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1 " For some reason, the sight of snow descending on fire always makes me think of the ancient world – legionaries in sheepskin warming themselves at a brazier: mountain altars where offerings glow between wintry pillars; centaurs with torches cantering beside a frozen sea – scattered, unco-ordinated shapes from a fabulous past, infinitely removed from life; and yet bringing with them memories of things real and imagined. These classical projections, and something in the physical attitudes of the men themselves as they turned from the fire, suddenly suggested Poussin’s scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outwards like the Seasons, moving hand in hand in intricate measure: stepping slowly, methodically, sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seeminly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance. "
― Anthony Powell , A Question of Upbringing (A Dance to the Music of Time, #1)
2 " My mother used to read to me every night when I was little. We got through most of the major fantasy books of that time. The Narnia books by C.S. Lewis were my favorites and, later, Tolkien's The Lord of the Rings. I started making dolls to fill in the gaps of the dolls I had. Obviously we couldn't buy centaurs and fauns and elves and fairies, so I made them to play with the normal dolls I had. I must have been about six years old when I started making fantasy dolls. "
― Wendy Froud
3 " Not long ago-incredible though it may seem-I heard a clerk of Oxford declare that he 'welcomed' the proximity of mass-production robot factories, and the roar of self-obstructive traffic, because it brought his university into 'contact with real life.' He may have meant that the way men were living and working in the twentieth century was increasing in barbarity at an alarming rate, and that the loud demonstration of this in the streets of Oxford might serve as a warning that it is not possible to preserve for long an oasis of sanity in a desert of unreason by mere fences, without actual offensive action (practical and intellectual). I fear he did not. In any case the expression 'real life' in this context seems to fall short of academic standards. The notion that motor-cars are more 'alive' than, say, centaurs or dragons is curious; that they are more 'real' than, say, horses is pathetically absurd. How real, how startlingly alive is a factory chimney compared with an elm tree: poor obsolete thing, insubstantial dream of an escapist! "
― J.R.R. Tolkien , Tree and Leaf: Includes Mythopoeia and The Homecoming of Beorhtnoth
4 " No Centaurs here, or Gorgons look to find,My subject is of man, and human kind. "
― Robert Burton , The Anatomy of Melancholy
5 " Should a traveler, returning from a far country, bring us an account of men wholly different from any with whom we were ever acquainted, men who were entirely divested of avarice, ambition, or revenge, who knew no pleasure but friendship, generosity, and public spirit, we should immediately, from these circumstances, detect the falsehood and prove him a liar with the same certainty as if he had stuffed his narration with stories of centaurs and dragons, miracles and prodigies. "
― David Hume , A Treatise of Human Nature
6 " For the first time, they were seeing the dream beneath the flesh.Karla stared at the pointed ears that had come from the Dea al Mon, the hands with sheathed claws that had come from the Tigre, the hooves peeking out from beneath the black gown that could have come from the centaurs or the horses or the unicorns. Most of all, she stared at the tiny spiral horn.The living myth. Dreams made flesh. But, oh, had any of them really thought about who the dreamers had "
