Stag Animal Quotes

There are two reasons why man loses contact with the regulating center of his soul. One of them is that some single instinctive drive or emotional image can carry him into a one-sidedness that makes him lose his balance. This also happens to animals; for example, a sexually excited stag will completely forget hunger and security. This one-sidedness and consequent loss of balance are much dreaded by primitives, who call it, "loss of soul." Another threat to the inner balance comes from excessive daydreaming, which in a secret way usually circles around particular complexes. In fact, daydreams arise just because they connect a man with his complexes; at the same time they threaten the concentration and continuity of his consciousness. The second obstacle is exactly the opposite, and is due to an over-consolidation of ego-consciousness. Although a disciplined consciousness is necessary for the performance of civilized activities (we know what happens if a railway signalman lapses into daydreaming), it has the serious disadvantage that it is apt to block the reception of impulses and messages coming from the center. This is why so many dreams of civilized people are concerned with restoring this receptivity by attempting to correct the attitude of consciousness toward the unconscious center of Self.

The stag is nowhere to be seen, and Flora reaches up to flick her wet hair out of her eyes, her chest heaving as she scans the landscape. Then she says, “You know what? It’s actually unicorns who are our national animal, not stags. Just remembered.” Teeth chattering, I glare at her. “Well, maybe one will turn up.

But if it so happens ... a work ... under pain of otherwise becoming shameful or false, requires fantasy ... [and that] certain limbs or elements of a figure are altered by borrowing from other species, for example transforming into a dolphin the hinder end of a griffon or a stag ... these alterations will be excellent and the substitution, however unreal it may seem, deserves to be declared a fine invention in the genre of the monstrous. When a painter introduces into this kind of work of art chimerae and other imaginary beings in order to divert and entertain the senses and also to captivate the eyes of mortals who long to see unclassified and impossible things, he shows himself more respectful of reason than if he produced the usual figures of men or of animals.

Debarred from public worship, David was heartsick. Ease he did not seek, honour he did not covet, but the enjoyment of communion with God was an urgent need of his soul; he viewed it not merely as the sweetest of all luxuries, but as an absolute necessity, like water to a stag. Like the parched traveler in the wilderness, whose skin bottle is empty, and who finds the wells dry, he must drink or die – he must have his God or faint. His soul, his very self, his deepest life, was insatiable for a sense of the divine presence. . . . Give him his God and he is as content as the poor deer which at length slakes its thirst and is perfectly happy; but deny him his Lord, and his heart heaves, his bosom palpitates, his whole frame is convulsed, like one who gasps for breath, or pants with long running. Dear friend, dost thou know what this is, by personally having felt the same? It is a sweet bitterness. The next best thing to living in the light of the Lord’s love is to be unhappy till we have it, and to pant hourly after it – hourly, did I say? Thirst is a perpetual appetite, and not to be forgotten, and even thus continually is the heart’s longing after God. When it is as natural for us to long for God as for an animal to thirst, it is well with our souls, however painful our feelings

Harry flung himself out from behind the bush and pulled out his wand. "EXPECTO PATRONUM!" he yelled. And out of the end of his wand burst, not a shapeless cloud of mist, but a blinding, dazzling, silver animal. He screwed up his eyes, trying to see what it was. It looked like a horse. It was galloping silently away from him, across the black surface of the lake. He saw it lower its head and charge at the swarming dementors. . . . Now it was galloping around and around the black shapes on the ground, and the dementors were falling back, scattering, retreating into the darkness. . . . They were gone. The Patronus turned. It was cantering back toward Harry across the still surface of the water. It wasn't a horse. It wasn't a unicorn, either. It was a stag. It was shining brightly as the moon above. . . it was coming back to him. . . . It stopped on the bank. Its hooves made no mark on the soft ground as it stared at Harry with its large, silver eyes. Slowly, it bowed its antlered head. And Harry realized. . . "Prongs," he whispered. But as his trembling fingertips stretched toward the creature, it vanished.

As Darwin noted, “It is certain that with almost all animals there is a struggle between the males for the possession of the female.” When males of a species battle it out directly, be it through the clashing antlers of deer, the stabbing horns of the stag beetle, the head butting of stalk-eyed flies, or the bloody battles of massive elephant seals, they win access to females by driving off competitors. Selection will favor any trait that promotes such victories so long as the increased chance of getting mates more than offsets any reduced survival. This kind of selection produces armaments: stronger weapons, larger body size, or anything that helps a male win physical contests.

Contemporary writers use animal-transformation themes to explore issues of gender, sexuality, race, culture, and the process of transformation...just as storytellers have done, all over the world, for many centuries past. One distinct change marks modern retellings, however, reflecting our changed relationship to animals and nature. In a society in which most of us will never encounter true danger in the woods, the big white bear who comes knocking at the door [in fairy tales] is not such a frightening prospective husband now; instead, he's exotic, almost appealing. Whereas once wilderness was threatening to civilization, now it's been tamed and cultivated; the dangers of the animal world have a nostalgic quality, removed as they are from our daily existence. This removal gives "the wild" a different kind of power; it's something we long for rather than fear. The shape-shifter, the were-creature, the stag-headed god from the heart of the woods--they come from a place we'd almost forgotten: the untracked forests of the past; the primeval forests of the mythic imagination; the forests of our childhood fantasies: untouched, unspoiled, limitless. Likewise, tales of Animal Brides and Bridegrooms are steeped in an ancient magic and yet powerfully relevant to our lives today. They remind us of the wild within us...and also within our lovers and spouses, the part of them we can never quite know. They represent the Others who live beside us--cat and mouse and coyote and owl--and the Others who live only in the dreams and nightmares of our imaginations. For thousands of years, their tales have emerged from the place where we draw the boundary lines between animals and human beings, the natural world and civilization, women and men, magic and illusion, fiction and the lives we live.

Making paper animals. I’m taking requests for the next ten minutes only.” “A spider.” “How about a horse?” “A caterpillar.” “Can I tempt you with a horse?” He stared at me, unimpressed. “A stag.” “I’m sorry, did you say horse?

At dinner parties he might say, I'm from Nebraska, and you? With the smug self-indulgence of a man who is from somewhere but no longer inhabits it, has no longer any need of that place called Stag's Crossing that his father so carefully constructed for his sons

It was something he had never quite understood about himself. He had seen thousands of men die in nearly ten years of war and could look on it at times with a near-total detachment, but an animal suffering - be it a horse or needra injured in battle, or the stag now dying - moved him deeply.

The curtain rises. A vista opens across the lake. The moon hangs low above the horizon and is reflected in the water. NINA, dressed in white, is seen seated on a great rock. NINA. All men and beasts, lions, eagles, and quails, horned stags, geese, spiders, silent fish that inhabit the waves, starfish from the sea, and creatures invisible to the eye—in one word, life—all, all life, completing the dreary round imposed upon it, has died out at last. A thousand years have passed since the earth last bore a living creature on her breast, and the unhappy moon now lights her lamp in vain. No longer are the cries of storks heard in the meadows, or the drone of beetles in the groves of limes. All is cold, cold. All is void, void, void. All is terrible, terrible—[A pause] The bodies of all living creatures have dropped to dust, and eternal matter has transformed them into stones and water and clouds; but their spirits have flowed together into one, and that great world-soul am I! In me is the spirit of the great Alexander, the spirit of Napoleon, of Caesar, of Shakespeare, and of the tiniest leech that swims. In me the consciousness of man has joined hands with the instinct of the animal; I understand all, all, all, and each life lives again in me.

The Quack Toad 84 The Fox Without a Tail 85 The Mischievous Dog 86 The Rose and the Butterfly 86 The Cat and the Fox 88 The Boy and the Nettles 88 The Old Lion 89 The Fox and the Pheasants 89 Two Travelers and a Bear 90 The Porcupine and the Snakes 91 The Fox and the Monkey 91 The Mother and the Wolf 92 The Flies and the Honey 92 The Eagle and the Kite 93 The Stag, the Sheep, and the Wolf 93 The Animals and the Plague 94 The Shepherd and the Lion 95 The Dog and His Reflection 96 The Hare and the Tortoise 96 The Bees and Wasps, and the Hornet 98 The Lark and Her Young Ones 99 The Cat and the Old Rat 100 The Fox and the Crow 101 The Ass and His Shadow 102 The Miller, His Son, and the Ass 102 The

It is time that nations should be rational, and not be governed like animals, for the pleasure of their riders. To read the history of kings, a man would be almost inclined to suppose that government consisted in stag-hunting, and that every nation paid a million a-year to a huntsman. Man ought to have pride, or shame enough to blush at being thus imposed upon, and when he feels his proper character he will. Upon all subjects of this nature, there is often passing in the mind, a train of ideas he has not yet accustomed himself to encourage and communicate. Restrained by something that puts on the character of prudence, he acts the hypocrite upon himself as well as to others. It is, however, curious to observe how soon this spell can be dissolved. A single expression, boldly conceived and uttered, will sometimes put a whole company into their proper feelings: and whole nations are acted on in the same manner.

There the tree rises. Oh pure surpassing! Oh Orpheus sings! Oh great tree of sound! And all is silent, And from this silence arise New beginnings, intimations, changings. From the stillness animals throng, out of the clear Snapping forest of lair and nest; And thus they are stealthy not from cunning Not from fear But to hear. And in their hearts the howling, the cry, The stag-call seem too little. And where before Was but the rudest shelter to receive these, A refuge fashioned out of darkest longing Entered, tremulo, the doorpost aquiver, - There You have fashioned them a temple for their hearing.

The bee has round it a mysterious inscription, which has been variously interpreted. It contains an allusion to beeswax, and one scholar has suggested that the tesserae were druggists’ tokens for the purpose of advertising the sale of beeswax. Another explanation is that the inscription might be one of the mysterious magic formulae used as charms, and that the tokens might be charms to call the bees home when swarming; but the most plausible solution seems to be that the tesserae were connected with the secret rites of Artemis, especially as the stag of the goddess is the one on the reverse side of the tokens. One of the most important animals connected with the worship of the Asiatic Great-Mother was the lion, and it is a curious fact that we often find a connection between bees and lions. At the old Hittite town of Carchemish behind her a long line of priestesses bearing various articles. We do not suggest that these were called Melissae, but in the jewellry we see how the goddess with her lions merges in or is connected with the ‘Bee-goddess.

Panic- and rage. That was all he knew as he shot down into the heart of the pit, spearing for that ancient darkness that had once shaken him to his very marrow. Nesta was there- and Feyre. It was the former her saw first, stumbling out of the dark, wide-eyed, her fear a tang that whetted his rage into something so sharp he could barely think, barely breathe- She let out a small, animal sound- like some wounded stag- as she saw him. As he landed so hard his knees popped. He said nothing as Nesta launched herself toward him, her dress filthy and dishevelled, her arms stretching for him. He opened his own for her, unable to stop his approach, his reaching- She gripped his leathers instead. 'Feyre,' she rasped, pointing behind her with a free hand, shaking him solidly with the other. Strength- such untapped strength in that slim, beautiful body. 'Hybern.' That was all he needed to hear. He drew his sword- then Rhys was arrowing for them, his power like a gods-damned volcanic eruption. Cassian charged ahead into the gloom, following the screaming-

And now, for the first time, the Lion was quite silent. He was going to and fro among the animals. And every now and then he would go up to two of them (always two at a time) and touch their noses with his. He would touch two beavers among all the beavers, two leopards among all the leopards, one stag and one deer among all the deer, and leave the rest. Some sorts of animal he passed over altogether. But the pairs which he had touched instantly left their own kinds and followed him. At last he stood still and all the creatures whom he had touched came and stood in a wide circle around him. The others whom he had not touched began to wander away. Their noises faded gradually into the distance. The chosen beasts who remained were now utterly silent, all with their eyes fixed intently upon the Lion. The cat-like ones gave an occasional twitch of the tail but otherwise all were still. For the first time that day there was complete silence, except for the noise of running water. Digory’s heart beat wildly; he knew something very solemn was going to be done. He had not forgotten about his Mother, but he knew jolly well that, even for her, he couldn’t interrupt a thing like this. The Lion, whose eyes never blinked, stared at the animals as hard as if he was going to burn them up with his mere stare. And gradually a change came over them. The smaller ones—the rabbits, moles, and such-like—grew a good deal larger. The very big ones—you noticed it most with the elephants—grew a little smaller. Many animals sat up on their hind legs. Most put their heads on one side as if they were trying very hard to understand. The Lion opened his mouth, but no sound came from it; he was breathing out, a long, warm breath; it seemed to sway all the beasts as the wind sways a line of trees. Far overhead from beyond the veil of blue sky which hid them the stars sang again; a pure, cold, difficult music. Then there came a swift flash like fire (but it burnt nobody) either from the sky or from the Lion itself, and every drop of blood tingled in the children’s bodies, and the deepest, wildest voice they had ever heard was saying: “Narnia, Narnia, Narnia, awake. Love. Think. Speak. Be walking trees. Be talking beasts. Be divine waters.

Everything is estimated by the standard of its own good. The vine is valued for its productiveness and the flavour of its wine, the stag for his speed. We ask, with regard to beasts of burden, how sturdy of back they are; for their only use is to bear burdens. If a dog is to find the trail of a wild beast, keenness of scent is of first importance; if to catch his quarry, swiftness of foot; if to attack and harry it, courage. In each thing that quality should be best for which the thing is brought into being and by which it is judged. And what quality is best in man? It is reason; by virtue of reason he surpasses the animals, and is surpassed only by the gods. Perfect reason is therefore the good peculiar to man; all other qualities he shares in some degree with animals and plants. Man is strong; so is the lion. Man is comely; so is the peacock. Man is swift; so is the horse. I do not say that man is surpassed in all these qualities. I am not seeking to find that which is greatest in him, but that which is peculiarly his own. Man has body; so also have trees. Man has the power to act and to move at will; so have beasts and worms. Man has a voice; but how much louder is the voice of the dog, how much shriller that of the eagle, how much deeper that of the bull, how much sweeter and more melodious that of the nightingale! What then is peculiar to man? Reason. When this is right and has reached perfection, man's felicity is complete. Hence, if everything is praiseworthy and has arrived at the end intended by its nature, when it has brought its peculiar good to perfection, and if man's peculiar good is reason; then, if a man has brought his reason to perfection, he is praiseworthy and has readied the end suited to his nature. This perfect reason is called virtue, and is likewise that which is honourable.

Then she cried quickly, "Stay, brother, stay! do not drink, or you will become a wild beast, and tear me to pieces." Thirsty as he was, the brother conquered his desire to drink at her words, and said, "Dear sister, I will wait till we come to a spring." So they wandered farther, but as they approached, she heard in the bubbling spring the words— "Who drinks of me, a wolf will be." "Brother, I pray you, do not drink of this brook; you will be changed into a wolf, and devour me." Again the brother denied himself and promised to wait; but he said, "At the next stream I must drink, say what you will, my thirst is so great." Not far off ran a pretty streamlet, looking clear and bright; but here also in its murmuring waters, the sister heard the words— "Who dares to drink of me, Turned to a stag will be." "Dear brother, do not drink," she began; but she was too late, for her brother had already knelt by the stream to drink, and as the first drop of water touched his lips he became a fawn. How the little sister wept over the enchanted brother, and the fawn wept also. He did not run away, but stayed close to her; and at last she said, "Stand still, dear fawn; don't fear, I must take care of you, but I will never leave you." So she untied her little golden garter and fastened it round the neck of the fawn; then she gathered some soft green rushes, and braided them into a soft string, which she fastened to the fawn's golden collar, and then led him away into the depths of the forest. After wandering about for some time, they at last found a little deserted hut, and the sister was overjoyed, for she thought it would form a nice shelter for them both. So she led the fawn in, and then went out alone, to gather moss and dried leaves, to make him a soft bed. Every morning she went out to gather dried roots, nuts, and berries, for her own food, and sweet fresh grass for the fawn, which he ate out of her hand, and the poor little animal went out with her, and played about as happy as the day was long. When evening came, and the poor sister felt tired, she would kneel down and say her prayers, and then lay her delicate head on the fawn's back, which was a soft warm pillow, on which she could sleep peacefully. Had this dear

She smiled at him more frequently as they chatted about nothing in particular, pointing out various flowers and the occasional woodland animal to each other. They saw plump squirrels in the trees, pheasants in the brush, and a horned stag and his shy, delicate does gliding soundlessly through the shadows. On three separate occasions, he caught her gazing at him longer than she should. He felt distracted, entranced, and painfully alive as he watched her in the mellow autumn afternoon, dazzled by the coppery richness of her golden hair. Her innocence captivated him, and her guileless simplicity healed him somehow. He felt like a man whose fever had broken, flush with the euphoria of the first, tenuous return of strength- still weak, but buoyant with the hope of an eventual return to wholeness.

In a privately printed work entitled Paneros, author Norman Douglas cautions his readers against putting their trust . . . in Arabian skink, in Roman goose-fat or Roman goose tongues, in the Arplan of China . . . in spicy culinary dishes, erongoe root, or the brains of lovemaking sparrows . . . in pine nuts, the blood of bats mingled with asses’ milk, root of valerian, dried salamander, cyclamen, menstrual fluid of man or beast, tulip bulbs, fat of camel’s hump, parsnips, hyssop, gall of children, salted crocodile, the aquamarine stone, pollen of date palm, the pounded tooth of a corpse, wings of bees, jasmine, turtles’ eggs, applications of henna, brayed crickets, or spiders or ants, garlic, the genitals of hedgehogs, Siberian iris, rhinoceros horn, the blood of slaughtered animals, artichokes, honey compounded with camel’s milk, oil of champak, liquid gold, swallows’ hearts, vineyard snails, fennel-juice, certain bones of the toad, sulphurous waters and other aquae amatrices, skirret-tubers or stag’s horn crushed to powder: aphrodisiacs all, and all impostures.

It turned out that the water was for the stag to drink when Till held it up for him. The continued care went right to Ramsey’s heart. He put his hand on his chest as he watched Till touch the stag’s back like it hurt him to see the animal injured. Till was an honestly beautiful soul.

What in the three worlds are you doing?” I took stock of the mess of torn pages scattered around me like the fanned-out train of a dress. “Making paper animals. I’m taking requests for the next ten minutes only.” “A spider.” “How about a horse?” “A caterpillar.” “Can I tempt you with a horse?” He stared at me, unimpressed. “A stag.” “I’m sorry, did you say horse?” He pressed a finger between his brows, pushing upward as he sighed. “A fucking horse, then.” I flung the mangled paper I had been holding at him. “Enjoy

The food situation grew worse. Stocks of grain were dwindling. Prostitution spread to pay for hunger. Hooves and horns and bones were ground into osseine for soup. Animals from the zoo were sold for slaughter. The chefs of Paris cooked buffaloes and zebras, yaks and reindeer, wapitis and Bengal stags, wolves and kangaroos, and when there was nothing left-Castor and Pollux, the elephants.

She is the protectress of little children, and of all sucking animals, but she also loves the chase, especially that of the stag.

Did you see it last night?” she asked quietly. “The stag?” “Yes.” “It was beautiful.” When he didn’t answer, she added, “Don’t you agree?” Perhaps men did not think animals “beautiful”, or did not admit to it if they did. “Yes.” He gave her a rare, easy smile. “It reminded me of you. Beautiful, graceful, fearless.” “And here I thought him so much like you. Proud, wild, strong.” She laughed softly. “Perhaps he didn’t exist at all, and we were just out here chasing each other.” -Cecily & Luke

A man-beast?” Portia asked, her eyes widening. “Oh, I do like the sound of this.” She put pencil to paper again. Brooke leaned over her shoulder. “Are you taking notes for your novel or adding to your list?” “That depends,” she said coolly, “on what manner of beast we’re discussing.” She looked to Denny. “Some sort of large, ferocious cat, I hope? All fangs and claws and fur?” “Once again I must disappoint you,” Denny replied. “No fangs, no claws. It’s a stag.” “Oh, prongs! Even better.” More scribbling. “What do they call this . . . this man-beast? Does it have a name?” “Actually,” said Denny, “most people in the region avoid speaking of the creature at all. It’s bad luck, they say, just to mention it. And a sighting of the beast . . . well, that’s an omen of death.” “Excellent. This is all so inspiring.” Portia’s pencil was down to a nub. “So is this a creature like a centaur, divided at the waist? Four hooves and two hands?” “No, no,” Cecily said. “He’s not half man, half beast in that way. He transforms, you see, at will. Sometimes he’s a man, and other times he’s an animal.” “Ah. Like a werewolf,” Portia said. Brooke laughed heartily. “For God’s sake, would you listen to yourselves? Curses. Omens. Prongs. You would honestly entertain this absurd notion? That Denny’s woods are overrun with a herd of vicious man-deer?” “Not a herd,” Denny said. “I’ve never heard tell of more than one.” “We don’t know that he’s vicious,” Cecily added. “He may be merely misunderstood.” “And we certainly can’t call him a man-deer. That won’t do at all.” Portia chewed her pencil thoughtfully. “A werestag. Isn’t that a marvelous title? The Curse of the Werestag.” Brooke turned to Luke. “Rescue me from this madness, Merritt. Tell me you retain some hold on your faculties of reason. What say you to the man-deer?” “Werestag,” Portia corrected. Luke circled the rim of his glass with one thumb. “A cursed, half-human creature, damned to an eternity of solitude in Denny’s back garden?” He shot Cecily a strange, fleeting glance. “I find the idea quite plausible.

Cernunnos is a horned god associated with nature and animals.  His name is usually translated as “Horned One”, and he is also known as “Lord of all Wild Things”.  There was dispute about his name, as it is derived from a piece of altar found in Notre Dame (Paris) dating to 17 CE which reads ERNUNNO, and depicts a bull-horned god, not the stag-horned god of the Gundestrup Cauldron.[202]

Instead he was summoning his last tension, like a bowman drawing the cord of a hunting bow an extra inch to give the arrow deadly force, then Steapa howled like an animal and charged. Weland charged too and they met like stags in the rutting season. The Danes and Norsemen had crowded around, making a circle that was limited by the spears of Sigefrid’s bodyguard, and the watching warriors gave

The boar was a popular heraldic charge, used long before heraldry became standardised. The sanglier was the most dangerous and difficult animal to hunt, a beste noire (like the wolf and the bear) whose killer was greatly honoured. In contrast to the stag (one of the bestes rouges) which came to symbolise the Christian virtues – a flying stag was particularly associated with the kings of France – the boar stood for the sinner,12 but at the same time the boar’s very ferocity and power caused it to develop from a symbol of evil to an emblem of him who defeated it. In most stories the boar of evil is black and it is likely Richard very consciously chose a white boar to exorcise in advance all the vices of the animal and leave it only its virtues.

Like most young officers who were not nervously or physically broken by it, I enjoyed the War, or rather let me hasten to say, that part of it that was hectically lived out of gunshot. I was entirely thoughtless and prejudiced; accepted everything that came; reviling those whom the majority reviled; hating those I had never seen simply because everyone else did so; doing towards those I did not hate acts which were considered glorious and noble. After the Armistice, in an existence of inactivity and disintegration, I began to believe that this same attitude of mind which endowed glory and nobility to the acts which helped to make the World War was the very mental attitude that had made such a thing possible. This may appear mere sophistry, and a far jump from the logic of hunting to kill. Personally, I feel that the animals we hunt to kill are so near us in sense-feeling and joy of life, that it distresses me to see, for instance, an otter swimming slower and slower in shallow water between two lines of sportsmen barring the way up or down river. My feeling is then to join myself with the fatigued beast, and help him break a way to freedom. This feeling is of course thwarted, and my feelings are concealed: the feelings that a little creature is being bullied, shortly to be broken before my eyes, and, silent with cowardice, I do nothing to help him. My friends may say, ‘If you feel like that, why do you go otter-hunting?’ If I were candid I would reply that I went otter-hunting to see a certain girl, and talk to her, and try and convince her that I was a nice person, but very lonely. (12–14)

The salmon traveled through the waters of the otherworld to Ireland, its perfect form gliding between worlds. Tuan mac Cairill came to Ireland as before the flood, retaining the memories of his centuries of dream lives as Irish totem animals. Incarnated as a salmon, he was eaten by the Queen of Ulster who became pregnant and gave birth to Tuan the human. Like the Sorcerer on the cave wall in France, he is a composite being of fin, wing, tusk, and antler. I had been a man, a stag, a boar, a bird, and now I was a fish. In all my changes I had joy and fulness of life. But in the water joy lay deeper, life pulsed deeper. For on land or air there is always something hindering. The stage has legs to be tucked away for sleep, and untucked for movement; and the bird has wings that must be folded and pecked and cared for. But the fish has but one piece from his nose to his tail. He is complete, single and unencumbered.

At dinner parties he might say, I'm from Nebraska, and you? Wih the smug self-indulgence of a man who is from somewhere but no longer inhabits it, has no longer any need of that place called Stag's Crossing that his father so carefully constructed for his sons.

At dinner parties he might say, I'm from Nebraska, and you? With the smug self-indulgence of a man who is from somewhere but no longer inhabits it, has no longer any need of that place called Stag's Crossing that his father so carefully constructed for his sons.

It wasn’t much of a room. It was mainly brown. Brown oilcloth flooring, brown walls, a picture over the brown bed of a brown stag being attacked by brown dogs on a brown moorland against a sky which, contrary to established meteorological knowledge, was brown. There was a brown wardrobe. Possibly, if you fought your way through the mysterious old coats* hanging in it, you’d break through into a magical fairyland full of talking animals and goblins, but it’d probably not be worth it.

while gods of healing and rebirth might appear as snakes or stags—animals who are continually reborn through the shedding of skin or antlers.

When Tina walks closer, as if smelling her scent––the creature's long neck juts up from lapping at Adam's ale. It has a face that is too wide for a human being's and its eyes are like perfectly round fish-eyes! Its gaze is so terrifying that Juniper arches her back instinctively, but is so scared that she is essentially paralyzed by its wide-eyed stare. Those empty crystalline eyes looking unwaveringly forward!   The creature that had once been perceivably angelic is now a walking horror show. Its nose is melded into its face, like a replica of the tender pink nose of a rabbit, and its lips are petite and taut. Drops of dew solidify on its mane, like a fleece of pearls. Juniper feels warm liquid running down her leg. This is the first time, since her dance with near-death, during her early childhood––that she has felt true fear. It looks straight at her, unblinking, like a deer in headlights would. But––the look isn't comparable to the livelihood of a stag or deer or anything resembling an animal or human! The vacant stare is beyond stomach churning. Even when the daylight's reflection on the water casts a shimmer upon its face: the eyes are endlessly deep and abyssal. Feeling as though they completely consume whoever they cast a glance upon. Consuming all of a person's essence, in a single gaze!

The only animal that commits suicide is also the only animal that weeps. Though I’ve heard that stags brought to bay, exhausted from the hunt, with no escape from the hounds, sometimes shed tears. Crying elephants have also been reported, and of course people will tell you anything about their cats and dogs.

In the Vienna Folklore Museum is a yellowing wooden goat head on a pole. It has flapping black ears, short, curved horns, wide black eyes and an enormous, gaping, snapping mouth, lined with sharp little rows of carved wooden teeth. The jaw is rigged so that it snaps closed when the performer, holding the pole and hidden beneath a sheet, pulls on a thin piece of string dangling from the back of the monster’s head. This creature is called a Habergeiß, a name almost certainly related to goats (‘geiß’ is the Austrian for ‘goat’) and it can be found prowling the streets and snapping at the unwary in Bavarian towns over Epiphany.ix Over in Poland there’s the Turon, another horned, shaggy monster head with a clacking jaw that’s held on a pole by a performer under a sheet. The Turon is led on a rope house to house, where its escort sings carols and the Turon jumps and claps his jaw, chasing the householders. In Romania there are the Corlata, monsters who appear at the end of the year led by groups visiting houses, and are made from (you’ll never guess) a horned, wooden head – a stag’s, this time – with a clacking jaw, held on a pole by a performer who hides under a sheet (although the sheet that covers the Corlata can often be extremely brightly patterned – one photograph from 2010 shows it covered in brilliant flowers). In North-East Germany there’s the Klapperbock (the snapping buck), in the Italian Tyrol there are the Schanppvieh – snapbeasts (although these normally appeared at Carnival rather than Christmas). In Switzerland there’s the Schnabelgeiß, the ‘beak goat’, which looks like all the other goat monsters except that the snout narrows to a point, to take the form of a beak. In Finland and Sweden there are the Nuuttipukki, more stags who bother householders, this time on St Knut’s Day, on 13 January (hence their name). And we’ve already come across the Finnish Julebukk – the Yule goat – another goat monster portrayed by a performer hiding under a sheet, this time made of animal hides. In some parts of Lithuania and Silesia, meanwhile, there was the Schimmelreiter – the grey rider – which came with a new innovation. As in Britain, this monster was a horse, with a snapping head that was often a horse’s skull held on a pole, but this one was played by multiple people and could be ridden.x It starts to feel like you can’t go to Europe over the Christmas period without being snapped at by an animal head on a pole, held by a performer lurking under a cloth.

There is a gap of about three to four hundred years where the Christmas horned monsters aren’t attested in the sources, where the complaining churchmen found other things to moan about, and the folklorists had yet to appear. It is, technically, possible that the tradition of parading snapping, horned animal heads on poles at Christmastime died out across Europe in the fifteenth century, and then re-appeared during the eighteenth in a completely unconnected form that happened to look extremely similar. But it feels like the simplest explanation is that the traditions were related, that the Christmas horned animal costumes of the eighteenth, nineteenth and twentieth centuries were an extension of the Christmas stag guises from Late Antiquity and the Middle Ages.