Voyage Of Despair Quotes

Like them you are tall and taciturn, and you are sad, all at once, like a voyage.

A song of despair The memory of you emerges from the night around me. The river mingles its stubborn lament with the sea. Deserted like the dwarves at dawn. It is the hour of departure, oh deserted one! Cold flower heads are raining over my heart. Oh pit of debris, fierce cave of the shipwrecked. In you the wars and the flights accumulated. From you the wings of the song birds rose. You swallowed everything, like distance. Like the sea, like time. In you everything sank! It was the happy hour of assault and the kiss. The hour of the spell that blazed like a lighthouse. Pilot's dread, fury of blind driver, turbulent drunkenness of love, in you everything sank! In the childhood of mist my soul, winged and wounded. Lost discoverer, in you everything sank! You girdled sorrow, you clung to desire, sadness stunned you, in you everything sank! I made the wall of shadow draw back, beyond desire and act, I walked on. Oh flesh, my own flesh, woman whom I loved and lost, I summon you in the moist hour, I raise my song to you. Like a jar you housed infinite tenderness. and the infinite oblivion shattered you like a jar. There was the black solitude of the islands, and there, woman of love, your arms took me in. There was thirst and hunger, and you were the fruit. There were grief and ruins, and you were the miracle. Ah woman, I do not know how you could contain me in the earth of your soul, in the cross of your arms! How terrible and brief my desire was to you! How difficult and drunken, how tensed and avid. Cemetery of kisses, there is still fire in your tombs, still the fruited boughs burn, pecked at by birds. Oh the bitten mouth, oh the kissed limbs, oh the hungering teeth, oh the entwined bodies. Oh the mad coupling of hope and force in which we merged and despaired. And the tenderness, light as water and as flour. And the word scarcely begun on the lips. This was my destiny and in it was my voyage of my longing, and in it my longing fell, in you everything sank! Oh pit of debris, everything fell into you, what sorrow did you not express, in what sorrow are you not drowned! From billow to billow you still called and sang. Standing like a sailor in the prow of a vessel. You still flowered in songs, you still brike the currents. Oh pit of debris, open and bitter well. Pale blind diver, luckless slinger, lost discoverer, in you everything sank! It is the hour of departure, the hard cold hour which the night fastens to all the timetables. The rustling belt of the sea girdles the shore. Cold stars heave up, black birds migrate. Deserted like the wharves at dawn. Only tremulous shadow twists in my hands. Oh farther than everything. Oh farther than everything. It is the hour of departure. Oh abandoned one!

This was my destiny and in it was the voyage of my longing, and in it my longing fell, in you everything sank!

The pleasure (quite new to him) of being liked and, still more, of liking other people, was what kept Eustace from despair. For it was very dreary being a dragon.

Survive this voyage. And once you do, find another soul in despair.

Please Aslan, before we go, will you tell us when we can come back to Narnia again? Please. And oh, do, do, do, make it soon." "Dearest," said Aslan very gently, "you and your brother will never come back to Narnia." "Oh, Aslan!!" said Edmund and Lucy both together in despairing voices. "You are too old, children," said Aslan, "and you must begin to come close to your own world now." "It isn't Narnia, you know," sobbed Lucy. "It's you. We shan't meet you there. And how can we live, never meeting you?" "But you shall meet me, dear one," said Aslan. "Are — are you there too, Sir?" said Edmund. "I am," said Aslan. "But there I have another name. You must learn to know me by that name. This was the very reason why you were brought to Narnia, that by knowing me here for a little, you may know me better there.

 XII Para Mi Corazon (Your Breast is Enough)" Your breast is enough for my heart, and my wings for your freedom. What was sleeping above your soul will rise out of my mouth to heaven. In you is the illusion of each day. You arrive like the dew to the cupped flowers. You undermine the horizon with your absence. Eternally in flight like the wave. I have said that you sang in the wind like the pines and like the masts. Like them you are tall and taciturn, and you are sad, all at once, like a voyage. You gather things to you like an old road. You are peopled with echoes and nostalgic voices. I awoke and at times birds fled and migrated that had been sleeping in your soul.

This is life. Learning to love through loss. Seeking warm pockets in the bitter cold. Finding the worth of a smile on a cloudy day. Carrying the weight of the world on weary shoulders—mistakes, sins, injustices—added upon daily. Enduring burdens that spur greater strength. This is life. Sorting through layers of expressions staring you straight in the eye. A battle to be right when wrong, to be good when bad, to be content when in need, and to laugh when tearing up. This is life. Valuing things of no worth. Reevaluating dreams. Laboring ceaselessly against the current. Seeing less, wanting more, having enough. This is life. Chasing the moon when the sun would extend its warmth. Slapping the hand that would offer a gentle caress. Cowering at personal, monstrous shadows. Giving and taking in unbalanced weights. Diminishing the majesty of mountains in order to form our own lowly hills. Hoping for more than we deserve. This is life. Hurting. Despairing. Losing. Weeping. Suffering. Laboring. Sinking. Mourning. Appreciating with greater capacity and sincerity a learned knowledge that these adversities do have their opposites. This is life. A taste. A revelation. A banishment. A mercy. A test. An experience. A turbulent sea-voyage that shall assuredly reach the unseen shore, making seasoned sailors of us all. This is life.

Pascal, in one of his gloomier pensées, gave it as his opinion that all our miseries stemmed from a single cause: our inability to remain quietly in a room. Why, he asked, must a man with sufficient to live on feel drawn to divert himself on long sea voyages? To dwell in another town? To go off in search of a peppercorn? Or go off to war and break skulls? Later, on further reflection, having discovered the cause of our misfortunes, he wished to understand the reason for them, he found one very good reason: namely, the natural unhappiness of our weak mortal condition; so unhappy that when we gave to it all our attention, nothing could console us. One thing alone could alleviate our despair, and that was ‘distraction’ (divertissement): yet this was the worst of our misfortunes, for in distraction we were prevented from thinking about ourselves and were gradually brought to ruin.

Alice.” I hesitated. “What do I do now?” “Forgive yourself,” she said. “Then use this grace to spread my spirit.” “How do I do that?” “Survive this voyage. And once you do, find another soul in despair. And help them.

I have said that you sang in the wind like the pines and like the masts. Like them you are tall and taciturn, and you are sad, all at once, like a voyage. You gather things to you like an old road. You are peopled with echoes and nostalgic voices. I awoke and at times birds fled and migrated that had been sleeping in your soul.

His mind, grooved through the uncounted ages to ultimate despair, soared up insanely. His legs and arms glistened like tongues of living fire as they writhed and twisted in the light that blazed from the portholes. His mouth, a gash in his caricature of a human head, slavered a white frost that floated away in little frozen globules.

It is precisely the sort of thing I am always trying to do in my writing – to present my unhappy reader with a wide-ranged chaos – of actions and reactions, thoughts, memories and feelings – in the vain hope that at the end he will see that the whole thing represents only one moment, one feeling, one person. A raging, trumpeting jungle of associations, and then I announce at the end of it, with a gesture of despair, 'This is I!

Brian Doyle about the Irish custom of “taking to the bed.” He says “In Irish culture, taking to the bed with a gray heart is not considered especially odd. People did and do it for understandable reasons—ill health, or the black dog, or, most horrifyingly, to die during An Gorta Mor, the great hunger, when whole families took to their beds to slowly starve…And in our time: I know a woman who took to her bed for a week after September eleventh, and people who have taken to their beds for days on end to recover from shattered love affairs, the death of a child, a physical injury that heals far faster than the psychic wound gaping under it. I’ve done it myself twice, once as a youth and once as a man, to think through a troubled time in my marriage. Something about the rectangularity of the bed, perhaps, or supinity, or silence, or timelessness; for when you are in bed but not asleep there is no time, as lovers and insomniacs know. Yet, anxious, heartsick, we take to the bed, saddled by despair and dissonance and disease, riddled by muddledness and madness, rattled by malaise and misadventure, and in the ancient culture of my forbears this was not so unusual….For from the bed we came and to it we shall return, and our nightly voyages there are nutritious and restorative, and we have taken to our beds for a thousand other reasons, loved and argued and eater and seethed there, and sang and sobbed and suckled, and burned with fevers and visions and lust, and huddled and howled and curled and prayed. As children we all, every one of us, pretended the bed was a boat; so now, when we are so patently and persistently and daily at sea, why not seek a ship? p. 119-20 Brian Doyle in The Wet Engine: Exploring the Mad Wild Miracle of the Heart, p. 90-91

Stop it,” came Eustace’s voice, squeaky with fright and bad temper. “It’s some silly trick you two are playing. Stop it. I’ll tell Alberta--Ow!” The other two were much more accustomed to adventures, but, just exactly as Eustace Clarence said “Ow,” they both said “Ow” too. The reason was that a great cold, salt splash had broken right out of the frame and they were breathless from the smack of it, besides being wet through. “I’ll smash the rotten thing,” cried Eustace; and then several things happened at the same time. Eustace rushed toward the picture. Edmund, who knew something about magic, sprang after him, warning him to look out and not to be a fool. Lucy grabbed at him from the other side and was dragged forward. And by this time either they had grown much smaller or the picture had grown bigger. Eustace jumped to try to pull it off the wall and found himself standing on the frame; in front of him was not glass but real sea, and wind and waves rushing up to the frame as they might to a rock. He lost his head and clutched at the other two who had jumped up beside him. There was a second of struggling and shouting, and just as they thought they had got their balance a great blue roller surged up round them, swept them off their feet, and drew them down into the sea. Eustace’s despairing cry suddenly ended as the water got into his mouth. Lucy thanked her stars that she had worked hard at her swimming last summer term. It is true that she would have got on much better if she had used a slower stroke, and also that the water felt a great deal colder than it had looked while it was only a picture. Still, she kept her head and kicked her shoes off, as everyone ought to do who falls into deep water in their clothes. She even kept her mouth shut and her eyes open. They were still quite near the ship; she saw its green side towering high above them, and people looking at her from the deck. Then, as one might have expected, Eustace clutched at her in a panic and down they both went.

Will you tell us how to get into your country from our world?” “I shall be telling you all the time,” said Aslan. “But I will not tell you how long or short the way will be; only that it lies across a river. But do not fear that, for I am the great Bridge Builder. And now come; I will open the door in the sky and send you to your own land.” “Please, Aslan,” said Lucy. “Before we go, will you tell us when we can come back to Narnia again? Please. And oh, do, do, do make it soon.” “Dearest,” said Aslan very gently, “you and your brother will never come back to Narnia.” “Oh, Aslan!” said Edmund and Lucy both together in despairing voices. “You are too old, children,” said Aslan, “and you must begin to come close to your own world now.” “It isn’t Narnia, you know,” sobbed Lucy. “It’s you. We shan’t meet you there. And how can we live, never meeting you?” “But you shall meet me, dear one,” said Aslan. “Are--are you there too, Sir?” said Edmund. “I am,” said Aslan. “But there I have another name. You must learn to know me by that name. This was the very reason why you were brought to Narnia, that by knowing me here for a little, you may know me better there.

The Lord will perfect that which concerneth me." Psalm 138:8 Most manifestly the confidence which the Psalmist here expressed was a divine confidence. He did not say, "I have grace enough to perfect that which concerneth me--my faith is so steady that it will not stagger--my love is so warm that it will never grow cold--my resolution is so firm that nothing can move it"; no, his dependence was on the Lord alone. If we indulge in any confidence which is not grounded on the Rock of Ages, our confidence is worse than a dream, it will fall upon us, and cover us with its ruins, to our sorrow and confusion. All that Nature spins time will unravel, to the eternal confusion of all who are clothed therein. The Psalmist was wise, he rested upon nothing short of the Lord's work. It is the Lord who has begun the good work within us; it is he who has carried it on; and if he does not finish it, it never will be complete. If there be one stitch in the celestial garment of our righteousness which we are to insert ourselves, then we are lost; but this is our confidence, the Lord who began will perfect. He has done it all, must do it all, and will do it all. Our confidence must not be in what we have done, nor in what we have resolved to do, but entirely in what the Lord will do. Unbelief insinuates--"You will never be able to stand. Look at the evil of your heart, you can never conquer sin; remember the sinful pleasures and temptations of the world that beset you, you will be certainly allured by them and led astray." Ah! yes, we should indeed perish if left to our own strength. If we had alone to navigate our frail vessels over so rough a sea, we might well give up the voyage in despair; but, thanks be to God, he will perfect that which concerneth us, and bring us to the desired haven. We can never be too confident when we confide in him alone, and never too much concerned to have such a trust.

God of goodness, what causes man to be more delighted by the salvation of a soul who is despaired of but is then liberated from great danger than if there has always been hope or if the danger has only been minor? You also, merciful Father, rejoice 'more over one penitent than over ninety-nine just persons who need no penitence' (Luke 15:4). We too experience great pleasure when we hear how the shepherd's shoulders exult when they carry the lost sheep, and as we listen to the story of the drachma restored to your treasuries while the neighbors rejoice with the woman who found it. Tears flow at the joy of solemnities of your house (Ps. 25:8) when in your house the story is read of your younger son 'who was dead and is alive again, was lost and has been found' (Luke 15:32). You rejoice indeed in us and in your angels who are holy in holy love...What then is it in the soul which causes it to take more pleasure in things which it loves when they are found and recovered than if it has always had them? There are other examples which attest to this fact, and everyday life is full of instances where the evidence cries out 'That is the case.' A victorious emperor celebrates a triumph. He would not have conquered if he had not fought. The greater the danger in battle, the greater the joy in the triumph. A storm throws people about on a voyage and threatens shipwreck. All grow pale at the imminence of death. Sky and sea become calm, and the relief is great because the fear has been great...The same phenomenon appears in acts which are demeaning and execrable, in acts which are allowed and lawful, in the sincerest expressions of honorable friendship, and in the case of the one 'who was dead and is alive again, was lost and is found' (Luke 15:32). In every case the joy is greater, the worse the pain which has preceded it. Why is this, Lord my God?... Why is it that this part of your creation alternates between regress and progress, between hostilities and reconciliations? Or is it that a restriction is placed on them, a limit you have imposed, when 'from the highest of heaven' (Ps. 112:4) down to the lowest things on earth, from the beginning to the end of the ages, from an angel down to a worm, from the first movement down to the last, you have assigned to it its proper place and time all kinds of good things and all your just works?

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

SCENE 24 “Tiens, Ti Jean, donne ce plat la a Shammy,” my father is saying to me, turning from the open storage room door with a white tin pan. “Here, Ti Jean, give this pan to Shammy.” My father is standing with a peculiar French Canadian bowleggedness half up from a crouch with the pan outheld, waiting for me to take it, anxious till I do so, almost saying with his big frowning amazed face “Well my little son what are we doing in the penigillar, this strange abode, this house of life without roof be-hung on a Friday evening with a tin pan in my hand in the gloom and you in your raincoats—” “II commence a tombez de la neige” someone is shouting in the background, coming in from the door (“Snow’s startin to fall”)—my father and I stand in that immobile instant communicating telepathic thought-paralysis, suspended in the void together, understanding something that’s always already happened, wondering where we were now, joint reveries in a dumb stun in the cellar of men and smoke … as profound as Hell … as red as Hell.—I take the pan; behind him, the clutter and tragedy of old cellars and storage with its dank message of despair–mops, dolorous mops, clattering tear-stricken pails, fancy sprawfs to suck soap suds from a glass, garden drip cans–rakes leaning on meaty rock–and piles of paper and official Club equipments– It now occurs to me my father spent most of his time when I was 13 the winter of 1936, thinking about a hundred details to be done in the Club alone not to mention home and business shop–the energy of our fathers, they raised us to sit on nails– While I sat around all the time with my little diary, my Turf, my hockey games, Sunday afternoon tragic football games on the toy pooltable white chalkmarked … father and son on separate toys, the toys get less friendly when you grow up–my football games occupied me with the same seriousness of the angels–we had little time to talk to each other. In the fall of 1934 we took a grim voyage south in the rain to Rhode Island to see Time Supply win the Narragansett Special–with Old Daslin we was … a grim voyage, through exciting cities of great neons, Providence, the mist at the dim walls of great hotels, no Turkeys in the raw fog, no Roger Williams, just a trolley track gleaming in the gray rain– We drove, auguring solemnly over past performance charts, past deserted shell-like Ice Cream Dutchland Farms stands in the dank of rainy Nov.—bloop, it was the time on the road, black tar glisten-road of thirties, over foggy trees and distances, suddenly a crossroads, or just a side-in road, a house, or bam, a vista gray tearful mists over some half-in cornfield with distances of Rhode Island in the marshy ways across and the secret scent of oysters from the sea–but something dark and rog-like.— J had seen it before … Ah weary flesh, burdened with a light … that gray dark Inn on the Narragansett Road … this is the vision in my brain as I take the pan from my father and take it to Shammy, moving out of the way for LeNoire and Leo Martin to pass on the way to the office to see the book my father had (a health book with syphilitic backs)— SCENE 25 Someone ripped the pooltable cloth that night, tore it with a cue, I ran back and got my mother and she lay on it half-on-floor like a great poolshark about to take a shot under a hundred eyes only she’s got a thread in her mouth and’s sewing with the same sweet grave face you first saw in the window over my shoulder in that rain of a late Lowell afternoon. God bless the children of this picture, this bookmovie. I’m going on into the Shade.

we were a very insufficient crew for such a vessel; and if any one had proposed to us to make such a voyage in it before we had been forced to go through so many hardships from necessity, we would have turned away with pity from the individual making such proposal as from a madman. I pondered this a good deal, and at last concluded that men do not know how much they are capable of doing till they try, and that we should never give way to despair in any undertaking, however difficult it may seem—

There’s intelligence,” Quarry said slowly. “And then there are other things. But perhaps you’re too young to have seen hate and despair at close range. There’s been a deal of it in Scotland, these last ten years.” He tilted his head, surveying the new commander of Ardsmuir from his vantage point of fifteen years’ seniority. Major Grey was young, no more than twenty-six, and with a fair-complexioned face and girlish lashes that made him look still younger than his years. To compound the problem, he was an inch or two shorter than the average, and fine-boned, as well. He drew himself up straight. “I am aware of such things, Colonel,” he said evenly. Quarry was a younger son of good family, like himself, but still his superior in rank; he must keep his temper. Quarry’s bright hazel gaze rested on him in speculation. “I daresay.

Perhaps you are too young to know the power of hate and despair. Quarry’s voice spoke in Grey’s memory. He was not; he recognized them at once in the depths of Fraser’s eyes.

Grieving for their future, men and women often took their own lives. Others died when they could not maintain the feverish pace of the march. While the mortality rate of slaves during the Second Middle Passage never approached that of the transatlantic transfer, it surpassed the death rate of those who remained in the seaboard states. Over time some of the hazards of the long march abated, as slave traders - intent on the safe delivery of a valuable commodity - standardized their routes and relied more on flatboats, steamboats, and eventually railroads for transportation. The largest traders established 'jails,' where slaves could be warehoused, inspected, rehabilitated if necessary, and auctioned, sometimes to minor traders who served as middlemen in the expanding transcontinental enterprise. But while the rationalization of the slave trade may have reduced the slaves' mortality rate, it did nothing to mitigate the essential brutality or the profound alienation that accompanied separation from the physical and social moorings of home and family. ... [T]he Second Middle Passage was extraordinarily lonely, debilitating, and dispiriting. Capturing the mournful character of one southward marching coffle, an observer characterized it as 'a procession of men, women, and children resembling that of a funeral.' Indeed, with men and women dying on the march or being sold and resold, slaves became not merely commodified but cut off from nearly every human attachment. Surrendering to despair, many deportees had difficulties establishing friendships or even maintaining old ones. After a while, some simply resigned themselves to their fate, turned inward, and became reclusive, trying to protect a shred of humanity in a circumstance that denied it. Others exhibited a sort of manic glee, singing loudly and laughing conspicuously to compensate for the sad fate that had befallen them. Yet others fell into a deep depression and determined to march no further. Charles Ball, like others caught in the tide, 'longed to die, and escape from the bonds of my tormentors.' But many who survived the transcontinental trek formed strong bonds of friendships akin to those forged by shipmates on the voyage across the Atlantic. Indeed, the Second Middle Passage itself became a site for remaking African-American society. Mutual trust became a basis of resistance, which began almost simultaneously with the long march. Waiting for their first opportunity and calculating their chances carefully, a few slaves broke free and turned on their enslavers. Murder and mayhem made the Second Middle Passage almost as dangerous for traders as it was for slaves, which was why the men were chained tightly and guarded closely.

This was my destiny and in it was the voyage of my longing, and in it my longing fell, in you everything sank.

The reality of our connection is a new story for the whole of civilization, and operating from the wisdom of relatedness is a radical act. It is the stuff of peaceful revolution and lasting transformation.

Thus emboldened, you will embark on the voyage of your life, let your light shine, so to speak, on the heavenly hill, and pursue your rightful destiny. Then the meaning of your life may be sufficient to keep the corrupting influence of mortal despair at bay. Then you may be able to accept the terrible burden of the World, and find joy.

If we had alone to navigate our frail vessels over so rough a sea, we might well give up the voyage in despair; but, thanks be to God, he will perfect that which concerneth us, and bring us to the desired haven. We can never be too confident when we confide in him alone, and never too much concerned to have such a trust.

Then we entered the Straits in great fear of mind, for on the one hand was Scylla, and on the other dread Charybdis kept sucking up the salt water. As she vomited it up, it was like the water in a cauldron when it is boiling over upon a great fire, and the spray reached the top of the rocks on either side. When she began to suck again, we could see the water all inside whirling round and round, and it made a deafening sound as it broke against the rocks. We could see the bottom of the whirlpool all black with sand and mud, and the men were at their wits ends for fear. While we were taken up with this, and were expecting each moment to be our last, Scylla pounced down suddenly upon us and snatched up my six best men. I was looking at once after both ship and men, and in a moment I saw their hands and feet ever so high above me, struggling in the air as Scylla was carrying them off, and I heard them call out my name in one last despairing cry. As a fisherman, seated, spear in hand, upon some jutting rock throws bait into the water to deceive the poor little fishes, and spears them with the ox’s horn with which his spear is shod, throwing them gasping on to the land as he catches them one by one—even so did Scylla land these panting creatures on her rock and munch them up at the mouth of her den, while they screamed and stretched out their hands to me in their mortal agony. This was the most sickening sight that I saw throughout all my voyages.