World Anvil Quotes

I reach up to brush my hair back out of my eyes so I can look around and attempt to determine what the hell is going on. The only three things that I know for certain took place last night are that one -- small elves climbed up my body and tied my hair into a mass of tiny knots, two -- I must have slept with my mouth open because something crawled into it and died and three -- I was sucked through a vortex into some animated world where an anvil was dropped on my head.

Don't imagine she trembles over the dissecting table either, Smith. She has nerves of ice. Real Good can be as ruthless as Evil when it wants to accomplish something, let me tell you.

No worst, there is none. Pitched past pitch of grief, More pangs will, schooled at forepangs, wilder wring. Comforter, where, where is your comforting? Mary, mother of us, where is your relief? My cries heave, herds-long; huddle in a main, a chief- woe, world-sorrow; on an age-old anvil wince and sing — Then lull, then leave off. Fury had shrieked 'No ling- ering! Let me be fell: force I must be brief'. O the mind, mind has mountains; cliffs of fall Frightful, sheer, no-man-fathomed. Hold them cheap May who ne'er hung there. Nor does long our small Durance deal with that steep or deep. Here! creep, Wretch, under a comfort serves in a whirlwind: all Life death does end and each day dies with sleep.

The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin's Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes' mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin's folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge's fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin's halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep. -The Song of Durin

We could use all the blessings we could get. The impact of what we were about to do hit me like an anvil on Wile E. Coyote's head. We were heading out to stop Satan's son and save the world from certain destruction. Piece of cake.

That there is in this world neither brains, nor goodness, nor good sense, but only brute force. Bloodshed. Starvation. Death. That there was not the slightest hope not even a glimmer of hope, of justice being done. It would never happen. No one would ever do it. The world was just one big Babi Yar. And there two great forces had come up against each other and were striking against each other like hammer and anvil, and the wretched people were in between, with no way out; each individual wanted only to live and not be maltreated, to have something to eat, and yet they howled and screamed and in their fear they were grabbing at each other’s throats, while I, little blob of watery jelly, was sitting in the midst of this dark world. Why? What for? Who had done it all? There was nothing, after all, to hope for! Winter. Night.

A man who governs his passions is master of his world. We must either command them or be enslaved by them. It is better to be a hammer than an anvil.

Will the spellbound world die with you" Will the spellbound world die with you where memory hangs on to clean breaths in life, the white shadow of a first love, a voice that struck your heart, the hand you wanted to grab in dreams, and every love that fell in the soul down to the bottom sky? Will your world die with you, the old life you remade in your way? Have the anvils and crucibles of your soul been working for dust and wind?

Writing a novel is a bit like making a sword. First, you take all the raw material and melt it down in a crucible, then you take it to the anvil and hammer out as many of the impurities as possible before folding and turning the whole thing over on itself and hammering it out again. The more often you can fold it over and incorporate another layer the stronger it will be. Finally, put an edge on it, give it a handle to show to the world, and the job's done. The result should be something flexible and elegant; perfectly balanced, of suitable length and, above all with a point to it.

Stand like a beaten anvil, when thy dream Is laid upon thee, golden from the fire. Flinch not, though heavily through that furnace-gleam The black forge-hammers fall on thy desire. Demoniac giants round thee seem to loom. 'Tis but the world-smiths heaving to and fro. Stand like a beaten anvil. Take the doom Their ponderous weapons deal thee, blow on blow. Needful to truth as dew-fall to the flower Is this wild wrath and this implacable scorn. For every pang, new beauty, and new power, Burning blood-red shall on thy heart be born. Stand like a beaten anvil. Let earth's wrong Beat on that iron and ring back in song.

The children in my dreams speak in Gujarati turn their trusting faces to the sun say to me care for us nurture us in my dreams I shudder and I run. I am six in a playground of white children Darkie, sing us an Indian song! Eight in a roomful of elders all mock my broken Gujarati English girl! Twelve, I tunnel into books forge an armor of English words. Eighteen, shaved head combat boots - shamed by masis in white saris neon judgments singe my western head. Mother tongue. Matrubhasha tongue of the mother I murder in myself. Through the years I watch Gujarati swell the swaggering egos of men mirror them over and over at twice their natural size. Through the years I watch Gujarati dissolve bones and teeth of women, break them on anvils of duty and service, burn them to skeletal ash. Words that don't exist in Gujarati : Self-expression. Individual. Lesbian. English rises in my throat rapier flashed at yuppie boys who claim their people “civilized” mine. Thunderbolt hurled at cab drivers yelling Dirty black bastard! Force-field against teenage hoods hissing F****ing Paki bitch! Their tongue - or mine? Have I become the enemy? Listen: my father speaks Urdu language of dancing peacocks rosewater fountains even its curses are beautiful. He speaks Hindi suave and melodic earthy Punjabi salty rich as saag paneer coastal Kiswahili laced with Arabic, he speaks Gujarati solid ancestral pride. Five languages five different worlds yet English shrinks him down before white men who think their flat cold spiky words make the only reality. Words that don't exist in English: Najjar Garba Arati. If we cannot name it does it exist? When we lose language does culture die? What happens to a tongue of milk-heavy cows, earthen pots jingling anklets, temple bells, when its children grow up in Silicon Valley to become programmers? Then there's American: Kin'uh get some service? Dontcha have ice? Not: May I have please? Ben, mane madhath karso? Tafadhali nipe rafiki Donnez-moi, s'il vous plait Puedo tener….. Hello, I said can I get some service?! Like, where's the line for Ay-mericans in this goddamn airport? Words that atomized two hundred thousand Iraqis: Didja see how we kicked some major ass in the Gulf? Lit up Bagdad like the fourth a' July! Whupped those sand-niggers into a parking lot! The children in my dreams speak in Gujarati bright as butter succulent cherries sounds I can paint on the air with my breath dance through like a Sufi mystic words I can weep and howl and devour words I can kiss and taste and dream this tongue I take back.

People in that setting spent a lot of time talking and very little doing. They seemed so often to be divorced from real-world considerations.

Will your world die with you, the old life you remade in your way? Have the anvils and crucibles of your soul been working for dust and wind?

Nurse Balnshik, Lord Emenwyr's minder, is 100% demon, but glamorous: "Do you know any other midwife who can also tear apart armored warriors with her bare, er, hands? Lovely and versatile.

We all think we understand each other,' Kin heard Silver say. 'We eat together, we trade, many of us pride ourselves on having alien friends - but all this is only possible, only possible, Kin, because we do not fully comprehend the other. You've studied Earth history. Do you think you could understand the workings of of the mind of a Japanese warrior a thousand years ago? But he is as a twin to you compared with Marco, or with myself. When we use the word "cosmopolitan" we use it too lightly - it's flippant, it means we're galactic tourists who communicate in superficialities. We don't comprehend. Different worlds, Kin. Different anvils of gravity and radiation and evolution.

I look up at John Paul's bedroom and think, If his bed is near the window, he can watch clouds soaring past the cupola - huge anvils of cumulus, pale and full of shoulders. The wind slowly tears them to shreds. Thin blades of light slip through and touch down everywhere.

FUCK There are people who will tell you that using the word fuck in a poem indicates a serious lapse of taste, or imagination, or both. It’s vulgar, indecorous, an obscenity that crashes down like an anvil falling through a skylight to land on a restaurant table, on the white linen, the cut-glass vase of lilacs. But if you were sitting over coffee when the metal hit your saucer like a missile, wouldn’t that be the first thing you’d say? Wouldn’t you leap back shouting, or at least thinking it, over and over, bell-note riotously clanging in the church of your brain while the solicitous waiter led you away, wouldn’t you prop your shaking elbows on the bar and order your first drink in months, telling yourself you were lucky to be alive? And if you wouldn’t say anything but Mercy or Oh my or Land sakes, well then I don’t want to know you anyway and I don’t give a fuck what you think of my poem. The world is divided into those whose opinions matter and those who will never have a clue, and if you knew which one you were I could talk to you, and tell you that sometimes there’s only one word that means what you need it to mean, the way there’s only one person when you first fall in love, or one infant’s cry that calls forth the burning milk, one name that you pray to when prayer is what’s left to you. I’m saying in the beginning was the word and it was good, it meant one human entering another and it’s still what I love, the word made flesh. Fuck me, I say to the one whose lovely body I want close, and as we fuck I know it’s holy, a psalm, a hymn, a hammer ringing down on an anvil, forging a whole new world.

Rome the crucible, but also the furnace, the boiling metal, the hammer, and the anvil as well, visible proof of the changes and repetitions of history, one place in the world where man will have most passionately lived. The great fire of Troy from which a fugitive had escaped, taking with him his aged father, his young son, and his household goods, had passed down to us that night in this flaming festival. I thought also, with something like awe, of conflagrations to come. These millions of lives past, present, and future, these structures newly arisen from ancient edifices and followed themselves by structures yet to be born, seemed to me to succeed each other in time like waves; by chance it was at my feet that night in this flaming festival.

The collar of Lars of Tassla fell away and clattered onto the tiles. katriana felt unable to breathe. Her neck, so long encased with the symbol of Lars’ ownership of her, seemed paradoxically to be suddenly constricted. She felt naked. Naked and abandoned. Her head sank down to lie across the hardness of the anvil. Her entire body shook uncontrollably as she felt all security evaporate from her world. How many minutes she lay there she could not with any certainty say. Yet, eventually she became aware of one tiny point in the cruel world surrounding her. It was a scent. His scent. It entered her. It stroked inside her. It pulsed against her pain until she acknowledged its presence. Her eyes flicked open. And then she saw him there, sitting quietly beside her, watching her with all the intentness that she loved so much in him. His face was still set in the neutrality he reserved for formal times but his eyes were flashing with…with some emotion kept hidden behind his Master’s mask. katriana struggled to read the look flowing from deep inside his eyes. She awkwardly rose to kneel before her former Master. Her body and her breasts were offered. She could not do otherwise whether or not she wore his collar. (A Master's Dilemma, eXtasy)

I have described a life of utter futility. If I work for the sake of money, spend money on basic necessities for life, and organize my life around working, then my life is a pointless spiral of work for the sake of work. It is like buying ice cream, immediately selling it for cash, and then spending the proceeds on ice cream (which one once again sells, … and so on). It is no less tragic than working for money and getting crushed by a falling anvil on the way to cash the paycheck. Activities are not worthwhile unless they culminate in something satisfying. For that reason, Aristotle argued that there must be something beyond work—the use of leisure, for the sake of which we work and without which our work is in vain. Leisure is not merely recreation, which we might undertake for the sake of work—to relax or rest before beginning to labor anew. Rather, leisure is an inward space whose use could count as the culmination of all our endeavors. For Aristotle, only contemplation—the activity of seeing and understanding and savoring the world as it is—could be the ultimately satisfying use of leisure.

He rolled and thrashed in his bed, waiting for the dancing blue shadows to come in his window, waiting for the heavy knock on his door, waiting for some bodiless, Kafkaesque voice to call: Okay, open up in there! And when he finally fell asleep he did it without knowing it, because thought continued without a break, shifting from conscious rumination to the skewed world of dreams with hardly a break, like a car going from drive to low. Even in his dreams he thought he was awake, and in his dreams he committed suicide over and over: burned himself; bludgeoned himself by standing under an anvil and pulling a rope; hanged himself; blew out the stove’s pilot lights and then turned on the oven and all four burners; shot himself; defenestrated himself; stepped in front of a moving Greyhound bus; swallowed pills; swallowed Vanish toilet bowl disinfectant; stuck a can of Glade Pine Fresh aerosol in his mouth, pushed the button, and inhaled until his head floated off into the sky like a child’s balloon; committed hara-kiri while kneeling in a confessional at St. Dom’s, confessing his self-murder to a dumbfounded young priest even as his guts accordioned out onto the bench like beef stew, performing an act of contrition in a fading, bemused voice as he lay in his blood and the steaming sausages of his intestines. But most vividly, over and over, he saw himself behind the wheel of the LTD, racing the engine a little in the closed garage, taking deep breaths and leafing through a copy of National Geographic, examining pictures of life in Tahiti and Aukland and the Mardi Gras in New Orleans, turning the pages ever more slowly, until the sound of the engine faded to a faraway sweet hum and the green waters of the South Pacific inundated him in rocking warmth and took him down to a silver fathom.

Dear Jesus, I do not want to know the wisdom of the world; I do not want to know on whose anvil snowflakes are hammered, or the hiding place of darkness, or from whose womb came the ice, or why the gold falls to the earth, earthly, and fire climbs to the heavens, heavenly; I do not want to know literature and science, nor the four dimensional universe in which we live; I do not want to know the length of the universe in terms of light years; I do not want to know the breadth of the earth as it dances about the chariot of the sun; I do not want to know the heights of the stars, chaste candles of the night; I do not want to know the depth of the sea, nor the secrets of its watery palace. I want to be ignorant of all these things.

The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin’s Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes’ mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin’s folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge’s fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin’s halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep.

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.

Now it was winter. He hated the damp of Paris. “Behold me at length on the vaunted scene of Europe!” Jefferson wrote in 1785.48 “I find the general fate of humanity here most deplorable. The truth of Voltaire’s observation offers itself perpetually, that every man here must be either the hammer or the anvil.” As much as Jefferson loved France, residence abroad gave him a greater appreciation for his own nation. “My God! How little do my countrymen know what precious blessings they are in possession of, and which no other people on earth enjoy,” Jefferson wrote Monroe.49 “I confess I had no idea of it myself.” This was the voice of the republican Jefferson, the political philosopher who recoiled at the idea that the United States might one day meet the same fate that led so many nations of the Old World into monarchy, priestly authority, and corruption.

April 2 MORNING “He answered him to never a word.” — Matthew 27:14 HE had never been slow of speech when He could bless the sons of men, but He would not say a single word for Himself. “Never man spake like this Man,” and never man was silent like Him. Was this singular silence the index of His perfect self-sacrifice? Did it show that He would not utter a word to stay the slaughter of His sacred person, which He had dedicated as an offering for us? Had He so entirely surrendered Himself that He would not interfere in His own behalf, even in the minutest degree, but be bound and slain an unstruggling, uncomplaining victim? Was this silence a type of the defenselessness of sin? Nothing can be said in palliation or excuse of human guilt; and, therefore, He who bore its whole weight stood speechless before His judge. Is not patient silence the best reply to a gainsaying world? Calm endurance answers some questions infinitely more conclusively than the loftiest eloquence. The best apologists for Christianity in the early days were its martyrs. The anvil breaks a host of hammers by quietly bearing their blows. Did not the silent Lamb of God furnish us with a grand example of wisdom? Where every word was occasion for new blasphemy, it was the line of duty to afford no fuel for the flame of sin. The ambiguous and the false, the unworthy and mean, will ere long overthrow and confute themselves, and therefore the true can afford to be quiet, and finds silence to be its wisdom. Evidently our Lord, by His silence, furnished a remarkable fulfillment of prophecy. A long defence of Himself would have been contrary to Isaiah’s prediction. “He is led as a lamb to the slaughter, and as a sheep before her shearers is dumb, so He openeth not His mouth.” By His quiet He conclusively proved Himself to be the true Lamb of God. As such we salute Him this morning. Be with us, Jesus, and in the silence of our heart, let us hear the voice of Thy love.

And they served me a lot of free drinks. So I drank a little more than I should have, maybe. So some of what happened I don’t remember too well. But there was a lot of shouting.” “You must have killed somebody,” said Smith. “Yes, I think I did,” Lord Eyrdway agreed.

We all think we understand each other,' Kin heard Silver say. 'We eat together, we trade, many of us pride ourselves on having alien friends - but all this is only possible, only possible, Kin, because we do not fully comprehend the other. You've studied Earth history. Do you think you could understand the workings of of the mind of a Japanese warrior a thousand years ago? But he is as a twin to you compare with Marco, or with myself. When we use the word "cosmopolitan" we use it too lightly - it's flippant, it means we're galactic tourists who communicate in superficialities. We don't comprehend. Different worlds, Kin. Different anvils of gravity and radiation and evolution.

A blacksmith is an essential part of your game.  It creates needed materials for your world and can also add a touch of decoration to it as well.  Every person’s blacksmith is different, but there are a few parts of them that are consistent around the table. Every blacksmith has a furnace, an anvil, and a water container.  By starting with these materials, you are well on your way to building a great blacksmith.  Set alone, it is hard to reach the elements, so I suggest you place them with stone around them. Once you have these in place, you can build a building around it for the sake of looks. 

Sooner or later, we all get our turn on the anvil of the world. You bend or you break, but either way you don’t come back the same.

in her Montreal office the day a batch of rejection letters arrived, ripping them into pieces and dropping them on the floor for the hired help to clean up. ‘This world is messed up, I tell you. People are cruel and insensitive, they’re out to screw each other. There’s no love or compassion. This’, she sliced her book violently in the air like an ancient mythical hammer, heading for an unforgiving anvil, ‘will teach

Henry Wadsworth Longfellow wrote that we must choose between being an anvil or a hammer. We’ll either mold the world, or be molded by it. If you never go deep, you will always be the anvil. And the surest path to being the hammer is depth.

My son, you have no choice but to be strong, for you are the anvil upon which the challenges of this world (malleable metals) are shaped into opportunities for growth.

He had to have imagined it. He scanned the starry sky, the slumbering lands beyond, the Lord of the North above. It hit him a heartbeat later. Erupted around him and roared. Over and over and over, as if it were a hammer against an anvil. The others whirled to him. That raging, fiery song charged closer. Through him. Down the mating bond. Down into his very soul. A bellow of fury and defiance. From down the hill, Lorcan rasped, “Rowan.” It was impossible, utterly impossible, and yet— “North,” Gavriel said, turning his bay gelding. “The surge came from the North.” From Doranelle. A beacon in the night. Power rippling into the world, as it had done in Skull’s Bay. It filled him with sound, with fire and light. As if it screamed, again and again, I am alive, I am alive, I am alive. And then silence. Like it had been cut off.

the South drew its venom. When the captain of a passing ship begs for help in searching for his son, who has fallen overboard, Ahab stands unmoved “like an anvil, receiving every shock but without the least quivering of his own,” and replies, “I will not do it. Even now, I lose time.” The notoriously cold Calhoun could not have done better—or worse. It was natural for Melville to have this fearsome

But the ages of man are but the ages of the world writ small, and just as the land is gradually transformed by the wind and the rain, the warmth of the summer and the cold of winter’s chiselling frosts, by the breathing seasons of the world, so are we constantly altered and shaped by the experiences of our lives, which can mould us gently like the skilful hands of a potter, or beat our minds into new forms like white-hot metal upon a blacksmith’s anvil.

I am the... the Shield Anvil. This is for me... to hold... hold on. Reach - gods! Redeem them, sir! It is your task. The heart of your vows - you are the walker among the deads in the field of battle, you are the bringer of peace, the redeemer of the fallen. You are the mender of broken lives. Without you, death is senseless, and the denial of meaning is the world's greatest crime to its own children.

He rose and standing in the dark he began to chant in a deep voice, while the echoes ran away into the roof. The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin’s Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes’ mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin’s folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge’s fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin’s halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep. ‘I

And will that spellbound world die with you” And will that spellbound world die with you where memory holds those breaths, the purest in your life, the white shadow of your first love, the voice that went to your heart, the hand you wanted to hold in dream, and every love that touched your soul, the profound sky? Is your world to die with you, the old life for some new order? The anvils and crucibles of your soul, do they labor only for dust and the wind?

The words break me like a stone smashed into an anvil. The hard bits of me shatter and crumble away and lie there, unmoving. Tears stream down my face. I feel hurt, deep down inside in places I never knew existed.

Dear Jesus, I do not want to know the wisdom of the world; I do not want to know on whose anvil snowflakes are hammered, or the hiding place of darkness, or from whose womb came the ice, or why the gold falls to the earth, earthly, and fire climbs to the heavens, heavenly; I do not want to know literature and science, nor the four dimensional universe in which we live; I do not want to know the length of the universe in terms of light years; I do not want to know the breadth of the earth as it dances about the chariot of the sun; I do not want to know the heights of the stars, chaste candles of the night; I do not want to know the depth of the sea, nor the secrets of its watery

The Spacefarer This account is true In event And of myself. Light years of traveling The darkness Have left only I, Writing on dumb screens Words too loud to voice. My thoughts strike The anvil of silence And no spark is made. I cower in the silence That crashes around me. I am frightened at my own being Hudded against controls That guide the ship Through seeds and stones of fire That does not warm me. No one who has not known it Can imagine the coldness Of the absence of the sun. We found no life That had shadows Or could speak to us. I grive for my kind, For landscapes and horizons, For the lusty life of animals. I hold myself in my arms. I drink my tears Because I cannot bear To lose them. The course is set But will I stay it? No being out of its world mould Can truly know the journey's end. I sing no more. I still my hope with my fear, I still my body Not to draw the eye of imagine fate. Will I dare this way again? My heart misses its wandering beat. I am bringing the treasured bodies Of my brothers Back to their birth planet. Will the Earth Race Be at home to us When I knock? Julie Holder

There is no such place, Destriant. Even in isolation we were assailed – by our own doubts, by all the flavours of grief and despair. You and the Mortal Sword and the Shield Anvil, you have led us back into the living world – we have come from a place of death, but now we shall take our place among the peoples of this world. It is right that we do so.