To whatever end. Where is the horse and the rider? Where is the horn that was blowing? They have passed like rain on the mountains. Like wind in the meadow. The days have gone down in the west. Behind the hills, into shadow. How did it come to this?

He found himself wondering at times, especially in the autumn, about the wild lands, and strange visions of mountains that he had never seen came into his dreams.

Let this be the hour when we draw swords together. Fell deeds awake. Now for wrath, now for ruin, and the red dawn. Forth, Eorlingas!

The world is full enough of hurts and mischances without wars to multiply them.

Ho! Ho! Ho! To the bottle I go To heal my heart and drown my woe Rain may fall, and wind may blow And many miles be still to go But under a tall tree will I lie And let the clouds go sailing by

I have claimed that Escape is one of the main functions of fairy-stories, and since I do not disapprove of them, it is plain that I do not accept the tone of scorn or pity with which 'Escape' is now so often used. Why should a man be scorned if, finding himself in prison, he tries to get out and go home? Or if he cannot do so, he thinks and talks about other topics than jailers and prison-walls?

What really happens is that the story-maker proves a successful 'sub-creator'. He makes a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken; the magic, or rather art, has failed. You are then out in the Primary World again, looking at the little abortive Secondary World from outside.