“When Marsyas was 'torn from the scabbard of his limbs' - DELLA VAGINA DELLA MEMBRE SUE, to use one of Dante's most terrible Tacitean phrases - he had no more song, the Greek said. Apollo had been victor. The lyre had vanquished the reed. But perhaps the Greeks were mistaken. I hear in much modern Art the cry of Marsyas. It is bitter in Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is in the deferred resolutions of Chopin's music. It is in the discontent that haunts Burne- Jones's women. Even Matthew Arnold, whose song of Callicles tells of 'the triumph of the sweet persuasive lyre,' and the 'famous final victory,' in such a clear note of lyrical beauty, has not a little of it; in the troubled undertone of doubt and distress that haunts his verses, neither Goethe nor Wordsworth could help him, though he followed each in turn, and when he seeks to mourn for THYRSIS or to sing of the SCHOLAR GIPSY, it is the reed that he has to take for the rendering of his strain. But whether or not the Phrygian Faun was silent, I cannot be. Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind. Between my art and the world there is now a wide gulf, but between art and myself there is none. I hope at least that there is none.”

“Later Achilles would play the lyre, as Chiron and I listened. My mother's lyre. He had brought it with him.'I wish I had known,' I said, the first day when he showed it to me. 'I almost did not come, because I did not want to believe it.'He smiled. 'Now I know how to make you follow me everywhere.”

“I never heard that it had been anybody’s business to find out what his natural bent was, or where his failings lay, or to adapt any kind of knowledge to him. He had been adapted to the verses and had learnt the art of making them to such perfection. I did doubt whether Richard would not have profited by some one studying him a little, instead of his studying them quite so much.”

“Then he heard a terrible cry that pulled at his insides, that expressed agony of a kind that neither flame nor curse could cause, and he stood up, swaying, more frightened than he had been that day, more frightened, perhaps, than he had been in his whole life...”

“Though he slay me, yet I will praise him," he began softly, his voice a little tremulous at first. "I will rise up in the morning with the dew and praise his name. He has given me a place to serve him, a name with which to be known. He has called me forth and made my heart race with the wind on the Downs, made me soar with the blackbird in the evening. So though he slay me, yet I will praise him. Though sorrows be my lot, yet I will sing. When my last tear has fallen I will take up my song again, I will praise his most glorious exalted name.”

“He was lost. He knew it. He had neither the size nor the strength to defeat her, and she had him cornered. But he would fight. He was a warrior, the prince-son of the unicorns, and he meant to go down fighting. There would be no songs to mark his death; and none of his people would even know. But he had saved Korr and the others of the band. It was noon — they were safe out of the hills by now, and none of the rest of it mattered.”