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George MacDonald

George MacDonald

      George MacDonald was a Scottish author, poet, and Christian minister.

      Known particularly for his poignant fairy tales and fantasy novels, George MacDonald inspired many authors, such as W. H. Auden, J. R. R. Tolkien, C. S. Lewis, E. Nesbit and Madeleine L'Engle. G. K. Chesterton cited The Princess and the Goblin as a book that had "made a difference to my whole existence."

      Even Mark Twain, who initially disliked MacDonald, became friends with him, and there is some evidence that Twain was influenced by MacDonald.

      MacDonald grew up influenced by his Congregational Church, with an atmosphere of Calvinism. But MacDonald never felt comfortable with some aspects of Calvinist doctrine; indeed, legend has it that when the doctrine of predestination was first explained to him, he burst into tears (although assured that he was one of the elect). Later novels, such as Robert Falconer and Lilith, show a distaste for the idea that God's electing love is limited to some and denied to others.

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You allowed me existence, which is the sum of what one can demand of his fellow-beings
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Now and then, when I look round on my books, they seem to waver as if a wind rippled their solid mass, and another world were about to break through.
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I must do what I can to make myself intelligible to you. Our natures, however, are so different, that this may not be easy. Men and women live but to die; we, that is such as I-we are but a few-live to live on. Old age is to you a horror; to me it is a dear desire: the older we grow, the nearer we are to our perfection. Your perfection is a poor thing, comes soon, and lasts but a little while; ours is a ceaseless ripening. I am not yet ripe, and have lived thousands of your years-how many, I never cared to note. The everlasting will not be measured.
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Not for a moment had I been afraid. It is true that whoever would cross the threshold of any world, must leave fear behind him; but, for myself, I could claim no part in its absence. No conscious courage was operant in me; simply, I was not afraid. I neither knew why I was not afraid, nor wherefore I might have been afraid. I feared not even fear—which of all dangers is the most dangerous.
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you understood any world besides your own, you would understand your own much better.—When a heart is really alive, then it is able to think live things. There is one heart all whose thoughts are strong, happy creatures, and whose very dreams are lives. When some pray, they lift heavy thoughts from the ground, only to drop them on it again; others send up their prayers in living shapes, this or that, the nearest likeness to each. All live things were thoughts to begin with, and are fit therefore to be used by those that think. When one says to the great Thinker:—‘Here is one of thy thoughts: I am thinking it now!’ that is a prayer—a word to the big heart
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And Summer, dear Summer, hath years of June, With large white clouds, and cool showers at noon; And a beauty that grows to a weight like grief, Till a burst of tears is the heart’s relief.
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Great stems rose about me, uplifting a thick multitudinous roof above me of branches, and twigs, and leaves-- the bird and insect world uplifted over mine, with its own landscapes, its own thickets, and paths, and glades, and dwellings; its own bird-ways and insect-delights. Great boughs crossed my path; great roots based the tree-columns, and mightily clasped the earth, strong to lift and strong to uphold. It seemed an old, old forest, perfect in forest ways and pleasure. And when, in the midst of this ectasy, I remembered that under some close canopy of leaves, by some giant stem, or in some mossy cave, or beside some leafy well, sat the lady of marble, whom my songs had called forth into the outer world, waiting (might it not be?) to meet and thank her deliverer in a twilight which would veil her confusion, the whole night became one dream-realm of joy, the central form of which was everywhere present, although unbeheld. Then, remembering how my songs seemed to have called her form the marble, piercing through the pearly shroud of alabaster -- "Why," thought I, "should not my voice reach her now, through the ebon night that inwraps her." My voice burst into song so spontaneously that it seemed involuntarily:
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It may even be one of the greatest arts; for it produces works which give us (at the first meeting) as much delight and (on prolonged acquaintance) as much wisdom and strength as the works of the greatest poets. It is in some ways more akin to music than to poetry or at least to most poetry. It goes beyond the expression of things we have already felt. It arouses in us sensations we have never had before, never anticipated having, as though we had broken out of our normal mode of consciousness and 'possessed joys not promised to our birth.' It gets under our skin, hits us at a level deeper than our thoughts or even our passions, troubles oldest certainties till all questions are re-opened, and in general shocks us more fully awake than we are for most of our lives. It was in this mythopoeic art that MacDonald excelled.
topics: mythopoeic  
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Sweet sounds can go where kisses may not enter.
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Then I remembered that night is the fairies’ day, and the moon their sun; and I thought—Everything sleeps and dreams now: when the night comes, it will be different.
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A ghost grew out of the shadowy air, And sat in the midst of her moony hair. In her gleamy hair she sat and wept; In the dreamful moon they lay and slept; The shadows above, and the bodies below, Lay and slept in the moonbeams slow. And she sang, like the moan of an autumn wind Over the stubble left behind.
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Self will come to life even in the slaying of self; but there is ever something deeper and stronger than it, which will emerge at last from the unknown abysses of the soul: will it be as a solemn gloom, burning with eyes? or a clear morning after the rain? or a smiling child, that finds itself nowhere, and everywhere?
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...[T]wo of you can be no match for the three giants, I will find you, if I can, a third brother, who will take on himself the third share of the fight, and the preparation...I will show him to you in a glass, and, when he comes, you will know him at once. If he will share your endeavors, you must teach him all you know, and he will repay you well, in present song, and in future deeds.' She opened the door of a curious old cabinet that stood in the room. On the inside of this door was an oval convex mirror...we at length saw reflected the place where we stood, and the old dame seated in her chair...at the feet of the dame lay a young man...weeping. 'Surely this youth will not serve our ends,' said I, 'for he weeps.' The old woman smiled. 'Past tears are present strength,'said she.
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Theologians have done more to hide the Gospel of Christ than any of its adversaries.
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What does it all mean?' I said. 'A good question,' he rejoined: 'nobody knows what anything is; a man can learn only what a thing means. Whether he do, depends on the use he is making of it.
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Nobody can be a real princess--do not imagine you have yet been anything more than a mock one--until she is a princess over herself, that is, until, when she finds herself unwilling to do the thing that is right, she makes herself do it. So long as any mood she is in makes her do the thing she will be sorry for when that mood is over, she is a slave, and not a princess.
topics: inspirational  
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Thy will be done. I yield up everything. 'The life is more than meat' -- then more than health; 'The body more than raiment' -- then more than wealth; The hairs I made not, thou art numbering. Thou art my life--I the brook, thou the spring. Because thine eyes are open, I can see; Because thou art thyself, 'tis therefore I am me.
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There is more in the atonement by way of merit, than there is in all human sin by way of demerit.
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Book-reading is of small value unless the truths which pass before the mind are grasped, appropriated, and carried out to their practical issues.
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The law is for the self-righteous, to humble their pride: the gospel is for the lost, to remove their despair.
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