Wh Quotes

I’ll love you, dear, I’ll love you Till China and Africa meet, And the river jumps over the mountain And the salmon sing in the street

Poetry might be defined as the clear expression of mixed feelings.

We must love one another or die

Among those whom I like or admire, I can find no common denominator, but among those whom I love, I can; all of them make me laugh.

A poet is, before anything else, a person who is passionately in love with language.

The stars are not wanted now: put out every one; Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood. For nothing now can ever come to any good.

He grinned. It was a wicked grin, the kind that made the blood in Clary's veins run a little faster. "You want to go on a date?" Caught off guard, she stammered. "A wh-what?" "A date," Jace repeated. "Often 'a boring thing you have to memorize in history class,' but in this case, 'an offering of an evening of blisteringly white-hot romance with yours truly." "Really?" Clary was not sure what to make of this. "Blisteringly white-hot?" "It's me," said Jace. "Watching me play Scrabble is enough to make most women swoon. Imagine if I actually put in some effort.

You owe it to all of us to get on with what you're good at.

All we are not stares back at what we are.

If equal affection cannot be, Let the more loving one be me.

The way to read a fairy tale is to throw yourself in.

Some books are undeservedly forgotten; none are undeservedly remembered.

Thank God for books as an alternative to conversation.

Whatever you do, good or bad, people will always have something negative to say

Evil is unspectacular and always human, And shares our bed and eats at our own table ....

Funeral Blues Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come. Let aeroplanes circle moaning overhead Scribbling on the sky the message He is Dead, Put crêpe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves. He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last for ever: I was wrong. The stars are not wanted now; put out every one, Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood; For nothing now can ever come to any good.

There must always be two kinds of art: escape-art, for man needs escape as he needs food and deep sleep, and parable-art, that art which shall teach man to unlearn hatred and learn love.

A real book is not one that we read, but one that reads us.

How should we like it were stars to burn With a passion for us we could not return? If equal affection cannot be, Let the more loving one be me.

When he finished, he drank from the cup. Everyone else did too, so I followed suit. And nearly choked to death. It was like fire in liquid form. It took every ounce of strength I had to swallow it and not spray it on those around me. "Wh...what is this?" I asked, coughing. Viktoria grinned. "Vodka." I peered at the glass. "No, it isn't. I've had vodka before." "Not Russian vodka." Apparently not.

The friends who met here and embraced are gone, Each to his own mistake;

The More Loving One Looking up at the stars, I know quite well That, for all they care, I can go to hell, But on earth indifference is the least We have to dread from man or beast. How should we like it were stars to burn With a passion for us we could not return? If equal affection cannot be, Let the more loving one be me. Admirer as I think I am Of stars that do not give a damn, I cannot, now I see them, say I missed one terribly all day. Were all stars to disappear or die, I should learn to look at an empty sky And feel its total dark sublime, Though this might take me a little time.

Let me see what I wrote so I know what I think

There are good books which are only for adults. There are no good books which are only for children.

The desires of the heart are as crooked as corkscrews Not to be born is the best for man The second best is a formal order The dance's pattern, dance while you can. Dance, dance, for the figure is easy The tune is catching and will not stop Dance till the stars come down from the rafters Dance, dance, dance till you drop.

We are all here on earth to help others: what on earth the others are here for, I don't know.

I will love you forever" swears the poet. I find this easy to swear too. "I will love you at 4:15 pm next Tuesday" - Is that still as easy?

A professor is one who talks in someone else's sleep.

Every man carries with him through life a mirror, as unique and impossible to get rid of as his shadow.

Another yap shook the room. Broken branches tumbled to the floor. “Wh-what’s up there?” I asked, my knees shaking. I thought about the Norns’ prophecy, naming me a harbinger of evil. “Is it—the Wolf?” “Oh, much worse,” Blitzen said. “It’s the Squirrel.

I am sure it is everyone’s experience, as it has been mine, that any discovery we make about ourselves or the meaning of life is never, like a scientific discovery, a coming upon something entirely new and unsuspected; it is rather, the coming to conscious recognition of something, which we really knew all the time but, because we were unwilling to formulate it correctly, we did not hitherto know we knew.

But once in a while the odd thing happens, Once in a while the dream comes true, And the whole pattern of life is altered, Once in a while the moon turns blue.

O stand, stand at the window As the tears scald and start; You shall love your crooked neighbour With your crooked heart.

Desire, even in its wildest tantrums, can neither persuade me it is love nor stop me from wishing it were.

And none will hear the postman’s knock Without a quickening of the heart. For who can bear to feel himself forgotten?

As I walked out one evening, Walking down Bristol Street, The crowds upon the pavement Were fields of harvest wheat. And down by the brimming river I heard a lover sing Under an arch of the railway: 'Love has no ending. 'I'll love you, dear, I'll love you Till China and Africa meet, And the river jumps over the mountain And the salmon sing in the street, 'I'll love you till the ocean Is folded and hung up to dry And the seven stars go squawking Like geese about the sky.

A person incapable of imaging another world than given to him by his senses would be subhuman, and a person who identifies his imaginary world with the world of sensory fact has become insane.

Some writers confuse authenticity, which they ought always to aim at, with originality, which they should never bother about.

Christmas and Easter can be subjects for poetry, but Good Friday, like Auschwitz, cannot. The reality is so horrible it is not surprising that people should have found it a stumbling block to faith.

It's easy to like someone from a distance. But when she stopped being this amazing unattainable thing or whatever, and started being, like, just a regular girl with a weird relationship with food and frequent crankiness wh's kind of bossy--then I had to basically start liking a whole different person.

Like love we don't know where or why Like love we cant compel or fly Like Love we often weep Like Love we seldom keep

There is a great deal of difference in believing something still, and believing it again.

Now shall I walk or shall I ride? 'Ride,' Pleasure said; 'Walk,' Joy replied.

Those who will not reason, perish in the act. Those who will not act, perish for that reason.

What is this life if, full of care, We have no time to stand and stare.

All I have is a voice.

The center that I cannot find is known to my unconscious mind.

There is no such thing as the State And no one exists alone; Hunger allows no choice To the citizen or the police; We must love one another or die.

A daydream is a meal at which images are eaten. Some of us are gourmets, some gourmands, and a good many take their images precooked out of a can and swallow them down whole, absent-mindedly and with little relish.

What is this life if, full of care, We have no time to stand and stare. No time to stand beneath the boughs And stare as long as sheep or cows. No time to see, when woods we pass, Where squirrels hide their nuts in grass. No time to see, in broad daylight, Streams full of stars, like skies at night. No time to turn at Beauty's glance, And watch her feet, how they can dance. No time to wait till her mouth can Enrich that smile her eyes began. A poor life this if, full of care, We have no time to stand and stare. - Leisure

Beloved, we are always in the wrong, Handling so clumsily our stupid lives, Suffering too little or too long, Too careful even in our selfish loves: The decorative manias we obey Die in grimaces round us every day, Yet through their tohu-bohu comes a voice Which utters an absurd command - Rejoice.

Let all your thinks be thanks.

See, there were these two guys in a lunatic asylum... and one night, one night they decide they don't like living in an asylum any more. They decide they're going to escape! So, like, they get up onto the roof, and there, just across this narrow gap, they see the rooftops of the town, stretching away in the moon light... stretching away to freedom. Now, the first guy, he jumps right across with no problem. But his friend, his friend didn't dare make the leap. Y'see... Y'see, he's afraid of falling. So then, the first guy has an idea... He says 'Hey! I have my flashlight with me! I'll shine it across the gap between the buildings. You can walk along the beam and join me!' B-but the second guy just shakes his head. He suh-says... He says 'Wh-what do you think I am? Crazy? You'd turn it off when I was half way across!

Recipe for the upbringing of a poet: 'As much neurosis as the child can bear.

I know nothing, except what everyone knows - if there when Grace dances, I should dance.

She hurries out of the hammering rain into the puddled shelter of St Pancras. As arranged, he's waiting outside WH Smith, and her heart jerks like a bad dog on a lead.

A poet's hope: to be, like some valley cheese, local, but prized elsewhere.

I smell blood and an era of prominent madmen.

The dhampir dorm appeared before me, about half its windows lit. It was near curfew; people were going to bed. I burst in through the doors, feeling like my heart was going to explode from the exertion. The first person I saw was Stan, and I nearly knocked him over. He caught my wrists to steady me. "Rose, wh—" "Strigoi," I gasped out. "There are Strigoi on campus." He stared at me, and for the first time I'd ever seen, his mouth seriously dropped open. Then, he recovered himself, and I could immediately see what he was thinking. More ghost stories. "Rose, I don't know what you're—" "I'm not crazy!" I screamed. Everyone in the dorm's lobby was staring at us. "They're out there! They're out there, and Dimitri is fighting them alone. You have to help him." What had Dimitri told me? What was that word? "Buria. He said to tell you buria." And like that, Stan was gone.

The nightingales are sobbing in The orchards of our mothers, And hearts that we broke long ago Have long been breaking others; Tears are round, the sea is deep: Roll them overboard and sleep.

Time will say nothing but I told you so, Time only knows the price we have to pay; If I could tell you I would let you know.

Lay your sleeping head, my love, Human on my faithless arm;

The Ogre does what ogres can, Deeds quite impossible for Man, But one prize is beyond his reach: The Ogre cannot master speech. About a subjugated plain, Among its desperate and slain, The Ogre stalks with hands on hips, While drivel gushes from his lips.

Until one is committed, there is hesitancy, the chance to draw back. Concerning all acts of initiative (and creation), there is one elementary truth, the ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself, then Providence moves too. All sorts of things occur to help one that would never otherwise have occurred. A whole stream of events issues from the decision, raising in one's favor all manner of unforeseen incidents and meetings and material assistance, which no man could have dreamed would have come his way. Whatever you can do, or dream you can do, begin it. Boldness has genius, power, and magic in it. Begin it now.

The sky is darkening like a stain Something is going to fall like rain And it won't be flowers

Who-who are you?" Seth asked, hesitantly."Wh-what do you want?" How else was was I supposed to reply? The words were out of my mouth before I could stop them.I mean, I'd only seen the movie like seventeen times. "I'm Luke Skywalker," I said. "I'm here to rescue you.

Mad Ireland hurt you into poetry.

Misa: Hey, Light. Wanna come sleep with me tonight? Light: Wh-what are you talking about…? Misa: Ha ha ha! Just kidding! You're saving me for after we catch Kira, right? You don't have to be shy about it! L: Yes, Light. There's no need to be shy. Light: I'm not being shy! L: No need to be so serious either

SEPTEMBER 1, 1939 I sit in one of the dives On Fifty-second Street Uncertain and afraid As the clever hopes expire Of a low dishonest decade: Waves of anger and fear Circulate over the bright And darkened lands of the earth, Obsessing our private lives; The unmentionable odour of death Offends the September night. Accurate scholarship can Unearth the whole offence From Luther until now That has driven a culture mad, Find what occurred at Linz, What huge imago made A psychopathic god: I and the public know What all schoolchildren learn, Those to whom evil is done Do evil in return. Exiled Thucydides knew All that a speech can say About Democracy, And what dictators do, The elderly rubbish they talk To an apathetic grave; Analysed all in his book, The enlightenment driven away, The habit-forming pain, Mismanagement and grief: We must suffer them all again. Into this neutral air Where blind skyscrapers use Their full height to proclaim The strength of Collective Man, Each language pours its vain Competitive excuse: But who can live for long In an euphoric dream; Out of the mirror they stare, Imperialism's face And the international wrong. Faces along the bar Cling to their average day: The lights must never go out, The music must always play, All the conventions conspire To make this fort assume The furniture of home; Lest we should see where we are, Lost in a haunted wood, Children afraid of the night Who have never been happy or good. The windiest militant trash Important Persons shout Is not so crude as our wish: What mad Nijinsky wrote About Diaghilev Is true of the normal heart; For the error bred in the bone Of each woman and each man Craves what it cannot have, Not universal love But to be loved alone. From the conservative dark Into the ethical life The dense commuters come, Repeating their morning vow; 'I will be true to the wife, I'll concentrate more on my work,' And helpless governors wake To resume their compulsory game: Who can release them now, Who can reach the dead, Who can speak for the dumb? All I have is a voice To undo the folded lie, The romantic lie in the brain Of the sensual man-in-the-street And the lie of Authority Whose buildings grope the sky: There is no such thing as the State And no one exists alone; Hunger allows no choice To the citizen or the police; We must love one another or die. Defenseless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.

Language is the mother, not the handmaiden, of thought; words will tell you things you never thought or felt before.

It was a few seconds before Cinder found her voice and she had to grip the door frame to keep standing. “Thorne?” His head jerked around. “Cinder?” “Wh—what are you—how? Where have you been? What’s going on? Why are you wearing that stupid bandanna?” He laughed. Gripping a wooden cane, he stumbled toward her, waving one hand until it landed on her shoulder. Then he was hugging her, suffocating her against his chest. “I missed you too.” “You jerk,” she hissed, even as she returned the hug. “We thought you were dead!” “Oh, please. It’d take a lot more than a satellite plummeting to Earth to kill me. Although, admittedly, Cress may have saved us that time.

Poetry makes nothing happen.

The basic stimulus to the intelligence is doubt, a feeling that the meaning of an experience is not self-evident.

To make one, there must be two.

Follow, poet, follow right To the bottom of the night, With your unconstraining voice Still persuade us to rejoice; With the farming of a verse Make a vineyard of the curse, Sing of human unsuccess In a rapture of distress; In the deserts of the heart Let the healing fountain start, In the prison of his days Teach the free man how to praise.

It is always a silly thing to give advice, but to give good advice is absolutely fatal.

My face looks like a wedding cake left out in the rain.

All I have is a voice to undo the folded lie, the romantic lie in the brain of the sensual man-in-the-street and the lie of Authority whose buildings grope the sky: There is no such thing as the State and no one exists alone; Hunger allows no choice to the citizen or the police; We must love one another or die.

We were put on this earth to make things.

Just tell me what's so irritating."(katsu) That's none of your damn business!"(kyok) Maybe not. But I'm curious."(katsu) It's EVERYTHING you prick! God, you're annoying! It's everything,okay?! EVERYTHING PISSES ME OFF! Them! And them! And them! And YOU! Everyone and everything!I HATE YOUR GODDAMN GUTS! You just...You all treat people like garbage. But you're all just as bad!QUIT TRYING TO ACT LIKE YOU'RE ALL FRIGGIN' PERFECT! Leave me alone. I wish everyone would just...go. Get out of my life. I'd be better off with YOU DEAD! DIE! DIE! GO TO HELL! YOU DISAPPEAR! YOU FALL APART!"(kyok) Really? I think you WANT them to care. You want them to look at you, don't you? All those people. You want them to need you. You want them.....to listen to you. To understand somehow. You want them to accept you. I think.... you want them to love you.You know something? I'm like that, too."(katsu) ... Wh-why? Why did I....turn out....like this?"(kyok) You're asking me?"(katsu) That's what..That's what I wanna know. Why? Why...did I..?!"(kyok) Where did she go wrong? What was her mistake? "I'm miserable. I feel so alone!"(kyok) -Katsuya and Kyoko Honda

The most exciting rhythms seem unexpected and complex, the most beautiful melodies simple and inevitable.

If you want romance, fuck a journalist.

The slogan of Hell: Eat or be eaten. The slogan of Heaven: Eat and be eaten.

Over the tea-cups and in the square the tongue has its desire; Still waters run deep, my dear, there's never smoke without fire.

Most people enjoy the sight of their own handwriting as they enjoy the smell of their own farts.

We are lived by powers we pretend to understand.

Without art, we should have no notion of the sacred; without science, we should always worship false gods.

Say this city has ten million souls, Some are living in mansions, some are living in holes: Yet there’s no place for us, my dear, yet there’s no place for us.

Drama is based on the Mistake.

Attacking bad books is not only a waste of time but also bad for the character. If I find a book really bad, the only interest I can derive from writing about it has to come from myself, from such display of intelligence, wit and malice as I can contrive. One cannot review a bad book without showing off.

Laziness acknowledges the relation of the present to the past but ignores its relation to the future; impatience acknowledge its relation to the future but ignores its relation to the past; neither the lazy nor the impatient man, that is, accepts the present instant in its full reality and so cannot love his neighbour completely.

I’m so sorry. I don’t think the etiquette manuals cover this sort of situation.” He leaned in close, his lips all but grazing her neck, and inhaled. “Mmm. You smell good, too.” She nearly choked. Took a step backwards, until her back met cold stone. “Th-thank you.” “That’s better. May I kiss you?” His finger dipped into her shirt collar, stroking the tender nape of her neck. “I d-don’t th-think that’s a good idea.” “Why not? We’re alone.” His hands were at her waist. Her lungs felt tight and much too small. “Wh-what if somebody comes in?” He considered for a moment. “Well, I suppose they’ll think I fancy grubby little boys.

Until one is committed there is hesitancy, the chance to draw back, always ineffectiveness. Concerning all acts of initative or creation, there is one elementary truth...that the moment one definitely commits oneself, then Providence moves. too. All sorts of things occur to help one that would otherwise never have occurred. A whole stream of events issues from the decision, raising in ones's favor all manner of incidents and meetings and material assistance which no man would have believed would have come his way. Whatever you think you can do or believe you can do, begin it. Action has magic, grace, and power in it.

A child's reading is guided by pleasure, but his pleasure is undifferentiated; he cannot distinguish, for example, between aesthetic pleasure and the pleasures of learning or daydreaming. In adolescence we realize that there are different kinds of pleasure, some of which cannot be enjoyed simultaneously, but we need help from others in defining them. Whether it be a matter of taste in food or taste in literature, the adolescent looks for a mentor in whose authority he can believe. He eats or reads what his mentor recommends and, inevitably, there are occasions when he has to deceive himself a little; he has to pretend that he enjoys olives or War and Peace a little more than he actually does. Between the ages of twenty and forty we are engaged in the process of discovering who we are, which involves learning the difference between accidental limitations which it is our duty to outgrow and the necessary limitations of our nature beyond which we cannot trespass with impunity. Few of us can learn this without making mistakes, without trying to become a little more of a universal man than we are permitted to be. It is during this period that a writer can most easily be led astray by another writer or by some ideology. When someone between twenty and forty says, apropos of a work of art, 'I know what I like,'he is really saying 'I have no taste of my own but accept the taste of my cultural milieu', because, between twenty and forty, the surest sign that a man has a genuine taste of his own is that he is uncertain of it. After forty, if we have not lost our authentic selves altogether, pleasure can again become what it was when we were children, the proper guide to what we should read.

Westcliff thinks that St. Vincent is in love with you.” Evie choked a little and didn’t dare look up from her tea. “Wh-why does he think that?” “He’s known St. Vincent from childhood, and can read him fairly well. And Westcliff sees an odd sort of logic in why you would finally be the one to win St. Vincent’s heart. He says a girl like you would appeal to…hmm, how did he put it?…I can’t remember the exact words, but it was something like… you would appeal to St. Vincent’s deepest, most secret fantasy.” Evie felt her cheeks flushing while a skirmish of pain and hope took place in the tired confines of her chest. She tried to respond sardonically. “I should think his fantasy is to consort with as many women as possible.” A grin crossed Lillian’s lips. “Dear, that is not St. Vincent’s fantasy, it’s his reality. And you’re probably the first sweet, decent girl he’s ever had anything to do with.

I met a lot of things on the way that astonished me. Tom Bombadil I knew already; but I had never been to Bree. Strider sitting in the corner at the inn was a shock, and I had no more idea who he was than had Frodo. The Mines of Moria had been a mere name; and of Lothloriene no word had reached my mortal ears till I came there. Far away I knew there were the Horselords on the confines of an ancient Kingdom of Men, but Fanghorn Forest was an unforeseen adventure. I had never heard of the House of Eorl nor of the Stewards of Gondor. Most disquieting of all, Saruman had never been revealed to me, and I was as mystefied as Frodo at Gandalf's failure to appear on September 22. J.R.R. Tolkien, in a letter to W.H. Auden, June 7, 1955

As readers, we remain in the nursery stage so long as we cannot distinguish between taste and judgment, so long, that is, as the only possible verdicts we can pass on a book are two: this I like; this I don't like. For an adult reader, the possible verdicts are five: I can see this is good and I like it; I can see this is good but I don't like it; I can see this is good and, though at present I don't like it, I believe that with perseverance I shall come to like it; I can see that this is trash but I like it; I can see that this is trash and I don't like it.

As I walked out one evening, Walking down Bristol Street, The crowds upon the pavement Were fields of harvest wheat. And down by the brimming river I heard a lover sing Under an arch of the railway: "Love has no ending. "I'll love you, dear, I'll love you Till China and Africa meet, And the river jumps over the mountain And the salmon sing in the street, "I'll love till the ocean Is folded and hung up to dry And the seven stars go squawking Like geese about the sky. "The years shall run like rabbits, For in my arms I hold The Flower of the Ages, And the first love of the world." But all the clocks in the city Began to whirr and chime: "O let not Time deceive you, You cannot conquer Time. "In the burrows of the Nightmare Where Justice naked is, Time watches from the shadow And coughs when you would kiss. "In headaches and in worry Vaguely life leaks away, And Time will have his fancy Tomorrow or today. "Into many a green valley Drifts the appalling snow; Time breaks the threaded dances And the diver's brilliant bow. "O plunge your hands in water, Plunge them in up to the wrist; Stare, stare in the basin And wonder what you've missed. "The glacier knocks in the cupboard, The desert sighs in the bed, And the crack in the teacup opens A lane to the land of the dead. "Where the beggars raffle the banknotes And the Giant is enchanting to Jack, And the Lily-white Boy is a Roarer, And Jill goes down on her back. "O look, look in the mirror, O look in your distress; Life remains a blessing Although you cannot bless. "O stand, stand at the window As the tears scald and start; You shall love your crooked neighbor With all your crooked heart." It was late, late in the evening, The lovers they were gone; The clocks had ceased their chiming, And the deep river ran on.

About suffering they were never wrong, The Old Masters; how well, they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer’s horse Scratches its innocent behind on a tree. In Breughel’s Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, had somewhere to get to and sailed calmly on.

Fairy tales are about trouble, about getting into and out of it, and trouble seems to be a necessary stage on the route to becoming. All the magic and glass mountains and pearls the size of houses and princesses beautiful as the day and talking birds and part-time serpents are distractions from the core of most of the stories, the struggle to survive against adversaries, to find your place in the world, and to come into your own. Fairy tales are almost always the stories of the powerless, of youngest sons, abandoned children, orphans, of humans transformed into birds and beasts or otherwise enchanted away from their own lives and selves. Even princesses are chattels to be disowned by fathers, punished by step-mothers, or claimed by princes, though they often assert themselves in between and are rarely as passive as the cartoon versions. Fairy tales are children's stories not in wh they were made for but in their focus on the early stages of life, when others have power over you and you have power over no one. In them, power is rarely the right tool for survival anyway. Rather the powerless thrive on alliances, often in the form of reciprocated acts of kindness -- from beehives that were not raided, birds that were not killed but set free or fed, old women who were saluted with respect. Kindness sewn among the meek is harvested in crisis... In Hans Christian Andersen's retelling of the old Nordic tale that begins with a stepmother, "The Wild Swans," the banished sister can only disenchant her eleven brothers -- who are swans all day look but turn human at night -- by gathering stinging nettles barehanded from churchyard graves, making them into flax, spinning them and knitting eleven long-sleeved shirts while remaining silent the whole time. If she speaks, they'll remain birds forever. In her silence, she cannot protest the crimes she accused of and nearly burned as a witch. Hauled off to a pyre as she knits the last of the shirts, she is rescued by the swans, who fly in at the last moment. As they swoop down, she throws the nettle shirts over them so that they turn into men again, all but the youngest brother, whose shirt is missing a sleeve so that he's left with one arm and one wing, eternally a swan-man. Why shirts made of graveyard nettles by bleeding fingers and silence should disenchant men turned into birds by their step-mother is a question the story doesn't need to answer. It just needs to give us compelling images of exile, loneliness, affection, and metamorphosis -- and of a heroine who nearly dies of being unable to tell her own story.