Vellum Quotes

Your life story is a novel; and people, though they love novels wound between two yellow paper covers, are oddly suspicious of those which come to them in living vellum.

It is the world, my boy," he said. "All the World, in ink and blood, vellum and parchment, leather and hide. It is the World, and it is yours to save or lose.

We were always surrounded by books and words and poetry, all the fierce passions of the world bound in leather and vellum. (I blame this in part for what happened.)

I believed that by fixing it down in words, I could force sense from all that had happened, that effect would follow cause, and the reason for each event come clear to me. But then I returned one day, to find all my careful scribing gone to fragments of vellum lying in a trampled yard with wet snow blowing over them. I sat my horse, looking down at them, and knew that, as it always would, the past had broken free of my effort to define and understand it. History is no more fixed and dead than the future. The past is no further away than the last breath you took.

9. Delicately Sylva moved the upper layers of paper and vellum away and saw, lying on the table, a small book. It was an ornately inscribed little volume with a beautifully worked golden motif; this was what had glittered and caught her attention. The book’s cover was edged in gold and in the centre of the cover was the motif: a letter O superimposed with the letter I, forming the symbol Φ, also marked out in gold.

Nevsky Avenue "Here you come across moustaches so wonderful that neither pen nor brush can do justice to them, moustaches to which the best years of a lifetime have been devoted-the object of long hours of vigil by day and by night; moustaches upon which all the perfumes of Arabia have been lavished, the most exquisite scents and essences, and which have been anointed with the rarest and most precious pomades; moustaches which are wrapped up for the night in the most delicate vellum; moustaches for which their possessors show a most touching affection and which are the envy of all those who behold them.

History is not just about the analysis of evidence, unrolling vellum documents or answering exam papers. It is not about judging the dead. It is about understanding the meaning of the past—to realize the whole evolving human story over centuries, not just our own lifetimes.

When you read a manuscript that has been damaged by water, fire, light or just the passing of the years, your eye needs to study not just the shape of the letters but other marks of production. The speed of the pen. The pressure of the hand on the page. Breaks and releases in the flow. You must relax. Think of nothing. Until you wake into a dream where you are at once a pen flying of vellum and the vellum itself with the touch of ink tickling your surface. Then you can read it. The intention of the writer, his thoughts, his hesitations, his longings and his meaning. You can read as clearly as if you were the very candlelight illuminating the page as the pen speeds over it.

A precious mouldering pleasure 't is To meet an antique book, In just the dress his century wore; A privilege, I think, His venerable hand to take, And warming in our own, A passage back, or two, to make To times when he was young. His quaint opinions to inspect, His knowledge to unfold On what concerns our mutual mind. The literature of old; What interested scholars most, What competitions ran When Plato was a certainty, And Sophocles a man; When Sappho was a living girl, And Beatrice wore The gown that Dante deified. Facts, centuries before, He traverses familiar, As one should come to town And tell you all your dreams were true: He lived where dreams were born. His presence is enchantment, You beg him not to go; Old volumes shake their vellum heads And tantalize just so.

Yes, I drank some of the ancient blood and it changed me. If I'm right...If the vellum is right, the world is dead. Everyone! But I was brought back to life by the blood.

Enter the players. seven of us then, seven bright young things with wide precious futures ahead of us, though we saw no farther than the books in front of our faces. We were always surrounded by books and words and poetry, all the fierce passions of the world bound in leather and vellum.

She has to be written out of history and written into myth.

Serilda felt immediately comforted by the scent of leather and vellum, parliament and binding glue and ink. She inhaled deeply, ignoring the odd look that Leyna gave her. It was the scent of stories, after all.

We were always surrounded by books and words and poetry, all the fierce passions in the world bound in leather and vellum. (I blame this in part for what happened.)

Poetry is above all a concentration of the power of language, which is the power of our ultimate relationship to everything in the universe. It is as if forces we can lay claim to in no other way, become present to us in sensuous form. The knowledge and use of this magic goes back very far: the rune; the chant; the incantation; the spell; the kenning; sacred words; forbidden words; the naming of the child, the plant, the insect, the ocean, the configuration of stars, the snow, the sensation in the body. The ritual telling of the dream. The physical reality of the human voice; of words gouged or incised in stone or wood, woven in silk or wool, painted on vellum, or traced in sand.

But the bigots always see those whom they hate as morally corrupt, as if they confuse their own aesthetics of disgust and fear with actual ethical critique, rationalizing their emotional response, and enforcing their moral certainties with passion, establishing them-selves, subtly or brutally, as arbiters of reason.

In winter darkness, the Baghdad Arabian keen blue deepness of the piercing lovely January winter's dusk--it used to tear my heart out, one stabbing soft star was in the middle of the magicalest blue, throbbing like love--I saw Maggie's black hair in this night-- In the shelves of Orion her eye shades, borrowed, gleamed a dark and proud vellum somber power brooding rich bracelets of the moon rose from our snow, and surrounded the mystery.

Enter the players. There were seven of us, seven bright young things with wide precious futures ahead of us, though we saw no farther than the books in front of our faces. We were always surrounded by books and words and poetry, all the fierce passions of the world bound in leather and vellum. The castle library was an airy octagonal room, walled with bookshelves, crowed with sumptuous old furniture, and kept drowsily warm by a monumental fireplace that burned almost constantly, regardless of the temperature outside. The clock on the mantel struck twelve, and we stirred, one by one, like seven statues coming to life.

Dislinear plotting and noncontiguous prose have their adherents, not the least of which am I, but in the end, my friends, it is character which wins or loses immortality upon the vellum. Haven’t you ever harbored the secret thought that somewhere Huck and Jim are—at this instant—poling their raft down some river just beyond our reach, so much more real are they than the shoe clerk who fitted us just a forgotten day ago?

Professor Vellum had no aura at all. That was not a good sign. I began the treatment process by panicking.

So, you’re the angel of Death?” The angel shook his head, a little embarrassed. “I don’t have that honor. In Heaven, I’m the celestial who bears the great golden quills, the silver Chroma, the holy vellums upon which the Lord God inscribes the fate of the universe.” Tiras’s eyes narrowed. “You’re in charge of office supplies. You’re the angel of office supplies.” The

...it was my father who had taught me to love books for themselves, the smell of the vellum and paper, the rare authority of the pages. "Here, do you see this marvelous book, the skins of 182 sheep," he once pronounced as he slapped his hand down on the stamped leather cover boards. "The book is a flock, a jewel, a cemetery, a lantern, a garden, a piss pot; pigments ground of precious minerals, charred bone, lamp soot, rare plants and insects. Pigments formed at the corrosion of copper plates suspended above urine.

I know it must seem a curious analogy, a man with a flower, but sometimes he seemed to me like a lily. Yes. A lily. Possessed of that strange, ominous calm of sentient vegetable, like one of those cobra-headed, funereal lilies whose white sheaths are curled out of flesh as thick and tensely yielding to the touch as vellum. When I said that I would marry him, not one muscle in his face stirred, but he let out a long, extinguished sigh. I thought: Oh! how he must want me! And it was as though the imponderable weight of his desire was a force I might not withstand, not by virtue of its violence, but because of its very gravity...and I began to shudder, like a race horse before a race, yet also with a kind of fear, for I felt both a strange, impersonal arousal at the thought of love and at the same time a repugnance I could not stifle for his white, heavy flesh that had too much in common with the armfuls of arum lilies that filled my bedroom in great glass jars, those undertakers' lilies with the heavy pollen that powders your fingers as if you had dipped them in turmeric. The lilies I always associate with him; that are white. And stain you.

Ms. Lane.”Barrons’ voice is deep, touched with that strange Old World accent and mildly pissed off. Jericho Barrons is often mildly pissed off. I think he crawled from the swamp that way, chafed either by some condition in it, out of it, or maybe just the general mass incompetence he encountered in both places. He’s the most controlled, capable man I’ve ever known. After all we’ve been through together, he still calls me Ms. Lane, with one exception: When I’m in his bed. Or on the floor, or some other place where I’ve temporarily lost my mind and become convinced I can’t breathe without him inside me this very instant. Then the things he calls me are varied and nobody’s business but mine. I reply: “Barrons,” without inflection. I’ve learned a few things in our time together. Distance is frequently the only intimacy he’ll tolerate. Suits me. I’ve got my own demons. Besides I don’t believe good relationships come from living inside each other’s pockets. I believe divorce comes from that. I admire the animal grace with which he enters the room and moves toward me. He prefers dark colors, the better to slide in and out of the night, or a room, unnoticed except for whatever he’s left behind that you may or may not discover for some time, like, say a tattoo on the back of one’s skull. “What are you doing?” “Reading,” I say nonchalantly, rubbing the tattoo on the back of my skull. I angle the volume so he can’t see the cover. If he sees what I’m reading, he’ll know I’m looking for something. If he realizes how bad it’s gotten, and what I’m thinking about doing, he’ll try to stop me. He circles behind me, looks over my shoulder at the thick vellum of the ancient manuscript. “In the first tongue?” “Is that what it is?” I feign innocence. He knows precisely which cells in my body are innocent and which are thoroughly corrupted. He’s responsible for most of the corrupted ones. One corner of his mouth ticks up and I see the glint of beast behind his eyes, a feral crimson backlight, bloodstaining the whites. It turns me on. Barrons makes me feel violently, electrically sexual and alive. I’d march into hell beside him. But I will not let him march into hell beside me. And there’s no doubt that’s where I’m going. I thought I was strong, a heroine. I thought I was the victor. The enemy got inside my head and tried to seduce me with lies. It’s easy to walk away from lies. Power is another thing. Temptation isn’t a sin that you triumph over once, completely and then you’re free. Temptation slips into bed with you each night and helps you say your prayers. It wakes you in the morning with a friendly cup of coffee, and knows exactly how you take it. He skirts the Chesterfield sofa and stands over me. “Looking for something, Ms. Lane?” I’m eye level with his belt but that’s not where my gaze gets stuck and suddenly my mouth is so dry I can hardly swallow and I know I’m going to want to. I’m Pri-ya for this man. I hate it. I love it. I can’t escape it. I reach for his belt buckle. The manuscript slides from my lap, forgotten. Along with everything else but this moment, this man. “I just found it,” I tell him.

This is the first principle of democracy: that the essential things in men are the things they hold in common, not the things they hold separately. And the second principle is merely this: that the political instinct or desire is one of these things which they hold in common. Falling in love is more poetical than dropping into poetry. The democratic contention is that government ... is a thing like falling in love, and not a thing like dropping into poetry. It is not something analogous to playing the church organ, painting on vellum,..., being Astronomer Royal, and so on. For these things we do not wish a man to do at all unless he does them well. It is, on the contrary, a thing analogous to writing one's own love-letters or blowing one's own nose. These things we want a man to do for himself, even if he does them badly. .... In short, the democratic faith is this: that the most terribly important things must be left to ordinary men themselves--the mating of the sexes, the rearing of the young, the laws of the state. This is democracy; and in this I have always believed.

Gradually, however , knowledge became objectivized, first in scrolls or on pieces of vellum or parchment, which were the supports of writing; then, during the Renaissance, in books made out of paper, which found their support in the printing press; and finally, today, on the web, which is the support of email messages and information

I wish I had the strength to make an outcast of myself.

Let sleeping gods lie.

We were always surrounded by books and words and poetry, all the fierce passions of the world bound in leather and vellum.

Was it just a book, after all? It had the texture neither or vellum nor of rag paper. Awful to admit, but it resembled human skin, drained of its blood

He lived where dreams were sown. His presence is enchantment, You beg him not to go; Old volumes shake their vellum heads And tantalize, just so.

though we saw no farther than the books in front of our faces. We were always surrounded by books and words and poetry, all the fierce passions of the world bound in leather and vellum.

Only those books come down which deserve to last. Gilt edges, vellum, and morocco, and presentation-copies to all the libraries, will not preserve a book in circulation beyond its intrinsic date.

It's not the runes," she said, almost opening her eyes with the shock of the realization. "It's not the chemicals, either. It's the steles." "I knew you could do it." She heard the smile in his voice. "And you've invented ever-burning vellum. Splendid work, Grace." Something brushed against her temple, tucking her hair behind her ear. A ghostly touch, a goodbye. A moment later, she knew he was gone.

Let no one read my principles who is not a mathematician,” he famously declared (less famous is the fact that the principles he was referring to were his theories of how the aortic pulmonary valve worked). Ironically, he himself was a poor mathematician, often making simple mistakes. In one of his notes he counted up his growing library: “25 small books, 2 larger books, 16 still larger, 6 bound in vellum, 1 book with green chamois cover.” This reckoning (with its charmingly haphazard system of classification) adds up to fifty, but Leonardo reached a different sum: “Total: 48,” he confidently declared.

I stepped in, inhaling the scent of leather, vellum, aged paper, and the faint scent of oak that lingered in the air. It was like being hugged by a book. It took effort not to just stay there, but I turned around to find Dominic regarding me with a smirk.

Printing meant arranging the letters into words, the words into perfectly straight lines, and the lines into even blocks of text to be inked and pressed onto paper or vellum. And each small step of the process, which sounds so mundane today, required invention.

In that time while he was still aware, which was the worse, I wonder: the agony of his physical torture or the horror of their utter hatred, of their moral certainty that he was so beyond the bounds of what they could accept that he deserved not just a death but one of such brutality, such inhumanity, as would make the seraphs who burned Sodom bow their heads in cold respect? What is it like, I wonder, to learn the full capacity of hatred in a lesson hammered home with bone broken on wood and skin ripped on barbed wire?

There were seven of us then, seven bright young things with wide precious futures ahead of us, though we saw no farther than the books in front of our faces. We were always surrounded by books and words and poetry, all the fierce passions of the world bound in leather and vellum.

It occurs to me that the Grendel tale is premature. The players have not been brought upon the stage. Dislinear plotting and noncontiguous prose have their adherents, not the least of which am I, but in the end, my friends, it is character which wins or loses immortality upon the vellum.

Ah, now,' the count said casually, 'you must do as you wish, Viscount, because this is your business and you are in charge; but I must say that in your place I should say nothing of all these adventures. Your life story is a novel; and people, though they love novels bound between two yellow paper covers, are oddly suspicious of those which come to them in living vellum, even when they are as gilded as you are capable of being. Allow me to point out this difficulty to you, Monsieur le Vicomte, which is that no sooner will you have told your touching story to someone, that it will travel all round society, completely distorted. You will have to play the part of Antony, and Antony's day has passed somewhat. You might perhaps enjoy the reputation of a curiosity, but not everyone likes to be the centre of attention and the butt of comment. It might possibly fatigue you.

You have good instincts,” Glory tells him as she helps him back to his feet. “You really came at me with some power behind that. Well done.” “Yeah, well, the supply room got really hairy sometimes,” Lucían says, deadpan, as he massages his wrist. “It was every monk for himself when the vellum was running low.

I’m surprised he doesn’t send Christmas cards,” Antonio said. “I can see them now. Tasteful, embossed vellum cards, the best he can steal. Little notes in perfect penmanship, ‘Happy holidays. Hope everyone is well. I sliced up Ethan Ritter in Miami and scattered his remains in the Atlantic. Best wishes for the New Year. Karl.

A burning map. Every epic, my friend Jack used to say, should start with a burning map. Like in the movies. Fucking flames burning the world away; that's the best thing about all those old movies, he said - when you see this old parchment map just… getting darker and darker in the centre, crisping, crinkling until suddenly it just… fwoom

Perched upon the stones of a bridge The soldiers had the eyes of ravens Their weapons hung black as talons Their eyes gloried in the smoke of murder To the shock of iron-heeled sticks I drew closer in the cripple’s bitter patience And before them I finally tottered Grasping to capture my elusive breath With the cockerel and swift of their knowing They watched and waited for me ‘I have come,’ said I, ‘from this road’s birth, I have come,’ said I, ‘seeking the best in us.’ The sergeant among them had red in his beard Glistening wet as he showed his teeth ‘There are few roads on this earth,’ said he, ‘that will lead you to the best in us, old one.’ ‘But you have seen all the tracks of men,’ said I ‘And where the mothers and children have fled Before your advance. Is there naught among them That you might set an old man upon?’ The surgeon among this rook had bones Under her vellum skin like a maker of limbs ‘Old one,’ said she, ‘I have dwelt In the heat of chests, among heart and lungs, And slid like a serpent between muscles, Swum the currents of slowing blood, And all these roads lead into the darkness Where the broken will at last rest. ‘Dare say I,’ she went on,‘there is no Place waiting inside where you might find In slithering exploration of mysteries All that you so boldly call the best in us.’ And then the man with shovel and pick, Who could raise fort and berm in a day Timbered of thought and measured in all things Set the gauge of his eyes upon the sun And said, ‘Look not in temples proud, Or in the palaces of the rich highborn, We have razed each in turn in our time To melt gold from icon and shrine And of all the treasures weeping in fire There was naught but the smile of greed And the thick power of possession. Know then this: all roads before you From the beginning of the ages past And those now upon us, yield no clue To the secret equations you seek, For each was built of bone and blood And the backs of the slave did bow To the laboured sentence of a life In chains of dire need and little worth. All that we build one day echoes hollow.’ ‘Where then, good soldiers, will I Ever find all that is best in us? If not in flesh or in temple bound Or wretched road of cobbled stone?’ ‘Could we answer you,’ said the sergeant, ‘This blood would cease its fatal flow, And my surgeon could seal wounds with a touch, All labours will ease before temple and road, Could we answer you,’ said the sergeant, ‘Crows might starve in our company And our talons we would cast in bogs For the gods to fight over as they will. But we have not found in all our years The best in us, until this very day.’ ‘How so?’ asked I, so lost now on the road, And said he, ‘Upon this bridge we sat Since the dawn’s bleak arrival, Our perch of despond so weary and worn, And you we watched, at first a speck Upon the strife-painted horizon So tortured in your tread as to soak our faces In the wonder of your will, yet on you came Upon two sticks so bowed in weight Seeking, say you, the best in us And now we have seen in your gift The best in us, and were treasures at hand We would set them humbly before you, A man without feet who walked a road.’ Now, soldiers with kind words are rare Enough, and I welcomed their regard As I moved among them, ’cross the bridge And onward to the long road beyond I travel seeking the best in us And one day it shall rise before me To bless this journey of mine, and this road I began upon long ago shall now end Where waits for all the best in us. ―Avas Didion Flicker Where Ravens Perch

Then Ruskin came. I showed him our small library. He looked at it with disapproving eyes. “ Each book ”, he said gravely, “ that a young girl touches should be bound in white vellum.” I thought with horror of the red moroccos and Spanish leather that had been my choice. A few weeks later the old humbug sent us his own works bound in dark blue calf!

The first choice Anne had to make before she picked up her pen was what meter to use, since this was a crucial part of declaring her intentions as a Puritan and as a poet. Once she had decided, she could not waver. This was partly for practical reasons. Each page was precious to Anne. Although her wealthy father did have a larger supply of paper and vellum than most people and she herself had a small bound book to write in, once she had used up this writing material, it was expensive to get more, and it could take months to arrive from England. Mistakes were a costly luxury, therefore, and drafts were an impossibility. Anne would have to think out the lines first and memorize them before hazarding them onto paper.

Somewhere in the recumbent solitudes, the motionless but teeming millions of books, lost in two dozen turns right, three dozen turns left, down aisles, through corridors, toward dead ends, locked doors, half-empty shelves, somewhere in the literary soot of Dickens’s London, or Dostoevsky’s Moscow or the steppes beyond, somewhere in the vellumed dust of atlas or Geographic, sneezes pent but set like traps, the boys crouched, stood, lay sweating a cool and constant brine.

Here, in his hands, is Lispenard Street: their apartment, with its odd proportions and slapdash second bedroom; its narrow hallways and miniature kitchen. He can tell that this is an early piece of Malcolm's because the windows are made of glassine, not vellum or Plexiglas, and the walls are made of cardboard, not wood. And in this apartment Malcolm has placed furniture, cut and folded from stiff paper: his lumpy twin futon bed on its cinder-block base; the broken-springed couch they had found on the street; the squeaking wheeled easy chair given them by JB's aunts. All that is missing is a paper him, a paper Willem. He puts Lispenard Street on the floor by his feet. For a long time he sits very still, his eyes closed, allowing his mind to reach back and wander: there is much he doesn't romanticize about those years, not now, but at the time, when he hadn't known what to hope for, he hadn't known that life could be better than Lispenard Street.

They are overturning chests and tipping out their contents. They scatter across the floor, letters from Popes, letters from the scholars of Europe: from Utrecht, from Paris, from San Diego de Compostela; from Erfurt, from Strassburg, from Rome. They are packing his gospels and taking them for the king’s libraries. The texts are heavy to hold in the arms, and awkward as if they breathed; their pages are made of slunk vellum from stillborn calves, reveined by the illuminator in tints of lapis and leaf-green.

Here you will meet singular side-whiskers, tucked with extraordinary and amazing art under the necktie, velvety whiskers, satiny whiskers, black as sable or coal, but, alas, belonging only to the foreign office. Providence has denied black side-whiskers to those serving in other departments; they, however great the unpleasantness, must wear red ones. Here you will meet wondrous mustaches, which no pen or brush is able to portray; mustaches to which the better part of a lifetime is devoted––object of long vigils by day and by night; mustaches on which exquisite perfumes and scents have been poured, and which have been anointed with all the most rare and precious sorts of pomades, mustaches which are wrapped overnight in fine vellum, mustaches which are subject to the most touching affection of their possessors and are the envy of passers-by. A thousand kinds of hats, dresses, shawls––gay-colored, ethereal, for which their owners' affection sometimes lasts a whole two days––will bedazzle anyone on Nevsky Prospect.

A book on steam engine design lay next to one of poems by the poet laureate Tennyson. Lenore traced the poetry book’s cover design. A finely made book with its gold-tooled leather and gilt-edged vellum pages. A beautiful book. An expensive one given to her by a man who’d likely spent three months’ hard-earned wages to obtain it. Lenore made a mournful sound in her throat. Nathaniel. She closed her eyes, remembering his ready smile and eyes as blue as bachelor’s button. She thought of him every day, but lately, in the weeks following her father’s death, he was constantly on her mind.

The hand that once wielded both sword and axe now aches after an evening of the quill. When I wipe the tip of one clean, I often wonder how many buckets of ink I have used in a lifetime. How many words have I set down on paper or vellum, thinking to trap the truth thereby? And of those words, how many have I myself consigned to the flames as worthless and wrong? I do as I have done so many times. I write, I sand the wet ink, I consider my own words. Then I burn them. Perhaps when I do so, the truth goes up the chimney as smoke. Is it destroyed, or set free in the world? I do not know. I

Then Chameroy spoke. 'You always put the blame on opium, but as I see it the case of Freneuse is much more complicated. Him, an invalid? No - a character from the tales of Hoffmann! Have you never taken the trouble to look at him carefully? That pallor of decay; the twitching of his bony hands, more Japanese than chrysanthemums; the arabesque profile; that vampiric emaciation - has all of that never given you cause to reflect? In spite of his supple body and his callow face Freneuse is a hundred thousand years old. That man has lived before, in ancient times under the reigns of Heliogabalus, Alexander IV and the last of the Valois. What am I saying? That man is Henri III himself. I have in my library an edition of Ronsard - a rare edition, bound in pigskin with metal trimmings - which contains a portrait of Henri engraved on vellum. One of these nights I will bring the volume here to show you, and you may judge for yourselves. Apart from the ruff, the doublet and the earrings, you would believe that you were looking at the Due de Freneuse. As far as I'm concerned, his presence here inevitably makes me ill - and so long as he is present, there is such an oppression, such a heaviness...

Vellum” is another name for skin—at one point, philosophy was bound up in the stuff. I reached down to pick up James’s first edition of Samuel Clarke’s A Demonstration of the Being and Attributes of God, published in 1705, and gently fingered its cold white surface as if it were a sacred relic. The term “philosophical corpus” had never made sense until now. I turned the book over. Tenderly. It was a little body: skin wrapped around something beautiful and inexplicable. Putting it under my arm, I turned to the back corners of the library. Tucked away on one of the back shelves was Josiah Royce’s library: Descartes, Spinoza, Fichte, Mill, Dilthey, Lotze, Tarde, Boole. These books were filled with marginalia. I took a quick look at one of Royce’s jottings—something written in Greek about God and strife—but then grabbed the books that I could carry. I would think about marginalia later. This wasn’t just any set of books. It was the bridge between European and American philosophy. That afternoon at dusk I had the unshakable sense that I was missing the most important part of West Wind, and over the course of three years I saw that this premonition was more correct than I could have known. Instead

Although there are many more things we could say about fourteenth-century England, probably enough has been said for you to have an idea of what it is like, prior to setting out. Only one question remains to be answered. Why should you want to set out in the first place? Or, to put it more bluntly, why should you actually want to see the living past? Is the fourteenth-century not better left for dead, a pile of parchments, monastic ruins, and museum artifacts? … History is not just about the analysis of evidence, unrolling vellum documents or answering exam papers. It is not about judging the dead. It is about understanding the meaning of the past - to realize the whole evolving human story over centuries, not just our own lifetimes.

the things common to all men are more important than the things peculiar to any men. Ordinary things are more valuable than extraordinary things; nay, they are more extraordinary. Man is something more awful than men; something more strange. The sense of the miracle of humanity itself should be always more vivid to us than any marvels of power, intellect, art, or civilization. The mere man on two legs, as such, should be felt as something more heartbreaking than any music and more startling than any caricature. Death is more tragic even than death by starvation. Having a nose is more comic even than having a Norman nose. This is the first principle of democracy: that the essential things in men are the things they hold in common, not the things they hold separately. And the second principle is merely this: that the political instinct or desire is one of these things which they hold in common. Falling in love is more poetical than dropping into poetry. The democratic contention is that government (helping to rule the tribe) is a thing like falling in love, and not a thing like dropping into poetry. It is not something analogous to playing the church organ, painting on vellum, discovering the North Pole (that insidious habit), looping the loop, being Astronomer Royal, and so on. For these things we do not wish a man to do at all unless he does them well. It is, on the contrary, a thing analogous to writing one's own love-letters or blowing one's own nose. These things we want a man to do for himself, even if he does them badly.

IN A LIBRARY. A precious, mouldering pleasure 't is To meet an antique book, In just the dress his century wore; A privilege, I think, His venerable hand to take, And warming in our own, A passage back, or two, to make To times when he was young. His quaint opinions to inspect, His knowledge to unfold On what concerns our mutual mind, The literature of old; What interested scholars most, What competitions ran When Plato was a certainty. And Sophocles a man; When Sappho was a living girl, And Beatrice wore The gown that Dante deified. Facts, centuries before, He traverses familiar, As one should come to town And tell you all your dreams were true; He lived where dreams were sown. His presence is enchantment, You beg him not to go; Old volumes shake their vellum heads And tantalize, just so.

There was a time when I thought that my life's significant work would be to write a history of the Six Duchies. I made a start on it any number of times, but always seemed to slide sideways from that grand tale into a recounting of the days and details of my own small life. The more I studied the accounts of others, both written and told, the more it seemed to me that we attempt such histories not to preserve knowledge, but to fix the past in a settled way. Like a flower pressed flat and dried, we try to hold it still and say, this is exactly how it was the day I first saw it. But like the flower, the past cannot be trapped that way. It loses its fragrance and its vitality, its fragility becomes brittleness and its colors fade. And when next you look on the flower, you know that it is not at all what you sought to capture, that that moment has fled forever. I wrote my history and my observations. I captured my thoughts and ideas and memories in words on vellum and paper. So much I stored, and thought it was mine. I believed that by fixing it down in words, I could force sense on all that had happened, that effect would follow cause, and the reason for each event come clear to me. Perhaps I sought to justify myself, not just all I had done, but who I had become. For years, I wrote faithfully nearly every evening, carefully explaining my world and my life to myself. I put my scrolls on a shelf, trusting that I had captured the meaning of my days. But then I returned one day, to find all my careful scribing gone to fragments of vellum lying in a trampled yard with wet set, snow blowing over them. I sat my horse, looking down on them, and knew that, as it always would, the past had broken free of my effort to define and understand it. History is no more fixed and dead than the future. The past is no further away than the last breath you took.

First there was OralTrad, upgraded ten thousand years later by the rhyming (for easier recall) Oral TradPlus. For thousands of years this was the only Story Operating System and it is still in use today. The system branched in two about twenty thousand years ago; on one side with CaveDaubPro (forerunner of PaintPlus V2.3, GrecianUrn V1.2, Sculpt-Marble V1.4 and the latest, all-encompassing SuperArtisticExpression-5). The other strand, the Picto-Phonetic Storytelling Systems, started with Clay Tablet V2.1 and went through several competing systems (Wax-Tablet, Papyrus, VellumPlus) before merging into the award-winning SCROLL, which was upgraded eight times to V3.5 before being swept aside by the all new and clearly superior BOOK V1. Stable, easy to store and transport, compact and with a workable index, BOOK has led the way for nearly eighteen hundred years. WORDMASTER XAVIER LIBRIS, Story Operating Systems—the Early Years

Virginia Woolf in A Room of One’s Own had a vision that someday young women would have access to the rich forbidden libraries of the men’s colleges, their sunken lawns, their vellum, the claret light. She believed that would give young women a mental freedom that must have seemed all the sweeter from where she imagined it: the wrong side of the beadle’s staff that had driven her away from the library because she was female. Now young women have pushed past the staff that barred Woolf’s way. Striding across the grassy quadrangles that she could only write about, they are halted by an immaterial barrier she did not foresee. Their minds are proving well able; their bodies selfdestruct. When she envisaged a future for young women in the universities, Woolf’s prescience faltered only from insufficient cynicism. Without it one could hardly conceive of the modern solution of the recently allmale schools and colleges to the problem of women: They admitted their minds, and let their bodies go. Young women learned that they could not live inside those gates and also inside their bodies.

I know it must seem a curious analogy, a man with a flower, but sometimes he seemed to me like a lily. Yes. A lily. Possessed of that strange, ominous calm of sentient vegetable, like one of those cobra-headed, funereal lilies whose white sheaths are curled out of flesh as thick and tensely yielding to the touch as vellum. When I said that I would marry him, not one muscle in his face stirred, but he let out a long, extinguished sigh. I thought: Oh! how he must want me! And it was as though the imponderable weight of his desire was a force I might not withstand, not by virtue of its violence, but because of its very gravity...and I began to shudder, like a race horse before a race, yet also with a kind of fear, for I felt both a strange, impersonal arousal at the thought of love and at the same time a repugnance I could not stifle for his white, heavy flesh that had too much in common with the armfuls of arum lilies that filled my bedroom in great glass jars, those undertakers' lilies with the heavy pollen that powders your fingers as if you had dipped them in turmeric. The lilies I always associate with him; that are white. And stain you.

That life and this. This life. That life. The one beneath is drawn in solid lines and bold strokes; it is a picture drawn in permanence with ink. It’s a tattoo. Indelible. The one on top of it is sketched on vellum in soft brushes of charcoal, easily smudged. It covers the one beneath, but can’t hide it. That life. This life. It looks as if you can have both. I mean, they’re both right there, one on top of the other, and it looks as if they’ll blend. But they never will. So, you take this thing. You take this thing you want, and you put it in a box and you close the lid. You can let your fingers trace the cracks, the places where the light gets in, the dark gets out, but the lid stays on. You don’t look inside. You don’t look at this thing you want so much, because you can. Not. Have. It. So there’s this box, you know, with the thing inside, and you could throw it away or bury it or shoot it into space; you could set it on fire and watch it burn to ashes, but really, none of that would make a difference, because you cannot destroy what you want. It only makes you want it more. So. You take this thing you want and you put it in a box and you close the lid. And you hold the box close to your heart, which is where it wants to go, and you pretend it doesn’t kill you every time you feel yourself breathe.

The story we are told of women is not this one. The story of women is the story of love, of foundering into another. A slight deviation: longing to founder and being unable to. Being left alone in the foundering, and taking things into one's own hands: rat poison, the wheels of a Russian train. Even the smoother and gentler story is still just a modified version of the above. In the demotic, in the key of bougie, it's the promise of love in old age for all the good girls of the world. Hilarious ancient bodies at bath time, husband's palsied hands soaping wife's withered dugs, erection popping out of the bubbles like a pink periscope. I see you! There would be long, hobbledy walks under the plane trees, stories told by a single sideways glance, one word sufficing. Anthill, he'd say; Martini! she'd say; and the thick swim of the old joke would return to them. The laughter, the beautiful reverberations. Then the bleary toddling on to an early-bird dinner, snoozing through a movie hand in hand. Their bodies like knobby sticks wrapped in vellum. One laying the other on the deathbed, feeding the overdose, dying the day after, all heart gone out of the world with the beloved breath. Oh, companionship. Oh, romance. Oh, completion. Forgive her if she believed this would be the way it would go. She had been led to this conclusion by forces greater than she. Conquers all! All you need is! Is a many-splendored thing! Surrender to! Like corn rammed down goose necks, this shit they'd swallowed since they were barely old enough to dress themselves in tulle. The way the old story goes, woman needs an other to complete her circuits, to flick her to fullest blazing.

But merian, so often able to slide by the rules somehow, held on to her specialised tools: her book of notes, her paints, her expensive vellum--carta non nata, skin from unborn lambs, that held the color like nothing else. She brought her mixing materials and pigments.

The only thing intact is a vellum scroll.

That night, after Vespers, this nameless monk sat by precious candle-light, staring at the psalms written so carefully on the vellum. Then he dipped his quill in ink and drew the very first musical note.

Although we refer to the magical ‘books’ of Ancient Egypt, these were in fact scrolls, more often lengths of papyrus stuck together and rolled up, but occasionally parchments of calf vellum. These books were regarded as extremely esoteric, and certainly not for the eyes of common people. Some were said to have been found in secret places, such as forgotten tombs and hidden caskets, and to record the actual words of Thoth or legendary sages and priests. It is likely that the priests considered their own magic to be most effective and sacred, and they kept their knowledge secret in order to make themselves appear more powerful in the eyes of less priveleged individuals. They often wrote down their spells in a kind of code, referring to their ingredients by alternative names in order to confuse any unintiated person who might try to read them.

I wrote my histories and observations. I captured my thoughts and ideas and memories in words on vellum and paper. So much I stored, and thought it was mine. I believed that by fixing it down in words, I could force sense from all that had happened, that effect would follow cause, and the reason for each event come clear to me. Perhaps I sought to justify myself, not just all I had done, but who I had become. For years, I wrote faithfully nearly every evening, carefully explaining my world and my life to myself.

Patience’s own books were a far more eclectic and battered collection. There was a book on horseshoeing and smithing, with notes in Patience’s hand about her own experiments. There were books on butterflies and birds and famous highwaymen and legends of sea monsters. There was an old vellum on the managing of pecksies and how to bind them so that they must do all your housework, and a set of little scrolls on distilling and flavoring spirits. There were three old tablets, much worn, on ways a woman might make herself fecund. But

Books were everywhere, lined neatly on shelves that went from floor to ceiling. The ceiling was two stories high, with an upper balcony that provided access to a second-floor gallery. The dazzling array f red, gold, green, and brown bindings was a feast for the eyes, while the wonderful smells of vellum, parchment, and pungent leather almost caused Amanda to salivate. An exquisite waft of tea leaves lingered in the air. For anyone who enjoyed the pursuit of reading, this place surely was paradise.

Books were everywhere, lined neatly on shelves that went from floor to ceiling. The ceiling was two stories high, with an upper balcony that provided access to a second-floor gallery. The dazzling array of red, gold, green, and brown bindings was a feast for the eyes, while the wonderful smells of vellum, parchment, and pungent leather almost caused Amanda to salivate. An exquisite waft of tea leaves lingered in the air. For anyone who enjoyed the pursuit of reading, this place surely was paradise.

You’re worrying again, aren’t you?” Luca said. Cass had been sitting on a bench in Octavia’s garden, watching the roses shed their petals with each brisk breeze. She hadn’t even heard him approach. He handed her a rolled piece of vellum, its red wax stamp broken across the middle. “What is it?” she asked eagerly. She unrolled the vellum and began to read. It was from His Holiness, the pope, and started out with a lengthy paragraph about what the Bible says regarding heresy. Cass’s eyes began to glaze over. “Skip to the bottom,” Luca said with a grin. “To the part where we’re both given a full papal pardon.

people of Wales gave Princess Elizabeth a child-sized, two-storey thatched cottage for her sixth birthday. Called ‘Y Bwthyn Bach’, this was no mere Wendy house, but a work of art as remarkable as Queen Mary’s Dolls’ House.IV With electricity and plumbing, it included a working wireless, the complete works of Beatrix Potter in miniature, an oil painting of the Duchess, personalized bed linen, a ship with Elizabeth’s crest on the vellum sail and a Lilliputian deed of gift from the Lord Mayor of Cardiff to ‘HRH Princess Elizabeth of York, hereinafter called the donee…’31

deluge of vellum and

The Tin Man Full of Bees" The spell erupts in wings—        glass-backed, a crownish    vellum, veins that tickle as they climb their way.        They charge, these chevrons,    motor-fuzzed, from the heart— or the chasm where the heart        would be if I were made    of meat instead of metal. I once loved a forest girl        who kissed me with a twister    in her lips, and god it felt like this. Counter-        clockwise, the opposite    of time. I am a hive: slip-stitch hornets, bumbles, sweats        and queens. Their stripes    the color of a morning fruit that sings as its citrus        bites. Gnaws and strikes, out my pipe. Once again—        by the witch’s wish—    in the hum I come alive. Sarah Crossland, 32 Poems. Volume 11 | Number 1 | Spring/Summer 2013  

On the back stair, poised and frankly amused, was a young gallant of medium height, sturdily built and fashionably clad, vividly handsome and girded with a sword. The sword, however, was sheathed in white vellum, the left hand was naked of rings, and the shoulder-length hair was the color of midnight. One step farther up stood a slender page-boy, with a tiger lily and a hyacinth tucked behind one translucent ear.

Even after he rolls off and walks away, I still feel him. I fear I always will. His cum leaks out, a trickle of violence that scalds the vellum-thin skin inside my thighs.

jewellery and enamel work in the ornate lettering and decoration, making the Lindisfarne Gospels an important example of early English art. The eighth-century Book of Kells, another monastic masterpiece, is on permanent view at Trinity College, Dublin – though only one page a day, so you may want to make several visits. Its 680 pages (just sixty have gone missing over the years) are exquisitely decorated, justifying perhaps the sacrifice of the 185 calves whose skins produced the vellum on which the text is written and illustrated.

I, Satampra Zeiros of Uzuldaroum, shall write with my left hand, since I have no longer any other, the tale of everything that befell Tirouv Ompallios and myself in the shrine of the god Tsathoggua, which lies neglected by the worship of man in the jungle-taken suburbs of Commoriom, that long-deserted capital of the Hyperborean rulers. I shall write it with the violet juice of the suvana-palm, which turns to a blood-red rubric with the passage of years, on a strong vellum that is made from the skin of the mastodon, as a warning to all good thieves and adventurers who may hear some lying legend of the lost treasures of Commoriom and be tempted thereby.

It was a book, bound in heavy brown leather with thick vellum pages. It was the summoner’s book!

Scrolls and sketches, paper and vellum in tidy stacks rested where she had left them. All her research and writing waited by the fireplace. The impulse to burn it all was gone. That had been last night’s pit of despair, a tarry darkness so deep that she had not even had the energy to feed the papers to the flames. Cold daylight revealed that as a foolish vanity, the childish tantrum of “look what you made me do!” What had Rapskal and the other keepers done to her? Nothing except make her look at the truth of her life. Setting fire to her work would not have proved anything except that she wished to make them feel bad. Her mouth trembled for a moment and then set in a very strange smile. Ah, that temptation lingered; make them all hurt as she did! But they wouldn’t. They wouldn’t understand what she had destroyed. Besides, it was not worth the effort to go knock on a door and borrow coals from one of the keepers. No. Leave them there. Let them find this monument to what she had been, a woman made of paper and ink and pretense.

- Come Inanna, enter, Neti said to her, and as Inanna entered the first gate, the sugurra, crown of the steppe, was taken from her head. - What is this? asked Inanna - Quiet, Inanna, she was told. The customs of the city of the dead are perfect. They may not be questioned.

Come Neti, my chief keeper of the gates of Kur, and listen carefully to what I say: Lock up and bolt the seven gates of Kur, then, one by one, open each gate and let Innana enter through the crack. Bring her down. But as she enters, take her regal costume from her, take the crown, the necklace, and the beads that fall across her breast, the golden breastplate on her chest, the bracelet and the rod and line. Strip her of everything, even the royal robe, and let the holy priestess of the earth, the queen of heaven, enter here bowed low.

This is why museums are so wonderful: walking around, observing mankind's joyride from slime to WiFi, you see incredible ironwork, inspirational pottery, fabulous vellums, and exquisite paintings, and - across these disciplines- tons of fruity historical humping. Men fucking men, men fucking women, men going down on women, women pleasuring themselves - it's all there. Every conceivable manifestation of human sexuality, in clay and stone and ocher and gold.

I was breathing life into the book through my hand, and the book was breathing back out through me into the world. And what was a book but leather? And what was leather but animal skin? And what was paper but a tree, and vellum but lamb? And what was I but an idea?

He turned around to look at the house. Elspeth was behind one of the vellum-covered windows. Did she wonder where he was? If it had been high summer and the windows left uncovered to let in a breeze, would she have peeked out at him as he stood on the shoal, naked as God made him? He soaped up his groin. Just the thought that Elspeth might spy on him at his bath made part of him happier than it ought to be, considering the temperature.

Agreeable hints of tobacco, ink, and book dust spiced the air, overlaying the sweetness of vellum and parchment.

No one can say exactly when the process of combining the different historical, legendary, and mythic elements into a Volsung cycle began, but it was probably at an early date. By the ninth century the legends of the Gothic Jormunrek and those of the destruction of the Burgundians had already been linked in Scandinavia, where the ninth-century “Lay of Ragnar” by the poet Bragi the Old treats both subjects. Bragi’s poem describes a shield on which a picture of the maiming of Jormunrek was either painted or carved and refers to the brothers Hamdir and Sorli from the Gothic section of the saga as “kinsmen of Gjuki,” the Burgundian father of King Gunnar. The “Lay of Ragnar” has other connections with the Volsung legend. The thirteenth-century Icelandic writer Snorri Sturluson identifies the central figure of the lay, whose gift inspired the poem in his honor, with Ragnar Hairy Breeches, a supposed ancestor of the Ynglings, Norway’s royal family. Ragnar’s son-in-law relationship to Sigurd through his marriage to Sigurd’s daughter Aslaug (mentioned earlier in connection with stave church carvings) is reflected in the sequence of texts in the vellum manuscript: The Saga of the Volsungs immediately precedes The Saga of Ragnar Lodbrok. Ragnar’s saga, in turn, is followed by Krákumál (Lay of the Raven), Ragnar’s death poem, in which Ragnar, thrown into the snakepit by the Anglo-Saxon King Ella, boasts that he will die laughing. The Volsung and Ragnar stories are further linked by internal textual references. It is likely that the The Saga of the Volsungs was purposely set first in the manuscript to serve as a prelude to the Ragnar material. The opening section of Ragnar’s saga may originally have been the ending of The Saga of the Volsungs. Just where the division between these two sagas occurs in the manuscript is unclear. Together these narratives chronicle the ancestry of the Ynglings—the legendary line (through Sigurd and Ragnar) and the divine one (through Odin). Such links to Odin, or Wotan, were common among northern dynasties; by tracing their ancestry through Sigurd, later Norwegian kings availed themselves of one of the greatest heroes in northern lore. In so doing, they probably helped to preserve the story for us.” (Jesse Byock)

Squeezed in as much Karateka work (vellum-tracing) as I could today. (I love stealing forbidden minutes to work on something; it makes it more alluring, makes me think about it and long to get back to it even when I’m doing other things.)

In my youth . . . my sacred youth . . . in eaves sole sparowe sat not more alone than I . . . in my youth, my saucer-deep youth, when I possessed a mirror and both a morning and an evening comb . . . in my youth, my pimpled, shame-faced, sugared youth, when I dreamed myself a fornicator and a poet; when life seemed to be ahead somewhere like a land o’ lakes vacation cottage, and I was pure tumescence, all seed, afloat like fuzz among the butterflies and bees; when I was the bursting pod of a fall weed; when I was the hum of sperm in the autumn air, the blue of it like watered silk, vellum to which I came in a soft cloud; O minstrel galleons of Carib fire, I sang then, knowing naught, clinging to the tall slim wheatweed which lay in a purple haze along the highway like a cotton star . . . in my fumbling, lubricious, my uticated youth, when a full bosom and a fine round line of Keats, Hart Crane, or Yeats produced in me the same effect—a moan throughout my molecules—in my limeade time, my uncorked innocence, my jellybelly days, when I repeated Olio de Oliva like a tenor; then I would touch the page in wonder as though it were a woman, as though I were blind in my bed, in the black backseat, behind the dark barn, the dim weekend tent, last dance, date's door, reaching the knee by the second feature, possibly the thigh, my finger an urgent emissary from my penis, alas as far away as Peking or Bangkok, so I took my heart in my hand, O my love, O my love, I sighed, O Christina, Italian rose; my inflated flesh yearning to press against that flesh becoming Word—a word—words which were wet and warm and responsive as a roaming tongue; and her hair was red, long, in ringlets, kiss me, love me up, she said in my anxious oral ear; I read: Milton! thou shouldst be living at this hour; for I had oodles of needs, if England didn't; I was nothing but skin, pulp, and pit, in my grapevine time, during the hard-on priesthood of the poet; because then—in my unclean, foreskinned, and prurient youth—I devoutly believed in Later Life, in Passion, in Poetry, the way I thought only fools felt about God, prayer, heaven, foreknowledge, sin; for what was a poem if not a divine petition, a holy plea, a prophecy:

In my youth . . . my sacred youth . . . in eaves sole sparowe sat not more alone than I . . . in my youth, my saucer-deep youth, when I possessed a mirror and both a morning and an evening comb . . . in my youth, my pimpled, shame-faced, sugared youth, when I dreamed myself a fornicator and a poet; when life seemed to be ahead somewhere like a land o’ lakes vacation cottage, and I was pure tumescence, all seed, afloat like fuzz among the butterflies and bees; when I was the bursting pod of a fall weed; when I was the hum of sperm in the autumn air, the blue of it like watered silk, vellum to which I came in a soft cloud; O minstrel galleons of Carib fire, I sang then, knowing naught, clinging to the tall slim wheatweed which lay in a purple haze along the highway like a cotton star . . . in my fumbling, lubricious, my uticated youth, when a full bosom and a fine round line of Keats, Hart Crane, or Yeats produced in me the same effect—a moan throughout my molecules—in my limeade time, my uncorked innocence, my jellybelly days, when I repeated Olio de Oliva like a tenor; then I would touch the page in wonder as though it were a woman, as though I were blind in my bed, in the black backseat, behind the dark barn, the dim weekend tent, last dance, date's door, reaching the knee by the second feature, possibly the thigh, my finger an urgent emissary from my penis, alas as far away as Peking or Bangkok, so I took my heart in my hand, O my love, O my love, I sighed, O Christina, Italian rose; my inflated flesh yearning to press against that flesh becoming Word—a word—words which were wet and warm and responsive as a roaming tongue; and her hair was red, long, in ringlets, kiss me, love me up, she said in my anxious oral ear; I read: Milton! thou shouldst be living at this hour; for I had oodles of needs, if England didn't; I was nothing but skin, pulp, and pit, in my grapevine time, during the hard-on priesthood of the poet; because then—in my unclean, foreskinned, and prurient youth—I devoutly believed in Later Life, in Passion, in Poetry, the way I thought only fools felt about God, prayer, heaven, foreknowledge, sin; for what was a poem if not a divine petition, a holy plea, a prophecy: [...] a stranger among strangers, myself the strangest because I could never bring myself to enter adolescence, but kept it about like a bit of lunch you think you may eat later, and later come upon at the bottom of a bag, dry as dust, at the back of the refrigerator, bearded with mold, or caked like sperm in the sock you've fucked, so that gingerly, then, you throw the mess out, averting your eyes, just as Rainer complained he never had a childhood—what luck!—never to have suffered birthpang, nightfear, cradlecap, lake in your lung; never to have practiced scales or sat numb before the dentist's hum or picked your mother up from the floor she's bled and wept and puked on; never to have been invaded by a tick, sucked by a leech, bitten by a spider, stung by a bee, slimed on by a slug, seared by a hot pan, or by paper or acquaintance cut, by father cuffed; never to have been lost in a crowd or store or parking lot or left by a lover without a word or arrogantly lied to or outrageously betrayed—really what luck!—never to have had a nickel roll with slow deliberation down a grate, a balloon burst, toy break; never to have skinned a knee, bruised a friendship, broken trust; never to have had to conjugate, keep quiet, tidy, bathe; to have lost the chance to be hollered at, bullied, beat up (being nothing, indeed, to have no death), and not to have had an earache, life's lessons to learn, or sums to add reluctantly right up to their bitter miscalculated end—what sublime good fortune, the Greek poet suggested—because Nature is not accustomed to life yet; it is too new, too incidental, this shiver in the stone, never altogether, and would just as soon (as Culp prefers to say) cancer it; erase, strike, stamp it out— [...]

We were always surrounded by books and words and poetry, all the fierce passions of the world bound in leather and vellum. (I blame this in part for what happened.)

We were always surrounded by books and words and poetry, all the fierce passion of the world bound in leather and vellum.

It was the so-called "vitriolic" ink, which is said to have "corroded the delicate leaves of the papyrus and to have eaten through both parchment and vellum.

Red ink made of vermilion (a composition of mercury, sulphur and potash) and cinnabar (native mercuric sulphide) were employed in the writing of the titles as was blue ink made of indigo, cobalt or oxide of copper. Tyrian purple was used for coloring the parchment or vellum.

The corresponding metaphor, synecdoche, or metonymy, in another language will often be justly chargeable with obscurity and impropriety, perhaps even with absurdity. … {metonymy - sail vs vellum - for ship} … These tropes therefore are of a mixed nature. At the same time that they bear a reference to the primitive signification, they derive from their customary application to the figurative sense, that is, in other words, from the use of the language, somewhat of the nature of proper terms.

So what if it’s Achilles’ mother who can have a son that’s greater than its father? What if it’s Io, too? What if it’s any girl, every girl? Any woman? Every woman, Anna. Sure and can’t any son be greater than his father? Isn’t that what it’s all about, what makes us all go on? Ye can’t look at the sheer bloody-minded defiance of a wee babe screaming its lungs out at the terrible injustice of the world and not have hope. Every generation of us, all born kicking up a racket, revels every one of us. So who’s the son— the child— that’s greater than its father? I’ll tell ye who it is, Anna. Humanity.

Dreams aren’t real? I say they walk among us, whispering in our ears all their sweet promises and threats, carried in our heads, mind-words, maggots eating at our dead souls. Dreams, memes, gods and monsters, creatures of the id. If they aren’t real then what the hell am I?

Maybe there’s no secret essence inside me or you or them or anybody, nothing except what we choose for ourselves. No fate, no future, no past... except what we choose. No slaves and masters for the soul, only whores and politicians.