Matthew Phipps Shiel

Matthew Phipps Shiel

Phorfor (1896)

Summary

Portrait of Matthew Phipps Shiel Matthew Phipps Shiel,  Phorfor (1896)

“ On the altar of the chapel a light glowed. Areta, sitting on the altar-step, pored upon chasms, a pity to see. Sergius had left not a rack. It was a second death of the beloved to her; a twice-whetted knife piercing home from breast to back; acuter than at first, suddenness lending point. She was such that her heart was as a quicksand, deep-secretive of every cherished object. Excision implied always the drawing of blood, and, it might be, the tapping of life. ”
Source: Wikisource

Portrait of Matthew Phipps Shiel Matthew Phipps Shiel,  Phorfor (1896)

“ Too clearly with opposite hope: for I knew not which to say prevailed in naked ghastliness, the stained face and slumbering lids, yellow as fennel; or the beard and lashes, matted black; or the leaden lips, or greenish ears, or livid finger-tips, or winding-sheet of gold.
As I stood regarding this effigy, lo, black velvet hangings parted before a doorway, and Areta, licked below the haunches by curling purplish tongues, loomed cold in a splendid unbroken gown of soft silk, all whiteness, like taper snowbergs, sun-smeared, clear against the black of Polar precipices.
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Source: Wikisource

Portrait of Matthew Phipps Shiel Matthew Phipps Shiel,  Phorfor (1896)

“ I bless you then, Areta, and say good-bye. Yield yourself utterly to God, little one. Give to every passion its wine, to every pulse its throb, to every song its dance. He, in truth, is pulse and blood, song and singer. Yield freely to him. If you would be perfect in divinity, let the Wind, passing, win from the whole intense gamut of your chords a wafture of richest perfected humanity. ”
Source: Wikisource

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