Sea Nymph Quotes

To be, or not to be: that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to sleep; No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to, 'tis a consummation Devoutly to be wish'd. To die, to sleep; To sleep: perchance to dream: ay, there's the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there's the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of despised love, the law's delay, The insolence of office and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover'd country from whose bourn No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of? Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.--Soft you now! The fair Ophelia! Nymph, in thy orisons Be all my sins remember'd!

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.

Now it’s high watermark and floodtide in the heart and time to go. The sea-nymphs in the spray will be the chorus now. What’s left to say? Suspect too much sweet-talk but never close your mind. It was a fortunate wind that blew me here. I leave half-ready to believe that a crippled trust might walk and the half-true rhyme is love.

So the nymphs they spoke, we kissed and laid. By noontime’s hour our love was made. Like braided chains of crocus stems, we lay entwined, I laid with them. Our breath, one glassy, tideless sea, our bodies draping wearily, we slept, I slept so lucidly, with hopes to stay this memory.

The pool,” said Kallorek, pointing. “The pool, right there.” “You mean the pond?” “I mean the pool,” growled the booker. “Get in. Swim.” He accompanied these words with effusive gestures that set his jewellery ringing. Clay examined the pond. “Swim to where?” he asked. “What do you mean swim to where?” Kallorek’s brow deepened. “Is it a healing spring?” Gabe asked. He flexed his arm, wincing as he extended it fully. “Because I think my elbow—” “Listen, fuck your elbow!” Kallorek blew up. Clay had forgotten how short the booker’s fuse was. That big toothy smile one moment, and the next …“It ain’t a spring, or a pond, or a godsdamned sea nymph’s bathtub. It’s a fucking pool. Just a pool! You swim around in it to relax.

There came to that room wild streams of violet midnight glittering with dust of gold, vortices of dust and fire, swirling out of the ultimate spaces and heavy perfumes from beyond the worlds. Opiate oceans poured there, litten by suns that the eye may never behold and having in their whirlpools strange dolphins and sea-nymphs of unrememberable depths. Noiseless infinity eddied around the dreamer and wafted him away without touching the body that leaned stiffly from the lonely window; and for days not counted in men's calandars the tides of far spheres that bore him gently to join the course of other cycles that tenderly left him sleeping on a green sunrise shore, a green shore fragrant with lotus blossums and starred by red camalates...

She's a tangled mess of wild- a forest nymph, a goddess child. She's like the seductive sea - feral and fierce, calm and serene. She's the starfish swimming in my soul, the woman child who keeps me sane, who keeps me whole.

Here's a health to our Captain, so gallant and free Whether stuck on a rock or asleep 'neath a tree Or rolled in the arms of some nymph of the sea Which is where we would all like to be, man!

a guest of Mr. Jensen and one of his

The Realists HOPE that you may understand! What can books of men that wive In a dragon-guarded land, Paintings of the dolphin-drawn Sea-nymphs in their pearly waggons Do, but awake a hope to live That had gone With the dragons?

Je rentre à travers cette majestueuse forêt que je vois tout autre, maintenant que mes coups de fusil ont effarouché les sylvains et les nymphes.

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.

An ordinary wife would have counted herself lucky to find a husband with Peleus’ mildness, his smile-lined face. But for the sea-nymph Thetis nothing could ever eclipse the stain of his dirty, mortal mediocrity.

There were some that were of so rare a beauty that my pleasure on catching sight of them was enhanced by surprise. By what privilege, on one morning rather than another, did the window on being uncurtained disclose to my wondering eyes the nymph Glauconome, whose lazy beauty, gently breathing, had the transparence of a vaporous emerald beneath whose surface I could see teeming the ponderable elements that coloured it? She made the sun join in her play, with a smile rendered languorous by an invisible haze which was nought but a space kept vacant about her translucent surface, which, thus curtailed, became more appealing, like those goddesses whom the sculptor carves in relief upon a block of marble, the rest of which he leaves unchiselled. So, in her matchless colour, she invited us out over those rough terrestrial roads, from which, seated beside Mme. de Villeparisis in her barouche, we should see, all day long and without ever reaching it, the coolness of her gentle palpitation.

THE REALISTS Hope that you may understand! What can books of men that wive In a dragon-guarded land, Paintings of the dolphin-drawn Sea-nymphs in their pearly waggons Do, but awake a hope to live That had gone With the dragons?

Sir Edmund’s home is an architectural grotesque, the ornate facade the unlikely union of a warship and a wedding cake. A riot of musket loops, carved shells, liquorice-twist chimneys, mock battlements, a first-floor prow, and an exuberance of portholes. On the carved stone pediment above the wide front door Neptune cavorts with sea nymphs. The lower-floor windows are festooned with theatrical swags of stone starfish and scallop shells. For all this, the house looks unlived in.

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 moon’s three phases of new, full, and old recalled the matriarch’s three phases of maiden, nymph (nubile woman), and crone. Then, since the sun’s annual course similarly recalled the rise and decline of her physical powers – spring a maiden, summer a nymph, winter a crone – the goddess became identified with seasonal changes in animal and plant life; and thus with Mother Earth who, at the beginning of the vegetative year, produces only leaves and buds, then flowers and fruits, and at last ceases to bear. She could later be conceived as yet another triad: the maiden of the upper air, the nymph of the earth or sea, the crone of the underworld – typified respectively by Selene, Aphrodite, and Hecate. These mystical analogues fostered the sacredness of the number three, and the Moon-goddess became enlarged to nine when each of the three persons – maiden, nymph, and crone – appeared in triad to demonstrate her divinity. Her devotees never quite forgot that there were not three goddesses, but one goddess; though, by Classical times, Arcadian Stymphalus was one of the few remaining shrines where they all bore the same name: Hera.

The heroes cleansed our world of chthonic terrors -- earthborn monsters that endangered mankind and threatened to choke the rise of civilisation. So long as dragons, giants, centaurs and mutant beasts infested the air, earth and seas we could never spread out with confidence and transform the wild world into a place of safety for humanity. In time, even the benevolent minor deities would find themselves elbowed out by the burgeoning and newly confident human race. The nymphs, dryads, fauns, satyrs and sprites of the mountains, streams, meadows and oceans could not compete with our need and greed for land to quarry, farm and build upon. The rise of a spirit of rational enquiry and scientific understanding pushed the immortals further from us. The world was being reshaped as a home fit for mortal beings only. Today, of course, some of the rarer and more vulnerable mortal creatures that have shared the world with us are undergoing the same threats to their natural territories that cuased the end of the nymphs and woodland spirits. Habitat loss and species extinction have all happened before. The days of the gods themselves were numbered too. Prometheus's gift of fire, as Zeus had feared, would one day allow us to do even without the Olympians.

We both had been expected to be daughters but turned out to be something else. We had shed our skins, not like snakes but insects—each of us a nymph outgrowing exoskeleton after exoskeleton, and morphing as we did. We didn’t know which molt would be our last, only that we might not be there yet, both of us rivers moving toward the sea.

Not to waste the spring I threw down everything, And ran into the open world To sing what I could sing... To dance what I could dance! And join with everyone! I wandered with a reckless heart beneath the newborn sun. First stepping through the blushing dawn, I crossed beneath a garden bower, counting every hermit thrush, counting every hour. When morning's light was ripe at last, I stumbled on with reckless feet; and found two nymphs engaged in play, approaching them stirred no retreat. With naked skin, their weaving hands, in form akin to Calliope's maids, shook winter currents from their hair to weave within them vernal braids. I grabbed the first, who seemed the stronger by her soft and dewy leg, and swore blind eyes, Lest I find I, before Diana, a hunted stag. But the nymphs they laughed, and shook their heads. and begged I drop beseeching hands. For one was no goddess, the other no huntress, merely two girls at play in the early day. "Please come to us, with unblinded eyes, and raise your ready lips. We will wash your mouth with watery sighs, weave you springtime with our fingertips." So the nymphs they spoke, we kissed and laid, by noontime's hour, our love was made, Like braided chains of crocus stems, We lay entwined, I laid with them, Our breath, one glassy, tideless sea, Our bodies draping wearily. We slept, I slept so lucidly, with hopes to stay this memory. I woke in dusty afternoon, Alone, the nymphs had left too soon, I searched where perched upon my knees Heard only larks' songs in the trees. "Be you, the larks, my far-flung maids? With lilac feet and branchlike braids... Who sing sweet odes to my elation, in your larking exaltation!" With these, my clumsy, carefree words, The birds they stirred and flew away, "Be I, poor Actaeon," I cried, "Be dead… Before they, like Hippodamia, be gone astray!" Yet these words, too late, remained unheard, By lark, that parting, morning bird. I looked upon its parting flight, and smelled the coming of the night; desirous, I gazed upon its jaunt, as Leander gazes Hellespont. Now the hour was ripe and dark, sensuous memories of sunlight past, I stood alone in garden bowers and asked the value of my hours. Time was spent or time was tossed, Life was loved and life was lost. I kissed the flesh of tender girls, I heard the songs of vernal birds. I gazed upon the blushing light, aware of day before the night. So let me ask and hear a thought: Did I live the spring I’d sought? It's true in joy, I walked along, took part in dance, and sang the song. and never tried to bind an hour to my borrowed garden bower; nor did I once entreat a day to slumber at my feet. Yet days aren't lulled by lyric song, like morning birds they pass along, o'er crests of trees, to none belong; o'er crests of trees of drying dew, their larking flight, my hands, eschew Thus I'll say it once and true… From all that I saw, and everywhere I wandered, I learned that time cannot be spent, It only can be squandered.

But for the sea-nymph Thetis nothing could ever eclipse the stain of his dirty, mortal mediocrity.

Maybe she's a mud puddle nymph," Carmen snickered.

Once she was separated from the cockles & clams, she found herself miraculously transformed into a Goddess. But she found herself different from the Goddesses & Nymphs of the sea because of the girdle. It clung to her body as a second skin, or as the shell clung to the cockle, & she had never been able to take it off. And thus, she herself had never known what she hid beneath the girdle.

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.

The Realists HOPE that you may understand! What can books of men that wive In a dragon-guarded land, Paintings of the dolphin-drawn Sea-nymphs in their pearly wagons Do, but awake a hope to live That had gone With the dragons?

The third man,’ he answered, ‘is Ulysses who dwells in Ithaca. I can see him in an island sorrowing bitterly in the house of the nymph Calypso, who is keeping him prisoner, and he cannot reach his home for he has no ships nor sailors to take him over the sea.

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.

ARIEL sings 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 Burthen Ding-dong Hark! now I hear them,--Ding-dong, bell.

The sea-nymphs come for the body, trailing their seafoam robes behind them. They wash him with rose oil and nectar, and weave flowers through his golden hair. The Myrmidons build him a pyre, and he is placed on it. The nymphs weep as the flames consume him. His beautiful body lost to bones and gray ash.

Sometimes, the youthful Hebe would insist on scattering her father`s seed further afield, & to various places, inside & outside Greece, & even in Italy. And when the seed of the King of the Gods was scattered into the rivers & streams, lakes & ponds, & the springs in the woods, Satyrs of various types were born, & also Nymphs & Naiads, those usually described as "the sons & daughters of Zeus", not those of Oceanus & Tethys, just as the Sea Nymphs, other than the Nereids, were the daughters of Poseidon. And this also accounts for the many cities, villages & places inside & outside Greece, said to be founded by a son or daughter of Zeus.

She says she doesn’t mind the dying,” he whispered after a while. “That she’s going back to be with her father.” I raised my eyebrows. “Her father?” I questioned, attempting to picture what ethereal metallic creature might have fathered this one. “Poseidon, God of the Sea,” Phaethon pronounced carefully. “Her mother is the nymph Theophane. Poseidon turned them both into rams to be together. And Theophane’s grandfather,” he paused, scrunching up his face once more, “is called Helios.

The nymphs in green? Delightful girls.’ ‘It is clear you have been a great while at sea, to call those sandy-haired coarse-featured pimply short-necked thick-fingered vulgar-minded lubricious blockheads by such a name. Nymphs, forsooth. If they were nymphs, they must have had their being in a tolerably rank and stagnant pool: the wench on my left had an ill breath, and turning for relief I found her sister had a worse; and the upper garment of neither was free from reproach. Worse lay below, I make no doubt. “La, sister,” cries the one to the other, breathing across me – vile teeth; and “La, sister,” cries the other. I have no notion of two sisters wearing the same clothes, the same flaunting meretricious gawds, the same tortured Gorgon curls low over their brutish criminal foreheads; it bespeaks a superfetation of vulgarity, both innate and studiously acquired. And when I think that their teeming loins will people the East . . . Pray pour me out another cup of coffee. Confident brutes.

Lovely Hekate of the roads and of the crossroads I invoke. In heaven, on earth, then in the sea, saffron-cloaked, tomb spirit reveling in the souls of the dead, daughter of Perses, haunting deserted places, delighting in deer, nocturnal, dog-loving, monstrous queen, devouring wild beasts, ungirt and repulsive. Herder of bulls, queen and mistress of the whole world, leader, nymph, mountain-roaming nurturer of youths, maiden, I beseech you to come to these holy rites, ever with joyous heart, ever favoring the oxherd.2

Homer's Hymn to the Sun Published by Mrs. Shelley, "Poetical Works", 1839, 2nd edition; dated 1818. Offspring of Jove, Calliope, once more To the bright Sun, thy hymn of music pour; Whom to the child of star-clad Heaven and Earth Euryphaessa, large-eyed nymph, brought forth; Euryphaessa, the famed sister fair Of great Hyperion, who to him did bear A race of loveliest children; the young Morn, Whose arms are like twin roses newly born, The fair-haired Moon, and the immortal Sun, Who borne by heavenly steeds his race doth run Unconquerably, illuming the abodes Of mortal Men and the eternal Gods. Fiercely look forth his awe-inspiring eyes, Beneath his golden helmet, whence arise And are shot forth afar, clear beams of light; His countenance, with radiant glory bright, Beneath his graceful locks far shines around, And the light vest with which his limbs are bound, Of woof aethereal delicately twined, Glows in the stream of the uplifting wind. His rapid steeds soon bear him to the West; Where their steep flight his hands divine arrest, And the fleet car with yoke of gold, which he Sends from bright Heaven beneath the shadowy sea

Julius explained that the palace rooms where they stood were called Wunderkammers, or wonder rooms. Souvenirs of nature, of travels across continents and seas; jewels and skulls. A show of wealth, intellect, power. The first room had rose-colored glass walls, with rubies and garnets and bloodred drapes of damask. Bowls of blush quartz; semiprecious stone roses running the spectrum of red down to pink, a hard, glittering garden. The vaulted ceiling, a feature of all the ten rooms Julius and Cymbeline visited, was a trompe l'oeil of a rosy sky at down, golden light edging the morning clouds. The next room was of sapphire and sea and sky; lapis lazuli, turquoise and gold and silver. A silver mermaid lounged on the edge of a lapis lazuli bowl fashioned in the shape of an ocean. Venus stood aloft on the waves draped in pearls. There were gold fish and diamond fish and faceted sterling silver starfish. Silvered mirrors edged in silvered mirror. There were opals and aquamarines and tanzanite and amethyst. Seaweed bloomed in shades of blue-green marble. The ceiling was a dome of endless, pale blue. A jungle room of mica and marble followed, with its rain forest of cats made from tiger's-eye, yellow topaz birds, tortoiseshell giraffes with stubby horns of spun gold. Carved clouds of smoky quartz hovered over a herd of obsidian and ivory zebras. Javelinas of spotted pony hide charged tiny, life-sized dik-diks with velvet hides, and dazzling diamond antlers mingled with miniature stuffed sable minks. Agate columns painted a medley of dark greens were strung with faceted ropes of green gold. A room of ivory: bone, teeth, skulls, and velvet. A room crowded with columns all sheathed in mirrors, reflecting world maps and globes and atlases inlaid with silver, platinum, and white gold; the rubies and diamonds that were sometimes set to mark the location of a city or a town of conquest resembled blood and tears. A room dominated by a fireplace large enough to hold several people, upholstered in velvets and silks the colors of flame. Snakes of gold with orange sapphire and yellow topaz eyes coiled around the room's columns. Statues of smiling black men in turbans offering trays of every gem imaginable-emerald, sapphire, ruby, topaz, diamond-stood at the entrance to a room upholstered in pistachio velvet, accented with malachite, called the Green Vault. Peridot wood nymphs attended to a Diana carved from a single pure crystal of quartz studded with tiny tourmalines. Jade tables, and jade lanterns. The royal jewels, blinding in their sparkling excess: crowns, tiaras, coronets, diadems, heavy ceremonial necklaces, rings, and bracelets that could span a forearm, surrounding the world's largest and most perfect green diamond. Above it all was a night sky of painted stars, with inlaid cut crystal set in a serious of constellations.

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.

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.

And it was told that as soon as Poseidon saw the young Goddess, who looked no more than eighteen years of age, by human reckoning, passion immediately overwhelmed him. Unlike all the other Goddesses & Nymphs of the Sea, Aphrodite was not naked. She wore a huge girdle around her slender waist which covered her breasts & her hips as well as her crotch & buttocks. And, thus, instead of impaling her with his trident, Poseidon was overcome with curiosity as to what she hid beneath her girdle. He thus introduced himself as the King & Sheriff of the Seas & told the young Goddess that, as such, no secrets should be kept from him by all those who wished to live in the sea. He would therefore request that she removed the girdle to show him what she hid beneath it.

Achilles groaned and answered, "Mother, Olympian Jove has indeed vouchsafed me the fulfilment of my prayer, but what boots it to me, seeing that my dear comrade Patroclus has fallen- he whom I valued more than all others, and loved as dearly as my own life? I have lost him; aye, and Hector when he had killed him stripped the wondrous armour, so glorious to behold, which the gods gave to Peleus when they laid you in the couch of a mortal man. Would that you were still dwelling among the immortal sea-nymphs, and that Peleus had taken to himself some mortal bride. For now you shall have grief infinite by reason of the death of that son whom you can never welcome home- nay, I will not live nor go about among mankind unless Hector fall by my spear, and thus pay me for having slain Patroclus son of Menoetius.

The Garden" How vainly men themselves amaze To win the palm, the oak, or bays, And their uncessant labours see Crown’d from some single herb or tree, Whose short and narrow verged shade Does prudently their toils upbraid; While all flow’rs and all trees do close To weave the garlands of repose. Fair Quiet, have I found thee here, And Innocence, thy sister dear! Mistaken long, I sought you then In busy companies of men; Your sacred plants, if here below, Only among the plants will grow. Society is all but rude, To this delicious solitude. No white nor red was ever seen So am’rous as this lovely green. Fond lovers, cruel as their flame, Cut in these trees their mistress’ name; Little, alas, they know or heed How far these beauties hers exceed! Fair trees! wheres’e’er your barks I wound, No name shall but your own be found. When we have run our passion’s heat, Love hither makes his best retreat. The gods, that mortal beauty chase, Still in a tree did end their race: Apollo hunted Daphne so, Only that she might laurel grow; And Pan did after Syrinx speed, Not as a nymph, but for a reed. What wond’rous life in this I lead! Ripe apples drop about my head; The luscious clusters of the vine Upon my mouth do crush their wine; The nectarine and curious peach Into my hands themselves do reach; Stumbling on melons as I pass, Ensnar’d with flow’rs, I fall on grass. Meanwhile the mind, from pleasure less, Withdraws into its happiness; The mind, that ocean where each kind Does straight its own resemblance find, Yet it creates, transcending these, Far other worlds, and other seas; Annihilating all that’s made To a green thought in a green shade. Here at the fountain’s sliding foot, Or at some fruit tree’s mossy root, Casting the body’s vest aside, My soul into the boughs does glide; There like a bird it sits and sings, Then whets, and combs its silver wings; And, till prepar’d for longer flight, Waves in its plumes the various light. Such was that happy garden-state, While man there walk’d without a mate; After a place so pure and sweet, What other help could yet be meet! But ’twas beyond a mortal’s share To wander solitary there: Two paradises ’twere in one To live in paradise alone. How well the skillful gard’ner drew Of flow’rs and herbs this dial new, Where from above the milder sun Does through a fragrant zodiac run; And as it works, th’ industrious bee Computes its time as well as we. How could such sweet and wholesome hours Be reckon’d but with herbs and flow’rs!

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.

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.

According to a legend preserved in Aeschylus’s Prometheus Bound, the tormented nymph Io, when released from Argus by Hermes, fled, in the form of a cow, to Egypt; and there, according to a later legend, recovering her human form, gave birth to a son identified as Serapis, and Io became known as the goddess Isis. The Umbrian master Pinturicchio (1454–1513) gives us a Renaissance version of her rescue, painted in 1493 on a wall of the so-called Borgia Chambers of the Vatican for the Borgia Pope Alexander VI (Fig. 147). Figure 147. Isis with Hermes Trismegistus and Moses (fresco, Renaissance, Vatican, 1493) Pinturicchio shows the rescued nymph, now as Isis, teaching, with Hermes Trismegistus at her right hand and Moses at her left. The statement implied there is that the two variant traditions are two ways of rendering a great, ageless tradition, both issuing from the mouth and the body of the Goddess. This is the biggest statement you can make of the Goddess, and here we have it in the Vatican—that the one teaching is shared by the Hebrew prophets and Greek sages, derived, moreover, not from Moses’s God,17 but from that goddess of whom we read in the words of her most famous initiate, Lucius Apuleius (born c. a.d. 125): I am she that is the natural mother of all things, mistress and governess of all the elements, the initial progeny of worlds, chief of the powers divine, queen of all that are in hell, the principal of them that dwell in heaven, manifested alone and under one form of all the gods and goddesses. At my will the planets of the sky, the wholesome winds of the seas, and the lamentable silences of hell are disposed; my name, my divinity is adored throughout the world, in divers manners, in variable customs, and by many names.

Comus. The Star that bids the Shepherd fold, Now the top of Heav'n doth hold, And the gilded Car of Day, [ 95 ] His glowing Axle doth allay In the steep Atlantick stream, And the slope Sun his upward beam Shoots against the dusky Pole, Pacing toward the other gole [ 100 ] Of his Chamber in the East. Mean while welcom Joy, and Feast, Midnight shout, and revelry, Tipsie dance and Jollity. Braid your Locks with rosie Twine [ 105 ] Dropping odours, dropping Wine. Rigor now is gone to bed, And Advice with scrupulous head, Strict Age, and sowre Severity, With their grave Saws in slumber ly. [ 110 ] We that are of purer fire Imitate the Starry Quire, Who in their nightly watchfull Sphears, Lead in swift round the Months and Years. The Sounds, and Seas with all their finny drove [ 115 ] Now to the Moon in wavering Morrice move, And on the Tawny Sands and Shelves, Trip the pert Fairies and the dapper Elves; By dimpled Brook, and Fountain brim, The Wood-Nymphs deckt with Daisies trim, [ 120 ] Their merry wakes and pastimes keep: What hath night to do with sleep? Night hath better sweets to prove, Venus now wakes, and wak'ns Love. Com let us our rights begin, [ 125 ] Tis onely day-light that makes Sin, Which these dun shades will ne're report. Hail Goddesse of Nocturnal sport Dark vaild Cotytto, t' whom the secret flame Of mid-night Torches burns; mysterious Dame [ 130 ] That ne're art call'd, but when the Dragon woom Of Stygian darknes spets her thickest gloom, And makes one blot of all the ayr, Stay thy cloudy Ebon chair, Wherin thou rid'st with Hecat', and befriend [ 135 ] Us thy vow'd Priests, till utmost end Of all thy dues be done, and none left out, Ere the blabbing Eastern scout, The nice Morn on th' Indian steep From her cabin'd loop hole peep, [ 140 ] And to the tel-tale Sun discry Our conceal'd Solemnity. Com, knit hands, and beat the ground, In a light fantastick round.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.

He was no coward but he was no fool, either, and Ruaidri knew they would meet again. But not, he hoped, until Saturday, the day after next. When the exchange would take place. When he would get the explosive and high-tail it back to Boston as he’d been sent here to do. Where he would say goodbye to little miss Sea Nymph, his nimfeach mara beag, and never see her again. He should be feeling a sense of triumph, of accomplishment, at the thought. Instead, it brought him only a desperate ache. I don’t want her to go. He wished he could marry her. It was impossible, of course—too much separated them when it came to culture and class. The very idea was ludicrous, though not so much that his mind didn’t keep flitting back to the idea despite his best efforts to direct it elsewhere. She was a gently-bred noblewoman who should never have been put into a position of being alone with a man. When he’d scooped her up off that London floor, he hadn’t thought that far ahead—an opportunity had presented itself and he had grabbed it. Now, he realized just how much he had taken from her and her family with that one impulsive action. The scandal would be tremendous, outrageous, forever damning. The world, the society papers, the people amongst whom she lived and breathed… all would think she’d been compromised. She could never be expected to make a decent match after this. She would be forced to live out her life as either a spinster or wife to a man who would not love her any more than that wanker Perry had, who would forever view her as damaged goods. He could offer for her, but she would surely refuse him and he wouldn’t blame her one bit. And yet… he could love her. He was already half in love with her, and to fall the rest of the way wouldn’t take much. He sensed a free and wayward spirit beneath the trappings of breeding and convention that complemented his own, and he had seen her kindness in her concern over McGuire when he’d gone overboard, the careful way she treated the blushing Cranton, the gentleness in her manner, her thoughts, her very soul. He had ruined her—and he owed her, no doubt about it.

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.

Part of my brain sometimes worked separately from the rest of it, and I often went along for the ride to see where it was taking me.

Zeus and Hera didn't bother with gates. A lightning bolt hit the terrace and the King and Queen of the Gods walked out of the smoke, then relished the applause. Instead of using the woods or parking lot, Poseidon arrived on the beach with a bevy of sirens and sea nymphs at his side. Hades and his wife, Persephone, stepped out of a gate with pillars of black-and-white marble.

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.

The English word “coral” also comes from Greek, meaning “what becomes hard in the hand,” “the maiden or nymph of the sea,” or “the heart of the sea.

Corvid looked up at her. "Oh, hello Doris." "Gertie, dear," she said. "They call me Gertie." "You used to be Doris," Corvid said as a matter of fact. "Who?" She seemed unsure of what she was being told. "Doris, daughter of Oceanus and Tethys?" Corvid carried on when he saw her blank expression. "You must remember Nereus? Your husband?" Nothing. "You gave birth to fifty sea nymphs. I guess sea nymphs come out slippy and hydrodynamic, but even so, fifty of them? That must stick in the memory as the day before you felt really sore for a month or so?" Doris thought about it for a moment. "It does ring a bell. Sorry, who are you?

The nymphs in green? Delightful girls.’ ‘It is clear you have been a great while at sea, to call those sandy-haired coarse-featured pimply short-necked thick-fingered vulgar-minded lubricious blockheads by such a name. Nymphs, forsooth. If they were nymphs, they must have had their being in a tolerably rank and stagnant pool: the wench on my left had an ill breath, and turning for relief I found her sister had a worse; and the upper garment of neither was free from reproach. Worse lay below, I make no doubt.

In the twelfth century, Hugh of Pisa wrote this in his etymological work Magnae derivationes: Many of the demons expelled from heaven live in the sea, the rivers, the springs, or the forests; the ignorant call them almost gods and offer them sacrifices. In the sea they are called Neptune, Lamia in the rivers, Nymphs in the fountains, and Diana in the forests.7

A wood nymph brought me a plate of Olympian olive-and-pepperoni pizza, but I wasn’t hungry. I’d been almost killed twice today.

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.

Nesta asked into the rustling quiet, “Nymph?” Gwyn lowered her hands, noted the lack of glowing power in Nesta’s eyes, and sighed in relief. But her voice remained casual. “My grandmother was a river-nymph who seduced a High Fae male from the Autumn Court. So I’m a quarter nymph, but it’s enough for this.” Gwyn gestured to her large eyes—blue so clear it could have been the shallow sea—and her lithe body. “My bones are slightly more pliant than ordinary High Fae’s, but who cares about that?” Perhaps that was why Gwyn was so good at the balancing and movement. Gwyn went on, “My mother was unwanted by either of their people. She could not dwell in the rivers of the Spring Court, but was too untamed to endure the confinement of the forest house of Autumn. So she was given in her childhood to the temple at Sangravah, where she was raised. She partook in the Great Rite when she was of age, and I, we—my sister and I, I mean—were the result of that sacred union with a male stranger. She never found out who he was, for the magic chose him that night, and no one ever showed up to ask about twin girls. We were raised in the temple as well. I never left its grounds until … until I came here.

The fountain was ringed by an assortment of fantastical creatures - satyrs, nymphs and fauns - all dancing to the music of Pan's pipe. They rose and fell and surged like the sea, and from their mouths issued a collective sound that might have been singing, might have been praise, might have been an invocation. I was rooted to the spot with more than fear - it was awe: an awe so great it was almost heart-breaking - and yet something primal and dark deep within my ancient soul wanted to cast off the mantle of civilisation and join them, wanted to dance around that fountain as it ran with the blood of Arcadia, wanted my wife and child to see me as I abandoned myself to my inherent wild nature. I sensed something rising up out of the valley behind me, though whether to urge me onwards, hold me back or merely watch me make my choice, I never knew, for it was at that moment that I woke in the foul-smelling darkness of Arcadia Lodge, and heard the last strains of that piping music fading away somewhere out there in the night.

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.

Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.

Old Europe is a term that’s been used by anthropologists in recent years to refer to a civilization that’s deemed to have prospered in the Balkans, along the shores of the Danube, throughout Anatolia and all the way to the Caspian Sea. A matriarchal society in which women were at the center of the community’s spiritual, social, political and artistic life, whose settlements were devoid of fortifications and weapons, and from whom we’ve inherited thousands of intact Neolithic-era figurines of the Great Mother.

She was no Christian. Instead she believed that every place and every thing had its own god or goddess; a nymph for a stream, a dryad for a wood, a spirit for a tree, a god for the fire and another for the sea. The Christian god, like Thor or Odin, was just one more deity among this unseen throng of powers, and her dreams, she said, were like eavesdropping on the gods. One day, as she rode beside me on the hills above the empty sea, she suddenly said that Alfred would give me power.

Nerissa,” he murmured, his head cocked slightly to one side as though seeing her for the first time. A smile tugged at the corner of his mouth. “Nerissa, who’s not seasick despite never bein’ aboard a ship, Nerissa who loves the taste of the sea on her lips and tongue, Nerissa whose eyes sparkle as she looks over the rollin’ swells, whose spirit is comin’ alive beneath me eyes because she’s in her element, she is. Nerissa. I should have known.” “That’s Lady Nerissa, to you,” she snapped. “And known what?” “Your name. Don’t ye know? It means ‘sea nymph.’” “It’s taken from a character in a Shakespeare play,” she shot back, uncomfortably. “The Merchant Of Venice.” “A sea sprite. Uh-huh. Explains everythin’, it does.” She stood up. Her knees were weak and she gripped her hands together to keep them from shaking. “Thank you for the hat, Captain O’ Devir. And now, if you don’t mind, I would like to go back to the cabin to… to rest.” “Stay up here and enjoy the fresh air. ’Tis good for the soul, it is.” “You won’t bother me?” “Am I botherin’ ye?” Yes, in ways you can’t even begin to imagine. She saw the twinkle in his eye. Or maybe you can. She looked away. “No,” she said, unable to meet his gaze. “You are not.

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.

Helen, your sinful deeds brought a bitter end to Priam and his lovely children. They say because of you holy Ilium was destroyed by climbing fire. But the son of Aiakos did not find such a wife when he summoned the blessed gods to his wedding and took the delicate sea nymph Thetis from the watery palace of Nereus, bringing her to the mountain cave of the centaur Cheiron. There, the love of Peleus for his sea-nymph led him to lie naked with the untouched virgin, and within the year she bore a son, Achilles; bravest demigod and splendid driver of tawny stallions. But for Helen, Ilium and her people were destroyed.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget. When Lana was finished, the audience clapped, whistled, and stomped, but I sat silent and stunned as she bowed and gracefully withdrew, so disarmed I could not even applaud.

Rosenquartz says he isn’t writing anymore, and as Fenoglio’s glass man he should know, right?” In fact, Rosenquartz was always complaining of his hard life now that Fenoglio was back in Minerva’s attic room, and Farid himself cursed the steep wooden staircase every time Orpheus sent him to question Fenoglio about things that Orpheus couldn’t find in his original book. What lands lay south of the sea bordering Argenta? Is the prince who rules northern Lombrica related to the Adderhead’s wife? Where exactly do the giants live, or have they died out now? Do the predatory fish in the rivers eat river-nymphs? Sometimes Fenoglio wouldn’t even let Farid in after he’d toiled up all those stairs, but now and then he would have drunk so much that he was in a talkative mood. On those days the old man overwhelmed him with such a torrent of information that Farid’s head was spinning by the time he came back to Orpheus — who then questioned him all over again. It was enough to drive

Lucy remembers seeing the Odyssey among the books heaped on Jess's dining room table, and thinks of Charybdis and Scylla, female nymphs who became monsters of the sea. The sirens, luring sailors to their deaths.