3
" I AM come of a race noted for vigor of fancy and ardor of passion. Men have called me mad; but the question is not yet settled, whether madness is or is not the loftiest intelligence--whether much that is glorious--whether all that is profound--does not spring from disease of thought--from moods of mind exalted at the expense of the general intellect. They who dream by day are cognizant of many things which escape those who dream only by night. In their gray visions they obtain glimpses of eternity, and thrill, in waking, to find that they have been upon the verge of the great secret. In snatches, they learn something of the wisdom which is of good, and more of the mere knowledge which is of evil. They penetrate, however, rudderless or compassless into the vast ocean of the " light ineffable" , and again, like the adventures of the Nubian geographer, " agressi sunt mare tenebrarum, quid in eo esset exploraturi" .We will say then, that I am mad. "
4
" Horses are of a breed unique to Fantasyland. They are capable of galloping full-tilt all day without a rest. Sometimes they do not require food or water. They never cast shoes, go lame or put their hooves down holes, except when the Management deems it necessary, as when the forces of the Dark Lord are only half an hour behind. They never otherwise stumble. Nor do they ever make life difficult for Tourists by biting or kicking their riders or one another. They never resist being mounted or blow out so that their girths slip, or do any of the other things that make horses so chancy in this world. For instance, they never shy and seldom whinny or demand sugar at inopportune moments. But for some reason you cannot hold a conversation while riding them. If you want to say anything to another Tourist (or vice versa), both of you will have to rein to a stop and stand staring out over a valley while you talk. Apart from this inexplicable quirk, horses can be used just like bicycles, and usually are. Much research into how these exemplary animals come to exist has resulted in the following: no mare ever comes into season on the Tour and no stallion ever shows an interest in a mare; and few horses are described as geldings. It therefore seems probable that they breed by pollination. This theory seems to account for everything, since it is clear that the creatures do behave more like vegetables than mammals. Nomads appears to have a monopoly on horse-breeding. They alone possess the secret of how to pollinate them. "
― Diana Wynne Jones , The Tough Guide to Fantasyland
6
" Gentlemen,” said Earl Lavender, with perfect complacence, “it becomes you to make a charge of madness against me. I told my friend Lord Brumm a little ago that you have no minds, and I am convinced of it. As you are possibly unaware of the fact, I may as well explain to you how you have arrived at this not altogether unenviable condition. In your youth, I judge from the contour of your heads that you thought and imagined as much as the average young man; but since the strongest convictions you ever entertained were that money makes the mare to go, and that cakes and ale are good, you gradually ceased to think until your minds stopped working altogether, and as your brains grew atrophied your livers increased in power. Now, I suppose, you have digestive apparatuses unmatched in proficiency, while your heads, instead of blossoming like an evergreen in a bowpot, have changed into cinerary urns, containing the ashes of your thought and fancy, and rudely carved with half-intelligible hieroglyphics concerning religion and morality, and copy-book mottoes for the conduct of life. You are perfect types; I recognize that, and would not have you other than you are. I merely wish to let you know that I understand you thoroughly, and to give you the means when you come to die of consoling yourselves with the reflection that you were understood and pardoned by at least one fellow-creature. Most men I have been told die miserable because they think everybody has misunderstood them. Rejoice, therefore, for that lot cannot now be yours. "
― John Davidson
8
" The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes. "
― Helen Bevington , When Found, Make a Verse of
9
" The pony is mad. She can go from a relaxed walk to a flat out gallop in seconds if something spooks her, and she won’t stop until she practically crashes into something. I’ve seen her buck, rear and spin around in circles. She’s completely unpredictable and I don’t even trust her on the ground. As far as I’m concerned, Alec’s welcome to her, and he relishes the challenge. For some reason, he loves that pony most of all. Perhaps it’s because no-one else would give her a chance, that they’d written her off as crazy, mean, dangerous. Alec admires her independent spirit, I think, and maybe he likes that she still has that strength of spirit, that she still challenges him every time he rides her. He can’t completely dominate her, and he doesn’t try. He wants a partnership with her. And slowly, slowly, his father is taking that away from him, bullying the mare and his son at the same time, seeking to fit them into the same mould, the only one he knows. The strong succeed while the weak fall behind. "
― Kate Lattey , Flying Changes (Clearwater Bay, #1)
10
" Each day of the week, Kalist indulges himself in a different, secret ritual. On Mondays, he wears cologne. On Tuesdays, he eats meat for lunch. On Wednesdays, he places a bet after work. On Thursdays, he smokes one cigarette (but claims he’s not a smoker). On Fridays, he treats himself to his favourite pastime: horse practice – he grew up with horses and likes to try and emulate their distinctive whinnies, snorts, neighs, snuffles, sighs, grunts, fluttering nostrils, the occasional aggressive outburst and the especially beautiful nicker of a mare to her foal. And, on Saturdays, lest we forget, Maxwell D. Kalist drinks wine from a chalice. "
― Carla H. Krueger , From the Horse’s Mouth
11
" Intermission. Mare Internum.
We will have a brief pause now. If this novel were a theater, you could go out into the lobby, wait in line for a drink, or for the bathroom. Give people a chance to admire your clothes, hair, or jewels. Step outside for some air or a smoke. Backstage the crew would be busy transforming the scenery, actors would change their costumes and redo their makeup, Some would be done until final curtain, others awaiting their first entrance.
But we're not in the theater, and I am not letting you go outside this story, not really. Where we are is more like a pause between breaths. Whether you're inhaling or exhaling, there's a pause just before, like the pause you can feel more than hear before the tide reverses. Where we are is the point of intersection in the figure eight. Turned on its side the eight becomes the symbol of infinity.
You can make this figure with your hips when you dance. Over and over you will return to that moment of balance before your weight shifts from one hip to the other. The balance of this story is about to shift. The scenery is changing, as we make our slow way across Mare Internum. A journey I am not going to describe.
When the story begins again, some of the people you have come to know and love, or not, Dido, Bertha, Paulina, Reginus, and Joseph will appear less frequently...
I don't like it when characters fade form the story, so I am apologizing in advance, but life is like that. We leave people and places and times behind. We encounter new ones. Sometimes we can't see the patterns or connections, but they are there, between one breath and the next. In the ebb and flow of tides. In the rhythm of the dance. "
― , The Passion of Mary Magdalen (Maeve Chronicles, #2)
12
" I have had so many Dwellings, Nat, that I know these Streets as well as a strowling Beggar: I was born in this Nest of Death and Contagion and now, as they say, I have learned to feather it. When first I was with Sir Chris. I found lodgings in Phenix Street off Hogg Lane, close by St Giles and Tottenham Fields, and then in later times I was lodged at the corner of Queen Street and Thames Street, next to the Blew Posts in Cheapside. (It is still there, said Nat stirring up from his Seat, I have passed it!) In the time before the Fire, Nat, most of the buildings in London were made of timber and plaister, and stones were so cheap that a man might have a cart-load of them for six-pence or seven-pence; but now, like the Aegyptians, we are all for Stone. (And Nat broke in, I am for Stone!) The common sort of People gawp at the prodigious Rate of Building and exclaim to each other London is now another City or that House was not there Yesterday or the Situacion of the Streets is quite Changd (I contemn them when they say such things! Nat adds). But this Capital City of the World of Affliction is still the Capitol of Darknesse, or the Dungeon of Man's Desires: still in the Centre are no proper Streets nor Houses but a Wilderness of dirty rotten Sheds, allways tumbling or takeing Fire, with winding crooked passages, lakes of Mire and rills of stinking Mud, as befits the smokey grove of Moloch. (I have heard of that Gentleman, says Nat all a quiver). It is true that in what we call the Out-parts there are numberless ranges of new Buildings: in my old Black-Eagle Street, Nat, tenements have been rais'd and where my Mother and Father stared without understanding at their Destroyer (Death! he cryed) new-built Chambers swarm with life. But what a Chaos and Confusion is there: meer fields of Grass give way to crooked Passages and quiet Lanes to smoking Factors, and these new Houses, commonly built by the London workmen, are often burning and frequently tumbling down (I saw one, says he, I saw one tumbling!). Thus London grows more Monstrous, Straggling and out of all Shape: in this Hive of Noise and Ignorance, Nat, we are tyed to the World as to a sensible Carcasse and
as we cross the stinking Body we call out What News? or What's a clock? And thus do I pass my Days a stranger to mankind. I'll not be a Stander-by, but you will not see me pass among them in the World. (You will disquiet your self, Master, says Nat coming towards me). And what a World is it, of Tricking and Bartering, Buying and Selling, Borrowing and Lending, Paying and Receiving; when I walk among the Piss and Sir-reverence of the Streets I hear, Money makes the old Wife trot, Money makes the Mare to go (and Nat adds, What Words won't do, Gold will). What is their God but shineing Dirt and to sing its Devotions come the Westminster-Hall-whores, the Charing-cross whores, the Whitehall whores, the Channel-row whores, the Strand whores, the Fleet Street whores, the Temple-bar whores; and they are followed in the same Catch by the Riband weavers, the Silver-lace makers, the Upholsterers, the Cabinet-makers, Watermen, Carmen, Porters, Plaisterers, Lightemen, Footmen, Shopkeepers, Journey-men... and my Voice grew faint through the Curtain of my Pain. "
― Peter Ackroyd , Hawksmoor
14
" If ever again we happened to lose our balance, just when sleepwalking through the same dream on the brink of hell’s valley, if ever the magical mare (whom I ride through the night air hollowed out into caverns and caves where wild animals live) in a crazy fit of anger over some word I might have said without the perfect sweetness that works on her like a charm, if ever the magic Mare looks over her shoulder and whinnies: “So! You don’t love me!” and bucks me off, sends me flying to the hyenas, if ever the paper ladder that I climb so easily to go pick stars for Promethea—at the very instant that I reach out my hand and it smells like fresh new moon, so good, it makes you believe in god’s genius—if ever at that very instant my ladder catches fire—because it is so fragile, all it would take is someone’s brushing against it tactlessly and all that would be left is ashes—if ever I had the dreadful luck again to find myself falling screaming down into the cruel guts of separation, and emptying all my being of hope, down to the last milligram of hope, until I am able to melt into the pure blackness of the abyss and be no more than night and a death rattle,
I would really rather not be tumbling around without my pencil and paper. "
― Hélène Cixous , The Book of Promethea
18
" The Howeitat spread out along the cliffs to return the peasants' fire. This manner of going displeased Auda, the old lion, who raged that a mercenary village folk should dare to resist their secular masters, the Abu Tayi. So he jerked his halter, cantered his mare down the path, and rode out plain to view beneath the easternmost houses of the village. There he reined in, and shook a hand at them, booming in his wonderful voice: 'Dogs, do you not know Auda?' When they realized it was that implacable son of war their hearts failed them, and an hour later Sherif Nasir in the town-house was sipping tea with his guest the Turkish Governor, trying to console him for the sudden change of fortune. "
― T.E. Lawrence
