6
" He, too, had dreamed dreams. Folk are usually content to draw from such visions portents which sometimes prove true, since they reveal the sleeper's secrets; but he surmised that these games the mind plays when left to itself can indicate to us chiefly the way in which the soul perceives things. Accordingly, he sought to enumerate the qualities of substance as seen in dream: lightness, impalpability, incoherence, total liberty with regard to time; then, the mobility of forms which allows each person in this state to be several people, and the several to reduce themselves to one; last, the sense of something akin to Platonic reminiscence, but also the almost insupportable feeling of necessity. Such phantom categories strongly resemble what Hermetists clam to know of existence beyond the grave, as if the world of death were only continuing for the soul the awesome world of night. "
― Marguerite Yourcenar , L'Œuvre au noir
8
" In a sense, everything is magic: magic, for example, is the science of herbs and metals, which allows the physician to influence both malady and patient; magical, too, is illness itself, which imposes itself upon a body like a demonical possession of which sometimes the body is unwilling to be healed. The power of sounds, high or low, is magic, disturbing the soul, or possibly soothing it. Magic, above all, is the virulent force of words, which are almost always stronger than the things for which they stand; their power justifies what is said about them in the Sepher Yetsira, not to mention between us the Gospel According to Saint John. Magical is the prestige which surrounds a monarch, and which emanates from the ceremonies of the Church; and magical in their effect, likewise, are the scaffolds draped in black and the lugubrious roll of drums at executions; all such trappings transfix and terrify the gaping onlookers even more than they awe the victims. And finally, love is magic, as is hatred, too, imprinting as they do upon the brain the image of a being whom we allow to haunt us. "
― Marguerite Yourcenar , L'Œuvre au noir
10
" L'acte de penser l'intéressait maintenant plus que les douteux produits de la pensée elle-même. (...) Toute sa vie, il s'était ébahi de cette faculté qu'ont les idées de s'agglomérer froidement comme des cristaux en d'étranges figures vaines, de croître comme des tumeurs dévorant la chair qui les a conçues, ou encore d'assumer monstrueusement certains linéaments de la personne humaine, comme ces masses inertes dont accouchent certaines femmes, et qui ne sont en somme que de la matière qui rêve. (...) D'autres notions, plus propres et plus nettes, forgées comme par un maître ouvrier, étaient de ces objets qui font illusion à distance; on ne se lassait pas d'admirer leurs angles et leurs parallèles; elles n'étaient néanmoins que les barreaux dans lesquels l'entendement s'enferme lui-même, et la rouille du faux mangeait déjà ces abstraites ferrailles. (...) Les notions mouraient comme les hommes: il avait vu au cours d'un demi-siècle plusieurs générations d'idées tomber en poussière.
(L'abîme) "
― Marguerite Yourcenar , L'Œuvre au noir
12
" I have traversed at least one part of this sphere where we are; I have studied the fecundation of plants and the point at which metals fuse; I have observed the stars and have examined the inside of bodies. From this brand that I lift here I can deduce a concept of weight, and from these flames the concept of warmth. What I do not know, I know full well that I do not know, and I envy those who will eventually know more; but I know also that, exactly like me, they will be obliged to measure, deduce, and then mistrust the deductions so produced; they will have to make allowance for the part which is true in any falsehood, and likewise reckon the eternal admixture of falsity in truth.
I have never clung blindly to some idea for fear of the perplexity into which I should fall if I let it go. I have never seasoned a truth with the sauce of a lie in order to digest it more easily. I have never misrepresented the views of my adversary to get the better of him more readily, not even the views of Bombastus during our debate on antimony (though he showed no gratitude for my restraint). Or perhaps, yes: I have caught myself in the act of such misrepresentation, and each time reprimanded myself as if I were scolding a dishonest valet; I could trust myself again only after promising myself to do better. I have dreamed my dreams, but I do not take them for anything more than dreams. I have refrained from making an idol of truth, preferring to leave to it its more modest name of exactitude. My triumphs and my dangers are not the ones that people suppose: there are other glories than fame and other fires than those of the stake. I have almost attained to the point of distrusting words. I shall die a little less witless than I was born. "
― Marguerite Yourcenar , L'Œuvre au noir
13
" Filled with a reverent notion (for which he would have been put to death on any of the public squares of Christendom or the lands of Mohammed), he reflected that the most adequate symbols of a conjectural Supreme Good are those very ones which are held, absurdly, to be the most idolatrous: the fiery globe above is the only God visible for us creatures, who would perish without it. Likewise, the most real of angels was this seagull, which possessed what Seraphim and Thrones did not have, the clear evidence of existing.
In this world unburdened by concepts, even ferocity was pure: the fish wriggling beneath the wave would soon be only a choice morsel, bleeding under the beak of the bird fishing here, but the bird was giving no false pretext for its hunger. Both fox and hare (trickery and fear) inhabited the dune where he slept, but the killer did not evoke laws promulgated long ago by some wise fox, or handed down by a fox-god. The victim did not suppose itself punished for its crimes or, when dying, protest to the end that it had remained loyal to its prince. "
― Marguerite Yourcenar , L'Œuvre au noir
20
" We are falling back into allegory," said the Captain, interrupting him. "If you mean by all that that the body is the most solid of realities, then say so."
"No, not exactly," Zeno explained. "This body, our kingdom, sometimes seems to me to be made of a fabric as loosely woven and as evanescent as a shadow. I should hardly be more astonished to see my mother again (who is dead) than to come upon you around a corner as I did, your face grown older and its substance recomposed more than once in twenty years' time, with its color altered by the seasons and its form somewhat changed, but your mouth still knowing my name. Think of the grain that has grown and the creatures that have lived and died in order to sustain that Henry who is and is not the one I knew twenty years ago. "
― Marguerite Yourcenar , L'Œuvre au noir
