β
Destiny is all, Ravn liked to tell me, destiny is everything. He would even say it in English, βWyrd biΓ΅ ful Γ£rΓ¦d.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
As always, there was an all-American war hero look to him, coded in his tousled brown hair, his summer-narrowed hazel eyes, the straight nose that ancient Anglo-Saxons had graciously passed on to him. Everything about him suggested valor and power and a firm handshake.
β
β
Maggie Stiefvater (The Raven Boys (The Raven Cycle, #1))
β
I regard the Klan, the Anglo-Saxon clubs and White American societies, as far as the Negro is concerned, as better friends of the race than all other groups of hypocritical whites put together.
β
β
Marcus Garvey
β
The preachers tell us that pride is a great sin, but the preachers are wrong. Pride makes a man, it drives him, it is the shield wall around his reputation... Men die, they said, but reputation does not die.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
A leader leads,β Ragnar said, βand you canβt ask men to risk death if youβre not willing to risk it yourself.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
The Anglo-Saxon genius for parliamentary government asserted itself; there was a great deal of talk and no decisive action.
β
β
H.G. Wells (The Invisible Man)
β
For the multiculturalist, white Anglo-Saxon Protestants are prohibited, Italians and Irish get a little respect, blacks are good, native Americans are even better. The further away we go, the more they deserve respect. This is a kind of inverted, patronising respect that puts everyone at a distance.
β
β
Slavoj Ε½iΕΎek
β
Every day is ordinary, until it isn't.
β
β
Bernard Cornwell (Death of Kings (The Saxon Stories, #6))
β
We all suffer from dreams.
β
β
Bernard Cornwell (Death of Kings (The Saxon Stories, #6))
β
Wyrd biΓ° ful ΔrΓ¦d. Fate is inexorable.
β
β
Bernard Cornwell (Warriors of the Storm (The Saxon Stories, #9))
β
Life is simple," I said. "Ale, women, sword, and reputation. Nothing else matters.
β
β
Bernard Cornwell (The Pale Horseman (The Saxon Stories, #2))
β
Words are like breath," she said, "you say them and they're gone. But writing traps them.
β
β
Bernard Cornwell (The Pale Horseman (The Saxon Stories, #2))
β
This is what I like, sitting at a table and watching people go by. It does something to your outlook on life. The Anglo-Saxons make a great mistake not staring at people from a sidewalk table.
β
β
Patricia Highsmith (The Talented Mr. Ripley (Ripley, #1))
β
Eric was usually pretty Anglo-Saxon about sex.
β
β
Charlaine Harris (Dead to the World (Sookie Stackhouse, #4))
β
English is the product of a Saxon warrior trying to make a date with an Angle bar-maid, and as such is no more legitimate than any of the other products of that conversation.
β
β
H. Beam Piper (Fuzzy Sapiens (Fuzzy Sapiens, #2))
β
If, therefore, from the settlement of the Saxons, to the introduction of Christianity among them, that system of religion could not be a part of the common law, because they were not yet Christians; and if, having their laws from that period to the close of the common law, we are able to find among them no such act of adoption; we may safely affirm (though contradicted by all the judges and writers on earth) that Christianity neither is, nor ever was, a part of the common law.
['Whether Christianity is Part of the Common Law?', letter to Dr. Thomas Cooper, from Monticello, February 10, 1814]
β
β
Thomas Jefferson (Letters of Thomas Jefferson)
β
A curious thing about the ontological problem is its simplicity. It can be put into three Anglo-Saxon monosyllables: 'What is there?' It can be answered, moreover, in a word--'Everything'--and everyone will accept this answer as true.
β
β
Willard Van Orman Quine
β
In a traditional German toilet, the hole into which shit disappears after we flush is right at the front, so that shit is first laid out for us to sniff and inspect for traces of illness. In the typical French toilet, on the contrary, the hole is at the back, i.e. shit is supposed to disappear as quickly as possible. Finally, the American (Anglo-Saxon) toilet presents a synthesis, a mediation between these opposites: the toilet basin is full of water, so that the shit floats in it, visible, but not to be inspected. [...] It is clear that none of these versions can be accounted for in purely utilitarian terms: each involves a certain ideological perception of how the subject should relate to excrement. Hegel was among the first to see in the geographical triad of Germany, France and England an expression of three different existential attitudes: reflective thoroughness (German), revolutionary hastiness (French), utilitarian pragmatism (English). In political terms, this triad can be read as German conservatism, French revolutionary radicalism and English liberalism. [...] The point about toilets is that they enable us not only to discern this triad in the most intimate domain, but also to identify its underlying mechanism in the three different attitudes towards excremental excess: an ambiguous contemplative fascination; a wish to get rid of it as fast as possible; a pragmatic decision to treat it as ordinary and dispose of it in an appropriate way. It is easy for an academic at a round table to claim that we live in a post-ideological universe, but the moment he visits the lavatory after the heated discussion, he is again knee-deep in ideology.
β
β
Slavoj Ε½iΕΎek (The Plague of Fantasies (Wo Es War Series))
β
I have these guilts about never having read Chaucer but I was talked out of learning Early Anglo-Saxon / Middle English by a friend who had to take it for her Ph.D. They told her to write an essay in Early Anglo-Saxon on any-subject-of-her-own-choosing. βWhich is all very well,β she said bitterly, βbut the only essay subject you can find enough Early Anglo-Saxon words for is βHow to Slaughter a Thousand Men in a Mead Hallβ.
β
β
Helene Hanff (84, Charing Cross Road)
β
Five things make a man happy,β I told him, βa good ship, a good sword, a good hound, a good horse, and a woman.β βNot a good woman?β Finan asked, amused. βTheyβre all good,β I said, βexcept when theyβre not, and then theyβre better than good.
β
β
Bernard Cornwell (The Pagan Lord (The Saxon Stories, #7))
β
It was, according to the history books, the fastest coronation since Bubric the Saxon crowned himself with a very pointy crown on a hill during a thunderstorm, and reigned for one and a half seconds.
β
β
Terry Pratchett (Nation)
β
I'm in pain all the time,' I said, 'and if I gave into it then I'd do nothing.
β
β
Bernard Cornwell (The Empty Throne (The Saxon Stories, #8))
β
If King Harold had had swans on his side, England would still be Saxon.
β
β
Connie Willis (To Say Nothing of the Dog (Oxford Time Travel, #2))
β
Why do we fight?" he asked.
"Because we were born.
β
β
Bernard Cornwell (The Burning Land (The Saxon Stories, #5))
β
There is such joy in chaos. Stow all the world's evils behind a door and tell men that they must never, ever, open the door, and it will be opened because there is pure joy in destruction.
β
β
Bernard Cornwell (The Pale Horseman (The Saxon Stories, #2))
β
We are all lonely and all seek a hand to hold in the darkness. It is not the harp, but the hand that plays it.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
If a man canβt remember the laws,β Ragnar said, βthen heβs got too many of them.
β
β
Bernard Cornwell (Lords of the North (The Saxon Stories, #3))
β
Laughter in battle. That was what Ragnar had taught me, to take joy from the fight.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
Wyrd biΓ΅ ful Γ£rΓ¦d,β I said. Fate is fate. It cannot be changed or cheated.
β
β
Bernard Cornwell (The Pale Horseman (The Saxon Stories, #2))
β
What happens to you, Uhtred, is what you make happen. You will grow, you will learn the sword, you will learn the way of the shield wall, you will learn the oar, you will give honor to the gods, and then you will use what you have learned to make your life good or bad.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
There are seasons of our lives when nothing seems to be happening, when no smoke betrays a burned town or homestead and few tears are shed for the newly dead. I have learned not to trust those times, because if the world is at peace then it means someone is planning war.
β
β
Bernard Cornwell (Death of Kings (The Saxon Stories, #6))
β
We open our mouths and out flow words whose ancestries we do not even know. We are walking lexicons. In a single sentence of idle chatter we preserve Latin, Anglo-Saxon, Norse; we carry a museum inside our heads, each day we commemorate peoples of whom we have never heard. More than that, we speak volumes β our language is the language of everything we have read. Shakespeare and the Authorised Version surface in supermarkets, on buses, chatter on radio and television. I find this miraculous. I never cease to wonder at it. That words are more durable than anything, that they blow with the wind, hibernate and reawaken, shelter parasitic on the most unlikely hosts, survive and survive and survive.
β
β
Penelope Lively (Moon Tiger)
β
All those separate people were a part of my life, strings strung on the frame of Uhtred, and though they were separate they affected one another and together they would make the music of my life.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
I shook my head. βKilling isnβt womanβs work,β I said. βWhy not?β she asked. βWe give life, canβt we take it too?
β
β
Bernard Cornwell (The Empty Throne (The Saxon Stories, #8))
β
King Edmund of East Anglia is now remembered as a saint, as one of those blessed souls who live forever in the shadow of God. Or so the priests tell me. In heaven, they say, the saints occupy a privileged place, living on the high platform of Godβs great hall where they spend their time singing Godβs praises. Forever. Just singing. Beocca always told me that it would be an ecstatic existence, but to me it seems very dull. The Danes reckon their dead warriors are carried to Valhalla, the corpse hall of Odin, where they spend their days fighting and their nights feasting and swiving, and I dare not tell the priests that this seems a far better way to endure the afterlife than singing to the sound of golden harps. I once asked a bishop whether there were any women in heaven. βOf course there are, my lord,β he answered, happy that I was taking an interest in doctrine. βMany of the most blessed saints are women.β
βI mean women we can hump, bishop.β
He said he would pray for me. Perhaps he did.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
You're a bastard," I said.
"Uhtred," he began, but could find nothing more to say.
"You're a piece of weasel-shit," I said, "you're an earsling."
"I'm a king," he said, trying to regain his dignity.
"So you're a royal piece of weasel-shit. An earsling on a throne.
β
β
Bernard Cornwell (Lords of the North (The Saxon Stories, #3))
β
Were the Romans Christians?β I asked him, remembering my curiosity at the Roman farm. βNot always,β Ravn said. βThey had their own gods once, but they gave them up to become Christians and after that they knew nothing but defeat.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
Myths have a very long memory.
β
β
Bryan Sykes (Saxons, Vikings, and Celts: The Genetic Roots of Britain and Ireland)
β
I'm winning a date with you. Granted, it's the frigging lamest date on earth, but I'm winning it anyway.
β
β
Liz Reinhardt (Double Clutch (Brenna Blixen, #1))
β
Only the gods tell him what to do, and you should beware of men who take their orders from the gods.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
We should know who they are," I said, "before we kill them. That's just being polite.
β
β
Bernard Cornwell (The Flame Bearer (The Saxon Stories, #10))
β
Love is a dangerous thing. It comes in disguise to change our life... Lust is the deceiver. Lust wrenches our lives until nothing matters except the one we think we love, and under that deceptive spell we kill for them, give all for them, and then, when we have what we have wanted, we discover that it is all an illusion and nothing is there. Lust is a voyage to nowhere, to an empty land, but some men just love such voyages and never care about the destination. Love is a voyage too, a voyage with no destination except death, but a voyage of bliss.
β
β
Bernard Cornwell (Sword Song (The Saxon Stories, #4))
β
I hated Alfred. He was a miserable, pious, tight-fisted king who distrusted me because I was no Christian, because I was a northerner, and because I had given him his kingdom back at Ethandun. And as reward he had given me Fifhaden. Bastard.
β
β
Bernard Cornwell (Lords of the North (The Saxon Stories, #3))
β
Did you become a Christian in your nunnery?' I asked her.
'Of course not.' she said scornfully.
'They didn't mind?'
'I gave them silver.'
'Then they didn't mind.' I said.
'I don't think any Dane is a real Christian.' she told me.
'Not even your brother?'
'We have many gods,' she said, 'and the Christian god is just another one. I'm sure that's what Guthred thinks. What's the Christian god's name? A nun did tell me, but I've forgotten.'
'Jehovah.'
There you are, then. Odin, Thor and Jehovah. Does he have a wife?'
'No.'
'Poor Jehovah.' she said.
β
β
Bernard Cornwell (Lords of the North (The Saxon Stories, #3))
β
You will not fight in the shield wall,β my father said.
βNo, Father.β
βOnly men can stand in the shield wall,β he said, βbut you will watch, you will learn, and you will discover that the most dangerous stroke is not the sword or ax that you can see, but the one you cannot see, the blade that comes beneath the shields to bite your ankles.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
β"He sang the song of the sword, keening as he fed his blade, and Rollo, standing thigh-deep in the creek, ax swinging in murderous blows, blocked the enemy's escape. The Frisians, transported from confidence to bowel-loosening fear, began to drop their weapons.
β
β
Bernard Cornwell (The Burning Land (The Saxon Stories, #5))
β
...victory does not come to men who listen to their fears.
β
β
Bernard Cornwell (Death of Kings (The Saxon Stories, #6))
β
I wondered why the gods no longer came to earth. It would make belief so much easier.
β
β
Bernard Cornwell (The Empty Throne (The Saxon Stories #8))
β
Poem Written in a Copy of Beowulf
At various times, I have asked myself what reasons
moved me to study, while my night came down,
without particular hope of satisfaction,
the language of the blunt-tongued Anglo-Saxons.
Used up by the years, my memory
loses its grip on words that I have vainly
repeated and repeated. My life in the same way
weaves and unweaves its weary history.
Then I tell myself: it must be that the soul
has some secret, sufficient way of knowing
that it is immortal, that its vast, encompassing
circle can take in all, can accomplish all.
Beyond my anxiety, beyond this writing,
the universe waits, inexhaustible, inviting.
β
β
Jorge Luis Borges
β
I am no Christian. These days it does no good to confess that, for the bishops and abbots have too much influence and it is easier to pretend to a faith than to fight angry ideas. I was raised a Christian, but at ten years old, when I was taken into Ragnarβs family, I discovered the old Saxon gods who were also the gods of the Danes and of the Norsemen, and their worship has always made more sense to me than bowing down to a god who belongs to a country so far away that I have met no one who has ever been there. Thor and Odin walked our hills, slept in our valleys, loved our women and drank from our streams, and that makes them seem like neighbours. The other thing I like about our gods is that they are not obsessed with us. They have their own squabbles and love affairs and seem to ignore us much of the time, but the Christian god has nothing better to do than to make rules for us. He makes rules, more rules, prohibitions and commandments, and he needs hundreds of black-robed priests and monks to make sure we obey those laws. He strikes me as a very grumpy god, that one, even though his priests are forever claiming that he loves us. I have never been so stupid as to think that Thor or Odin or Hoder loved me, though I hope at times they have thought me worthy of them.
β
β
Bernard Cornwell (Lords of the North (The Saxon Stories, #3))
β
To watch these things issuing from the otherwise mute pastoral morning is a man at the barn door. He is small, unclean, unshaven. He moves in the dry chaff among the dust and slats of sunlight with a constrained truculence. Saxon and Celtic bloods. A child of God much like yourself perhaps. Wasps pass through the laddered light from the barnslats in a succession of strobic moments, gold and trembling between black and black, like fireflies in the serried upper gloom.
β
β
Cormac McCarthy (Child of God (Vintage International))
β
Oral myths are closer to the genetic conclusions than the often ambiguous scientific evidence of archaeology.
β
β
Bryan Sykes (Saxons, Vikings, and Celts: The Genetic Roots of Britain and Ireland)
β
Start your killers young, before their consciences are grown. Start them young and they will be lethal.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
We live in a world where the strongest win, and the strongest must expect to be disliked.
β
β
Bernard Cornwell (The Empty Throne (The Saxon Stories, #8))
β
Priests come to my home beside the northern sea where they find an old man, and they tell me I am just a few paces from the fires of hell. I only need repent, they say, and I will go to heaven and live forevermore in the blessed company of the saints.
And I would rather burn till time itself burns out.
β
β
Bernard Cornwell (Sword Song (The Saxon Stories, #4))
β
I have learned that it is one thing to kill in battle, to send a brave man's soul to the corpse hall of the gods, but quite another to take a helpless man's life...
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
So long as we remember names, so long those people live.
β
β
Bernard Cornwell (The Flame Bearer (The Saxon Stories, #10))
β
So we all die?'
"No, no, no! We fight them!'
'How do you fight a dragon?'
'With prayer, boy, with prayer.'
'So we do all die
β
β
Bernard Cornwell (The Flame Bearer (The Saxon Stories, #10))
β
Wyrd bið ful aræd
β
β
Bernard Cornwell (Lords of the North (The Saxon Stories, #3))
β
What fascinated me about English was what I later recognized as its hybrid etymoogy: blunt Anglo-Saxon concreteness, sleek Norman French urbanity, and polysyllabic Greco-Roman abstraction. The clash of these elements, as competitive as Italian dialects is invigorating, richly entertaining, and often funny, as it is to Shaskespeare, who gets tremendous effects out of their interplay. The dazzling multiplicity of sounds and word choices in English makes it brilliantly suited to be a language of poetry..
β
β
Camille Paglia (Break, Blow, Burn)
β
I've never considered breaking that oath before. Ever. But I did, for you. To keep you safe. Everything--from letting you go at the prom, to tonight at the ball--it's all been for you. As much as I tried to tell myself it was for the Saxons, it wasn't true. As much as I said I was going to Istanbul just for Fitz, it wasn't true. Every second I wasn't with you, I was thinking about you. Worrying about you. It wasn't for them. It was all for you.
β
β
Maggie Hall (The Conspiracy of Us (The Conspiracy of Us, #1))
β
I had the arrogant confidence of a man born to battle. I am Uhtred, son of Uhtred, son of another Uhtred, and we had not held Bebbanburg and its lands by whimpering at altars. We are warriors.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
I am Uhtred, son of Uhtred, and this is the tale of a blood feud. It is a tale of how I will take from my enemy what the law says is mine. And it is the tale of a woman and of her father, a king.
He was my king and all that I have I owe to him. The food that I eat, the hall where I live, and the swords of my men, all came from Alfred, my king, who hated me.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
The gods are capricious, and I was about to amuse them. And Alfred was right. I was a fool.
β
β
Bernard Cornwell (The Burning Land (The Saxon Stories, #5))
β
It takes a weak man to prove his strength by striking a woman.
β
β
Bernard Cornwell (The Empty Throne (The Saxon Stories, #8))
β
But deep under the earth, where the corpse serpent gnaws at the roots of Yggdrasil, the tree of life, there are three spinners. Three women who make our fate. We might believe we make choices, but in truth our lives are in the spinners' fingers. They make our lives, and destiny is everything. The Danes know that, and even the Christians know it, Wyrd biΓ΅ ful araed, we Saxons say, fate is inexorable.
β
β
Bernard Cornwell (The Pale Horseman (The Saxon Stories, #2))
β
Conspiracies existed, to be sure; many of them, and many were dark indeed. But fiendish? Fiendishness required brains. Nine times out of ten, conspirators behaved like buffoons and wound up exposing themselves out of sheer, bumbling incompetence.
β
β
Eric Flint (1636: The Saxon Uprising)
β
Someone should write an erudite essay on the moral, physical, and esthetic effect of the Model T Ford on the American nation. Two generations of Americans knew more about the Ford coil than the clitoris, about the planetary system of gears than the solar system of stars. With the Model T, part of the concept of private property disappeared. Pliers ceased to be privately owned and a tire pump belonged to the last man who had picked it up. Most of the babies of the period were conceived in Model T Fords and not a few were born in them. The theory of the Anglo Saxon home became so warped that it never quite recovered.
β
β
John Steinbeck
β
The poets, when they speak of war, talk of the shield wall, they talk of the spears and arrows flying, of the blade beating on the shield, of the heroes who fall and the spoils of the victors, but I was to discover that war was really about food. About feeding men and horses. About finding food. The army that eats wins.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
There is a thing called the blood feud. All societies have them, even the West Saxons have them, despite their vaunted piety. Kill a member of my family and I shall kill one of yours, and so it goes on, generation after generation or until one family is all dead, and Kjartan had just wished a blood feud on himself. I did not know how, I did not know where, I could not know when, but I would revenge Ragnar. I swore it that night.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
I was screaming and hitting at him, but he thought it all so very funny, and he draped me belly down on the saddle in front of him and then he spurred into the chaos to continue the killing.
And that was how I met Ragnar, Ragnar the Fearless, my brotherβs killer, and the man whose head was supposed to grace a pole on Bebbanburgβs ramparts, Earl Ragnar.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
Religion makes strange bedfellows.
β
β
Bernard Cornwell (The Pale Horseman (The Saxon Stories, #2))
β
I didnβt even know Brandon could blush. And he is. Over me. Oh, this has just gotten interesting.
β
β
Saxon James (Master of Mayhem (Frat Wars, #2))
β
Youβre like a PokΓ©mon, and my dick chooses you.
β
β
Saxon James (Master of Mayhem (Frat Wars, #2))
β
Wyrd biΓ° ful ΔrΓ¦d. Fate is inexorable. We are given power and we lose it.
β
β
Bernard Cornwell (The Empty Throne (The Saxon Stories, #8))
β
Never listen to a leftist who does not give away his fortune or does not live the exact lifestyle he wants others to follow. What the French call βthe caviar left,β la gauche caviar, or what Anglo-Saxons call champagne socialists, are people who advocate socialism, sometimes even communism, or some political system with sumptuary limitations, while overtly leading a lavish lifestyle, often financed by inheritanceβnot realizing the contradiction that they want others to avoid just such a lifestyle. It is not too different from the womanizing popes, such as John XII, or the Borgias. The contradiction can exceed the ludicrous as with French president FranΓ§ois Mitterrand of France who, coming in on a socialist platform, emulated the pomp of French monarchs. Even more ironic, his traditional archenemy, the conservative General de Gaulle, led a life of old-style austerity and had his wife sew his socks.
β
β
Nassim Nicholas Taleb (Antifragile: Things that Gain from Disorder)
β
The great prophetic work of the modern world is Goetheβs Faust, so little appreciated among the Anglo-Saxons. Mephistopheles offers Faust unlimited knowledge and unlimited power in exchange for his soul. Modern man has accepted that bargain. . . .
I believe in what the Germans term Ehrfurcht: reverence for things one cannot understand. Faustβs error was an aspiration to understand, and therefore master, things which, by God or by nature, are set beyond the human compass. He could only achieve this at the cost of making the achievement pointless. Once again, it is exactly what modern man has done.
β
β
Robert Aickman (The Collected Strange Stories Of Robert Aickman: I)
β
You should always aim to be your own mouse, Lieam. In fact...you already are. You are not so quick to jump into danger as Saxon and not as pensive of mind as Kenzie. They rely on each other too much. Saxon knows he can afford to be reckless since Kenzie acts as his conscience. And Kenzie can linger in his thoughts and plans, because he knows Saxon can defend him. I tested Kenzie earlier. I wanted to see if he would be swayed by my advice. It took Saxon's coaxing to make up the greyfur's mind. Be compleete with in yourself young redfur...you will never disappoint. Even in solitude.
β
β
David Petersen (Mouse Guard: Winter 1152 (Mouse Guard, #2))
β
There comes a moment in life when we see ourselves as others see us. I suppose that is part of growing up, and it is not always comfortable. Eanflæd,
β
β
Bernard Cornwell (The Pale Horseman (The Saxon Stories, #2))
β
Those you love leave behind their shadows to walk, always, with you in the form of memories.
β
β
Helen Hollick (The Forever Queen (Saxon #2))
β
There is scarcely any great author in European literature, old or new, who has not distinguished himself in his treatment of the supernatural. In English literature, I believe there is no exception from the time of the Anglo-Saxon poets to Shakespeare, and from Shakespeare to our own day. And this introduces us to the consideration of a general and remarkable fact, a fact that I do not remember to have seen in any books, but which is of very great philosophical importance: there is something ghostly in all great art, whether of literature, music, sculpture, or architecture. It touches something within us that relates to infinity
β
β
Lafcadio Hearn
β
War is fought in mystery. The truth can take days to travel, and ahead of truth flies rumor, and it is ever hard to know what is really happening, and the art of it is to pluck the clean bone of fact from the rotting flesh of fear and lies.
β
β
Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
β
Alas. What have we done to our good, bawdy, Anglo-Saxon four-letter words? ...We have blunted them so with overuse that they no longer have any real meaning for us. ...When will we be able to redeem our shock words? They have been turned to marshmallows. ...We no longer have anything to cry in time of crisis. 'Help!' we bleat. And no one hears us. 'Help' is another of those four-letter words that don't mean anything any more.
β
β
Madeleine L'Engle (A Circle of Quiet (Crosswicks Journals, #1))
β
I had fought so long and so hard for my home. It had been stolen from me when I was a child, and I had fought the length and breadth of Britain to regain it.
And now I must fight for Bebbanburg again. We would ride for home.
β
β
Bernard Cornwell (War Lord (The Saxon Stories, #13))
β
Katz had read extensively in popular sociobiology, and his understanding of the depressive personality type and its seemingly perverse persistence in the human gene pool was that depression was successful adaptation to ceaseless pain and hardship. Pessimism, feelings of worthlessness and lack of entitlement, inability to derive satisfaction from pleasure, a tormenting awareness of the world's general crappiness: for Katz Jewish paternal forebears, who'd been driven from shtetl to shtetl by implacable anti-Semites, as for the old Angles and Saxons on his mother's side, who'd labored to grow rye and barley in the poor soils and short summers of northern Europe, feeling bad all the time and expecting the worse had been natural ways of equilibriating themselves with the lousiness of their circumstances. Few things gratified depressives, after all, more than really bad news. This obviously wasn't an optimal way to live, but it had its evolutionary advantages.
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Jonathan Franzen (Freedom)
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- Senhor Uhtred! - Como sempre, Willibald reagiu Γ minha provocação. - Esse peixe - ele apontou o dedo trΓͺmulo na direção dos ossos - foi um dos dois que Nosso Senhor usou para alimentar 5 mil pessoas!
- O outro devia ser um peixe incrivelmente grande - respondi. - O que era? Uma baleia?
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Bernard Cornwell (Death of Kings (The Saxon Stories, #6))
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Our ancestors,β he went on after a while, βtook this land. They took it and made it and held it. We do not give up what our ancestors gave us. They came across the sea and they fought here, and they built here and theyβre buried here. This is our land, mixed with our blood, strengthened with our bone. Ours!β He was angry, but he was often angry. He glowered at me, as if wondering whether I was strong enough to hold this land of Northumbria that our ancestors had won with sword and spear and blood and slaughter.
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Bernard Cornwell (The Last Kingdom (The Saxon Stories, #1))
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It is the kind of stoicism which had been seen as characteristic of Anglo-Saxon poetry, perhaps nowhere better expressed than in 'The Battle of Maldon' where the most famous Saxon or English cry has been rendered - 'Courage must be the firmer, heart the bolder, spirit must be the greater, as our strength grows less'. That combination of bravery and fatalism, endurance and understatement, is the defining mood of Arhurian legend.
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Peter Ackroyd (Albion: The Origins of the English Imagination)
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Tell me how Gisela can be married to a man she's never met?'
Aidan glanced across at Guthred as if expecting help from the king, but Guthred was still motionless, so Aidan had to confront me alone. 'I stood beside her in Lord Γlfric's place,' he said, 'so in the eyes of the church she is married.'
'Did you hump her as well?' I demanded, and the priests and monks hissed their disapproval.
'Of course not.' Aidan said, offended.
'If no one's ridden her,' I said, 'then she's not married. A mare isn't broken until she's saddled and ridden. Have you been ridden?' I asked Gisela.
'Not yet.' she said.
'She is married.' Aidan insisted.
'You stood at the altar in my uncle's place,' I said, 'and you call that a marriage?'
'It is.' Beocca said quietly.
'So if I kill you,' I suggested to Aidan, ignoring Beocca, 'she'll be a widow?
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Bernard Cornwell (Lords of the North (The Saxon Stories, #3))
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(on the word "fuck")
'Oh, come on, Mum,' I sighed at her protest. 'It's just an old Anglo-Saxon word for the female organ which has been adopted by an inherently misogynist language as a negative epithet. It's the same as "fuck", it basically means the same as copulate, but the latter is perfectly acceptable. Why? Because copulate has its roots in Latin and Latin reminds us that we are a sophisticated, learned species, not the rutting animals that these prehistoric grunts would have us appear to be, and isn't that really the issue here? We don't want to admit that we are essentially animals? We want to distinguish ourselves from the fauna with grand conceits and elaborate language; become angels worthy of salvation, not dumb creatures consigned to an earthly, terminal end. It's just a word, Mum; a sound meaning a thing; and your disgust is just denial of a greater horror: that our consciousness is not an indication of our specialness but the terrifying key to knowing how truly insignificant we are.'
She told me to got fuck myself.
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Simon Pegg (Nerd Do Well)
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Riding down the unhorsed Saxons and spearing and clubbing them and leaping from their mounts with knives and running about on the ground with a peculiar bandylegged trot like creatures driven to alien forms of locomotion and stripping the clothes from the dead and seizing them up by the hair and passing their blades about the skulls of the living and the dead alike and snatching aloft the bloody wigs and hacking and chopping at the naked bodies, ripping off limbs, heads, gutting the strange white torsos and holding up great handfuls of viscera, genitals, some of the savages so slathered up with gore they might have rolled in it like dogs and some who fell upon the dying and sodomized them with loud cries to their fellows.
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Cormac McCarthy (Blood Meridian, or, the Evening Redness in the West)
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There is no English equivalent for the French word flΓ’neur. Cassell's dictionary defines flΓ’neur as a stroller, saunterer, drifter but none of these terms seems quite accurate. There is no English equivalent for the term, just as there is no Anglo-Saxon counterpart of that essentially Gallic individual, the deliberately aimless pedestrian, unencumbered by any obligation or sense of urgency, who, being French and therefore frugal, wastes nothing, including his time which he spends with the leisurely discrimination of a gourmet, savoring the multiple flavors of his city.
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Cornelia Otis Skinner (Elegant Wits and Grand Horizontals)
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All those histories of this country centered on the Founding Fathers and the Presidents weigh oppressively on the capacity of the ordinary citizen to act. They suggest that in times of crisis we must look to someone to save us: in the Revolutionary crisis, the Founding Fathers; in the slavery crisis, Lincoln; in the Depression, Roosevelt; in the Vietnam-Watergate crisis, Carter. And that between occasional crises everything is all right, and it is sufficient for us to be restored to that normal state. They teach us that the supreme act of citizenship is to choose among saviors, by going into a voting booth every four years to choose between two white and well-off Anglo-Saxon males of inoffensive personality and orthodox opinions.
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Howard Zinn (A People's History of the United States)
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One day, lad, your eyes will light upon a woman, and you will never forget that glint in her eye, that toss of her head, or sway of her hips. You will dream of her, whether you are asleep of awake. She will possess your mind, and your body will be on fire for her. Nothing will ever erase the linger of her scent in your nostrils, the touch of her hand on your body, the feel of her flesh beneath your fingers.
When you find a woman to love, Cnut, your life changes forever.
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Helen Hollick (The Forever Queen (Saxon #2))
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Someone
A man worn down by time,
a man who does not even expect death
(the proofs of death are statistics
and everyone runs the risk
of being the first immortal),
a man who has learned to express thanks
for the days' modest alms:
sleep, routine, the taste of water,
an unsuspected etymology,
a Latin or Saxon verse,
the memory of a woman who left him
thirty years ago now
whom he can call to mind without bitterness,
a man who is aware that the present
is both future and oblivion,
a man who has betrayed
and has been betrayed,
may feel suddenly, when crossing the street,
a mysterious happiness
not coming from the side of hope
but from an ancient innocence,
from his own root or from some diffuse god.
He knows better than to look at it closely,
for there are reasons more terrible than tigers
which will prove to him
that wretchedness is his duty,
but he accepts humbly
this felicity, this glimmer.
Perhaps in death when the dust
is dust, we will be forever
this undecipherable root,
from which will grow forever,
serene or horrible,
or solitary heaven or hell.
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Jorge Luis Borges
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Men do not relish the shield wall. They do not rush to death's embrace. You look ahead and see the overlapping shields, the helmets, the glint of axes and spears and swords, and you know you must go into the reach of those blades, into the place of death, and it takes time to summon the courage, to heat the blood, to let the madness overtake caution.
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Bernard Cornwell (Death of Kings (The Saxon Stories, #6))
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Christians like to dream of the perfect world, a place where there is no fighting, where sword-blades are hammered into plowshares, and where the lion, whatever that is, sleeps with the lamb. It is a dream. There has always been war and there will always be war. So long as one man wants another manβs wife, or another manβs land, or another manβs cattle, or another manβs silver, so long will there be war. And so long as one priest preaches that his god is the only god or the better god there will be war.
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Bernard Cornwell (War of the Wolf (The Saxon Stories, #11))
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It is not difficult to be a lord, a jarl, or even a king, but it is difficult to be a leader.
Most men want to follow, and what they demand of their leader is prosperity. We are the ring-givers, the gold-givers. We give land, we give silver, we give slaves, but that alone is not enough. They must be led. Leave men standing or sitting for days at a time and they get bored, and bored men make trouble. They must be surprised and challenged, given tasks they think beyond their abilities. And they must fear. A leader who is not feared will cease to rule, but fear is not enough. They must love too. When a man has been led into the shield wall, when an enemy is roaring defiance, when the blades are clashing on shields, when the soil is about to be soaked in blood, when the ravens circle in wait for the offal of men, then a man who loves his leader will fight better than a man who merely fears him. At that moment we are brothers, we fight for each other, and a man must know that his leader will sacrifice his own life to save any one of his men.
I learned all that from Ragnar, a man who led with joy in his soul, though he was feared too. His great enemy, Kjartan, knew only how to lead by fear, and Ragnall was the same. Men who lead by fear might become great kings and might rule lands so great that no man knows their boundaries, but they can be beaten too, beaten by men who fight as brothers.
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Bernard Cornwell (Warriors of the Storm (The Saxon Stories, #9))
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Culturally, though not theologically, Iβm a Christian. I was born a Protestant of the white Anglo-Saxon persuasion. And while I do love that great teacher of peace who was called Jesus, and while I do reserve the right to ask myself in certain trying situations what indeed He would do, I canβt swallow that one fixed rule of Christianity insisting that Christ is the only path to God. Strictly speaking, then, I cannot call myself a Christian. Most of the Christians I know accept my feelings on this with grace and open-mindedness. Then again, most of the Christians I know donβt speak very strictly. To those who do speak (and think) strictly, all I can do here is offer my regrets for any hurt feelings and now excuse myself from their business.
βTraditionally, I have responded to the transcendent mystics of all religions. I have always responded with breathless excitement to anyone who has ever said that God does not live in a dogmatic scripture or in a distant throne in the sky, but instead abides very close to us indeedβmuch closer than we can imagine, breathing right through our own hearts. I respond with gratitude to anyone who has ever voyaged to the center of that heart, and who has then returned to the world with a report for the rest of us that God is an experience of supreme love. In every religious tradition on earth, there have always been mystical saints and transcendents who report exactly this experience. Unfortunately many of them have ended up arrested and killed. Still, I think very highly of them.
βIn the end, what I have come to believe about God is simple. Itβs like thisβI used to have this really great dog. She came from the pound. She was a mixture of about ten different breeds, but seemed to have inherited the finest features of them all. She was brown. When people asked me, βWhat kind of dog is that?β I would always give the same answer: βSheβs a brown dog.β Similarly, when the question is raised, βWhat kind of God do you believe in?β my answer is easy: βI believe in a magnificent God
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Elizabeth Gilbert (Eat, Pray, Love)
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Kant abolished God and made man God in His stead. We are still living in the age of the Kantian man, or Kantian man-god. Kant's conclusive exposure of the so-called proofs of the existence of God, his analysis of the limitations of speculative reason, together with his eloquent portrayal of the dgnity of rational man, has had results which might possibly dismay him. How recognizable, how familiar to us, is the man so beautifully portrayed in the Grundelgung, who confronted even with Christ turns away to consider the judgment of his own conscience and to hear the voice of his own reason. Stripped of the exiguous metaphysical background which Kant was prepared to allow him, this man is with us still, free, independent, lonely, powerful, rational, responsible, brave, the hero of so many novels and books of moral philosophy. The raison d'etre of this attractive but misleading creature is not far to seek. He is the offspring of the age of science, confidently rational and yet increasingly aware of his alienation from the material universe which his discoveries reveal; and since he is not a Hegelian (Kant, not Hegel, has provided Western ethics with its dominating image) his alienation is without cure. He is the ideal citizen of the liberal state, a warning held up to tyrants. He has the virtue which the age requires and admires, courage. It is not such a very long step from Kant to Nietzsche, and from Nietzsche to existentialism and the Anglo-Saxon ethical doctrines which in some ways closely resemble it. In fact Kant's man had already received a glorious incarnation nearly a century earlier in the work of Milton: his proper name is Lucifer.
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Iris Murdoch (The Sovereignty of Good)