Nymph Water Quotes

Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade, But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: Ding-dong Hark! now I hear them,—Ding-dong, bell.

We do not want merely to see beauty... we want something else which can hardly be put into words- to be united with the beauty we see, to pass into it, to receive it into ourselves, to bathe in it, to become part of it. That is why we have peopled air and earth and water with gods and goddesses, and nymphs and elves.

He climbed up behind Hazel. Arion took off across the water, the nymphs screaming behind them, and Narcissus shouting, "Bring me back! Bring me back!" As Arion raced towards the Argo II, Leo remembered what Nemesis had said about Echo and Narcissus: Perhaps they'll teach you a lesson. Leo had thought she'd meant Narcissus, but now he wondered if the real lesson for him was Echo--invisible to her brethren, cursed to love someone who didn't care for her. A seventh wheel. He tried to shake that thought. He clung to the sheet of bronze like a shield. He was determined never to forget Echo's face. She deserved at least one person who saw her and knew how good she was. Leo closed his eyes, but the memory of her smile was already fading.

All her life she had believed in something more, in the mystery that shape-shifted at the edge of her senses. It was the flutter of moth wings on glass and the promise of river nymphs in the dappled creek beds. It was the smell of oak trees on the summer evening she fell in love, and the way dawn threw itself across the cow pond and turned the water to light.

She was no longer free? Yes! thank God, she was no longer free. But she was light, a nymph on clouds, a fish in water, lost in happiness.

One mercifully hopes there are water nymphs in the Styx.

Come boy, and pour for me a cup Of old Falernian. Fill it up With wine, strong, sparkling, bright, and clear; Our host decrees no water here. Let dullards drink the Nymph's pale brew, The sluggish thin their blood with dew. For such pale stuff we have no use; For us the purple grape's rich juice. Begone, ye chilling water sprite; Here burning Bacchus rules tonight!

All her life she had believed in something more, in the mystery that shape-shifted at the edge of her senses. It was the flutter of moth wings on glass and the promise of river nymphs in the dappled creek beds. It was the smell of oak trees on the summer evening she fell in love, and the way dawn threw itself across the cow pond and turned the water to light.

The water nymphs who came to Poseidon explained how little they desired to couple with the gods. Except to find out whether it was different, whether there was a fresh world, another dimension in their loins. In the old Pittsburgh, we dreamed of a city where women read Proust in the original French, and wondered whether we would cross over into a different joy if we paid a call girl a thousand dollars for a night. Or an hour. Would it be different in kind or only tricks and apparatus? I worried that a great love might make everything else an exile. It turned out that being together at twilight in the olive groves of Umbria did, indeed, measure everything after that.

Moonspinners. They’re naiads – you know, water nymphs. Sometimes, when you’re deep in the countryside, you meet three girls, walking along the hill tracks in the dusk, spinning. They each have a spindle, and on to these they are spinning their wool, milk-white, like the moonlight. In fact, it is the moonlight, the moon itself, which is why they don’t carry a distaff. They’re not Fates, or anything terrible; they don’t affect the lives of men; all they have to do is to see that

Life’s not easy, it is a hard task to live it well and with grace—but, by Hades, let’s not complicate it with deities and water-nymphs!

Tan Chau lies on the Thanh Hoa canal, which sings with freedom as it flows into the Mekong River on its way to the sea. Only the wind and the water, which you cannot imprison, are truly free.

...the long blue shadows of afternoon advanced before me like cheerful ghosts of last summer's growth, dancing past the withered flower borders and the stiff hedges to fall at the feet of a stone nymph, her cascade of water frozen in her urn.

The differences which exist between every one of our real impressions -- differences which explain why a uniform depiction of life cannot bear much resemblance to the reality -- derive probably from the following cause: the slightest word that we have said, the most insignificant action that we have performed at anyone epoch of our life was surrounded by, and colored by the reflection of things which logically had no connection with it and which later have been separated from it by our intellect which could make nothing of it for its own rational purposes, things, however, in the midst of which -- here the pink reflection of the evening upon the flower-covered wall of a country restaurant, a feeling of hunger, the desire for women, the pleasure of luxury; here the blue volutes of the morning sea and, enveloped in them, phrases of music half emerging like the shoulders of water-nymphs -- the simplest act or gesture remains immured as within a thousand vessels, each one of them filled with things of a color, a scent, a temperature that are absolutely different one from another, vessels, moreover, which being disposed over the whole range of our years, during which we have never ceased to change if only in our dreams and our thoughts, are situated at the most various moral altitudes and give us the sensation of extraordinarily diverse atmospheres.

The Greek myth of Narcissus is directly concerned with a fact of human experi­ence, as the word Narcissus indicates. It is from the Greek word narcosis, or numb­ness. The youth Narcissus mistook his own reflection in the water for another person. This extension of himself by mirror numbed his perceptions until he became the servomechanism of his own extended or repeated image. The nymph Echo tried to win his love with fragments of his own speech, but in vain. He was numb. He had adapted to his extension of himself and had become a closed system. Now the point of this myth is the fact that men at once become fascinated by any extension of themselves in any ma­terial other than themselves. There have been cynics who insisted that men fall deep­est in love with women who give them back their own image. Be that as it may, the wisdom of the Narcissus myth does not convey any idea that Narcissus fell in love with anything he regarded as himself. Obviously he would have had very different feelings about the image had he known it was an extension or repetition of himself. It is, perhaps, indicative of the bias of our intensely technological and, therefore, narcotic culture that we have long interpreted the Narcissus story to mean that he fell in love with himself, that he imagined the reflection to be Narcissus!

Flute Notes from a Reedy Pond" Now coldness comes sifting down, layer after layer, To our bower at the lily root. Overhead the old umbrellas of summer Wither like pithless hands. There is little shelter. Hourly the eye of the sky enlarges its blank Dominion. The stars are no nearer. Already frog-mouth and fish-mouth drink The liquor of indolence, and all thing sink Into a soft caul of forgetfulness. The fugitive colors die. Caddis worms drowse in their silk cases, The lamp-headed nymphs are nodding to sleep like statues. Puppets, loosed from the strings of the puppetmaster Wear masks of horn to bed. This is not death, it is something safer. The wingy myths won't tug at us anymore: The molts are tongueless that sang from above the water Of golgotha at the tip of a reed, And how a god flimsy as a baby's finger Shall unhusk himself and steer into the air.

He pulls water from the fountains, from every glass, raining it down again and again. The nymph is drowning him. The

You are a water nymph from the ocean rising.

A water nymph. I never thought I’d see one outside of the swamps and creeks. They were reclusive and rarely drew much attention to themselves due to how they look.

I will give you anything you ask for, Little Nymph. You could ask for the stars and the moon and I would rip the sky apart, cast the world in darkness, just to hand you them on a string.

Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do. There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert. But the still life resides in absolute silence. Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard. But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver. These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time. Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented. These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said?

Overheard on a Saltmarsh" Nymph, nymph, what are your beads? Green glass, goblin. Why do you stare at them? Give them me. No. Give them me. Give them me. No. Then I will howl all night in the reeds, Lie in the mud and howl for them. Goblin, why do you love them so? They are better than stars or water, Better than voices of winds that sing, Better than any man's fair daughter, Your green glass beads on a silver ring. Hush, I stole them out of the moon. Give me your beads, I want them. No. I will howl in the deep lagoon For your green glass beads, I love them so. Give them me. Give them. No.

Without hesitation I gave him another truth. You . . . are . . . impossible . . . to overlook. His breath caught, and for the first time, I was the one who leaned in, the one who pressed my lips to his, the one who cradled his face in my hands. He allowed me to lead for several long seconds, letting me taste him and test him. Then he rose and brought me with him, scooping me from the water like a nymph from the sea. And I was consumed once more.

She climbed out, and stood like a water nymph, her body agleam and asparkle with its dew, her skin like rare silk, smooth as a star's glance. Down fell her hair like smoke. She stretched her arms to the moon, and laughed, aglow with the warmth gotten of her swim.

He looked at Pegasus and frowned. ‘You woke me because Emily was having a dream? What about me? I was having my own amazing dream featuring several water nymphs.’ Pegasus whinnied and shoved Paelen. ‘What!’ Paelen cried. ‘Am I not allowed to dream?’ ‘Paelen, please,’ Emily said. ‘Pegasus is trying to tell me something, but I can’t understand him. I think it’s important.’ Paelen concentrated on Pegasus. ‘What is it?’ The stallion nickered several times and shook his head. ‘This is very strange,’ Paelen said. ‘Pegasus says the world you have been describing from your dream is the world you sent him to when you were shot at the CRU facility in the Nevada desert.’ Emily frowned. ‘How? I’ve never been there or even heard about it. Why would I dream of a place I’ve never seen? And why is it always the same dream?’ Pegasus pawed the floor and whinnied softly. Paelen looked shocked. ‘Really? Why have we not heard about this when it concerns Emily?’ ‘What concerns me?’ Emily asked. ‘Apparently after we returned from Earth, Jupiter had some of his people go to the jungle world to explore it. He was curious why your powers would send

The little Love-god lying once asleep Laid by his side his heart-inflaming brand, Whilst many nymphs that vowed chaste life to keep Came tripping by; but in her maiden hand The fairest votary took up that fire Which many legions of true hearts had warmed; And so the General of hot desire Was, sleeping, by a virgin hand disarmed. This brand she quenched in a cool well by, Which from Love's fire took heat perpetual, Growing a bath and healthful remedy For men diseased; but I, my mistress' thrall, Came there for cure and this by that I prove, Love's fire heats water, water cools not love.

Paelen yawned loudly. His hair stood at all angles and his nightclothes were twisted and unkempt. He looked at Pegasus and frowned. 'You woke me because Emily was having a dream? What about me? I was having my own dream featuring several water nymphs.' Pegasus whinnied and shoved Paelen. 'What!' Paelen cried. 'Am I not allowed to dream?

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

As he stared at her in hushed wonder, it was as though the world stopped. She was the most beautiful creature he had ever seen, a virginal water nymph, her tender skin flushed and glistening, the long tendrils of her strawberry-blond hair twining around her arms and slender waist, her thin muslin chemise wafting around her elegant hips like the white, delicate flowers of the lily pads she had studied so carefully in the garden. He could barely breathe for sheer worship.

And thus when the great day arrived when the amphora was full with Poseidon`s seed, the young Goddess was carried by Zeus` Great Eagle to Mount Ida from where she hurled the amphora into the sea. And it was reported by witnesses that when the amphora hit the water, thousands of Nymphs of all types were born & only three Cabiri & five Dactyls. For that was the power of Poseidon`s seed. And this accounts for the fact that all the Sea Nymphs, other than the Nereids, were Poseidon`s daughters, born of the creatures of the sea.

Well," he asked, "whaddya expect?" It was so obviously a rhetorical question that of course I answered it. My truth impulse seemed stronger around this boy,my impulse control way under par. "I would expect you to be dancing." His expression was unreadable in the limited light. "Is that an invitation?" "No. An observation." He shrugged. "Okay. I needed a break. It was either keep an eye on Chase while he pukes up a fifth of cheap rum in the guys' bathroom or follow the girls into the ladies' room." I almost smiled and told him about Willing's bathrooms and me. Instead, some truly horrific and irresistible impulse had me announcing, "Amanda looks really pretty tonight." "So do you." Bizarrely, I felt my breath catch in my chest, and for a long, awful second, I thought I might cry. I gripped the top of my pad tightly, concentrated on the spiral metal binding where it dug into my skin. "It's a cool costume," he said. "Water nymph?" "Sea goddess," I answered quietly. "Roman." "Hmm." Alex was staring out toward the garden now,looking so at ease that I went from pretzel to knot. Could it really be that easy for him? To say things like he did without thinking? Without meaning them at all? "Too many mermaids tonight. Not that I have anything against mermaids.Mermaids are hot. I mean,you saw my drawing." I nodded. "You know," he went on, "that day in the hall,you compared my stuff to two Japanese artists-" I nodded again,even though he was looking out into the darkened gardens now and not at me. "Suzuki Harunobu and Utagawa Kuniyoshi. They were eighteenth and nineteeth-century woodblock print masters-" "Ella," he interrupted. "I know who they are." "Oh." "In fact, I have a couple original Kuniyoshi prints." "Oh.Wow.Wow.

Jess Pepper's review of the Avalon Strings: 'In a land so very civilized and modern as ours, it is unpopular to suggest that the mystical isle of Avalon ever truly existed. But I believe I have found proof of it right here in Manhattan. To understand my reasoning, you must recall first that enchanting tale of a mist-enshrouded isle where medieval women--descended from the gods--spawned heroic men. Most notable among these was the young King Arthur. In their most secret confessions, these mystic heroes acknowledged Avalon, and particularly the music of its maidens, as the source of their power. Many a school boy has wept reading of Young King Arthur standing silent on the shore as the magical isle disappears from view, shrouded in mist. The boy longs as Arthur did to leap the bank and pilot his canoe to the distant, singing atoll. To rejoin nymphs who guard in the depths of their water caves the meaning of life. To feel again the power that burns within. But knowledge fades and memory dims, and schoolboys grow up. As the legend goes, the way became unknown to mortal man. Only woman could navigate the treacherous blanket of white that dipped and swirled at the surface of the water. And with its fading went also the music of the fabled isle. Harps and strings that heralded the dawn and incited robed maidens to dance evaporated into the mists of time, and silence ruled. But I tell you, Kind Reader, that the music of Avalon lives. The spirit that enchanted knights in chain mail long eons ago is reborn in our fair city, in our own small band of fair maids who tap that legendary spirit to make music as the Avalon Strings. Theirs is no common gift. Theirs is no ordinary sound. It is driven by a fire from within, borne on fingers bloodied by repetition. Minds tormented by a thirst for perfection. And most startling of all is the voice that rises above, the stunning virtuoso whose example leads her small company to higher planes. Could any other collection of musicians achieve the heights of this illustrious few? I think not. I believe, Friends of the City, that when we witnes their performance, as we may almost nightly at the Warwick Hotel, we witness history's gift to this moment in time. And for a few brief moments in the presence of these maids, we witness the fiery spirit that endured and escaped the obliterating mists of Avalon.

The gestures of models (mannequins) and mythological figures. The romantic use of nature (leaves, trees, water) to create a place where innocence can be refound. The exotic and nostalgic attraction of the Mediterranean. The poses taken up to denote stereotypes of women: serene mother (madonna), free-wheeling secretary (actress, king’s mistress), perfect hostess (spectator-owner’s wife), sex-object (Venus, nymph surprised), etc. The special sexual emphasis given to women’s legs. The materials particularly used to indicate luxury: engraved metal, furs, polished leather, etc. The gestures and embraces of lovers, arranged frontally for the benefit of the spectator. The sea, offering a new life. The physical stance of men conveying wealth and virility. The treatment of distance by perspective – offering mystery. The equation of drinking and success. The man as knight (horseman) become motorist. Why does publicity depend so heavily upon the visual language of oil painting? Publicity is the culture of the consumer society. It propagates through images that society’s belief in itself. There are several reasons why these images use the language of oil painting. Oil painting, before it was anything else, was a celebration of private property. As an art-form it derived from the principle that you are what you have.

We do not want merely to see beauty, though, God knows, even that is bounty enough. We want something else which can hardly be put into words-to be united with the beauty we see, to pass into it, to receive it into ourselves, to bathe in it, to become part of it. That is why we have peopled air and earth and water with gods and goddesses and nymphs and elves-that, though we cannot, yet these projections can, enjoy in themselves that beauty grace, and power of which Nature is the image. That is why the poets tell us such lovely falsehoods. They talk as if the west wind could really sweep into a human soul; but it can’t. They tell us that ‘beauty born of murmuring sound’ will pass into a human face; but it won’t. Or not yet. For if we take the imagery of Scripture seriously, if we believe that God will one day give us the Morning Star and cause us to put on the splendour of the sun, then we may surmise that both the ancient myths and the modern poetry, so false as history, may be very near the truth as prophecy. At present we are on the outside of the world, the wrong side of the door. We discern the freshness and purity of morning, but they do not make us fresh and pure. We cannot mingle with the splendours we see. But all the leaves of the New Testament are rustling with the rumour that it will not always be so. Someday, God willing, we shall get in.

Ode to a Cluster of Violets Crisp cluster plunged in shadow. Drops of violet water and raw sunlight floated up with your scent. A fresh subterranean beauty climbed up from your buds thrilling my eyes and my life. One at a time, flowers that stretched forward silvery stalks, creeping closer to an obscure light shoot by shoot in the shadows, till they crowned the mysterious mass with an intense weight of perfume and together formed a single star with a far-off scent and a purple center. Poignant cluster intimate scent of nature, you resemble a wave, or a head of hair, or the gaze of a ruined water nymph sunk in the depths. But up close, in your fragrance’s blue brazenness, you exhale the earth, an earthly flower, an earthen smell and your ultraviolet gleam in volcanoes’ faraway fires. Into your loveliness I sink a weathered face, a face that dust has often abused. You deliver something out of the soil. It isn’t simply perfume, nor simply the perfect cry of your entire color, no: it’s a word sprinkled with dew, a flowering wetness with roots. Fragile cluster of starry violets, tiny, mysterious planet of marine phosphorescence, nocturnal bouquet nestled in green leaves: the truth is there is no blue word to express you. Better than any word is the pulse of your scent. Pablo Neruda, Odes to Common Things. (Bulfinch; Bilingual edition May 1, 1994) Originally published 1961.

The room was two-tiered, its marble balconies filled with rams and water nymphs in fancy dress; a kaleidoscope of colours swayed in time to the beat of hypnotic music. A concerto of absent musicians, it played only in her mind. The numerous chandeliers with sculptured metal frames hung down from chains, with endless fireflies attached. At the far end stretched a grand staircase, dressed with a plush velvet carpet in deep cerise, and ceiling paintings edged with gold embossed dado rails clung to the walls. Then Eve honed in on herself and saw that she wore a crushed white taffeta A-line gown that fit her trim figure like a glove. Her butterfly mask with floral patterns embroidered in red and gold silk sat against her pale skin, her reflection like that of a porcelain doll. A matching shawl rested softly on her shoulders. Everything was so beautiful that she almost totally lost herself in the mirror’s reflection." (little snippet from our book)

Fragment of the Elegy on the Death of Adonis Prom the Greek of Bion Published by Forman, "Poetical Works of P. B. S.", 1876. I mourn Adonis dead—loveliest Adonis— Dead, dead Adonis—and the Loves lament. Sleep no more, Venus, wrapped in purple woof— Wake violet-stoled queen, and weave the crown Of Death,—'tis Misery calls,—for he is dead. The lovely one lies wounded in the mountains, His white thigh struck with the white tooth; he scarce Yet breathes; and Venus hangs in agony there. The dark blood wanders o'er his snowy limbs, His eyes beneath their lids are lustreless, The rose has fled from his wan lips, and there That kiss is dead, which Venus gathers yet. A deep, deep wound Adonis... A deeper Venus bears upon her heart. See, his beloved dogs are gathering round— The Oread nymphs are weeping—Aphrodite With hair unbound is wandering through the woods, 'Wildered, ungirt, unsandalled—the thorns pierce Her hastening feet and drink her sacred blood. Bitterly screaming out, she is driven on Through the long vales; and her Assyrian boy, Her love, her husband, calls—the purple blood From his struck thigh stains her white navel now, Her bosom, and her neck before like snow. Alas for Cytherea—the Loves mourn— The lovely, the beloved is gone!—and now Her sacred beauty vanishes away. For Venus whilst Adonis lived was fair— Alas! her loveliness is dead with him. The oaks and mountains cry, Ai! ai! Adonis! The springs their waters change to tears and weep— The flowers are withered up with grief... Ai! ai! ... Adonis is dead Echo resounds ... Adonis dead. Who will weep not thy dreadful woe. O Venus? Soon as she saw and knew the mortal wound Of her Adonis—saw the life-blood flow From his fair thigh, now wasting,—wailing loud She clasped him, and cried ... 'Stay, Adonis! Stay, dearest one,... and mix my lips with thine— Wake yet a while, Adonis—oh, but once, That I may kiss thee now for the last time— But for as long as one short kiss may live— Oh, let thy breath flow from thy dying soul Even to my mouth and heart, that I may suck That...' NOTE: _23 his Rossetti, Dowden, Woodberry; her Boscombe manuscript, Forman

And as I reached the ticket attendant myself, I heard the Prince de Saxe (if this is who he really was) say with a smile: “I don’t know which number. My cousin told me I need only ask for her box.” He may well have been the Prince de Saxe; perhaps it was the Duchesse de Guermantes (and if it was, I would be able to see her living out one of the moments of her unimaginable life in her cousin’s box) that he saw in his mind’s eye when he used the words “my cousin told me I need only ask for her box,” and this feeling was so strong that his distinctive smiling gaze and the utter simplicity of his words caressed my heart (far more than any abstract reverie would have done) with the alternate intuitions of a possible happiness and a vague glamour. At least, by uttering these words to the ticket attendant, he opened up an ordinary evening in my everyday life to the possibility of entry into a new world: the corridor to which he was directed after he had mentioned the word “box” and into which he now turned was damp and cracked and seemed to lead to marine grottoes, to the mythological realm of the water nymphs.

I. The Burial of the Dead April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. [...] (Come in under the shadow of this red rock), And I will show you something different from either Your shadow at morning striding behind you Or your shadow at evening rising to meet you, I will show you fear in a handful of dust. [...] Unreal City, Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many. [...] II. A Game of Chess [...] Under the firelight, under the brush, her hair Spread out in fiery points Glowed into words, then would be savagely still. III. The Fire Sermon [...] The river bears no empty bottles, sandwich papers, Silk handkerchiefs, cardboard boxes, cigarette ends Or other testimony of summer nights. The nymphs are departed. [...] At the violet hour, the evening hour that strives Homeward, and brings the sailor home from sea, The typist home at teatime, clears her breakfast, lights Her stove, and lays out food in tins. [...] I Tiresias, old man with dugs Perceived the scene, and foretold the rest-- I too awaited the expected guest. [...] IV. Death by Water [...] A current under sea Picked his bones in whispers. As he rose and fell He passed the stages of his age and youth Entering the whirlpool. [...] V. What the Thunder Said [...] A woman drew her long black hair out tight And fiddled whisper music on those strings And bats with baby faces in the violet light Whistled, and beat their wings And crawled head downward down a blackened wall And upside down in air were towers Tolling reminiscent bells, that kept the hours And voices singing out of empty cisterns and exhausted wells.

Kanya looks away. "You deserve it. It's your kamma. Your death will be painful." "Karma? Did you say karma?" The doctor leans closer, brown eyes rolling, tongue lolling. "And what sort of karma is it that ties your entire country to me, to my rotting broken body? What sort of karma is it that behooves you to keep me, of all people, alive?" He grins. "I think a great deal about your karma. Perhaps it's your pride, your hubris that is being repaid, that forces you to lap seedstock from my hand. Or perhaps you're the vehicle of my enlightenment and salvation. Who knows? Perhaps I'll be reborn at the right hand of Buddha thanks to the kindnesses I do for you." "That's not the way it works." The doctor shrugs. "I don't care. Just give me another like Kip to fuck. Throw me another of your sickened lost souls. Throw me a windup. I don't care. I'll take what flesh you throw me. Just don't bother me. I'm beyond worrying about your rotting country now." He tosses the papers into the pool. They scatter across the water. Kanya gasps, horrified, and nearly lunges after them before steeling herself and forcing herself to draw back. She will not allow Gibbons to bait her. This is the way of the calorie man. Always manipulating. Always testing. She forces herself to look away from the parchment slowly soaking in the pool and turn her eyes to him. Gibbons smiles slightly. "Well? Are you going to swim for them or not?" He nods at Kip. "My little nymph will help you. I'd enjoy seeing you two little nymphs frolicking together." Kanya shakes her head. "Get them out yourself." "I always like it when an upright person such as yourself comes before me. A woman with pure convictions." He leans forward, eyes narrowed. "Someone with real qualifications to judge my work." "You were a killer." "I advanced my field. It wasn't my business what they did with my research. You have a spring gun. It's not the manufacturer's fault that you are likely unreliable. That you may at any time kill the wrong person. I built the tools of life. If people use them for their own ends, then that is their karma, not mine." "AgriGen paid you well to think so." "AgriGen paid me well to make them rich. My thoughts are my own." He studies Kanya. "I suppose you have a clean conscience. One of those upright Ministry officers. As pure as your uniform. As clean as sterilizer can make you." He leans forward. "Tell me, do you take bribes?" Kanya opens her mouth to retort, but words fail her. She can almost feel Jaidee drifting close. Listening. Her skin prickles. She forces himself not to look over her shoulder. Gibbons smiles. "Of course you do. All of your kind are the same. Corrupt from top to bottom.

Ryan was a nose away from the tallest cake on display, a six-foot-high chocolate masterpiece Jesse and I had created for this year's fairs. Detailed water nymph's interspersed with insects and toadstools, all sculpted by hand in rich dark chocolate.

All her life she had believed in something more, in the mystery that shape-shifted at the edge of her senses. It was the flutter of moth wings on glass and the promise of river nymphs in the dappled creek beds. It was the smell of oak trees on the summer evening she fell in love, and the way dawn threw itself across the cow pond and turned the water to light. Mabel

She came to him toward morning. She entered very carefully, moving silently, floating through the chamber like a phantom; the only sound was that of her mantle brushing her naked skin. Yet this faint sound was enough to wake the witcher—or maybe it only tore him from the half-slumber in which he rocked monotonously, as though traveling through fathomless depths, suspended between the seabed and its calm surface amid gently undulating strands of seaweed. He did not move, did not stir. The girl flitted closer, threw off her mantle and slowly, hesitantly, rested her knee on the edge of the large bed. He observed her through lowered lashes, still not betraying his wakefulness. The girl carefully climbed onto the bedclothes, and onto him, wrapping her thighs around him. Leaning forward on straining arms, she brushed his face with hair which smelled of chamomile. Determined, and as if impatient, she leaned over and touched his eyelids, cheeks, lips with the tips of her breasts. He smiled, very slowly, delicately, grasping her by the shoulders, and she straightened, escaping his fingers. She was radiant, luminous in the misty brilliance of dawn. He moved, but with pressure from both hands, she forbade him to change position and, with a light but decisive movement of her hips, demanded a response. He responded. She no longer backed away from his hands; she threw her head back, shook her hair. Her skin was cool and surprisingly smooth. Her eyes, glimpsed when her face came close to his, were huge and dark as the eyes of a water nymph. Rocked, he sank into a sea of chamomile as it grew agitated and seethed.

Their laughter didn’t register with Hailey, whose gaze remained fixed on the envelope clutched in her hands. It smelled of salt, reminding her of sunny days at the beach. The address read: Miss Hailey Woods 12 Golden Fleece Place Calliope Gardens London A gold trident bordered by the letters P and A was stamped on the back, with a swirl of gold water encircling it. Hailey’s stomach grew heavy as she thought about the letter inside, which would either inform her of her acceptance to or rejection from Poseidon’s Academy: the high school every eligible teenager in the world strived to get into. Poseidon’s Academy was no ordinary high school. It was an underwater palace that had once been the Olympian god Poseidon’s home. No one had ever seen it—aside from accepted students, who whispered of jewel-encrusted walls and sea-nymphs.

As I face new water, I always ask myself if I ought to fish with a nymph or not. Presumably you don’t walk directly into rising trout. Camus said that the only serious question is whether or not to commit suicide. This is rather like the nymph question. It takes weight, a weighted fly, split shot. Casting becomes a matter of spitting this mess out and being orderly about it.

A heron swoops the water. A princely, primitive bird, each of its enormous slate-blue wings unfolds effortlessly as a chaise longue. The heron foot-drags the stream. Then it sails aloft and, turning, reveals the silhouette of a pteranodon. I like to divine the lasting essence of this place. I like to feel intimations of something akin to those tutelary spirits—near at hand, beyond spectrum of the visible—to whom Celts built menhirs and dolmens; spirits the pagan Romans called genii loci. Thracian shepherds would have known Duck Run inhabited by potamids, nymphs of rivers and streams. Shinto worshippers in Japan paid homage to divine spirits of leaves, to sacred life coursing through roots and bodies of trees, the kami spirits of wind and water. I like to feel what they felt. I like to hear what they heard: the land improvising always—in zephyr, in freshet—its oracular speech, its earth-jazz, its wild glossolalia.

In The Metamorphoses, the Roman poet Ovid tells the story of a handsome youth named Narcissus, a tale he learned from Greek mythology. Narcissus is so intent on his own desires that he is unable to fall in love, rejecting the advances of all who are attracted to him. Never having seen his own image, he understands the power of his beauty only through the reactions others have to him. When he rebuffs the love of Echo, a nymph, her unrequited passion causes her to waste away and die. When one of Echo’s handmaidens prays to Nemesis, the goddess of revenge, Nemesis responds by declaring that Narcissus shall get a taste of his own medicine: If he should ever fall in love, he will be denied the very thing he so desires. One day, while stopping to drink from a forest pool, Narcissus catches a glimpse of his reflection in the smooth water. Smitten by the sight, he falls madly in love with his own beautiful image. He lies next to the pond, staring at his own reflection in the water. But whenever he reaches into the water and tries to embrace the image, it dissolves. Unable to kiss, or hold, or in any way capture his true heart’s desire, he too dies of unrequited love.

also watched the advanced tape. But Squeaky had gone grad school on me. He’s throwing reach casts, curve casts, roll casts, steeple casts, and casts he calls squiggles and stutters. He’s writing his name with the line in the air. He’s making his dry fly look like the Blue Angels. He’s pitching things forehand, backhand, and between his wader legs. And, through the magic of video editing, every time his hook-tipped dust kitty hits the water he lands a trout the size of a canoe. The videotape about trout themselves wasn’t much use either. It’s hard to get excited about where trout feed when you know that the only way you’re going to be able to get a fly to that place is by throwing your fly box at it. I must say, however, all the tapes were informative. “Nymphs and streamers” are not, as it turns out, naked mythological girls decorating the high school gym with crepe paper. And I learned that the part of fly-fishing I’m going to be best at is naming the flies: Woolly Hatcatcher Blue-Wing Earsnag Overhanging Brush Muddler Royal Toyota Hatchback O’Rourke’s Ouchtail P.J.’s Live Worm-’n-Bobber By now I’d reached what I think they call a “learning plateau.” That is, if I was going to catch a fish with a fly rod, I had to either go get in the water or open the fridge and toss hooks at Mrs. Paul’s frozen

Stiff with terror, I hold the pose as Yannie’s flashes radiate off the backdrop. I open my arms to present in second position. I throw back my head, letting my hair cascade to the small of my back. I curve sideways like the marble statue of a water nymph—Dress like a Nun—that rule has most definitely gone down. At last, the rapid-fire clicking stops. Yannie speaks in Mandarin. Sophie’s no longer smiling. “We’re done.” “Already?” “I told you. She’s got another customer in a few minutes.” I don’t budge.

We do not want merely to see beauty, though, God knows, even that is bounty enough. We want something else which can hardly be put into words—to be united with the beauty we see, to pass into it, to receive it into ourselves, to bathe in it, to become part of it. That is why we have peopled air and earth and water with gods and goddesses and nymphs and elves—that, though we cannot, yet these projections can, enjoy in themselves that beauty, grace, and power of which Nature is the image. That is why the poets tell us such lovely falsehoods. They talk as if the west wind could really sweep into a human soul; but it can't. They tell us that "beauty born of murmuring sound" will pass into a human face; but it won't. Or not yet.

You see, you are the place where I stow my softness now. You are the place I can hide away, where I can be Scylla, the nymph, Scylla, the gentle monster,

She splashed to the surface, coming up from the water like a nymph intent on stealing his soul. Her hair was slicked back from her face, making her eyes look large and luminous. “You going to stand there all day with your mouth hanging open?

The Ob now flopped around like a piranha out of water gasping for life as another spirit was exorcised. A howl announced the sixth entity to leave her. Jesus continued praying on his knees.   Pan saw an opening. He ran from the two angels on him, crossed behind the two fighting Ba’al. As he ran past, he slashed the backs of those angels. Gabriel dropped to his hands and knees. The blow stunned Remiel. Ba’al’s mace pummeled Remiel into the ground. Ba’al turned to face the two others.   Mikael and Raphael, burst their way out of the vampiric nymphs and cut them to pieces.   Jesus laid his hands in prayer on the Ob to wrest the final spirit from her body. She choked and gagged. She couldn’t breathe. Her neck tilted back inhumanly. The demon, in the form of a black python, slithered out of her mouth, and away into the darkness. Jesus collapsed to the floor, drenched in sweat.

Thus they were speaking when the thunderous voice came. So mighty it was that it filled every hall and chamber of the palace; and its first word dashed the pictures from the walls so that their crash and smash added to the roar, though they were lost in it. Its second word broke all the crockery in the palace and set the shards to sliding like screes of stones, so that they burst open cabinets and cupboards and descended to the floors in avalanches. Its third word toppled all the statues along the broad avenue that led up to the Great Gate; its fourth stopped the fountain and snapped off both arms of the marble nymph who blessed the waters; and its fifth cracked the basin itself. Its sixth, seventh, and eighth words maddened every cat in the place, struck dead seventeen bat-winged black rooks of the flock that swept the sky about the Grand Campanile, and set all the bells to ringing. Its ninth soured every cask in the cellars, while its tenth word stove them in. Its eleventh stopped the clocks and started the hounds to howling. Its twelfth and last (which was an especially big word) knocked the Dwarves off their feet and sent every one of them rolling and somersaulting amongst all their foulnesses while they held their ears and screeched. And what that voice said was, “What vermin are these who dare defile the body of a Giant?” Oh, my friends! Let us of this star, who are ourselves but Dwarves, heed well the warning.

All her life she had believed in something more, in the mystery that shape-shifted at the edge of her senses. It was the flutter of moth wings on glass and the promise of river nymphs in the dappled creek beds. It was the smell of oak trees on the summer evening she fell in love, and the way dawn threw itself across the cow pond and turned the water to light. Mabel could not remember the last time she caught such a flicker. She

Dragonfly larvae breathe underwater through tracheal gills. These gills are located in a rectal respiratory chamber. Water is drawn into the rectum to the gills. This water-filled chamber can also function as a jet by the rapid expulsion of the water enabling the nymph to move at great speed for a short distance and escape danger or capture prey.

{W}hy did she go into the field? A twinge of pleasure, of knowledge. Her dad would pull over to the side of a bridge, and they would watch from above, before he slipped down the bank to catch them. She was charmed by the motions of trout. How they take their forms from the pressures of another world, the cold forge of water. Their drift, their mystery, the way they turn and let the current take them, take them, with passive grace. They turn again, tumbling like leaves, then straighten with mouths pointing upstream, to better sip a mayfly, to root up nymphs, to watch for the flash of a heron's bill. The current always trues them, like compass needles. When she watches them, she feels wise.

The connections to the legend of Osiris – and indeed to Christianity – were curious, with the echo of the creation of a new god, and the circumstances of Antinous’ death also echoed the superficial but alluring themes of popular Greek myths. There was Hylas, companion of Heracles and the Argonauts, who was drowned by adoring water nymphs who drew him into the spring where he had been sent to fetch water. There was Narcissus, who under Aphrodite’s curse was fatally entranced by his own reflection in the surface of a pool. Antinous the god joined the company of beautiful boys with powerful, if capricious, protectors, who met strange, watery deaths. Antinous was a perfect divinity for the second-century world of the imagination.

Many poplars and many elms shook overhead, and close by, holy water swashed down noisily from a cave of the nymphs. Brown grasshoppers whistled busily through the dark foliage. Far treetoads gobbled in the heavy thornbrake. Larks and goldfinch sang, turtledoves were moaning, and bumblebees whizzed over the plashing brook. The earth smelled of rich summer and autumn fruit: we were ankle-deep in pears, and apples rolled all about our toes. With dark damson plums the young sapling branches trailed on the ground.

Rhys murmured, “I have never seen anything like this.” His magic set the three blades to rotating, allowing them to observe every facet. Az’s face was still slack with awe. “Amarantha destroyed one,” Amren said. Cassian started. “I never heard that.” Amren amended, “Rumor claimed she dumped one into the sea. It would not come to Amarantha’s hand, nor the hands of any of her commanders, and rather than let the King of Hybern attain it, she disposed of it.” Azriel asked, “Which sword?” “Narben.” Amren’s red lips quirked downward. “At least that’s what rumor said. You were Under the Mountain then, Rhys. She would have kept it secret. I only heard from a fleeing water-nymph that it had been done.

Frontinus, in his treatis On the Water Supply of the City of Rome, writes that “the memory of the springs is still considered holy and revered; indeed they are believed to restore sick bodies to health, such as the spring of the Camenae, and … that of Iuturna.”20 A question arises, however, as to why the Vestals did not fetch their daily water at the closer lacus Iuturnae. Two reasons come to mind. First, the Vestals, walking through the city to fetch water, must have made quite an impression. They were recognizably different from other women, but at the same time, they were doing women’s work. Most likely, fetching water would be only one aspect of their daily duties, but it was one that took them outdoors, thus making them visible. Since it was part of a routine, the water fetching might have taken place at the same time every day. Second, before its springs fed into a marble basin, the lacus Iuturnae was, as the Latin word lacus suggests, a pool. The whole forum Romanum area was prone to floods, and one can but imagine rather swampy and unhealthy conditions. This fact did not, however, seem to impede the water quality of the Iuturna. Like the Camenae, according to Frontinus, it had salutary effects. According to tradition, the Dioscuri, Castor and Pollux, watered their horses at the Iuturna. Indeed, like any creature, thirsty horses drink stagnant water when no other water is available, and so the poor condition of the water might not have been a deterrent. The Camenae, whose water was considered especially good,21 was linked to Numa. According to tradition, in the grove (lucus) where the spring (fons) of the Camenae was, Numa conversed with Egeria, a water nymph with mantic powers. She became the king’s major inspiration. Water flowing (fons), rather than standing water in a pool (lacus), moved spirits and intellects. For the Romans, Numa was first to organize Roman religion, and this he did with the help of a prophesying nymph.

Carmenta was, like the Camenae, a water nymph. Ancient sources stressed the chthonic nature of water, and because of this, it had mantic powers.10 There was also a perceived linguistic link between the name Carmenta and carmen, which we translate most often as “poem.” Its primary meaning, however, is “ritual utterance” or “magic spell.

Carmentis was most likely a goddess of childbirth. Having a special priest, a flamen, only emphasizes Carmentis’ importance. The women in Ovid’s story had stopped giving birth in protest and thus imperiled the state. Carmentis also had two additional names: Prorsa and Post-verta. These names were based on the position of babies to be born: head or feet first. Consequently, the supplementary names generated a plurality of deities, the Carmentes, and a duality, a Januslike entity, that looked back as well as forward.35 Augustine combined Carmentis’ mantic powers, which she derived from being a water nymph, with that of being the protector of child bearing. In his opinion, the Carmentes were goddesses who sang the fate of infants at birth.

Two goddesses, Salacia and Venilia, were joined to Neptune in this festival; unfortunately, nothing much is known of either goddess. Salacia was most often connected with salum (salt) and the sea, while Venilia was thought of as a nymph or identified as Venus.130 Fresh water is, of course, indispensable for crops. Venus and the sacrifice of bulls, the premier animal to embody fertility, have an agricultural context. Even Salacia points in that direction, for if we follow Varro,131 we see the etymology of her name based in salax (eager for sexual intercourse). As long as we think of Neptune solely as the god of the (salt) sea, a problem remains. The Romans were a land-based people who came to seafaring late,132 and it could be that Neptune was originally a god of (fresh) water sources.

So! the stars flow too. The broolz was lightyears deep. Here beneath the bridge was another universe, flowing in the dark water. Galaxies whirling in the stream like the egg cases of caddis bugs. Nebulas of stars keeping company with dragonfly nymphs. Mosquito larvae feeding on the dust of novas.

The footprint reminded me of grass and trees, the green of the forest. It could point to Vodyanoy, the old Water Lord out in the rivers who dragged people underwater and enslaved rusalkas. There were the rusalkas themselves, drowned maidens turned sirens unable to let go of the Land of the Living. There were other sprites, nymphs, and spirits—the poleviki and poludnitsy of the fields and meadows, the treelike leshy, mushroom-topped lesovichki, Wild Ones, and vily fairies of the forests. But like the gods, these spirits had not been seen in a very long time and never by me.

The connection runs deep—a Celtic nymph, perhaps, tangled up in your ancient bloodline. No doubt you derive some thrill from any water.

Lady Helena Harteford shivered as a draft stirred the satin water-lilies pinned to her white tunic and brushed her bare shoulders in a ghostly caress. Given the capricious clime of London in the spring, her water nymph costume had perhaps not proven the wisest choice, but the impetuous nature of her plan had allowed little in the way of preparation.

She was there in the middle of the lake, surrounded by the awestruck swans, a nymph, a real nymph, submerging her skin like roses in the crystalline waters. Her hips like a flower shrouded by foam seemed to turn golden, bathed by the light coming through the leaves. Oh! I saw lilies, roses, snow, gold…

Always on the boat there was an inner breeze of excitement, a happy gratitude for the water and its strong promising scents, the Nymph’s proud sail set against the sliding panorama of facing continents and their ghostly empires, crusted one atop the other like gobs of paint on a giant canvas.

Wow! You’re the fabled nymph I have heard so much about,” he gushed in wonderment. The beat of her diaphanous wings whined louder than those of a hundred mosquitoes and her iridescent toes skimmed the water around him. “If you promise to be kind and loyal to me, handsome, I shall consider you my friend,” she said airily.

I liked The Water Nymph. It was a dark-haired woman sitting in a dimly lit deep green forest on a gray stone slab overlooking a dark blue spring. It was a contemplative, moody piece and the girl looked the way I imagined I would if I were alone and someone was staring at me without my knowing that they were there.

We do not want merely to see beauty... we want something else which can hardly be put into words-- to be united with the beauty we see, to pass into it, to receive it into ourselves, to bathe in it, to become part of it. That is why we have peopled air and earth and water with gods and goddesses, and nymphs and elves.

No shepherds. No nymphs. Maybe just one: the girl the fawn strips like a fisherman’s rose. Death turns its mouth red. It can no longer lie in the lilies. Not on my watch. The lake is filthy with silver fish sticky with leeches. Lovesick, I flick a feather into the water. No stones. Only the one in my pocket, heavy as a tongue. — Beth Bachmann, “Elegy,” American Poetry Review, 37:2.

When earth is called the wife of Odin, the mother of Thor, when wind is styled the son of Fornjót and the sea is conceived as Ran, the wife of Ægir, the myths are not anthropomorphism or personification in the modern and Alexandrian sense. Human-likeness is joined to the other qualities of natural phenomena or, more truly expressed, human appearance enters as a quality among other qualities into the soul of earth, wind and sea, but it does not in the least interfere with the impersonal workings of the forces of nature. There is no contradiction between subject and verb in the scald's description of the winter gales: “Fornjót's Sons began to whirl,” nor is there really any breach of common-sense in a storm scene such as this: “The gusts carded and twined the storm-glad daughters of Ægir.” The moon gives birth, the earth is a mother, stones bring young into the world, and that is to say that these beings beget, conceive and are delivered, for thus all procreation takes place under the sun. But this does not imply that earth must transform itself to a human being and seek a couch to bring forth its children. The little we know as to our forefathers' practical relations with the world about them indicates, as will soon appear, that they did not appeal to the objects of nature as pseudo-personalities; like their primitive brethren all over the world, they tried to win the friendship and power of animals and trees and stones by much surer means. When the poet lets Frigg send messengers about to fire and water, iron and all kinds of ore, to stones, earth, trees, sicknesses, beasts, birds, to get them to swear they will never harm Balder, he has plainly no idea in his mind of such messengers going out to knock at the doors of nymphs and demons; his hearers must have been familiar with a method of appealing directly to the things themselves, to the souls.

the water had transformed the nymph to a mortal state, she had aged much more slowly than Patton. After Patton had succumbed to his years, Lena had traveled the world, eventually returning to Fablehaven to work with Kendra’s grandparents. Kendra had met Lena the previous summer, and they had become fast friends. All of that had ended when Kendra had gotten help from the Fairy Queen to summon an army of giant fairies to stop a witch named Muriel and the demon she had freed. The fairies had defeated the demon, Bahumat, and imprisoned Muriel with him. Afterwards, they had repaired much of the hurt the witch had caused. They had changed Grandpa, Grandma, Seth, and Dale back from altered states, and rebuilt Hugo from scratch. They had also restored an unwilling Lena to her state as a naiad. Once back in the water, Lena had reverted to her former ways, and she had not seemed eager to return to dry land

She looked like a statue of a nymph trapped in a fountain. And suddenly, irrevocably, I needed to taste the water spilling out of her well.

Swimmer You are a water nymph from the ocean rising.

The sunflower is the visage of Clytie, a water nymph who died of a broken heart when her love for the sun god Helius was not returned.” “What happened, Mother?” Abby had asked. “Why did she die?” asked Bea. Mother plumped up the covers about our necks. “Clytie pined away for Helius until she died. Then her arms and legs dissolved and took root in the earth. Her body metamorphosed into a stalk, and her face changed into a sunflower that followed the path of the sun, day after day.