Patron Saint Of Animals Quotes

I swear on St. Francis, the patron saint of all animals.” Seeing Poppy’s hesitation, Beatrix added enthusiastically, “If a band of pirates kidnapped me and took me to their ship and threatened to make me walk the plank over a shiver of starving sharks unless I told them your secret, I still wouldn’t tell it. If I were tied by a villain and thrown before a herd of stampeding horses all shod in iron, and the only way to keep from being trampled was to tell the villain your secret, I—

But I do like the church. I like the smell of polished wood and incense. I like the colored window glass and the statue of Saint Francis. Reynaud says Saint Francis is the patron saint of animals, who left his life to live in the woods. I'd like to do that. I'd build myself a house in a tree, and live on nuts and strawberries. Maman and I never go to church. Once, that might have caused trouble. But Reynaud says we don't have to go. Reynaud says God sees us, and cares for us, wherever we are.

We drive until the sun sets. There are more back roads into and out of these woods than anyone can count, than are probably on any map. You can drive and drive and drive and just see forest and fields, the occasional cow, the occasional elk, the even more occasional moose (the animal Patron Saint of Perpetual Embarrassment; I can relate, though not to being Catholic, which I’ve apparently decided mooses are). The Mountain glows in and out of view, turning pink, then blue, then shadow, as it watches us wander.

Look! when I am in a drawing room, a church, a station; on the terrasse of a cafe, at the theatre or wherever crowds pass or loiter, I enjoy considering faces from a strictly homicidal point of view. For you may see by the glance, by the back of the neck, the shape of the skull, the jaw bone and zygoma of the cheeks, or by some part of their persons that they bear the stigmata of that psychological calamity known as murder. It is scarcely an aberration of my mind, but I can go nowhere without seeing it flickering beneath eyelids, or without feeling its mysterious contact in the touch of every hand held out to me. Last Sunday I went to a town on the festival day of its patron saint. In the public square, which was decorated with foliage, floral arches, and poles draped with flags, was grouped every kind of amusement common to that sort of public celebration—And beneath the paternal eye of the authorities, a swarm of good people were enjoying themselves. The wooden horses, the roller-coaster and the swings drew a very meagre crowd. The organs wheezed their gayest tunes and most bewitching overtures in vain. Other pleasures absorbed this festive throng. Some shot with rifles, pistols, or the good old crossbow at targets painted like human faces; others hurled balls, knocking over marionettes ranged pathetically on wooden bars. Still others, mallet in hand, pounded upon a spring which animated a French sailor who patriotically transfixed with his bayonet a poor hova or a mocking Dahomean. Everywhere, under tents or in the little lighted booths, I saw counterfeits of death, parodies of massacre, portrayals of hecatombs. And how happy these good people were!

As to Orphism, it soon blended with the worship of the god Dionysus, who originated in Thrace, and who was worshipped there in the form of a bull. Dionysus was quickly accepted in seventh-century Greece, because he was exactly what the Greeks needed to complete their pantheon of gods; under the name Bacchus he became the god of wine, and his symbol was sometimes an enormous phallus. Frazer speaks of Thracian rites involving wild dances, thrilling music and tipsy excess, and notes that such goings-on were foreign to the clear rational nature of the Greeks. But the religion still spread like wildfire throughout Greece, especially among women—indicating, perhaps, a revolt against civilisation. It became a religion of orgies; women worked themselves into a frenzy and rushed about the hills, tearing to pieces any living creature they found. Euripides’ play The Bacchae tells how King Pentheus, who opposed the religion of Bacchus, was torn to pieces by a crowd of women, which included his mother and sisters, all in ‘Bacchic frenzy.’ In their ecstasy the worshippers of Bacchus became animals, and behaved like animals, killing living creatures and eating them raw. The profound significance of all this was recognised by the philosopher Nietzsche, who declared himself a disciple of the god Dionysus. He spoke of the ‘blissful ecstasy that rises from the innermost depths of man,’ dissolving his sense of personality: in short, the sexual or magical ecstasy. He saw Dionysus as a fundamental principle of human existence; man’s need to throw off his personality, to burst the dream-bubble that surrounds him and to experience total, ecstatic affirmation of everything. In this sense, Dionysus is fundamentally the god, or patron saint, of magic. The spirit of Dionysus pervades all magic, especially the black magic of the later witch cults, with their orgiastic witch’s sabbaths so like the orgies of Dionysus’s female worshippers, even to the use of goats, the animal sacred to Dionysus. (Is it not also significant that Dionysus is a horned god, like the Christian devil?) The ‘scent of truth’ that made Ouspensky prefer books on magic to the ‘hard facts’ of daily journalism is the scent of Dionysian freedom, man’s sudden absurd glimpse of his godlike potentialities. It is also true that the spirit of Dionysus, pushed to new extremes through frustration and egomania, permeates the work of De Sade. As Philip Vellacot remarks of Dionysus in his introduction to The Bacchae: ‘But, though in the first half of the play there is some room for sympathy with Dionysus, this sympathy steadily diminishes until at the end of the play, his inhuman cruelty inspires nothing but horror.’ But this misses the point about Dionysus—that sympathy is hardly an emotion he would appreciate. He descends like a storm wind, scattering all human emotion.

Saint Francis of Assisi, patron saint of the animals.” She petted one of the carved birds lightly. “It was said that he saved a town from a wolf by making them friends instead of enemies.

Démétrius, saint (Sf. Dumitru). Il passe pour être le patron des animaux et de la maison. On le fête le 26 octobre en allumant un grand feu qui a pour fonction de réchauffer les morts et d'éloigner les bêtes sauvages de la demeure. Ceux qui bondissent par-dessus le feu sont préservés de la maladie. Du haut d'une colline les jeunes du village font rouler une roue entourée de paille enflammée tandis que les enfants vont de maison en maison et collectent bretzels et fruits. Un jour, saint Démétrius passa la nuit dans une famille où les Destinées prédisaient que le nouveau-né mourait s'il traversait un jour le fleuve à cheval pour gagner le village voisin et y célébrer ses noces. Impressionné, Démétrius se rendit aux noces du jeune homme et, pour éviter le malheur annoncé, il lui prêta son cheval. Malheureusement, l'animal trébucha en traversant l'eau : le jeune homme fut mouillé et mourut aussitôt. (p. 71)