If there is anything worse than evil, it is nothingness. At least evil has a form, and a voice, and a purpose, however depraved. Perhaps some good can even come out of evil: a terrible deed of violence against someone weaker may lead others to act in order to ensure that such a deed is not perpetrated again, whereas before they might have been unaware of the reasons why an individual might behave in such a way, or they might simply have chosen to ignore them. And evil, as we saw with the Blacksmith, always contains within itself the possibility of its own redemption. It is not evil that is the enemy of hope: it is nothingness.

If not me then who? Confront evil!

If there is one thing I can promise, that I can guarantee, it is not that I can protect my other allies from the same fate as Sage, it is not that I will not lose battles in the war, it is not that there will be times that will try my determination, it is this: I am the Pauraque__ rival. And I shall be the one to watch her fall.

Once upon a time, there was a man as great as the gods_But even the great can tremble with fear.Even the great can fall

It is when we are completely fulfilled and want for nothing more that we are given everything.

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.