Titus Groan Quotes

And now, my poor old woman, why are you crying so bitterly? It is autumn. The leaves are falling from the trees like burning tears- the wind howls. Why must you mimic them?

Lingering is so very lonely when one lingers all alone.

We are all imprisoned by the dictionary. We choose out of that vast, paper-walled prison our convicts, the little black printed words, when in truth we need fresh sounds to utter, new enfranchised noises which would produce a new effect.

This tower, patched unevenly with black ivy, arose like a mutilated finger from among the fists of knuckled masonry and pointed blasphemously at heaven. At night the owls made of it an echoing throat; by day it stood voiceless and cast its long shadow.

Why break the heart that never beat from love?

Oh how I hate people!

I am clever enough to know that I am clever.

For death is life. It is only living that is lifeless.

He saw in happiness the seeds of independence, and in independence the seeds of revolt.

Life is too fleet for onomatopoeia.

In the presence of real tragedy you feel neither pain nor joy nor hatred, only a sense of enormous space and time suspended, the great doors open to black eternity, the rising across the terrible field of that last enormous, unanswerable question.

Something to remember, that: cats for missiles.

His was not the hatred that arises suddenly like a storm and as suddenly abates. It was, once the initial shock of anger and pain was over, a calculated thing that grew in a bloodless way.

It was not certain what significance the ceremony held... but the formality was no less sacred for it being unintelligible

And there shall be a flame-green daybreak soon. And love itself will cry for insurrection! For tomorrow is also a day - and Titus has entered his stronghold.

Seeing an Earl as an owl on a mantelpiece, and having part of one's face removed by a cat, both on the same morning, can temporarily undermine the self-control of any man.

The moon slid inexorably into its zenith, the shadows shrivelling to the feet of all that cast them, and as Rantel approached the hollow at the hem of the Twisted Woods he was treading in a pool of his own midnight.

Are you lishening, my pretty vermin, are you lishening?

I said she was wicked, and she said that everyone was – everyone and everything except rivers, clouds, and some rabbits.

But haven't all ambitious people something of the monstrous about them? You, sir, for instance, if you will forgive me, are a little bit monstrous.

But Fuchsia might as well have been carved from dark marble. Only her tears moved.

Years on end, and swords on end - where will it end, if our ears unbend - what shall I spend on a wrinkled friend in a pair of tights like a bunch of lights?

She tossed her long hair and it flapped down her back like a pirate's flag. She stood in about as awkward a manner as could be concieved. Utterly un-feminine – no man couldd have invented it.

From daybreak to sunset she turned her thoughts, like boulders, over. She set them in long lines. She rearranged their order...

When he at least reached the door the handle had cease to vibrate. Lowering himself suddenly to his knees he placed his head and the vagaries of his left eye (which was for ever trying to dash up and down the vertical surface of the door), he was able by dint of concentration to observe, within three inches of his keyholed eye, an eye which was not his, being not only of a different colour to his own iron marble, but being, which is more convincing, on the other side of the door.

There is a love that equals in its power the love of man for woman and reaches inwards as deeply. It is the love of a man or a woman for their world. For the world of their center where their lives burn genuinely and with a free flame. The love of the diver for his world of wavering light. His world of pearls and tendrils and his breath at his breast. Born as a plunger into the deeps he is at one with every swarm of lime-green fish, with every colored sponge. As he holds himself to the ocean's faery floor, one hand clasped to a bedded whale's rib, he is complete and infinite. Pulse, power and universe sway in his body. He is in love. The love of the painter standing alone and staring, staring at the great colored surface he is making. Standing with him in the room the rearing canvas stares back with tentative shapes halted in their growth, moving in a new rhythm from floor to ceiling. The twisted tubes, the fresh paint squeezed and smeared across the dry on his palette. The dust beneath the easel. The paint has edged along the brushes' handles. The white light in a northern sky is silent. The window gapes as he inhales his world. His world: a rented room, and turpentine. He moves towards his half-born. He is in Love. The rich soil crumbles through the yeoman's fingers. As the pearl diver murmurs, 'I am home' as he moves dimly in strange water-lights, and as the painter mutters, 'I am me' on his lone raft of floorboards, so the slow landsman on his acre'd marl - says with dark Fuchsia on her twisting staircase, 'I am home.

Gormenghast, that is, the main massing of the original stone, taken by itself would have displayed a certain ponderous architectural quality were it possible to have ignored the circumfusion of those mean dwellings that swarmed like an epidemic around its outer walls. They sprawled over the sloping arch, each one half way over its neighbour until, held back by the castle ramparts, the innermost of these hovels laid hold on the great walls, clamping themselves thereto like limpets to a rock. These dwellings, by ancient law, were granted this chill intimacy with the stronghold that loomed above them. Over their irregular roofs would fall throughout the seasons, the shadows of time-eaten buttresses, of broken and lofty turrets, and, most enormous of all, the shadow of the Tower of Flints. This tower, patched unevenly with black ivy, arose like a mutilated finger from among the fists of knuckled masonry and pointed blasphemously at heaven. At night the owls made of it an echoing throat; by day it stood voiceless and cast its long shadow.

It was obvious that their sorrows were conjoined.

I shall live alone. Always alone. In a house or a tree.' Fuchsia started to chew at a fresh grass blade. 'Someone will come then, if I live alone. Someone from another kind of world - a new world - not from this world, but someone who is different, and he will fall in love with me at once because I live alone and aren't like the other beastly things in this world, and he'll enjoy having me because of my pride.

Equality,' said Steerpike,' is the thing. It is the only true and central premise from which constructive ideas can radiate freely and be operated without prejudice. Absolute equality of status. Equality of wealth. Equality of power.

Prunesquallor, as urbane as ever, had nevertheless something in his fish-like eyes that might almost be described as determination. One glance at his sister was sufficient to make him realize that to attempt to reason with her would be about as fruitful as to try to christianize a vulture.

The crumbling castle, looming among the mists, exhaled the season, and every cold stone breathed it out. The tortured trees by the dark lake burned and dripped, their leaves snatched by the wind were whirled in wild circles through the towers. The clouds mouldered as they lay coiled, or shifted themselves uneasily upon the stone skyfield, sending up wreathes that drifted through the turrets and swarmed up hidden walls.

What is Time, O sister of similar features, that you speak of it so subserviently? Are we to be the slaves of the sun, that secondhand overrated knob of gilt, or of his sister, that fatuous circle of silver paper? A curse upon their ridiculous dictatorship!

Keda's oldness was the work of fate, alchemy. An occult agedness. A transparent darkness. A broken and mysterious grove. A tragedy, a glory, a decay. - Titus Groan

It was not often that Flay approved of happiness in others. He saw in happiness the seeds of independence, and in independence the seeds of revolt. But on an occasion such as this it was different, for the spirit of convention was being rigorously adhered to, and in between his ribs Mr. Flay experienced twinges of pleasure.

Swelter's eyes meet those of his enemy, and never has there held between four globes of gristle so sinister a hell of hatred. Had the flesh, the fibres, and the bones of the chef and those of Mr Flay been conjured away and away down that dark corridor leaving only their four eyes suspended in mid-air outside the Earl's door, then, surely, they must have reddened to the hue of Mars, reddened and smouldered, and at last broken into flame, so intense was their hatred - broken into flame and circled about one another in ever-narrowing gyres and in swifter and yet swifter flight until, merged into one sizzling globe of ire they must surely have fled, the four in one, leaving a trail of blood behind them in the cold grey air of the corridor, until, screaming as they fly beneath innumerable arches and down the endless passageways of Gormenghast, they found their eyeless bodies once again, and reentrenched themselves in startled sockets.

Yet here apparently on this stifling summer afternoon was the eye of Mr. Flay at the outer keyhole of the Hall of the Bright Carvings, and presumably the rest of Mr Flay was joined on behind it.

She feels a splash of water on her hand and, turning, sees that the sky has become overcast with a blanket of ominous dark rose-colored cloud, and of a sudden the light fades from the lawn and the cedars. Steerpike, who is on his way back to the Earl's bedroom, stops a moment at a staircase window to see the first decent of the rain. It is falling from the sky in long, upright, and seemingly motionless lines of rosy silver that stand rigidly upon the ground as though there were a million harp strings strung vertically between the solids of earth and sky.

She could feel the blood flowing within her and she felt that she must die or break forth into leaves and flowers. It was not passion she felt: not the passion of the body, though that was there, but rather an exultation, a reaching for life, for the whole of the life which she was capable, and in that life which she but dimly divined was centered love, the love for a man. She was not in love with Rantel: she was in love with what he meant to her as someone she could love.

I do not understand your love,' he said.

Keda,' she said to herself,' Keda, this is tragedy.' But as her words hung emptily in the morning air, she clenched her hands for she could feel no anguish and the bright bird that had filled her breast was still singing... was still singing.

Linger now with me, thou Beauty, On the sharp archaic shore. Surely 'tis a wastrel's duty And the gods could ask no more. If thou lingerest when I linger, If thou tread'st the stones I tread, Thou wilt stay my spirit's hunger And dispel the dreams I dread. Come thou, love, my own, my only, Through the battlements of Groan; Lingering becomes so lonely When one lingers on one's own. I have lingered in the cloisters Of the Northern Wing at night, As the sky unclasped its oysters On the midnight pearls of light; For the long remorseless shadows Chilled me with exquisite fear. I have lingered in cold meadows Through a month of rain, my dear. Come, my Love, my sweet, my Only, Through the parapets of Groan. Lingering can be very lonely When one lingers on one's own. In dark alcoves I have lingered Conscious of dead dynasties; I have lingered in blue cellars And in hollow trunks of trees. Many a traveler through moonlight Passing by a winding stair Or a cold and crumbling archway Has been shocked to see me there. I have longed for thee, my Only, Hark! the footsteps of the Groan! Lingering is so very lonely When one lingers all alone. Will thou come with me, and linger? And discourse with me of those Secret things the mystic finger Points to, but will not disclose? When I'm all alone, my glory Always fades, because I find Being lonely drives the splendour Of my vision from my mind. Come, oh, come, my own! my Only! Through the Gormenghast of Groan. Lingering has become so lonely As I linger all alone!

The puckered-up face of the newly-born child, old as the world, wise as the roots of trees. Sin was there and goodness, love, pity and horror, and even beauty for his eyes were pure violet.

With what characters she had filled this lost stage of emptiness! It was here that she would see the people of her imagination, the fierce figures of her making, as they strolled from corner to corner, brooded like monsters or flew through the air like seraphs with burning wings, or danced, or fought, or laughed, or cried. This was her attic of make-believe, where she would watch her mind's companions advancing or retreating across the dusty floor.

Irma, my dear sister,' said Prunesquallor, 'I have two things to say. Firstly, why in the name of discomfort are we hanging around in the hall and probably dying of a draught that as far as I'm concerned runs up my right trouser leg and sets my gluteous maximus twtiching; and secondly, what is wrong, when you boil the matter down - with feet? I have always found mine singularly useful, especially for walking with. In fact, ha, ha, ha, one might almost imagine that they have been designed for that very purpose.

And the days move on and the names of the months change and the four seasons bury one another and it is spring again and yet again and the small streams that run over the rough sides of Gormenghast Mountain are big with rain while the days lengthen and summer sprawls across the countryside, sprawls in all the swathes of its green, with its gold and sticky head, with its slumber and the drone of doves and with its butterflies and its lizards and its sunflowers, over and over again, its doves, its butterflies, its lizards, its sunflowers, each one an echo-child while the fruit ripens and the grotesque boles of the ancient apple trees are dappled in the low rays of the sun and the air smells of such rotten sweetness as brings a hunger to the breast, and makes of the heart a sea-bed, and a tear, the fruit of salt and water, ripens, fed by a summer sorrow, ripens and falls … falls gradually along the cheekbones, wanders over the wastelands listlessly, the loveliest emblem of the heart’s condition. And the days move on and the names of the months change and the four seasons bury one another and the field-mice draw upon their granaries. The air is murky, and the sun is like a raw wound in the grimy flesh of a beggar, and the rags of the clouds are clotted. The sky has been stabbed and has been left to die above the world, filthy, vast and bloody. And then the great winds come and the sky is blown naked, and a wild bird screams across the glittering land. And the Countess stands at the window of her room with the white cats at her feet and stares at the frozen landscape spread below her, and a year later she is standing there again but the cats are abroad in the valleys and a raven sits upon her heavy shoulder. And every day the myriad happenings. A loosened stone falls from a high tower. A fly drops lifeless from a broken pane. A sparrow twitters in a cave of ivy. The days wear out the months and the months wear out the years, and a flux of moments, like an unquiet tide, eats at the black coast of futurity. And Titus Groan is wading through his boyhood.

I know she’ll hate him. She likes to be the only one, you know. She likes to dream that she’s queen and that when the rest are dead there’ll be no one who can order her to do anything. She said, dear, that she’d burn down the whole place, burn down Goremenghast when she was ruler and she’d live on her own, and I said she was wicked, and she said that everyone was- everyone and everything except rivers, clouds, and some rabbits. She makes me frightened sometimes.

Of Swelter's acreage, only a perch or two here and there might, if broken, prove vulnerable loam. That he bled profusely could prove little. There was blood in him to revitalize an anaemic army, with enough left over to cool the guns. Placed end to end, his blood vessels might have coiled up the Tower of Flints and half way down again like a Virginia creeper -- a vampire's home from home.

The Aunts put their arms about one another so that their faces were cheek to cheek, and from this doublehead they gazed up at Steerpike with a row of four equidistant eyes. There was no reason why there should not have been forty, or four hundred of them. It so happened that only four had been removed from a dead and endless frieze whose inexhaustible and repetitive theme was forever, eyes, eyes, eyes.

His mind had been working away behind his high forehead. Unimaginative himself he could recognize imagination in her: he had come upon one whose whole nature was the contradiction of his own. He knew that behind her simplicity was something he could never have. Something he despised as impractical. Something which would never carry her to power or riches, but would retard her progress and keep her apart in a world of her own make-believe. To win her favour he must talk in her own language.

She and her sister were dressed in purple, with gold buckles at their throats by way of brooches, and another gold buckle each at the end of hatpins which they wore through their grey hair in order apparently to match their brooches. Their faces, identical to the point of indecency, were quite expressionless, as though they were the preliminary lay-outs for faces and were waiting for sentience to be injected.

I hate things! I hate all things! I hate and hate every single tiniest thing. I hate the world.” said Fuchsia aloud, raising herself on her elbows, her face to the sky. “I shall live alone. Always alone. In a house, or in a tree.” Fuchsia started to chew at a fresh grass blade. “Someone will come then, if I live alone. Someone from another kind of world - a new world - not from this world, but someone who is different, and he will fall in love with me at once because I live alone and aren’t like the other beastly things in this world, and he’ll enjoy having me because of my pride.

As the figure moved before him he followed the muscles as they wove beneath the skin. he was not only fighting with an assailant who was awaiting for that split second in which to strike him dead, but he was stabbing at a masterpiece -- at sculpture that leapt and heaved, at a marvel of inky shadow and silver light. A great wave of nausea surged through him and his knife felt putrid in his hand. His body went on fighting

He does not listen for an answer, but yawns, his face opening lewdly upon regions compared with which nudity becomes a milliner's invention.

He could now inhabit the world of words, with, at the back of his melancholy, a solace he had not known before

Here and there a thin beam of light threaded the warm brooding dusk and was filled with slowly moving motes like an attenuate firmament of stars revolving in grave order.

Don’t you think so? Don’t you think so?’ ‘I am far beyond thinking, bone of my bone. Far, far beyond thinking, I hand over the reins to you, Irma. Mount and be gone. The world awaits you.

You are a clever little monster,' said the Doctor, tossing off another cognac and placing the glass upon the table with a click. 'A diabolically clever little monster.' 'That is what I hoped you would realize, Doctor,' said Steerpike. 'But haven't all ambitious people soemthing of the monstrous about them? You, sir, for instance, if you will forgive me, are a little bit monstrous.' 'But, my poor youth, said Prunesquallor, beginning to pace the room, 'there is not the minutest molecule of ambition in my anatomy, monstrous though it may appear to you, ha, ha, ha!

The love of the painter standing alone and staring, staring at the great coloured surface he is making. Standing with him in the room the rearing canvas stares back with tentative shapes halted in their growth, moving in a new rhythm from floor to ceiling. The twisted tubes, the fresh paint squeezed and smeared across the dry upon his palette. The dust beneath the easel. The paint has edged along the brushes' handles. The white light in a northern sky is silent. The window gapes as he inhales his world. His world: a rented room, and turpentine. He moves towards his half-born. He is in love.

As his lord stared at the door another figure appeared, a girl of about fifteen with long, rather wild black hair. She was gauche in movement and in a sense, ugly of face, but with how small a twist might she not suddenly have become beautiful. Her sullen mouth was full and rich – her eyes smouldered.

Swelter, as soon as he saw who it was, stopped dead, and across his face little billows of flesh ran swiftly here and there until, as though they had determined to adhere to the same impulse, they swept up into both oceans of soft cheek, leaving between them a vacuum, a gaping segment like a slice cut from a melon. It was horrible. It was as though nature had lost control. As though the smile, as a concept, as a manifestation of pleasure, had been a mistake, for here on the face of Swelter the idea had been abused.

Steerpike was, of course, alive with ideas and projects. These two half-witted women were a gift. That they should be the sisters of Lord Sepulchrave was of tremendous strategic value. They would prove an advance on the Prunesquallors, if not intellectually at any rate socially, and that at the moment was what mattered. And in any case, the lower the mentality of his employers the more scope for his own projects.

Lady Cora,’ he said, ‘sometimes one has to do things which are unpalatable. When great issues are involved one can’t toy with the situation in silk gloves. No. We are making history.’ Mervyn Peake, Titus Groan

Behind him she saw something which by contrast with the alien incalculable figure before her, was close and real. It was something which she understood, something which she could never do without, or be without, for it seemed as though it were her own self, her own body, at which she gazed and which lay so intimately upon the skyline. Gormenghast. The long, notched outline of her home. It was now his background. It was a screen of walls and towers pocked with windows. He stood against it, an intruder, imposing himself so vividly, so solidly, against her world, his head overtopping the loftiest of its towers.

...another comber of far pleasure followed the first, for his books came suddenly before his eyes, row upon row of volumes, row upon priceless row of calf-bound Thought, of philosophy and fiction, of travel and fantasy; the stern and the ornate, the moods of gold or green, of sepia, rose, or black; the picaresque, the arabesque, the scientific - the essays, the poetry and the drama. All this, he felt, he would now re-enter. He could inhabit the world of words, with, at the back of his melancholy, a solace he had not known before.

Through her, in microcosm, the wide earth sobbed. The starglobe sank in her; the colours faded. The death-dew rose and the wild birds in her breast climbed to her throat and gathered songless, hovering, all tumult, wing to wing, so ardent for those climes where all things end.

The crags of the mountain were ruthless in the moon; cold, deadly and shining. Distance had no meaning. The tangled glittering of the forest roof rolled away, but its furthermost reaches were brought suddenly nearer in a bound by the terrifying effect of proximity in the mountain that they swarmed. The mountain was neither far away nor was it close at hand. It arose starkly, enormously, across the lens of the eye. The hollow itself was a cup of light. Every blade of the grass was of consequence, and the few scattered stones held an authority that made their solid, separate marks upon the brain - each one with its own unduplicated shape: each rising brightly from the ink of its own spilling.

Glorious,' said Steerpike, 'is a dictionary word. We are all imprisoned by the dictionary. We choose out of that vast, paper-walled prison our convicts, the little black printed words, when in truth we need fresh sounds to utter, new enfranchised noises which would produce a new effect. In dead and shackled language, my dears, you *are* glorious, but oh, to give vent to a brand new sounds that might convince you of what I really think of you, as you sit there in your purple splendour, side by side! But no, it is impossible. Life is too fleet for onomatopoeia. Dead words defy me. I can make no sound, dear ladies, that is apt.' 'You could try,' said Clarice. 'We aren't busy.' She smoothed the shining fabric of her dress with her long, lifeless fingers. 'Impossible,' replied the youth, rubbing his chin. 'Quite impossible. Only believe in my admiration for your beauty that will one day be recognized by the whole castle. Meanwhile, preserve all dignity and silent power in your twin bosoms.

Let them touch him. For every hair that’s hurt I’ll stop a heart.

...she stepped outwards into the dim atmosphere, and falling, was most fabulously lit by the moon and the sun.

For answer Mr Flay shot his head forward out of his collar and croaked, ‘Silence! you kitchen thing. Hold your tongue you greasy fork.

His voice is unmuffled - it is like a bell, clearly ringing in the night of our confusion; but the clarity is the clarity of imponderable depth...

Fuchsia took three paces forward in the first of the attics and then paused a moment to retie a string above her knee. Over her head vague rafters loomed and while she straightened herself she noticed them and unconsciously loved them. This was the lumber room. Though very long and lofty it looked relatively smaller than it was, for the fantastic piles of every imaginable kind of thing, from the great organ to the lost and painted head of a broken toy lion that must one day have been the plaything of one of Fuchsia's ancestors, spread from every wall until only an avenue was left to the adjacent room.

Thereon were seated in a hundred decorative attitudes, or stood immobile like carvings, or walked superbly across their sapphire setting, interweaving with each other like a living arabesque, a swarm of snowwhite cats.

His habitual melancholy was changing day by day into something more sinister. There were moments when he would desecrate the crumbling and mournful mask of his face with a smile more horrible than the darkest lineaments of pain. Across the stoniness of his eyes a strange light would pass for a moment, as though the moon were flaring on the gristle, and his lips would open and the gash of his mouth would widen in a dead, climbing curve

How's the blood-stream, my dear, invaluable little woman? How's the blood-stream?"... "It's quite comfortable, sir...I think, sir, thank you."... "Aha!"..."a comfortable stream, is it? Aha! v-e-r-y good. V-e-r-y good. Dawdling 'twixt hill and hill, no doubt. Meandering through groves of bone, threading the tissues and giving what sustenance it can to your dear old body...I am so glad. But in yourself - right deep down in yourself - how do you feel? Carnally speaking, are you at peace - from the dear grey hairs of your head to the patter of your little feet - are you at peace?" "What does he mean, dear?" said poor Mrs. Slagg, clutching Fuschia's arm.... "He wants to know if you feel well or not.

Every blade of the grass was of consequence, and the few scattered stones held an authority that made their solid, separate marks upon the brain - each one with its own unduplicated shape: each rising brightly from the ink of its own spilling.

Or on retiring to Prunesquallors' he might take down one of the Doctor's many books and read, for these days a passion to accumulate knowledge of any and every kind consumed him; but only as a means to an end. He must know all things, for only so might he have, when situations arose in the future, a full pack of cards to play from. He imagined himself occasions when the conversation of one from who he foresaw advancement might turn to astronomy, metaphysics, history, chemistry, or literature, and he realized that to be able to drop into the argument a lucid and exact thought, an opinion based on what might *appear* to be a life-time study, would instantaneously gain more for him than waiting until the conversation turned upon what lay within his scope of experience.

The crumbs blow free down the pointless sea To the beat of a cakey heart And the sensitive steel of the knife can feel That love is a race apart In the speed of the lingering light are blown The crumbs to the hake above, And the tropical air vibrates to the drone Of a cake in the throes of love.

The laugh of Doctor Prunesquallor was part of his conversation and quite alarming when heard for the first time. It appeared to be out of control as though it were a part of his voice, a top-storey of his vocal range that only came into its own when the doctor laughed. There was something about it of wind whistling through high rafters and there was a good deal of the horse’s whinny, with a touch of the curlew. When giving vent to it, the doctor’s mouth would be practically immobile like the door of a cabinet left ajar. Between the laughs he would speak very rapidly, which made the sudden stillness of his beautifully shaven jaws at the time of laughter all the more extraordinary. The laugh was not necessarily connected with humour at all. It was simply a part of his conversation.

It was a long head. It was a wedge, a sliver, a grotesque slice in which it seemed the features had been forced to stake their claims, and it appeared that they had done so in a great hurry and with no attempt to form any kind of symmetrical pattern for their mutual advantage. The nose had evidently been first upon the scene and had spread itself down the entire length of the wedge, beginning among the grey stubble of the hair and ending among the grey stubble of the beard, and spreading on both sides with a ruthless disregard for the eyes and mouth which found precarious purchase. The mouth was forced by the lie of the terrain left to it, to slant at an angle which gave to its right-hand side an expression of grim amusement and to its left, which dipped downwards across the chin, a remorseless twist. It was forced by not only the unfriendly monopoly of the nose, but also by the tapering character of the head to be a short mouth; but it obvious by its very nature that, under normal conditions, it would have covered twice the area. The eyes in whose expression might be read the unending grudge they bore against the nose were as small as marbles and peered out between the grey grass of the hair. This head, set at a long incline upon a neck as wry as a turtle's cut across the narrow vertical black strip of the window. Steerpike watched it turn upon the neck slowly. It would not have surprised him if it had dropped off, so toylike was its angle. As he watched, fascinated, the mouth opened and a voice as strange and deep as the echo of a lugubrious ocean stole out into the morning. Never was a face so belied by its voice. The accent was of so weird a lilt that at first Steerpike could not recognize more than one sentence in three, but he had quickly attuned himself to the original cadence and as the words fell into place Steerpike realised he was staring at a poet.

She was gauche in movement and in a sense, ugly of face, but with how small a twist might she not suddenly have become beautiful. Her sullen mouth was full and rich — her eyes smouldered. A yellow scarf hung loosely around her neck. Her shapeless dress was a flaming red. For all the straightness of her back she walked with a slouch. "Come here," said Lord Groan as she was about to pass him and the doctor. "Yes father," she said huskily. "Where have you been for the last fortnight, Fuchsia?" "Oh, here and there, father," she said, staring at her shoes. She tossed her long hair and it flapped down her back like a pirate's flag. She stood in about as awkward a manner as could be conceived. Utterly unfeminine — no man could have invented it.

Steerpike of the Many Problems,” said the Doctor. “What did you say they were? My memory is so very untrustworthy. It’s as fickle as a fox. Ask me to name the third lateral bloodvessel from the extremity of my index finger that runs east to west when I lie on my face at sundown, or the percentage of chalk to be found in the knuckles of an average spinster in her fifty-seventh year, ha, ha, ha! – or even ask me, my dear boy, to give details of the pulse rate of frogs two minutes before they die of scabies – these things are no tax upon my memory, ha, ha, ha! But ask me to remember exactly what you said you problems were, a minute ago, and you will find that my memory has forsaken me utterly. Now why is that, my dear Master Steerpike, why is that?” “Because I never mentioned them,” said Steerpike. “That accounts for it,” said Prunesquallor. “That, no doubt, accounts for it.

Who can say how long the eye of the vulture or the lynx requires to grasp the totality of a landscape, or whether in a comprehensive instant the seemingly inexhaustible confusion of detail falls upon their eyes in an ordered and intelligible series of distances and shapes, where the last detail is perceived in relation to the corporate mass? It may be that the hawk sees nothing but those grassy uplands, and among the coarse grasses, more plainly than the field itself, the rabbit or the rat, and that the landscape in its entirety is never seen, but only those areas lit, as it were with a torch, where the quarry slinks, the surrounding regions thickening into cloud and darkness on the yellow eyes. Whether the scouring, sexless eye of the bird or beast of prey disperses and sees all or concentrates and evades all saving that for which it searches, it is certain that the less powerful eye of the human cannot grasp, even after a life of training, a scene in its entirety. No eye may see dispassionately. There is no comprehension at a glance. Only the recognition of damsel, horse on fly and the assumption of damsel, horse or fly; and so with dreams and beyond, for what haunts the heart will, when it is found, leap foremost, blinding the eye and leaving the main of Life in darkness.

And then, as he gazed absently past himself in the mirror at Flay, another comber of far pleasure followed the first, for his books came suddenly before his eyes, row upon row of volumes, row upon priceless row of calf-bound Thought, of philosophy and fiction, of travel and fantasy; the stern and the ornate, the moods of gold or green, of sepia, rose, or black; the picaresque, the arabesque, the scientific – the essays, the poetry and the drama. All this, he felt, he would now re-enter. He could inhabit the world of words, with, at the back of his melancholy, a solace he had not known before.

Why seven?’ said Fuchsia. ‘Seven is for something. What’s seven for? One for a glorious golden grave – two for a terrible torch of tin; three for a hundred hollow horses; four for a knight with a spur of speargrass; five for a fish with fortunate fins, six – I’ve forgotten six, and seven – what’s seven for? Eight for a frog with eyes like marbles, nine, what’s nine? Nine for a nine, nine – ten for a tower of turbulent toast – but what is seven. What is seven?

Who can say how long the eye of the vulture or the lynx requires to grasp the totality of a landscape, or whether in a comprehensive instant the seemingly inexhaustible confusion of detail falls upon their eyes in an ordered and intelligible series of distances and shapes, where the last detail is perceived in relation to the corporate mass? It may be that the hawk sees nothing but those grassy uplands, and among the coarse grasses, more plainly than the field itself, the rabbit or the rat, and that the landscape in its entirety is never seen, but only those areas lit, as it were with a torch, where the quarry slinks, the surrounding regions thickening into cloud and darkness on the yellow eyes. Whether the scouring, sexless eye of the bird or beast of prey disperses and sees all or concentrates and evades all saving that for which it searches, it is certain that the less powerful eye of the human cannot grasp, even after a life of training, a scene in its entirety. No eye may see dispassionately. There is no comprehension at a glance. Only the recognition of damsel, horse on fly and the assumption of damsel, horse or fly; and so with dreams and beyond, for what haunts the heart will, when it is found, leap foremost, blinding the eye and leaving the main of Life in darkness.

Doctor Prunesquallor was running a long tapering finger up and down a stalactite of wax and smiling horribly.

Mrs Slagg placed her finger at her lips and gave a smile which it would be impossible to describe. It was a mixture of the cunning and the maudlin.

Ladies did not participate in 'situations'.

His service to the family was honoured by a certain artificial equality of status.

Then came the crumbling away of a grey veil from the face of the night.

The youth felt it would be useless to clear up the problem of his name.

[His novels are] aggressively three-dimensional... showing the poet as well as the draughtsman... It is difficult in post-war English fiction to get away with big rhetorical gestures. Peake manages it because, with him, grandiloquence never means diffuseness; there is no musical emptiness in the most romantic of his descriptions. He is always exact . . . [Titus Groan] remains essentially a work of the closed imagination, in which a world parallel to our own is presented in almost paranoiac denseness of detail. But the madness is illusory, and control never falters. It is, if you like, a rich wine of fancy chilled by the intellect to just the right temperature. There is no really close relative to it in all our prose literature. It is uniquely brilliant.

This tower, patched unevenly with black ivy, arose like a mutilated finger from among the fists of knuckled masonry and pointed blasphemously at heaven.

Rottcodd was unmarried. An aloofness and even a nervousness was apparent on first acquaintance and the ladies held a peculiar horror for him.

Slagg,' said the Countess, 'go away! I would like to see the boy when he is six. Find a wet nurse from the Outer Dwellings. Make him green dresses from the velvet curtains. Take this gold ring of mine. Fix a chain to it. Let him wear it around his wry little neck. Call him Titus. Go away and leave the door six inches open.

You were going to.’ ‘Two what?’ ‘To exalt yourself.

To the ignorant nothing is profound.

You called me a cynic. How can I be? I am nothing.