistance to Germany made them value whatever was endangered by the German attack. They loved democracy because they hated Germany; but they thought they hated Germany because they loved democracy.

Truth loves nothing better than simplicity of truth: that is the lesson Columbe Josse ought to have learned from her medieval readings. But all she seems to have gleaned from her studies is how to make a conceptual fuss in the service of nothing. It is a sort of endless loop, and also a shameless waste of resources, including the courier and my own self. . . . Granted, the young woman has a fairly efficient way with words, despite her youth. But the fact that the middle classes are working themselves to the bone, using their sweat and taxes to finance such pointless and pretentious research leaves me speechless. Every gray morning, day after gloomy day, secretaries, craftsmen, employees, petty civil servants, taxi drivers and concierges shoulder their burdens so that the flower of French youth, duly housed and subsidized, can squander the fruit of all that dreariness upon the altar of ridiculous endeavors . . . Should you devote your time to teaching, to producing a body of work, to research, to culture? It makes no difference. The only thing that matters is your intention: are you elevating thought and contributing to the common good, or rather joining the ranks in the field of study whose only purpose is its own perpetuation, and only function the self-reproduction of the elite - for this turns the University into a sect.

Saint Augustine proliferated central theological and political doctrines of the Church, following Saint Paul closely. History is the scene of the struggle between the Heavenly and Earthly Cities, but only God before the Last Judgment knows the membership rolls. Human nature is so sinful (rebellious and corrupt) that only those who have received grace, i.e., have been chosen by God to love Him, can be saved for eternal life. This theory caused a lot of trouble for the medieval church, which by and large abandoned it. It was revived much later by Martin Luther. "By the early fifth century, at a series of church councils, the Christians had hammered out a compromise theory of the Trinity -- God the Father, the Son, and the Holy Spirit (Church) -- more or less of one substance but with three personalities. Those who would not accept this compromise were branded as heretics and sooner or later persecuted by the imperial state.

A laconic and highly entertaining" novel. "The characters are strong, each showing major evidence of being a product of their respective cultures. Overall, the story is a strong one, with a couple of well-executed twists that succeed in surprising the reader." - Publishers Weekly judge for the 2014 ABNA Contest, Two Brides for Ewan de Buchan "I love historical romance novels and this one right off the bat based on the plot/hook made me want to read more. I devoured this...and re-read it twice. It seems like the author has a very good handle on the time period in which this novel is set." - 2014 ABNA Contest judge, Two Brides for Ewan de Buchan "I think this is really well crafted and interesting. The plot/hook caught me from the first paragraph. The characters are well done and I really loved the novelist's attention to historical detail...It's a really great romance novel, and is of publication quality. This novelist has a real future in writing romance (or even general fiction) books." - 2014 ABNA Contest judge, Two Brides for Ewan de Buchan

Love. This daughter of Sion1 does not long for Masses or sermons, or fastings or prayers. Reason. And why, Lady Love? says Reason. These are the food of holy souls. Love. That is true, says Love, for those who beg; but this Soul begs for nothing, for she has no need to long for anything which is outside her. Now listen, Reason, says Love. Why should this Soul long for those things which I have just named, since God is everywhere, just as much without them as with them? This Soul has no thought, no word, no work, except for employing the grace of the divine Trinity. 2 This Soul feels no disquiet for any sins which she once committed, 3 nor for the suffering which God underwent for her, nor for the sins and the troubles in which her neighbors live. Reason. Oh God, what does this mean, Love? says Reason. Teach me to understand this, since you have reassured me about my other questions. Love. It means, says Love, that this Soul is not her own, and so she can feel no disquiet; for her thought is at rest in a place of peace, that is in the Trinity, and therefore she cannot move from there, nor feel disquiet, so long as her beloved is untroubled. But that anyone falls into sin, or that sin was ever committed, Love replies to Reason, this is displeasing to her will just as it is to God: for it is his own displeasure which gives such displeasure to this Soul. But none the less, says Love, in spite of such displeasure there is no disquiet in the Trinity, nor is there in such a Soul who is at rest within the Trinity. But if this Soul, who is in such exalted rest, could help her neighbors, she would help them in their need with all her might. But the thoughts of such Souls are so divine that they do not dwell upon past4 or created things, so as to apprehend disquiet in themselves, for God is good beyond all comprehending.

After I left finance, I started attending some of the fashionable conferences attended by pre-rich and post-rich technology people and the new category of technology intellectuals. I was initially exhilarated to see them wearing no ties, as, living among tie-wearing abhorrent bankers, I had developed the illusion that anyone who doesn’t wear a tie was not an empty suit. But these conferences, while colorful and slick with computerized images and fancy animations, felt depressing. I knew I did not belong. It was not just their additive approach to the future (failure to subtract the fragile rather than add to destiny). It was not entirely their blindness by uncompromising neomania. It took a while for me to realize the reason: a profound lack of elegance. Technothinkers tend to have an “engineering mind”—to put it less politely, they have autistic tendencies. While they don’t usually wear ties, these types tend, of course, to exhibit all the textbook characteristics of nerdiness—mostly lack of charm, interest in objects instead of persons, causing them to neglect their looks. They love precision at the expense of applicability. And they typically share an absence of literary culture. This absence of literary culture is actually a marker of future blindness because it is usually accompanied by a denigration of history, a byproduct of unconditional neomania. Outside of the niche and isolated genre of science fiction, literature is about the past. We do not learn physics or biology from medieval textbooks, but we still read Homer, Plato, or the very modern Shakespeare. We cannot talk about sculpture without knowledge of the works of Phidias, Michelangelo, or the great Canova. These are in the past, not in the future. Just by setting foot into a museum, the aesthetically minded person is connecting with the elders. Whether overtly or not, he will tend to acquire and respect historical knowledge, even if it is to reject it. And the past—properly handled, as we will see in the next section—is a much better teacher about the properties of the future than the present. To understand the future, you do not need technoautistic jargon, obsession with “killer apps,” these sort of things. You just need the following: some respect for the past, some curiosity about the historical record, a hunger for the wisdom of the elders, and a grasp of the notion of “heuristics,” these often unwritten rules of thumb that are so determining of survival. In other words, you will be forced to give weight to things that have been around, things that have survived.

Perhaps that had been one of the ineradicable faults of mankind - for even a convinced atheist had to admit there were faults - that it was never content with a thing as a thing; it had to turn things into symbols of other things. A rainbow was never only a rainbow; a storm was a sign of celestial anger; and even from the puddingy earth came forth dark chthonian gods. What did it all mean? What an agnostic believed and what the willowy parson believed were not only irreconcilable systems of thought: they were equally valid systems of thought because, somewhere along the evolutionary line, man, developing this habit of thinking of symbols, had provided himself with more alternatives than he could manage. Animals moved in no such channel of imagination - they copulated and they ate; but the the saint, bread was a symbol of life, as the phallus was to the pagan. The animals themselves were pressed into symbolic service - and not only in the medieval bestiaries, by any means. Such a usage was a distortion, although man seemed unable to ratiocinate without it. That had been the trouble right from the beginning. Perhaps it had even been the beginning, back among the first men that man could never get clearly defined (for the early men, being also symbols, had to be either lumbering brutes, or timid noble savages, or to undergo some other interpretation). Perhaps the first fire, the first tool, the first wheel, the first carving in a limestone cave, had each possessed a symbolic rather than a practical value, had each been pressed to serve distortion rather than reality. It was a sort of madness that had driven man from his humble sites on the edges of woods into towns and cities, into arts and wars, into religious crusades, into martyrdom and prostitution, into dyspepsia and fasting, into love and hatred, into this present cul-de-sac; it had all come about in pursuit of symbols. In the beginning was the symbol, and darness was over the face of the Earth.

Now listen, Reason, says Love, to understand better what you are asking about. A man who is on fire feels no cold, a man who is drowning knows no thirst. Now this Soul, says Love, is so burned in Love’s fiery furnace that she has become very fire, so that she feels no fire, for in herself she is fire, through the power of Love which has changed her into the fire of Love. This fire burns of and through itself, everywhere, incessantly, without consuming any matter or being able to wish to consume it, except only from itself; for whoever feels some perception of God through matter which he sees or hears outside himself, or through some labor which he there performs of himself is not all fire; rather, there is some matter, together, with the fire. For men’s labors, and their wanting matter outside themselves to make God’s love grow in them, is only a blinding of the knowledge of God’s goodness. But he who burns with this fire without seeking such matter, without having it or wanting to have it, sees all things so clearly that he values them as they must be valued. For such a Soul has no matter in her which prevents her from seeing clearly, so that she is alone in it through the power of true humility; and she is common to all through the generosity of perfect charity, and alone in God, since Perfect Love has taken possession1 of her.

Pont Saint Benezet.” “What happened to it?” Luce asked. Daniel glanced over his shoulder. “Remember how quiet Annabelle got when I mentioned we were coming here? She inspired the boy who built that bridge in the Middle Ages in the time when the popes lived here and not in Rome. He noticed her flying across the Rhone one day when she didn’t think anyone could see her. He built the bridge to follow her to the other side.” “When did it collapse?” “Slowly, over time, one arch would fall into the river. Then another. Arriane says the boy-his name was Benezet-had a vision for angels, but not for architecture. Annabelle loved him. She stayed in Avignon as his muse until he died. He never married, kept apart from the rest of Avignon society. The town thought he was crazy.” Luce tried not to compare her relationship with Daniel to what Annabelle had had with Benezet, but it was hard not to. What kind of relationship could an angel and a mortal really have? Once all this was over, if they beat Lucifer…then what? Would she and Daniel go back to Georgia and be like any other couple, going out for ice cream on Fridays after a movie? Or would the whole town think she was crazy, like Benezet? Was it all just hopeless? What would become of them in the end? Would their love vanish like a medieval bridge’s arches? The idea of sharing a normal life with an angel was what was crazy. She sensed that in every moment Daniel flew her through the sky. And yet she loved him more each day.

Man tends to regard the order he lives in as natural. The houses he passes on his way to work seem more like rocks rising out of the earth than like products of human hands. He considers the work he does in his office or factory as essential to the har­monious functioning of the world. The clothes he wears are exactly what they should be, and he laughs at the idea that he might equally well be wearing a Roman toga or medieval armor. He respects and envies a minister of state or a bank director, and regards the possession of a considerable amount of money the main guarantee of peace and security. He cannot believe that one day a rider may appear on a street he knows well, where cats sleep and chil­dren play, and start catching passers-by with his lasso. He is accustomed to satisfying those of his physio­logical needs which are considered private as dis­creetly as possible, without realizing that such a pattern of behavior is not common to all human so­cieties. In a word, he behaves a little like Charlie Chaplin in The Gold Rush, bustling about in a shack poised precariously on the edge of a cliff. His first stroll along a street littered with glass from bomb-shattered windows shakes his faith in the "naturalness" of his world. The wind scatters papers from hastily evacuated offices, papers labeled "Con­fidential" or "Top Secret" that evoke visions of safes, keys, conferences, couriers, and secretaries. Now the wind blows them through the street for anyone to read; yet no one does, for each man is more urgently concerned with finding a loaf of bread. Strangely enough, the world goes on even though the offices and secret files have lost all meaning. Farther down the street, he stops before a house split in half by a bomb, the privacy of people's homes-the family smells, the warmth of the beehive life, the furniture preserving the memory of loves and hatreds-cut open to public view. The house itself, no longer a rock, but a scaffolding of plaster, concrete, and brick; and on the third floor, a solitary white bath­ tub, rain-rinsed of all recollection of those who once bathed in it. Its formerly influential and respected owners, now destitute, walk the fields in search of stray potatoes. Thus overnight money loses its value and becomes a meaningless mass of printed paper. His walk takes him past a little boy poking a stick into a heap of smoking ruins and whistling a song about the great leader who will preserve the nation against all enemies. The song remains, but the leader of yesterday is already part of an extinct past.

Little Brother, an aspiring painter, saved up all his money and went to France, to surround himself with beauty and inspiration. He lived on the cheap, painted every day, visited museums, traveled to picturesque locations, bravely spoke to everyone he met, and showed his work to anyone who would look at it. One afternoon, Little Brother struck up a conversation in a café with a group of charming young people, who turned out to be some species of fancy aristocrats. The charming young aristocrats took a liking to Little Brother and invited him to a party that weekend in a castle in the Loire Valley. They promised Little Brother that this was going to be the most fabulous party of the year. It would be attended by the rich, by the famous, and by several crowned heads of Europe. Best of all, it was to be a masquerade ball, where nobody skimped on the costumes. It was not to be missed. Dress up, they said, and join us! Excited, Little Brother worked all week on a costume that he was certain would be a showstopper. He scoured Paris for materials and held back neither on the details nor the audacity of his creation. Then he rented a car and drove to the castle, three hours from Paris. He changed into his costume in the car and ascended the castle steps. He gave his name to the butler, who found him on the guest list and politely welcomed him in. Little Brother entered the ballroom, head held high. Upon which he immediately realized his mistake. This was indeed a costume party—his new friends had not misled him there—but he had missed one detail in translation: This was a themed costume party. The theme was “a medieval court.” And Little Brother was dressed as a lobster. All around him, the wealthiest and most beautiful people of Europe were attired in gilded finery and elaborate period gowns, draped in heirloom jewels, sparkling with elegance as they waltzed to a fine orchestra. Little Brother, on the other hand, was wearing a red leotard, red tights, red ballet slippers, and giant red foam claws. Also, his face was painted red. This is the part of the story where I must tell you that Little Brother was over six feet tall and quite skinny—but with the long waving antennae on his head, he appeared even taller. He was also, of course, the only American in the room. He stood at the top of the steps for one long, ghastly moment. He almost ran away in shame. Running away in shame seemed like the most dignified response to the situation. But he didn’t run. Somehow, he found his resolve. He’d come this far, after all. He’d worked tremendously hard to make this costume, and he was proud of it. He took a deep breath and walked onto the dance floor. He reported later that it was only his experience as an aspiring artist that gave him the courage and the license to be so vulnerable and absurd. Something in life had already taught him to just put it out there, whatever “it” is. That costume was what he had made, after all, so that’s what he was bringing to the party. It was the best he had. It was all he had. So he decided to trust in himself, to trust in his costume, to trust in the circumstances. As he moved into the crowd of aristocrats, a silence fell. The dancing stopped. The orchestra stuttered to a stop. The other guests gathered around Little Brother. Finally, someone asked him what on earth he was. Little Brother bowed deeply and announced, “I am the court lobster.” Then: laughter. Not ridicule—just joy. They loved him. They loved his sweetness, his weirdness, his giant red claws, his skinny ass in his bright spandex tights. He was the trickster among them, and so he made the party. Little Brother even ended up dancing that night with the Queen of Belgium. This is how you must do it, people.

I lived in New York City back in the 1980s, which is when the Bordertown series was created. New York was a different place then -- dirtier, edgier, more dangerous, but also in some ways more exciting. The downtown music scene was exploding -- punk and folk music were everywhere -- and it wasn't as expensive to live there then, so a lot of young artists, musicians, writers, etc. etc. were all living and doing crazy things in scruffy neighborhoods like the East Village. I was a Fantasy Editor for a publishing company back then -- but in those days, "fantasy" to most people meant "imaginary world" books, like Tolkien's Lord of the Rings. A number of the younger writers in the field, however, wanted to create a branch of fantasy that was rooted in contemporary, urban North America, rather than medieval or pastoral Europe. I'd already been working with some of these folks (Charles de Lint, Emma Bull, etc.), who were writing novels that would become the foundations for the current Urban Fantasy field. At the time, these kinds of stories were considered so strange and different, it was actually hard to get them into print. When I was asked by a publishing company to create a shared-world anthology for Young Adult readers, I wanted to create an Urban Fantasy setting that was something like a magical version of New York...but I didn't want it to actually be New York. I want it to be any city and every city -- a place that anyone from anywhere could go to or relate to. The idea of placing it on the border of Elfland came from the fact that I'd just re-read a fantasy classic called The King of Elfland's Daughter by the Irish writer Lord Dunsany. I love stories that take place on the borderlands between two different worlds...and so I borrowed this concept, but adapted it to a modern, punky, urban setting. I drew upon elements of the various cities I knew best -- New York, Boston, London, Dublin, maybe even a little of Mexico City, where I'd been for a little while as a teen -- and scrambled them up and turned them into Bordertown. There actually IS a Mad River in southern Ohio (where I went to college) and I always thought that was a great name, so I imported it to Bordertown. As for the water being red, that came from the river of blood in the Scottish folk ballad "Thomas the Rhymer," which Thomas must cross to get into Elfland. [speaking about the Borderland series she "founded" and how she came up with the setting. Link to source; Q&A with Holly, Ellen & Terri!]