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LAMIA

17:57 Feb 24 2008
Times Read: 1,176


Lamia



by John Keats



1819



"I had not a dispute but a disquisition with Dilke, on various subjects; several things dovetailed in my mind, & at once it struck me, what quality went to form a Man of Achievement especially in literature & which Shakespeare possessed so enormously - I mean Negative Capability, that is when man is capable of being in uncertainties, Mysteries, doubts without any irritable reaching after fact & reason."







Keats believed that great people (especially poets) have the ability to accept that not everything can be resolved. Keats was a Romantic and believed that the truths found in the imagination access holy authority. Such authority cannot otherwise be understood, and thus he writes of "uncertainties." This "being in uncertaint[y]" is a place between the mundane, ready reality and the multiple potentials of a more fully understood existence.



Part I



Upon a time, before the faery broods

Drove Nymph and Satyr from the prosperous woods,

Before King Oberon's bright diadem,

Sceptre, and mantle, clasp'd with dewy gem,

Frighted away the Dryads and the Fauns

From rushes green, and brakes, and cowslip'd lawns,

The ever-smitten Hermes empty left

His golden throne, bent warm on amorous theft:

From high Olympus had he stolen light,

On this side of Jove's clouds, to escape the sight

Of his great summoner, and made retreat

Into a forest on the shores of Crete.

For somewhere in that sacred island dwelt

A nymph, to whom all hoofed Satyrs knelt;

At whose white feet the languid Tritons poured

Pearls, while on land they wither'd and adored.

Fast by the springs where she to bathe was wont,

And in those meads where sometime she might haunt,

Were strewn rich gifts, unknown to any Muse,

Though Fancy's casket were unlock'd to choose.

Ah, what a world of love was at her feet!

So Hermes thought, and a celestial heat

Burnt from his winged heels to either ear,

That from a whiteness, as the lily clear,

Blush'd into roses 'mid his golden hair,

Fallen in jealous curls about his shoulders bare.

From vale to vale, from wood to wood, he flew,

Breathing upon the flowers his passion new,

And wound with many a river to its head,

To find where this sweet nymph prepar'd her secret bed:

In vain; the sweet nymph might nowhere be found,

And so he rested, on the lonely ground,

Pensive, and full of painful jealousies

Of the Wood-Gods, and even the very trees.

There as he stood, he heard a mournful voice,

Such as once heard, in gentle heart, destroys

All pain but pity: thus the lone voice spake:

"When from this wreathed tomb shall I awake!

When move in a sweet body fit for life,

And love, and pleasure, and the ruddy strife

Of hearts and lips! Ah, miserable me!"

The God, dove-footed, glided silently

Round bush and tree, soft-brushing, in his speed,

The taller grasses and full-flowering weed,

Until he found a palpitating snake,

Bright, and cirque-couchant in a dusky brake.



She was a gordian shape of dazzling hue,

Vermilion-spotted, golden, green, and blue;

Striped like a zebra, freckled like a pard,

Eyed like a peacock, and all crimson barr'd;

And full of silver moons, that, as she breathed,

Dissolv'd, or brighter shone, or interwreathed

Their lustres with the gloomier tapestries -

So rainbow-sided, touch'd with miseries,

She seem'd, at once, some penanced lady elf,

Some demon's mistress, or the demon's self.

Upon her crest she wore a wannish fire

Sprinkled with stars, like Ariadne's tiar:

Her head was serpent, but ah, bitter-sweet!

She had a woman's mouth with all its pearls complete:

And for her eyes: what could such eyes do there

But weep, and weep, that they were born so fair?

As Proserpine still weeps for her Sicilian air.

Her throat was serpent, but the words she spake

Came, as through bubbling honey, for Love's sake,

And thus; while Hermes on his pinions lay,

Like a stoop'd falcon ere he takes his prey.



"Fair Hermes, crown'd with feathers, fluttering light,

I had a splendid dream of thee last night:

I saw thee sitting, on a throne of gold,

Among the Gods, upon Olympus old,

The only sad one; for thou didst not hear

The soft, lute-finger'd Muses chaunting clear,

Nor even Apollo when he sang alone,

Deaf to his throbbing throat's long, long melodious moan.

I dreamt I saw thee, robed in purple flakes,

Break amorous through the clouds, as morning breaks,

And, swiftly as a bright Phoebean dart,

Strike for the Cretan isle; and here thou art!

Too gentle Hermes, hast thou found the maid?"

Whereat the star of Lethe not delay'd

His rosy eloquence, and thus inquired:

"Thou smooth-lipp'd serpent, surely high inspired!

Thou beauteous wreath, with melancholy eyes,

Possess whatever bliss thou canst devise,

Telling me only where my nymph is fled, -

Where she doth breathe!" "Bright planet, thou hast said,"

Return'd the snake, "but seal with oaths, fair God!"

"I swear," said Hermes, "by my serpent rod,

And by thine eyes, and by thy starry crown!"

Light flew his earnest words, among the blossoms blown.

Then thus again the brilliance feminine:

"Too frail of heart! for this lost nymph of thine,

Free as the air, invisibly, she strays

About these thornless wilds; her pleasant days

She tastes unseen; unseen her nimble feet

Leave traces in the grass and flowers sweet;

From weary tendrils, and bow'd branches green,

She plucks the fruit unseen, she bathes unseen:

And by my power is her beauty veil'd

To keep it unaffronted, unassail'd

By the love-glances of unlovely eyes,

Of Satyrs, Fauns, and blear'd Silenus' sighs.

Pale grew her immortality, for woe

Of all these lovers, and she grieved so

I took compassion on her, bade her steep

Her hair in weird syrops, that would keep

Her loveliness invisible, yet free

To wander as she loves, in liberty.

Thou shalt behold her, Hermes, thou alone,

If thou wilt, as thou swearest, grant my boon!"

Then, once again, the charmed God began

An oath, and through the serpent's ears it ran

Warm, tremulous, devout, psalterian.

Ravish'd, she lifted her Circean head,

Blush'd a live damask, and swift-lisping said,

"I was a woman, let me have once more

A woman's shape, and charming as before.

I love a youth of Corinth - O the bliss!

Give me my woman's form, and place me where he is.

Stoop, Hermes, let me breathe upon thy brow,

And thou shalt see thy sweet nymph even now."

The God on half-shut feathers sank serene,

She breath'd upon his eyes, and swift was seen

Of both the guarded nymph near-smiling on the green.

It was no dream; or say a dream it was,

Real are the dreams of Gods, and smoothly pass

Their pleasures in a long immortal dream.

One warm, flush'd moment, hovering, it might seem

Dash'd by the wood-nymph's beauty, so he burn'd;

Then, lighting on the printless verdure, turn'd

To the swoon'd serpent, and with languid arm,

Delicate, put to proof the lythe Caducean charm.

So done, upon the nymph his eyes he bent,

Full of adoring tears and blandishment,

And towards her stept: she, like a moon in wane,

Faded before him, cower'd, nor could restrain

Her fearful sobs, self-folding like a flower

That faints into itself at evening hour:

But the God fostering her chilled hand,

She felt the warmth, her eyelids open'd bland,

And, like new flowers at morning song of bees,

Bloom'd, and gave up her honey to the lees.

Into the green-recessed woods they flew;

Nor grew they pale, as mortal lovers do.



Left to herself, the serpent now began

To change; her elfin blood in madness ran,

Her mouth foam'd, and the grass, therewith besprent,

Wither'd at dew so sweet and virulent;

Her eyes in torture fix'd, and anguish drear,

Hot, glaz'd, and wide, with lid-lashes all sear,

Flash'd phosphor and sharp sparks, without one cooling tear.

The colours all inflam'd throughout her train,

She writh'd about, convuls'd with scarlet pain:

A deep volcanian yellow took the place

Of all her milder-mooned body's grace;

And, as the lava ravishes the mead,

Spoilt all her silver mail, and golden brede;

Made gloom of all her frecklings, streaks and bars,

Eclips'd her crescents, and lick'd up her stars:

So that, in moments few, she was undrest

Of all her sapphires, greens, and amethyst,

And rubious-argent: of all these bereft,

Nothing but pain and ugliness were left.

Still shone her crown; that vanish'd, also she

Melted and disappear'd as suddenly;

And in the air, her new voice luting soft,

Cried, "Lycius! gentle Lycius!" - Borne aloft

With the bright mists about the mountains hoar

These words dissolv'd: Crete's forests heard no more.



Whither fled Lamia, now a lady bright,

A full-born beauty new and exquisite?

She fled into that valley they pass o'er

Who go to Corinth from Cenchreas' shore;

And rested at the foot of those wild hills,

The rugged founts of the Peraean rills,

And of that other ridge whose barren back

Stretches, with all its mist and cloudy rack,

South-westward to Cleone. There she stood

About a young bird's flutter from a wood,

Fair, on a sloping green of mossy tread,

By a clear pool, wherein she passioned

To see herself escap'd from so sore ills,

While her robes flaunted with the daffodils.



Ah, happy Lycius! - for she was a maid

More beautiful than ever twisted braid,

Or sigh'd, or blush'd, or on spring-flowered lea

Spread a green kirtle to the minstrelsy:

A virgin purest lipp'd, yet in the lore

Of love deep learned to the red heart's core:

Not one hour old, yet of sciential brain

To unperplex bliss from its neighbour pain;

Define their pettish limits, and estrange

Their points of contact, and swift counterchange;

Intrigue with the specious chaos, and dispart

Its most ambiguous atoms with sure art;

As though in Cupid's college she had spent

Sweet days a lovely graduate, still unshent,

And kept his rosy terms in idle languishment.



Why this fair creature chose so fairily

By the wayside to linger, we shall see;

But first 'tis fit to tell how she could muse

And dream, when in the serpent prison-house,

Of all she list, strange or magnificent:

How, ever, where she will'd, her spirit went;

Whether to faint Elysium, or where

Down through tress-lifting waves the Nereids fair

Wind into Thetis' bower by many a pearly stair;

Or where God Bacchus drains his cups divine,

Stretch'd out, at ease, beneath a glutinous pine;

Or where in Pluto's gardens palatine

Mulciber's columns gleam in far piazzian line.

And sometimes into cities she would send

Her dream, with feast and rioting to blend;

And once, while among mortals dreaming thus,

She saw the young Corinthian Lycius

Charioting foremost in the envious race,

Like a young Jove with calm uneager face,

And fell into a swooning love of him.

Now on the moth-time of that evening dim

He would return that way, as well she knew,

To Corinth from the shore; for freshly blew

The eastern soft wind, and his galley now

Grated the quaystones with her brazen prow

In port Cenchreas, from Egina isle

Fresh anchor'd; whither he had been awhile

To sacrifice to Jove, whose temple there

Waits with high marble doors for blood and incense rare.

Jove heard his vows, and better'd his desire;

For by some freakful chance he made retire

From his companions, and set forth to walk,

Perhaps grown wearied of their Corinth talk:

Over the solitary hills he fared,

Thoughtless at first, but ere eve's star appeared

His phantasy was lost, where reason fades,

In the calm'd twilight of Platonic shades.

Lamia beheld him coming, near, more near -

Close to her passing, in indifference drear,

His silent sandals swept the mossy green;

So neighbour'd to him, and yet so unseen

She stood: he pass'd, shut up in mysteries,

His mind wrapp'd like his mantle, while her eyes

Follow'd his steps, and her neck regal white

Turn'd - syllabling thus, "Ah, Lycius bright,

And will you leave me on the hills alone?

Lycius, look back! and be some pity shown."

He did; not with cold wonder fearingly,

But Orpheus-like at an Eurydice;

For so delicious were the words she sung,

It seem'd he had lov'd them a whole summer long:

And soon his eyes had drunk her beauty up,

Leaving no drop in the bewildering cup,

And still the cup was full, - while he afraid

Lest she should vanish ere his lip had paid

Due adoration, thus began to adore;

Her soft look growing coy, she saw his chain so sure:

"Leave thee alone! Look back! Ah, Goddess, see

Whether my eyes can ever turn from thee!

For pity do not this sad heart belie -

Even as thou vanishest so I shall die.

Stay! though a Naiad of the rivers, stay!

To thy far wishes will thy streams obey:

Stay! though the greenest woods be thy domain,

Alone they can drink up the morning rain:

Though a descended Pleiad, will not one

Of thine harmonious sisters keep in tune

Thy spheres, and as thy silver proxy shine?

So sweetly to these ravish'd ears of mine

Came thy sweet greeting, that if thou shouldst fade

Thy memory will waste me to a shade -

For pity do not melt!" - "If I should stay,"

Said Lamia, "here, upon this floor of clay,

And pain my steps upon these flowers too rough,

What canst thou say or do of charm enough

To dull the nice remembrance of my home?

Thou canst not ask me with thee here to roam

Over these hills and vales, where no joy is, -

Empty of immortality and bliss!

Thou art a scholar, Lycius, and must know

That finer spirits cannot breathe below

In human climes, and live: Alas! poor youth,

What taste of purer air hast thou to soothe

My essence? What serener palaces,

Where I may all my many senses please,

And by mysterious sleights a hundred thirsts appease?

It cannot be - Adieu!" So said, she rose

Tiptoe with white arms spread. He, sick to lose

The amorous promise of her lone complain,

Swoon'd, murmuring of love, and pale with pain.

The cruel lady, without any show

Of sorrow for her tender favourite's woe,

But rather, if her eyes could brighter be,

With brighter eyes and slow amenity,

Put her new lips to his, and gave afresh

The life she had so tangled in her mesh:

And as he from one trance was wakening

Into another, she began to sing,

Happy in beauty, life, and love, and every thing,

A song of love, too sweet for earthly lyres,

While, like held breath, the stars drew in their panting fires

And then she whisper'd in such trembling tone,

As those who, safe together met alone

For the first time through many anguish'd days,

Use other speech than looks; bidding him raise

His drooping head, and clear his soul of doubt,

For that she was a woman, and without

Any more subtle fluid in her veins

Than throbbing blood, and that the self-same pains

Inhabited her frail-strung heart as his.

And next she wonder'd how his eyes could miss

Her face so long in Corinth, where, she said,

She dwelt but half retir'd, and there had led

Days happy as the gold coin could invent

Without the aid of love; yet in content

Till she saw him, as once she pass'd him by,

Where 'gainst a column he leant thoughtfully

At Venus' temple porch, 'mid baskets heap'd

Of amorous herbs and flowers, newly reap'd

Late on that eve, as 'twas the night before

The Adonian feast; whereof she saw no more,

But wept alone those days, for why should she adore?

Lycius from death awoke into amaze,

To see her still, and singing so sweet lays;

Then from amaze into delight he fell

To hear her whisper woman's lore so well;

And every word she spake entic'd him on

To unperplex'd delight and pleasure known.

Let the mad poets say whate'er they please

Of the sweets of Fairies, Peris, Goddesses,

There is not such a treat among them all,

Haunters of cavern, lake, and waterfall,

As a real woman, lineal indeed

From Pyrrha's pebbles or old Adam's seed.

Thus gentle Lamia judg'd, and judg'd aright,

That Lycius could not love in half a fright,

So threw the goddess off, and won his heart

More pleasantly by playing woman's part,

With no more awe than what her beauty gave,

That, while it smote, still guaranteed to save.

Lycius to all made eloquent reply,

Marrying to every word a twinborn sigh;

And last, pointing to Corinth, ask'd her sweet,

If 'twas too far that night for her soft feet.

The way was short, for Lamia's eagerness

Made, by a spell, the triple league decrease

To a few paces; not at all surmised

By blinded Lycius, so in her comprized.

They pass'd the city gates, he knew not how

So noiseless, and he never thought to know.



As men talk in a dream, so Corinth all,

Throughout her palaces imperial,

And all her populous streets and temples lewd,

Mutter'd, like tempest in the distance brew'd,

To the wide-spreaded night above her towers.

Men, women, rich and poor, in the cool hours,

Shuffled their sandals o'er the pavement white,

Companion'd or alone; while many a light

Flared, here and there, from wealthy festivals,

And threw their moving shadows on the walls,

Or found them cluster'd in the corniced shade

Of some arch'd temple door, or dusky colonnade.



Muffling his face, of greeting friends in fear,

Her fingers he press'd hard, as one came near

With curl'd gray beard, sharp eyes, and smooth bald crown,

Slow-stepp'd, and robed in philosophic gown:

Lycius shrank closer, as they met and past,

Into his mantle, adding wings to haste,

While hurried Lamia trembled: "Ah," said he,

"Why do you shudder, love, so ruefully?

Why does your tender palm dissolve in dew?" -

"I'm wearied," said fair Lamia: "tell me who

Is that old man? I cannot bring to mind

His features - Lycius! wherefore did you blind

Yourself from his quick eyes?" Lycius replied,

'Tis Apollonius sage, my trusty guide

And good instructor; but to-night he seems

The ghost of folly haunting my sweet dreams.



While yet he spake they had arrived before

A pillar'd porch, with lofty portal door,

Where hung a silver lamp, whose phosphor glow

Reflected in the slabbed steps below,

Mild as a star in water; for so new,

And so unsullied was the marble hue,

So through the crystal polish, liquid fine,

Ran the dark veins, that none but feet divine

Could e'er have touch'd there. Sounds Aeolian

Breath'd from the hinges, as the ample span

Of the wide doors disclos'd a place unknown

Some time to any, but those two alone,

And a few Persian mutes, who that same year

Were seen about the markets: none knew where

They could inhabit; the most curious

Were foil'd, who watch'd to trace them to their house:

And but the flitter-winged verse must tell,

For truth's sake, what woe afterwards befel,

'Twould humour many a heart to leave them thus,

Shut from the busy world of more incredulous.









Part II








love in a hut, with water and a crust,

Is - Love, forgive us! - cinders, ashes, dust;

Love in a palace is perhaps at last

More grievous torment than a hermit's fast -

That is a doubtful tale from faery land,

Hard for the non-elect to understand.

Had Lycius liv'd to hand his story down,

He might have given the moral a fresh frown,

Or clench'd it quite: but too short was their bliss

To breed distrust and hate, that make the soft voice hiss.

Besides, there, nightly, with terrific glare,

Love, jealous grown of so complete a pair,

Hover'd and buzz'd his wings, with fearful roar,

Above the lintel of their chamber door,

And down the passage cast a glow upon the floor.



For all this came a ruin: side by side

They were enthroned, in the even tide,

Upon a couch, near to a curtaining

Whose airy texture, from a golden string,

Floated into the room, and let appear

Unveil'd the summer heaven, blue and clear,

Betwixt two marble shafts: - there they reposed,

Where use had made it sweet, with eyelids closed,

Saving a tythe which love still open kept,

That they might see each other while they almost slept;

When from the slope side of a suburb hill,

Deafening the swallow's twitter, came a thrill

Of trumpets - Lycius started - the sounds fled,

But left a thought, a buzzing in his head.

For the first time, since first he harbour'd in

That purple-lined palace of sweet sin,

His spirit pass'd beyond its golden bourn

Into the noisy world almost forsworn.

The lady, ever watchful, penetrant,

Saw this with pain, so arguing a want

Of something more, more than her empery

Of joys; and she began to moan and sigh

Because he mused beyond her, knowing well

That but a moment's thought is passion's passing bell.

"Why do you sigh, fair creature?" whisper'd he:

"Why do you think?" return'd she tenderly:

"You have deserted me - where am I now?

Not in your heart while care weighs on your brow:

No, no, you have dismiss'd me; and I go

From your breast houseless: ay, it must be so."

He answer'd, bending to her open eyes,

Where he was mirror'd small in paradise,

My silver planet, both of eve and morn!

Why will you plead yourself so sad forlorn,

While I am striving how to fill my heart

With deeper crimson, and a double smart?

How to entangle, trammel up and snare

Your soul in mine, and labyrinth you there

Like the hid scent in an unbudded rose?

Ay, a sweet kiss - you see your mighty woes.

My thoughts! shall I unveil them? Listen then!

What mortal hath a prize, that other men

May be confounded and abash'd withal,

But lets it sometimes pace abroad majestical,

And triumph, as in thee I should rejoice

Amid the hoarse alarm of Corinth's voice.

Let my foes choke, and my friends shout afar,

While through the thronged streets your bridal car

Wheels round its dazzling spokes." The lady's cheek

Trembled; she nothing said, but, pale and meek,

Arose and knelt before him, wept a rain

Of sorrows at his words; at last with pain

Beseeching him, the while his hand she wrung,

To change his purpose. He thereat was stung,

Perverse, with stronger fancy to reclaim

Her wild and timid nature to his aim:

Besides, for all his love, in self despite,

Against his better self, he took delight

Luxurious in her sorrows, soft and new.

His passion, cruel grown, took on a hue

Fierce and sanguineous as 'twas possible

In one whose brow had no dark veins to swell.

Fine was the mitigated fury, like

Apollo's presence when in act to strike

The serpent - Ha, the serpent! certes, she

Was none. She burnt, she lov'd the tyranny,

And, all subdued, consented to the hour

When to the bridal he should lead his paramour.

Whispering in midnight silence, said the youth,

"Sure some sweet name thou hast, though, by my truth,

I have not ask'd it, ever thinking thee

Not mortal, but of heavenly progeny,

As still I do. Hast any mortal name,

Fit appellation for this dazzling frame?

Or friends or kinsfolk on the citied earth,

To share our marriage feast and nuptial mirth?"

"I have no friends," said Lamia," no, not one;

My presence in wide Corinth hardly known:

My parents' bones are in their dusty urns

Sepulchred, where no kindled incense burns,

Seeing all their luckless race are dead, save me,

And I neglect the holy rite for thee.

Even as you list invite your many guests;

But if, as now it seems, your vision rests

With any pleasure on me, do not bid

Old Apollonius - from him keep me hid."

Lycius, perplex'd at words so blind and blank,

Made close inquiry; from whose touch she shrank,

Feigning a sleep; and he to the dull shade

Of deep sleep in a moment was betray'd



It was the custom then to bring away

The bride from home at blushing shut of day,

Veil'd, in a chariot, heralded along

By strewn flowers, torches, and a marriage song,

With other pageants: but this fair unknown

Had not a friend. So being left alone,

(Lycius was gone to summon all his kin)

And knowing surely she could never win

His foolish heart from its mad pompousness,

She set herself, high-thoughted, how to dress

The misery in fit magnificence.

She did so, but 'tis doubtful how and whence

Came, and who were her subtle servitors.

About the halls, and to and from the doors,

There was a noise of wings, till in short space

The glowing banquet-room shone with wide-arched grace.

A haunting music, sole perhaps and lone

Supportress of the faery-roof, made moan

Throughout, as fearful the whole charm might fade.

Fresh carved cedar, mimicking a glade

Of palm and plantain, met from either side,

High in the midst, in honour of the bride:

Two palms and then two plantains, and so on,

From either side their stems branch'd one to one

All down the aisled place; and beneath all

There ran a stream of lamps straight on from wall to wall.

So canopied, lay an untasted feast

Teeming with odours. Lamia, regal drest,

Silently paced about, and as she went,

In pale contented sort of discontent,

Mission'd her viewless servants to enrich

The fretted splendour of each nook and niche.

Between the tree-stems, marbled plain at first,

Came jasper pannels; then, anon, there burst

Forth creeping imagery of slighter trees,

And with the larger wove in small intricacies.

Approving all, she faded at self-will,

And shut the chamber up, close, hush'd and still,

Complete and ready for the revels rude,

When dreadful guests would come to spoil her solitude.



The day appear'd, and all the gossip rout.

O senseless Lycius! Madman! wherefore flout

The silent-blessing fate, warm cloister'd hours,

And show to common eyes these secret bowers?

The herd approach'd; each guest, with busy brain,

Arriving at the portal, gaz'd amain,

And enter'd marveling: for they knew the street,

Remember'd it from childhood all complete

Without a gap, yet ne'er before had seen

That royal porch, that high-built fair demesne;

So in they hurried all, maz'd, curious and keen:

Save one, who look'd thereon with eye severe,

And with calm-planted steps walk'd in austere;

'Twas Apollonius: something too he laugh'd,

As though some knotty problem, that had daft

His patient thought, had now begun to thaw,

And solve and melt - 'twas just as he foresaw.



He met within the murmurous vestibule

His young disciple. "'Tis no common rule,

Lycius," said he, "for uninvited guest

To force himself upon you, and infest

With an unbidden presence the bright throng

Of younger friends; yet must I do this wrong,

And you forgive me." Lycius blush'd, and led

The old man through the inner doors broad-spread;

With reconciling words and courteous mien

Turning into sweet milk the sophist's spleen.



Of wealthy lustre was the banquet-room,

Fill'd with pervading brilliance and perfume:

Before each lucid pannel fuming stood

A censer fed with myrrh and spiced wood,

Each by a sacred tripod held aloft,

Whose slender feet wide-swerv'd upon the soft

Wool-woofed carpets: fifty wreaths of smoke

From fifty censers their light voyage took

To the high roof, still mimick'd as they rose

Along the mirror'd walls by twin-clouds odorous.

Twelve sphered tables, by silk seats insphered,

High as the level of a man's breast rear'd

On libbard's paws, upheld the heavy gold

Of cups and goblets, and the store thrice told

Of Ceres' horn, and, in huge vessels, wine

Come from the gloomy tun with merry shine.

Thus loaded with a feast the tables stood,

Each shrining in the midst the image of a God.



When in an antichamber every guest

Had felt the cold full sponge to pleasure press'd,

By minist'ring slaves, upon his hands and feet,

And fragrant oils with ceremony meet

Pour'd on his hair, they all mov'd to the feast

In white robes, and themselves in order placed

Around the silken couches, wondering

Whence all this mighty cost and blaze of wealth could spring.



Soft went the music the soft air along,

While fluent Greek a vowel'd undersong

Kept up among the guests discoursing low

At first, for scarcely was the wine at flow;

But when the happy vintage touch'd their brains,

Louder they talk, and louder come the strains

Of powerful instruments - the gorgeous dyes,

The space, the splendour of the draperies,

The roof of awful richness, nectarous cheer,

Beautiful slaves, and Lamia's self, appear,

Now, when the wine has done its rosy deed,

And every soul from human trammels freed,

No more so strange; for merry wine, sweet wine,

Will make Elysian shades not too fair, too divine.

Soon was God Bacchus at meridian height;

Flush'd were their cheeks, and bright eyes double bright:

Garlands of every green, and every scent

From vales deflower'd, or forest-trees branch rent,

In baskets of bright osier'd gold were brought

High as the handles heap'd, to suit the thought

Of every guest; that each, as he did please,

Might fancy-fit his brows, silk-pillow'd at his ease.



What wreath for Lamia? What for Lycius?

What for the sage, old Apollonius?

Upon her aching forehead be there hung

The leaves of willow and of adder's tongue;

And for the youth, quick, let us strip for him

The thyrsus, that his watching eyes may swim

Into forgetfulness; and, for the sage,

Let spear-grass and the spiteful thistle wage

War on his temples. Do not all charms fly

At the mere touch of cold philosophy?

There was an awful rainbow once in heaven:

We know her woof, her texture; she is given

In the dull catalogue of common things.

Philosophy will clip an Angel's wings,

Conquer all mysteries by rule and line,

Empty the haunted air, and gnomed mine -

Unweave a rainbow, as it erewhile made

The tender-person'd Lamia melt into a shade.



By her glad Lycius sitting, in chief place,

Scarce saw in all the room another face,

Till, checking his love trance, a cup he took

Full brimm'd, and opposite sent forth a look

'Cross the broad table, to beseech a glance

From his old teacher's wrinkled countenance,

And pledge him. The bald-head philosopher

Had fix'd his eye, without a twinkle or stir

Full on the alarmed beauty of the bride,

Brow-beating her fair form, and troubling her sweet pride.

Lycius then press'd her hand, with devout touch,

As pale it lay upon the rosy couch:

'Twas icy, and the cold ran through his veins;

Then sudden it grew hot, and all the pains

Of an unnatural heat shot to his heart.

"Lamia, what means this? Wherefore dost thou start?

Know'st thou that man?" Poor Lamia answer'd not.

He gaz'd into her eyes, and not a jot

Own'd they the lovelorn piteous appeal:

More, more he gaz'd: his human senses reel:

Some hungry spell that loveliness absorbs;

There was no recognition in those orbs.

"Lamia!" he cried - and no soft-toned reply.

The many heard, and the loud revelry

Grew hush; the stately music no more breathes;

The myrtle sicken'd in a thousand wreaths.

By faint degrees, voice, lute, and pleasure ceased;

A deadly silence step by step increased,

Until it seem'd a horrid presence there,

And not a man but felt the terror in his hair.

"Lamia!" he shriek'd; and nothing but the shriek

With its sad echo did the silence break.

"Begone, foul dream!" he cried, gazing again

In the bride's face, where now no azure vein

Wander'd on fair-spaced temples; no soft bloom

Misted the cheek; no passion to illume

The deep-recessed vision - all was blight;

Lamia, no longer fair, there sat a deadly white.

"Shut, shut those juggling eyes, thou ruthless man!

Turn them aside, wretch! or the righteous ban

Of all the Gods, whose dreadful images

Here represent their shadowy presences,

May pierce them on the sudden with the thorn

Of painful blindness; leaving thee forlorn,

In trembling dotage to the feeblest fright

Of conscience, for their long offended might,

For all thine impious proud-heart sophistries,

Unlawful magic, and enticing lies.

Corinthians! look upon that gray-beard wretch!

Mark how, possess'd, his lashless eyelids stretch

Around his demon eyes! Corinthians, see!

My sweet bride withers at their potency."

"Fool!" said the sophist, in an under-tone

Gruff with contempt; which a death-nighing moan

From Lycius answer'd, as heart-struck and lost,

He sank supine beside the aching ghost.

"Fool! Fool!" repeated he, while his eyes still

Relented not, nor mov'd; "from every ill

Of life have I preserv'd thee to this day,

And shall I see thee made a serpent's prey?"

Then Lamia breath'd death breath; the sophist's eye,

Like a sharp spear, went through her utterly,

Keen, cruel, perceant, stinging: she, as well

As her weak hand could any meaning tell,

Motion'd him to be silent; vainly so,

He look'd and look'd again a level - No!

"A Serpent!" echoed he; no sooner said,

Than with a frightful scream she vanished:

And Lycius' arms were empty of delight,

As were his limbs of life, from that same night.

On the high couch he lay! - his friends came round

Supported him - no pulse, or breath they found,

And, in its marriage robe, the heavy body wound.







COMMENTS

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Dragons Info

20:22 Feb 11 2008
Times Read: 1,206


Here are some informations about dragons.

The Dark Wolf posted them on the main forum.

Thank you Dark Wolf!










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It may very well be that dragon is one of a number of ways that Western cultures refer to the naga. Some hold though, that the word dragon actually refers to two entirely distinct beasts -- that the Western and the Chinese mythological beasts do not even belong to the same class.



The Chinese, when they encountered the term naga in Buddhist scripture, translated it as lu or lung which means 'dragon' and so in China the ancient dragon concept took on a broader significance.



The Chinese dragon represents the vital potential of falling rain and flowing waters, unlike its western counterpart that sits brooding in a cavern guarding treasure. Joseph Campbell (The Power of Myth 150) describes the Asian dragon emerging from a swamp beating its belly and bellowing, "Haw ha ha haw!"



In Eastern mythology, nagas are a class of being whose primary role is as protector and benefactor. Since their abode is the deep water, they are a source of knowledge and of fertility but they also guard the immense riches of the earth. Thus the Eastern dragon has mainly benevolent and auspicious characteristics but in Western mythology, the role of the dragon has been strictly curtailed rendering it into an ugly, greedy and jealous opponent of the Hero. It is the opinion of some that the reason for this has to do with the way people in the West view nature itself-- as something to be vanquished.



The essence of life in the form of the dragon's celestial breath is called in Chinese sheng chi. It is the source of all energy that contributes to fertility and wealth such as the seasonal changes of the rain that allows crops to grow, the warmth of sunshine, balmy sea breezes and fertile soil. In fact, the dragon is the eastern Mother Nature.



In Himalayan Buddhism, a banner of a turquoise dragon stands for ". . . the sound of compassion that awakens us from delusion and increases what we can know through hearing. Dragons have the power of complete communication and protect one from slander." (~ Snow Lion Publications.)





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Draco



In the era before this one, that is about 1, 800 BCE or around 4, 000 years BP [Before the Present] the celestial indicator or Pole star was not our North Star (Polaris) but Thuban a mid-point star in the constellation known as Draco or Dragon. Draco is the 8th largest of the conventional constellations curving from the "pointers" of the Dipper (Ursa Minor) to brilliant Vega. To the observer of today, there is no bright star in the configuration. Yet, the passages in the great pyramid at Gizeh, Egypt, once acted as channels for the light of the star that is called Thuban. (It is now known that those pyramids were oriented to Orion and, at the time of the building of the Sphinx, to Leo.)



It has been demonstrated that the Angkor Wat complex, the great Khmer (Cambodian) Buddhist shrine, was built in alignment with this celestial formation. However, in 1,150 CE the constellation of the Dragon was upside down over the site's medieval buildings, but impressively, in the era of 10,500 BCE traces of the very earliest structures there mirrored the Dragon constellation exactly.



The transition from one ruling celestial system to another is marked in the mythologies of the world by accounts of the overthrow of Titans (Greek) or Ashuras (Indian) by Gods or Devas. Naturally, this displacement had to be justified, and so the serpentine heavenly Mother, Tiamat of the early Mesopotamians is considered by devotees of the newer deity, Marduk as an evil draconian monster.



Greek Transition Myth



Gaia (Mother Earth) had given a Wish-fulfilling Tree as a wedding present to Hera, bride of Zeus, and this tree produced wondrous fruit called the Golden Apples of the Hesperides (Daughters of the Western One -- the gentle reddish deity of sunset.) She decided to keep it where it grew and Ladon, the hundred-headed dragon/naga was appointed to guard the fruit of this Tree of Knowledge against any thieves.



Now her stepson, Herakles (Glory of Hera) had to undergo 12 terrible trials as a result of a heinous murder he had committed, and one of the last was to steal the apples from the Virgin Mother, Queen of Heaven. {She renewed her virginity once a year at a sacred spring.]



With the help of the Titan Atlas, supporter of the Heavens, in exchange for relieving him of his enormous burden for just a few moments, Heracles shot arrows at Ladon as a diversion but then he struck and killed the dragon, and Atlas managed to fetch 3 of the golden apples. (Atlas was tricked into reclaiming his burden again when Herakles asked for a moment to adjust his position so that he could bear the weight a bit more comfortably. )



As for Ladon, Hera was distraught over its demise and did it great honour by placing it high in the night sky where it is coiled to this day.





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Divine Ancestor





The flying dragon whose abode is the heavens is universally recognized as a symbol of the Chinese culture and its people. Chinese refer to themselves as Lung-tik Chuan-ren, that is "Descendents of the Dragon."



It is believed that on rare occasions dragons have the power to transform themselves into handsome humans who, male or female, can mate with people. For example, former Japanese Emperor Hirohito [fl. 1940] claimed descent from Princess Fruitful Jewel, daughter of a sea Dragon King. It is this belief that lies at the root of the dragon as crest or emblem of a royal house.



A dragon depicted full face was the exclusive Imperial symbol, but other kinds of dragon emblems were used by ministers and representatives of the Chinese emperor, such as the ambans or viceroys.









Dragon Robes at San Diego Museum with Chinese symbolism.



Yu Pang was a peasant who rose to the highest rank and ruled China as its emperor. To legitimize this unheard-of accomplishment, he was the first to claim descent from a dragon. From that time onwards, Dragon-face was the epithet used to refer to the ruler. Perhaps to encourage the notion that this was more than just a nickname, in Japan where the lifestyle owes much to China, the ruler adopted the practice of sitting concealed behind a bamboo screen during audiences with visitors.







Weather





The rains that fertilize the land were attributed to the actions of the dragons, but so were the tremendous and devastating storms that sometimes occurred. These were attributed to the movements of the great celestial dragons as they emerged in the spring or descended to their caves in the autumn.







Mentor





The superior kind of Chinese dragon is said to have a great pearl in its throat which symbolizes its custody of wisdom. (But also, a lunar eclipse.) It is believed that the knowledge of writing was given by a yellow dragon to legendary Emperor Fu Shi. This association of the dragon with the fertility of the intellect has a long tradition.



We have seen that the historical Buddha during his meditation under the bodhi tree is believed to have been shielded from the elements by a many-headed naga. In the long line of deities and saints described as having protection from this kind of serpentine creature is a 13th century Cambodian king. He is said to have spent his nights in a golden tower consulting with a nine-headed dragon. He could be accused of not heeding his advisor when there was a drought, flood or major storm.



Dragons were thought to be able to change size. When they were smaller, they could be the cause of minor watery annoyances such as dripping eaves or a leaky roof. On the other hand, according to a Tibetan lama, on occasions such as a dharma-teaching, the appearance of unexpected water as when a sink overflows or the basement leaks, is considered an auspicious sign -- the approval of the nagas.



Panthaka is one of those numbered among Buddha's 16 arhats. He was said to have possessed magic powers that were called upon when Buddha made an expedition to subdue and convert the fierce dragon-king Apulala. He could make himself smaller and smaller until he seemed to disappear. When he is shown among the other disciples, he is the one depicted charming a dragon into his alms-bowl.



Lung-chun or Dragon-host is the Chinese form given for the Indian name that appears in that context.



The dragon is the vehicle of Dorje Chang or Vajradhara, the Buddhist meditational deity. It is also the emblem of one of the Tibetan Buddhist schools descending from Milarepa. (The garuda, the snow lion and the tiger are others.)



That is because the founder of the Dragon or Drukpa lineage, Tsangpa Gyare,



" . . . whose existence was in fact earlier predicted by the Dakinis (you know, some forms of spiritual beings), while looking for a suitable site to build a proper place to spread the teachings of the holy lineage, met with nine dragons. These auspicious creatures flew up into the sky, followed by a loud clap of roaring thunder. At this sight, Tsangpa Gyare decided to build his monastery in this holy place then and there. Therefore, the first monastery, ‘Nam Druk Sewa Jangchub Ling,’ was built, located not too far from Lhasa, the capital of Tibet.



Based on this remarkable incident, I think that was the first time the dragon was associated with our lineage. Then it became quite natural for the followers of this lineage, or for that matter, the lineage holder and the lineage itself to be called the ‘Drukpa’ or ‘Druk’ lineage. As you know, the dragon is supposed to be an important and auspicious celestial creature, and even Bhutan is commonly called ‘Drukpa’ or ‘Druk Yul,’ meaning the ‘Country of Dragon.’ The Bhutanese people also refer to themselves as ‘Drukpa,’ meaning people from the dragon country."



~ an interview with HH the 12th Gyalwang Drukpa





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Guardian





The Chinese, Fa Hsien (394-414 CE) and 200 years later, Hsuan Chuang, both visited Shankashya one of the eight important places of pilgrimage for Buddhists. It is the site of Buddha's descent from the Tushita Heaven and is reputed to be the place on earth where all Buddhas descend. People told both pilgrims that there was a white-eared dragon living close to the monastery which housed about 1,000 monks and nuns. The dragon cared for the monastery and the whole surrounding area. Fa Hsien's journal entry in particular emphasizes the abundant produce of the land, and the prosperity and happiness of the people.



In that case, we have the prototypical eastern type of dragon. It is generally benevolent -- the embodiment of divine protection, vigilance and fertility. In its form that combines fish, reptile and bird it has the ability to swim in the seas, fly in the heavens and coil up in the land where its humped back forms the ridges of mountain ranges.



Generous and kind, it wards off wandering evil spirits and protects the virtuous and the innocent. Therefore children born in a dragon year of the 12-animal cycle especially are considered to enjoy health, wealth, and long life.



Medea, Mistress of Dragons

Greek mythology relates that once a king of Thebes, desperate to protect his kingdom from his nephew Jason, sent him off on a deadly mission: to journey across the sea far to the northeast to retrieve the Golden Fleece of Hermes' flying ram. (Sheep's fleece has been documented in western Asia today as still being used to filter and trap gold from mountain streams.) But this fleece, besides being of sacred origin, was also the totemic object bound to the longevity of the king of Colchis. It was protected there, not far from the Black Sea where it had been nailed to a tree in a dragon sanctuary.







Jason being regurgitated from the maw of the drakon of Colchis that guards the Golden Fleece.



Jason sought help from the foreign king's daughter, Medea, an adept of the cult of Hecate, the Moon goddess. Unfortunately for her, she had become the target of one of Eros' arrows and was smitten with Jason. When he promised before the deities of that Asian land to take her back with him to an honorable estate, i.e. as his lawful wife, she agreed to betray her own father and thus endanger the welfare of her state, to sing the dragon to sleep.



Jason accomplished his quest and returned to Greece with her, which must have taken some time for they had two sons together. When his uncle did not keep his part of the bargain, Jason and his family had to flee to Corinth. There, in an attempt to make a place for himself, he became involved in an arranged marriage with the daughter of Creon, ruler of that city.



Medea was appalled primarily by the broken sacred vow, and pretended to accept the situation making for the younger woman, a poisoned dress of cloth-of-gold. When that poor victim suffered her final agony, Medea then slew her own two sons before their father's eyes. She conjured up a dragon-drawn vehicle and flew off in it as Jason fell upon his own sword on the threshold of their home.



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Honouring the Dragon





From pre-historic times, monuments were raised and later, temples and shrines were built in honor of the dragons that were understood to be controllers of the rain and the wealth of rivers, lakes, and seas. For example, see an example of the vishap-k'ar, dragon stones of pre-Christian Armenia.



Incense and prayer were offered, especially on the first and fifteenth of every month, at pagodas and shrines such as Black Dragon Pool Chapel near Beijing said to have been reserved especially for the use of the Empress and her court.



Temple Island in Japan's inland sea is a famous dragon pilgrimage destination. There are also lu temples in Tibet where various reptiles are also considered members of the naga class of beings.







The Dragon Image





The dragon is one of the four Chinese spiritual animals. (The others are the phoenix, qilin (a kind of unicorn) and the tortoise.)



Much has been made of the distinguishing characteristics of the various Asian dragons. There is an iconographic convention in which the common dragon is four-clawed, the five-clawed one is the celestial one that is the Chinese Imperial emblem, and the colonial type such as the Japanese one is shown with only three.



The image of a dragon, its face or mask (Skt.: mukha,) or an abstract design representing its serpentine form is generally used as a protective mark. For example, the winding design used to frame the corners of a page of Tibetan writing has its origin in nagas or protective dragons; sometimes their eye dots are indicated.



In the Tibetan tradition, the turquoise dragon is said to protect against discord of all types but especially slanderous gossip and the misuse of words. Dragons often appear on metal musical instruments such as bells, gongs and the small cymbals that can serve to represent the music offering on a Buddhist shrine. This may relate to the roar of righteous indignation of the protective dragon but also to its legendary love of music.



They are also often found in architecture where they protect against fire and earthquakes. Their image functions as a kind of amulet or talisman of security so they are found at the bases of monuments, on bridges and on the eaves of roofs.









Lifespan of the Eastern Dragon





While male dragons are described as having undulating steep, concave horns, female dragons are said to have straight noses, round manes, thin scales (81 in number) and a strong tail. They lay their eggs near water and they can take 1000 years to hatch. When fluid runs from the eggs as they begin to hatch, it is said that the parents cry out. The sounds of father and mother differ and they dramatically affect the weather in different ways causing darkness, torrential rain, and the essential thunder and lightning that induces the dragon eggs to crack.



The different forms of the dragon are attributed to its stage of development. At 500 years they are considered Kiao (scaled dragons,) at 1000 years they are mature Lung. It takes another 500 years for the horns to develop fully- Kioh-lung- and another millennium for the dragon to fully develop into the Ying-lung or winged dragon capable of flight. They are believed to have shape-changing abilities except when being born, sleeping, lustful or angry.



There are four major kinds of Chinese dragon: t'ien lung, (celestial guardians)

who support the mansions of the gods; shen lung (weather makers) who govern the clouds and bring rain; ti lung (earth-dragon) who control rivers; and the fu-ts'ang lung (treasure keepers) who guard deposits and hoards of precious metal.



Dragons are said to like precious stones and roasted swallows but to be afraid of the leaves of the wang plant, leaves of the lien tree, 5-coloured silk thread, wax, iron and centipedes [scorpions?].



~ Alt.fan.dragons "Eastern dragon"











Classes of Dragons





There is a popular classification of Chinese dragons that aims to identify 9 types. It lists: the horned dragon, the winged dragon, the celestial dragon supporting and protecting the mansions of the gods, the spiritual dragon which generates wind and rain for the benefit of mankind, the dragon guarding concealed wealth and the sinuously moving water dragon.



The most powerful is the horned dragon or Lung which produces rain and is believed to be totally deaf. It is described as having a head like a camel, horns like a deer, eyes like a hare, ears like a bull, a neck like an lizard, a belly like a frog, scales like a carp, paws like a tiger, and claws like those of an eagle.



The homeless dragon known as Ii lives in the ocean, and the Chiao is a scaly green creature with yellow sides and a crimson underbelly that inhabits marshes or mountain dens. It has a pair of large canine teeth in its upper jaw and long whiskers which it uses like those of a catfish. It can vary from greenish to golden and is said to have alternating short and long spines all the way down its back and tail, ending in a long brush.



What type of dragon is represented on the Qing dynasty (17th century) robe described as a chuba, from the Metropolitan's collection?



"One specimen had wings at its side, and walked on top of the water. Another tossed its mane back and forth making noises that sounded like a flute. Cow-heads are also common. A ten-footer, found lying on the banks of China's Yangtze River, was different from most because of its long, thick eyebrows. A Yellow River variety, seen on shore in the 1920s by a Chinese teacher, was bright blue, and as big as five cows. Both dragons crawled into the water as soon as it started to rain."



~ Crystal Links Chinese Dragons page.for above quotation and some of the other material









The four directional Dragon Kings form a distinctive type of Chinese dragon. In paintings, the red one is associated with the West, black is for the North, yellow for the Eastern one and green for the Southern one. When a central one is depicted, it is usually white, but may be blue.



Dragons are also thought of as features of geography. For having brought rain to humankind without the Jade Emperor's permission, the troops of heaven were ordered to arrest four rebellious dragons and the Mountain God collected mountains with which to pin them down.



" Determined to do good for the people forever, they turned themselves into four rivers, which flowed past high mountains and deep valleys, crossing the land from the west to the east and finally emptying into the sea. And so China's four great rivers were formed -- the Heilongjian (Black Dragon) in the far north, the Huanghe (Yellow River) in central China, the Changjiang (Yangtze, or Long River) farther south, and the Zhujiang (Pearl) in the very far south."









Reversal of Fortune





A type of European dragon known as the guivre can cause disease with its breath, but it has the curious characteristic of being so embarrassed by nudity that it will flee from the sight.



There is a legend that relates how Bishop St. Romain of Rouen subdued the gargouille:

The sinuous monster emerged one day from the waters of the Seine and causes a great flood. The archbishop of Rouen accompanied by a volunteer, a prisoner who was slated to die, manage to confront the monster. The archbishop place one finger across another, making the sign of the cross, and the gargouille was immediately tamed. Sadly, tamed or not, it was led submissively to a place of execution where it was burned to death.



Shuker, Karl. Dragon: A Natural History. New York: Simon & Schuster, 1995.

The Western dragon is the diametric opposite of its Eastern counterpart. We can almost visit the time and the place where the transformation occurred.



The scripture designated by its opening Babylonian words Enuma Elish describes how "gorgeous Tiamat" whose domain is the earth's water is cruelly slain by Marduk. This Lord, the champion of the sky gods and titans, slays the dragon with a blow from his mace and a bag of evil wind that he gets her to swallow so that she explodes. Her remains "like a clam shell" form the heavens and earth as we know it.



King of the Indian devas, Indra, slays Vritra the water dragon also by means of a blow from the mighty mace.



The Prophet "tranquilizes" the dragon. [16th-C Turk. miniature] and images of 2 other Persian dragons.



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Beowulf





As metal-working is refined, the spear and sword replace the mace or hammer. The skill of tempering blades moves west and the dragon, too, changes. In the Cotton-Vitelius manuscript #15 that was given the title Beowulf, a monster called Grendel periodically emerges from his deep marsh den to raid the darkened castle hall during the night. "Every nail, claw-scale and spur, every spike and welt on the hand of that heathen brute was like barbed steel."



The tale is estimated by scholars to be from the 6th or 7th century CE, though the one surviving manuscript dates from around 1000. It tells how Grendel and his mother are killed by the Geat [Jut = southern Swede] hero, Beowulf. He and his men had come south from across the sea to aid the Danes, who for 20 years had been preyed upon, sometimes 30 at a time.



The 'dragons' are described as "... huge marauders from some other world. One ... looks like a woman; the other, warped in the shape of a man, [but] bigger than any man, ... . They dwell ... on windswept crags ... where cold streams pour down the mountain and disappear under mist and moorland." but at night "the water burns." and when "the skies weep ... out of its depths a dirty surge is pitched towards the heavens."



There are three encounters with Grendel, and we learn that this monster does not conform to the standard dragon type. He is described as wanting to cram the men into "this roomy pouch ... intricately strung and hung at the ready, a rare patchwork of devilishly fitted dragon-skins." The dragon escapes, but loses his right "hand" which is pinned to the castle wall as a trophy. (When he is finally beheaded it takes 4 men to carry off the head.)



When the men visit the blood-tinged waters, they see "writhing sea-dragons" and all manner of monsters. The hero goes into the water and it takes him all day to reach the lair at the bottom. He struggles with the ides aelwyf or "hideous alewife." That is, the monstrous eel-like naga who is Grendel's mother, but she "pounced upon him and pulled a broad, whetted knife." Beowulf finally manages to cut off her head but only with an enormous sword from her own hoard.



The men have given him up for dead when after 9 hours he emerges, but his sword "began to wilt into gory icicles, to slather and thaw" from the effects of the dragon-blood so that only the golden hilt remained. The inscription on the hilt tells the tale of God's destruction of the giants that the 'ides aelwyf' is related to.



Years later, from the depths of a barrow that someone had plundered came again "the slick-skinned dragon, threatening the night sky with streamers of fire." It "rippled down the rock" and later "hurtled forth in a fiery blaze" that did "burn bright homesteads" so that Beowulf now an old man, goes forth once more.



Assisted by young Wiglaf, the dragon is stabbed to death but it "caught the hero in a rush of flame and clamped sharp fangs into his neck." The hero gets to see its golden hoard but "The wound began to scald and swell" and he dies, the last the Geat warriors from over the sea. Before the cremation of Beowulf, "The fire-dragon ... scorched all colours." and measuring 50 feet from head to tail who had "shimmered forth on the night air once." is pitched unceremoniously over a cliff.



The poem ends with a Geatish woman singing a dirge "a wild litany of nightmare and lament" with predictions of invasion, "bodies in piles, slavery and abasement." The hoard along with Beowulf's remains are covered up in a great stone barrow that 12 warriors ride around singing the praises of the great and good Beowulf.



~ excellent bilingual verse translation by Seamus Heaney (N.Y.: Farrar, Strauss & Giroux, 2000.)









It was Professor J. R. R. Tolkien (famous for his Lord of the Rings trilogy) who first showed that the tale of Beowulf was more than a fictional work of entertainment. Though there are references throughout the poem of the Judeo-Christian world view, but there are also allusions to the beliefs and customs of an earlier tradition. Surely the dire prediction at the poem's end is in some way related to the slaughter of the dragons - especially "Grendel's mother."



Saint George, a dragon-slayer along the model of the Beowulf of folk memory, is the patron of Russia, Greece and England (adopted by Edward III in 1348). The characteristic depiction showing a helmed knight on horseback spearing a recumbent dragon in defense [?] of a lady appears in Uccello's painting ca. 1455.



The legend of Cleodolinda and George

Nov. 1883 Society of Antiquaries article on Dragon of St. George plus Edward Burnes-Jones' pre-raphaelite painting [not avail.]

Reproduction of romantic St. George et al.



In mediaeval Christian art, Michael the Archangel (usually depicted standing) slays the dragon under his feet that represents the Evil One a.k.a. the 'Old Serpent'. Michael's opponent is frequently also depicted as a man.



The Greek Cadmus is said to have sowed the ground with dragon's teeth from which sprang numerous ranks of armed men.



The chariot of the Greek moon goddess, Cynthia, was drawn by dragons.



Old Testament references to "dragons" result from an error in translation of the Hebrew "tan" which means jackal but it was taken to refer to a giant water-serpent, as a consequence of its relation to the name Tanith, a Semitic (Phoenician and hence also Carthaginian) goddess ie. a naga.



To play a St. George game.



--------------------------------------------------------------------------------

There are literally hundreds of dragon pages on-line ranging from the silly to the scholarly. This page is intended only to underline the fact that a naga by any other name is still a naga. When it flies, it is often referred to as a dragon.



The phrase 'fire drake' that is, 'fiery dragon' was used to refer to comets especially as ill omens such as the one that is reported to have preceded the Battle of Hastings (1066) when the Normans successfully invaded England





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COMMENTS

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Drakontion
Drakontion
05:29 Feb 12 2008

Fantastic information =) Thanks for sharing it hun.





 

For daire

19:14 Feb 07 2008
Times Read: 1,212


A master of the tea ceremony in old Japan once accidentally slighted a soldier. He quickly apologized, but the rather impetuous soldier demanded that the matter be settled in a sword duel. The tea master, who had no experience with swords, asked the advice of a fellow Zen master who did possess such skill. As he was served by his friend, the Zen swordsman could not help but notice how the tea master performed his art with perfect concentration and tranquility. "Tomorrow," the Zen swordsman said, "when you duel the soldier, hold your weapon above your head, as if ready to strike, and face him with the same concentration and tranquility with which you perform the tea ceremony." The next day, at the appointed time and place for the duel, the tea master followed this advice. The soldier, readying himself to strike, stared for a long time into the fully attentive but calm face of the tea master. Finally, the soldier lowered his sword, apologized for his arrogance, and left without a blow being struck.


COMMENTS

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Dragonrouge
Dragonrouge
19:18 Feb 07 2008

I posted this as a comment to his profile.

I also post it here because he might not understand it and in his thirst for knowledge he might want to read it a second time.





 

Lilith and the Dragon

16:43 Feb 05 2008
Times Read: 1,229


Photobucket



It has over 4000 years old!



Kramer38:1f

This passage, as understood and translated by Samuel Kramer, would include the oldest known reference to Lilith.





"After heaven and earth had been separated

and mankind had been created,

after Anûum, Enlil and Ereskigal had taken posesssion

of heaven, earth and the underworld;

after Enki had set sail for the underworld

and the sea ebbed and flowed in honor of its lord;

on this day, a huluppu tree

which had been planted on the banks of the Euphrates

and nourished by its waters

was uprooted by the south wind

and carried away by the Euphrates.



A Goddess who was wandering among the banks

siezed the swaying tree

And -- at the behest of Anu and Enlil --

brought it to Inanna's garden in Uruk.

Inanna tended the tree carefully and lovingly

she hoped to have a throne and a bed

made for herself from its wood.



After ten years, the tree had matured.

But in the meantime, she found to her dismay

that her hopes could not be fulfilled.

because during that time

a dragon had built its nest at the foot of the tree

the Zu-bird was raising its young in the crown,

and the demon Lilith had built her house in the middle.[1]



But Gilgamesh, who had heard of Inanna's plight,

came to her rescue.

He took his heavy shield

killed the dragon with his heavy bronze axe,

which weighed seven talents and seven minas.

Then the Zu-bird flew into the mountains

with its young,

while Lilith, petrified with fear,

tore down her house and fled into the wilderness. "







Notes





[1] In a subsequent translation with Wolkstein, this passage is given as:

...a serpent who could not be charmed

made its nest in the roots of the tree,

The Anzu bird set his young in the branches of the tree,

And the dark maid Lilith built her home in the trunk.

(Wolkstein83: p. 8)

COMMENTS

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le cri

14:22 Feb 03 2008
Times Read: 1,236


Photobucket





"Je longeais le chemin avec deux amis - c'est alors que le soleil se coucha - le ciel devint tout à coup rouge couleur de sang - je m'arrêtai, m'adossai contre une barrière - le fjord d'un noir bleuté et la ville était inondés de sang et ravagés par des langues de feu - mes amis poursuivirent leur chemin, tandis que je tremblais encore d'angoisse - et je sentis que la nature était traversée par un long cri infini."



Munch, 1892.

COMMENTS

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Au bord de la mer

14:17 Feb 03 2008
Times Read: 1,239


Au sortir de ce bal, nous suivîmes les grèves ;

Vers le toit d'un exil, au hasard du chemin,

Nous allions : une fleur se fanait dans sa main ;

C'était par un minuit d'étoiles et de rêves.



Dans l'ombre, autour de nous, tombaient des flots foncés.

Vers les lointains d'opale et d'or, sur l'Atlantique,

L'outre-mer épandait sa lumière mystique ;

Les algues parfumaient les espaces glacés ;



Les vieux échos sonnaient dans la falaise entière !

Et les nappes de l'onde aux volutes sans frein

Ecumaient, lourdement, contre les rocs d'airain.

Sur la dune brillaient les croix d'un cimetière.



Leur silence, pour nous, couvrait ce vaste bruit.

Elles ne tendaient plus, croix par l'ombre insultées,

Les couronnes de deuil, fleurs de morts emportées

Dans les flots tonnants, par les tempêtes, la nuit.



Mais de ces blancs tombeaux en pente sur la rive,

Sous la brume sacrée à des clartés pareils,

L'ombre questionnait en vain les grands sommeils :

Ils gardaient le secret de la Loi décisive.



Frileuse, elle voilait d'un cachemire noir,

Son sein, royal exil de toutes mes pensées !

J'admirais cette femme aux paupières baissées,

Sphinx cruel, mauvais rêve, ancien désespoir.



Ses regards font mourir les enfants. Elle passe.

Et se laisse survivre en ce qu'elle détruit,

C'est la femme qu'on aime à cause de la Nuit,

Et ceux qui l'ont connue en parlent à voix basse.



Le danger la revêt d'un rayon familier :

Même dans son étreinte oublieusement tendre,

Ses crimes, évoqués, sont tels qu'on croit entendre

Des crosses de fusils tombant sur le palier.



Cependant, sous la honte illustre qui l'enchaîne,

Sous le deuil où se plaît cette âme sans essor,

Repose une candeur inviolée encor

Comme un lys enfermé dans un coffret d'ébène.



Elle prêta l'oreille au tumulte des mers,

Inclina son beau front touché par les années,

Et, se remémorant ses mornes destinées,

Elle se répandit en ces termes amers :



"Autrefois, autrefois - quand je faisais partie

Des vivants, - leurs amours sous les pâles flambeaux

Des nuits, comme la mer au pied de ces tombeaux,

Se lamentaient, houleux, devant mon apathie.



J'ai vu de longs adieux sur mes mains se briser ;

Mortelle, j'accueillais, sans désir et sans haine,

Les aveux suppliants de ces âmes en peine :

Le sépulcre à la mer ne rend pas son baiser.



Je suis donc insensible et faite de silence

Et je n'ai pas vécu ; mes jours sont froids et vains ;

Les Cieux m'ont refusé les battements divins !

On a faussé pour moi les poids de la balance.



Je sens que c'est mon sort même dans le trépas :

Et, soucieux encor des regrets ou des fêtes,

Si les morts vont chercher leurs fleurs dans les tempêtes,

Moi je reposerai, ne les comprenant pas."



Je saluai les croix lumineuses et pâles.

L'étendue annonçait l'aurore, et je me pris

A dire, pour calmer ses ténébreux esprits

Que le vent du remords battait de ses rafales



Et pendant que la mer déserte se gonflait :

"Au bal vous n'aviez pas ces mélancolies

Et les sons de cristal de vos phrases polies

Charmaient le serpent d'or de votre bracelet.



Rieuse et respirant une touffe de roses

Sous vos grands cheveux noirs mêlés de diamants,

Quand la valse nous prit, tous deux, quelques moments,

Vous eûtes, en vos yeux, des lueurs moins moroses ?



J'étais heureux de voir sous le plaisir vermeil

Se ranimer votre âme à l'oubli toute prête,

Et s'éclairer enfin votre douleur distraite,

Comme un glacier frappé d'un rayon de soleil."



Elle laissa briller sur moi ses yeux funèbres,

Et la pâleur des morts ornait ses traits fatals.

"Selon vous, je ressemble aux pays boréals,

J'ai six mois de clarté et six mois de ténèbres ?



Sache mieux quel orgueil nous nous sommes donné !

Et tout ce qu'en nos yeux il empêche de lire...

Aime-moi toi qui sais que, sous un clair sourire,

Je suis pareille à ces tombeaux abandonnés."







Auguste Villiers de L'Isle-Adam, Conte d'Amour.







Photobucket

COMMENTS

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Oceanne
Oceanne
18:07 Feb 24 2008

I do wish I could read this..but the picture says it all to me! How absoloutely beautiful!





Dragonrouge
Dragonrouge
21:45 Feb 24 2008

I couldn`t find the english translation!





BlackVelvetX
BlackVelvetX
13:12 Feb 25 2008

Still very beautiful and informative..I love your journal.And I MUST get a dress like that!








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