And suddenly first one and then another began to sing as they played, deep-throated singing of the dwarves in the deep places of their ancient homes; and this is like a fragment of their song, if it can be like their song without their music. [...]As they sang the hobbit felt the love of beautiful things made by hands and by cunning and by magic moving through him, a fierce and jealous love, the desire of the hearts of dwarves. Then something Tookish woke up inside him, and he wished to go and see the great mountains, and hear the pine-trees and the waterfalls, and explore the caves, and wear a sword instead of a walking-stick. He looked out of the window. The stars were out in a dark sky above the trees. He thought of the jewels of the dwarves shining in dark caverns. Suddenly in the wood beyond The Water a flame leapt up - probably somebody lighting a wood-fire-and he thought of plundering dragons settling on his quiet Hill and kindling it all to flames. He shuddered; and very quickly he was plain Mr. Baggins of Bag-End, Under-Hill, again. He got up trembling.
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And suddenly first one and then another began to sing as they played, deep-throated singing of the dwarves in the deep places of their ancient homes; and this is like a fragment of their song, if it can be like their song without their music. [...]As they sang the hobbit felt the love of beautiful things made by hands and by cunning and by magic moving through him, a fierce and jealous love, the desire of the hearts of dwarves. Then something Tookish woke up inside him, and he wished to go and see the great mountains, and hear the pine-trees and the waterfalls, and explore the caves, and wear a sword instead of a walking-stick. He looked out of the window. The stars were out in a dark sky above the trees. He thought of the jewels of the dwarves shining in dark caverns. Suddenly in the wood beyond The Water a flame leapt up - probably somebody lighting a wood-fire-and he thought of plundering dragons settling on his quiet Hill and kindling it all to flames. He shuddered; and very quickly he was plain Mr. Baggins of Bag-End, Under-Hill, again. He got up trembling.
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- Няма друго място като морето, господа. Тези, които цял живот изкарват на сушата, никога няма да го разберат. Морето е първично, понякога е жестоко, друг път - нежно, и никога - предсказуемо.
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- Няма друго място като морето, господа. Тези, които цял живот изкарват на сушата, никога няма да го разберат. Морето е първично, понякога е жестоко, друг път - нежно, и никога - предсказуемо.
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Magic is like a lot of other disciplines that people have recently begun developing, in historic terms. Working with magic is a way of understanding the universe and how it functions. You can approach it from a lot of different angles, applying a lot of different theories and mental models to it. You can get to the same place through a lot of different lines of theory and reasoning, kind of like really advanced mathematics. There's no truly right or wrong way to get there, either--there are just different ways, some more or less useful than others for a given application. And new vistas of thought, theory, and application open up on a pretty regular basis, as the Art develops and expands through the participation of multiple brilliant minds. But that said, once you have a good grounding in it,you get a pretty solid idea of what's possible and what isn't. No matter how much circumlocution you do with your formulae, two plus two doesn't equal five. (Except maybe very, very rarely, sometimes, in extremely specific and highly unlikely circumstances.)
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Magic is like a lot of other disciplines that people have recently begun developing, in historic terms. Working with magic is a way of understanding the universe and how it functions. You can approach it from a lot of different angles, applying a lot of different theories and mental models to it. You can get to the same place through a lot of different lines of theory and reasoning, kind of like really advanced mathematics. There's no truly right or wrong way to get there, either--there are just different ways, some more or less useful than others for a given application. And new vistas of thought, theory, and application open up on a pretty regular basis, as the Art develops and expands through the participation of multiple brilliant minds. But that said, once you have a good grounding in it,you get a pretty solid idea of what's possible and what isn't. No matter how much circumlocution you do with your formulae, two plus two doesn't equal five. (Except maybe very, very rarely, sometimes, in extremely specific and highly unlikely circumstances.)
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Ye elves of hills, brooks, standing lakes and groves,And ye that on the sands with printless footDo chase the ebbing Neptune and do fly himWhen he comes back; you demi-puppets thatBy moonshine do the green sour ringlets make,Whereof the ewe not bites, and you whose pastimeIs to make midnight mushrooms, that rejoiceTo hear the solemn curfew; by whose aid,Weak masters though ye be, I have bedimm’dThe noontide sun, call’d forth the mutinous winds,And ‘twixt the green sea and the azured vaultSet roaring war: to the dread rattling thunderHave I given fire and rifted Jove’s stout oakWith his own bolt; the strong-based promontoryHave I made shake and by the spurs pluck’d upThe pine and cedar: graves at my commandHave waked their sleepers, oped, and let ‘em forthBy my so potent art. But this rough magicI here abjure, and, when I have requiredSome heavenly music, which even now I do,To work mine end upon their senses thatThis airy charm is for, I’ll break my staff,Bury it certain fathoms in the earth,And deeper than did ever plummet soundI’ll drown my book.
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Come up into the hills, O my young love. Return! O lost, and by the wind grieved, ghost, come back again, as first I knew you in the timeless valley, where we shall feel ourselves anew, bedded on magic in the month of June. There was a place where all the sun went glistening in your hair, and from the hill we could have put a finger on a star. Where is the day that melted into one rich noise? Where the music of your flesh, the rhyme of your teeth, the dainty languor of your legs, your small firm arms, your slender fingers, to be bitten like an apple, and the little cherry-teats of your white breasts? And where are all the tiny wires of finespun maidenhair? Quick are the mouths of earth, and quick the teeth that fed upon this loveliness. You who were made for music, will hear music no more: in your dark house the winds are silent. Ghost, ghost, come back from that marriage that we did not foresee, return not into life, but into magic, where we have never died, into the enchanted wood, where we still life, strewn on the grass. Come up into the hills, O my young love: return. O lost, and by the wind grieved ghost, come back again.
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Magic comes from the heart, from your feelings, your deepest expressions of desire. That's why black magic is so easy—it comes from lust, from fear and anger, from things that are easy to feed and make grow. The sort I do is harder. It comes from something deeper than that, a truer and purer source—harder to tap, harder to keep, but ultimately more elegant, more powerful. My magic. That was at the heart of me. It was a manifestation of what I believed, what I lived. It came from my desire to see to it that someone stood between the darkness and the people it would devour. It came from my love of a good steak, from the way I would sometimes cry at a good movie or a moving symphony. From my life. From the hope that I could make things better for someone else, if not always for me. Somewhere, in all of that, I touched on something that wasn't tapped out, in spite of how horrible the past days had been, something that hadn't gone cold and numb inside of me. I grasped it, held it in my hand like a firefly, and willed its energy out, into the circle I had created with the spinning amulet on the end of its chain.
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He goes directly to the ballroom, making his way to the center of the dance floor. He takes Celia’s arm, spinning her away from Herr Thiessen.Marco pulls her to him in an emerald embrace, so close that no one distinction remains between where his suite ends and her gown begins. To Celia there is suddenly no one else in the room as he holds her in his arms. But before she can vocalize her surprise, his lips close over hers and she is lost in wordless bliss. Marco kisses her as though they are the only two people in the world. The air swirls in a tempest around them, blowing open the glass doors to the garden with a tangle of billowing curtains. Every eye in the ballroom turns in their direction. And then he releases her and walks away. By the time Marco leaves the room, almost everyone has forgotten the incident entirely. It is replaced by a momentary confusion that is blamed on the heat or the excessive amounts of champagne. Herr Thiessen cannot recall why Celia has suddenly stopped dancing, or when her gown has shifted to its current deep green. “Is something wrong?” he asks, when he realizes that she is trembling.
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Time is the only magic, he said, "And Marids swim through time like the sea. Think: if you hurt yourself, and I bandage it, and after weeks and weeks it gets well and there's no scar, that's not magic at all. But if you hurt yourself and I touch you and it heals in a moment, you'd call me magic before your skin closed. It's not magic to cook a feast, roasting and baking and frying for hours, but if you blink and it's steaming in front of you, it's a spell. If you work for what you want and save for it and plan it out just as precisely as you possibly can, it's not even surprising if you get it on the other side of a month or a year. But if you snap your fingers and it happens as soon as you want t, every wizard will want to know you socially. If you life straight through a hundred years and watch yourself unfold at one second per second, one hour per hour, that's just being alive. If you go faster, you're a time traveler. If you jump over your unfolding and see how it all comes out, that's fate. But's all healing and cooking and planning and living, just the same. The only difference is time.
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There is no magic to immortality.In Egypt, I loved the perfume of the lotus. A flower would bloom in the pool at dawn, filling the entire garden with a blue musk so powerful it seemed that even the fish and ducks would swoon. By night, the flower might wither but the perfume lasted. Fainter and fainter, but never quite gone. Even many days later, the lotus remained in the garden. Months would pass and a bee would alight near the spot where the lotus had blossomed, and its essence was released again, momentary but undeniable.Egypt loved the lotus becuase it never dies. It is the same for people who are loved. Thus can something as insignificant as a name-two syllables, one high, one sweet- summon up the innumerable smiles, tears, sighs and dreams of a human life.If you sit on the bank of a river, you see only a small part of its surface. And yet, the water before your eyes is proof of unknowable depths. My heart brims with thanks for the kindness you have shown me by sitting on the bank of this river, by visiting the echoes of my name.Blessings on your eyes and on your children. Blessings on the ground beneath you. Wherever you walk, I go with you.Selah.
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At home I walked through a haze of belongings that knew, at least vaguely, who they belonged to. Grampar’s chair resented anyone else sitting on it as much as he did himself. Gramma’s shirts and jumpers adjusted themselves to hide her missing breast. My mother’s shoes positively vibrated with consciousness. Our toys looked out for us. There was a potato knife in the kitchen that Gramma couldn’t use. It was an ordinary enough brown-handled thing, but she’d cut herself with it once, and ever after it wanted more of her blood. If I rummaged through the kitchen drawer, I could feel it brooding. After she died, that faded. Then there were the coffee spoons, rarely used, tiny, a wedding present. They were made of silver, and they knew themselves superior to everything else and special.None of these things did anything. The coffee spoons didn’t stir the coffee without being held or anything. They didn’t have conversations with the sugar tongs about who was the most cherished. I suppose what they really did was physiological. They confirmed the past, they connected everything, they were threads in a tapestry.
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At home I walked through a haze of belongings that knew, at least vaguely, who they belonged to. Grampar’s chair resented anyone else sitting on it as much as he did himself. Gramma’s shirts and jumpers adjusted themselves to hide her missing breast. My mother’s shoes positively vibrated with consciousness. Our toys looked out for us. There was a potato knife in the kitchen that Gramma couldn’t use. It was an ordinary enough brown-handled thing, but she’d cut herself with it once, and ever after it wanted more of her blood. If I rummaged through the kitchen drawer, I could feel it brooding. After she died, that faded. Then there were the coffee spoons, rarely used, tiny, a wedding present. They were made of silver, and they knew themselves superior to everything else and special.None of these things did anything. The coffee spoons didn’t stir the coffee without being held or anything. They didn’t have conversations with the sugar tongs about who was the most cherished. I suppose what they really did was physiological. They confirmed the past, they connected everything, they were threads in a tapestry.
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This is the story of a boy named Pete Coutinho, who had a spell put on him. Some people might have called it a curse. I don't know. It depends on a lot of things, on whether you've got gipsy blood, like old Beatriz Sousa, who learned a lot about magic from the wild gitana tribe in the mountains beyond Lisbon, and whether you're satisfied with a fisherman's life in Cabrillo.Not that a fisherman's life is a bad one, far from it. By day you go out in the boats that rock smoothly across the blue Gulf waters, and at night you can listen to music and drink wine at the Shore Haven or the Castle or any of the other taverns on Front Street. What more do you want? What more is there?And what does any sensible man, or any sensible boy, want with that sorcerous sort of glamor that can make everything incredibly bright and shining, deepening colors till they hurt, while wild music swings down from stars that have turned strange and alive? Pete shouldn't have wanted that, I suppose, but he did, and probably that's why there happened to him - what did happen. And the trouble began long before the actual magic started working.("Before I Wake...")
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