Fern Hill Quotes

Time held me green and dying Though I sang in my chains like the sea.

But now she loved winter. Winter was beautiful "up back" - almost intolerably beautiful. Days of clear brilliance. Evenings that were like cups of glamour - the purest vintage of winter's wine. Nights with their fire of stars. Cold, exquisite winter sunrises. Lovely ferns of ice all over the windows of the Blue Castle. Moonlight on birches in a silver thaw. Ragged shadows on windy evenings - torn, twisted, fantastic shadows. Great silences, austere and searching. Jewelled, barbaric hills. The sun suddenly breaking through grey clouds over long, white Mistawis. Ice-grey twilights, broken by snow-squalls, when their cosy living-room, with its goblins of firelight and inscrutable cats, seemed cosier than ever. Every hour brought a new revalation and wonder.

I'd like to take a walk far back in the flinty hills and search for a souvenir, an old double-bitted ax stuck deep in the side of a white oak tree. I know the handle has long since rotted away with time. Perhaps the rusty frame of a coal-oil lantern still hangs there on the blade.

Oh as I was young and easy in the mercy of his means, Time held me green and dying Though I sang in my chains like the sea.

Oh as I was young and easy in the mercy of his means, Time held me green and dying Though I sang in my chains like the sea.

I have never been back to the Ozarks. All I have left are my dreams and memories, but if God is willing, some day I’d like to go back—back to those beautiful hills. I’d like to walk again on trails I walked in my boyhood days. Once again I’d like to face a mountain breeze and smell the wonderful scent of the redbuds, and papaws, and the dogwoods. With my hands I’d like to caress the cool white bark of a sycamore. I’d like to take a walk far back in the flinty hills and search for a souvenir, an old double-bitted ax stuck deep in the side of a white oak tree. I know the handle has long since rotted away with time. Perhaps the rusty frame of a coal-oil lantern still hangs there on the blade. I’d like to see the old home place, the barn and the rail fences. I’d like to pause under the beautiful red oaks where my sisters and I played in our childhood. I’d like to walk up the hillside to the graves of my dogs. I’m sure the red fern has grown and has completely covered the two little mounds. I know it is still there, hiding its secret beneath those long, red leaves, but it wouldn’t be hidden from me for part of my life is buried there, too. Yes, I know it is still there, for in my heart I believe the legend of the sacred red fern.

It was raining. Gigantic ferns leaned over us. The forest drifted down a hill. I could hear a creek rushing down among rocks. And you, you ridiculous people, you expect me to help you.

THE STOLEN CHILD Where dips the rocky highland Of Sleuth Wood in the lake, There lies a leafy island Where flapping herons wake The drowsy water rats; There we've hid our faery vats, Full of berrys And of reddest stolen cherries. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand. Where the wave of moonlight glosses The dim gray sands with light, Far off by furthest Rosses We foot it all the night, Weaving olden dances Mingling hands and mingling glances Till the moon has taken flight; To and fro we leap And chase the frothy bubbles, While the world is full of troubles And anxious in its sleep. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand. Where the wandering water gushes From the hills above Glen-Car, In pools among the rushes That scarce could bathe a star, We seek for slumbering trout And whispering in their ears Give them unquiet dreams; Leaning softly out From ferns that drop their tears Over the young streams. Come away, O human child! To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than you can understand. Away with us he's going, The solemn-eyed: He'll hear no more the lowing Of the calves on the warm hillside Or the kettle on the hob Sing peace into his breast, Or see the brown mice bob Round and round the oatmeal chest. For he comes, the human child, To the waters and the wild With a faery, hand in hand, For the world's more full of weeping than he can understand.

I climbed the hill of firs and looked down over the fields of mist and silver in the moonlight. The shadows of the ferns and sweet wild grasses along the edge of the woods were like a dance of sprites. Away beyond the harbour, below the moonlight, was a sky of purple and amber where a sunset had been.

With my arms wrapped around Rosebud, I dreamed of heather-topped hills and sleepy valleys and a pretty woodland stream where dragonflies danced across the water as I sat down among the ferns and the meadowsweet, waiting for the summer to find me.

It was raining. Gigantic ferns leaned over us. The forest drifted down a hill. I could hear a creek rushing down among the rocks. And you, you ridiculous people, you expect me to help you.

WILSON RAWLS was born on a small farm in the Oklahoma Ozarks. He spent his youth in the heart of the Cherokee nation, prowling the hills and river bottoms with his only companion, an old bluetick hound. Rawls’s first writing was done with his fingers in the dust of the country roads and in the sands along the river, and his earliest stories were told to his dog. Not until Rawls’s family moved to Muskogee and he could attend high school did he encounter books. Where the Red Fern Grows has become a modern classic and has been made into a widely acclaimed motion picture.

Billy,” she said, “I don’t approve of this hunting, but it looks like I can’t say no; not after all you’ve been through, getting your dogs, and all that training.” “Aw, he’ll be all right,” Papa said. “Besides, he’s getting to be a good-size man now.” “Man!” Mama exclaimed. “Why, he’s still just a little boy.” “You can’t keep him a little boy always,” Papa said. “He’s got to grow up some day.” “I know,” Mama said, “but I don’t like it, not at all, and I can’t help worrying.” “Mama, please don’t worry about me,” I said. “I’ll be all right. Why, I’ve been all over these hills, you know that.” “I know,” she said, “but that was in the daytime. I never worried too much when it was daylight, but at night, that’s different. It’ll be dark and anything could happen.” “There won’t be anything happen,” I said. “I promise I’ll be careful.” Mama got up from the table saying, “Well, it’s like I said, I can’t say no and I can’t

A hand rules heaven as a hand rules pity; hands have no tears to flow.

There was once a town in the heart of America where all life seemed to live in harmony with its surroundings. The town lay in the midst of a checkerboard of prosperous farms, with fields of grain and hillsides of orchards where, in spring, white clouds of bloom drifted above the green fields. In autumn, oak and maple and birch set up a blaze of color that flamed and flickered across a backdrop of pines. Then foxes barked in the hills and deer silently crossed the fields, half hidden in the mists of the fall mornings. Along the roads, laurel, viburnum, and alder, great ferns and wildflowers delighted the traveler's eye through much of the year. Even in winter the roadsides were places of beauty, where countless birds came to feed on the berries and on the seed heads of the dried weeds rising above the snow. The countryside was, in fact, famous for the abundance and variety of its bird life, and when the flood of migrants was pouring through in spring and fall people traveled from great distances to observe them. Others came to fish the streams, which flowed clear and cold out of the hills and contained shady pools where trout lay. So it had been from the days many years ago when the first settlers raised their homes, sank their wells, and built their barns. Then a strange blight crept over the area and everything began to change. Some evil spell had settled on the community: mysterious maladies swept the flocks of chickens, the cattle, and sheep sickened and died. Everywhere was a shadow of death. The farmers spoke of much illness among their families. In the town the doctors had become more and more puzzled by new kinds of sickness appearing among their patients. There had been sudden and unexplained deaths, not only among adults but even among children whoe would be stricken suddently while at play and die within a few hours. There was a strange stillness. The birds, for example--where had they gone? Many people spoke of them, puzzled and disturbed. The feeding stations in the backyards were deserted. The few birds seen anywhere were moribund; they trembled violently and could not fly. It was a spring without voices. On the mornings that had once throbbed with the dawn chorus of robins, catbirds, doves, jays, wrens, and scores of other bird voices there was no sound; only silence lay over the fields and woods and marsh. On the farms the hens brooded, but no chicks hatched. The farmers complained that they were unable to raise any pigs--the litters were small and the young survived only a few days. The apple trees were coming into bloom but no bees droned among the blossoms, so there was no pollination and there would be no fruit. The roadsides, once so attractive, were now lined with browned and withered vegetation as though swept by fire. These, too, were silent, deserted by all living things. Even the streams were not lifeless. Anglers no longer visited them, for all the fish had died. In the gutters under the eaves and between the shingles of the roofs, a white granular powder still showed a few patches; some weeks before it had fallen like snow upon the roofs and the lawns, the fields and streams. No witchcraft, no enemy action had silenced the rebirth of life in this stricken world. The people had done it to themselves.

He had told Flora all about his slim, expensive mistress, Lily, who made boring scenes and took up the time and energy which he would much sooner have spent with his wife, but he had to have Lily, because in Beverly Hills, if you did not have a mistress, people thought you were rather queer, and if, on the other hand, you spent all your time with your wife, and were quite firm about it, and said that you liked your wife, and, anyway, why the hell shouldn’t you, the papers came out with repulsive articles headed ‘Hollywood Czar’s Domestic Bliss’, and you had to supply them with pictures of your wife pouring your morning chocolate and watering the ferns. So there was no way out of it, Mr Neck said. Anyway, his wife quite understood, and they played a game called ‘Dodging Lily’, which gave them yet another interest in common.

I come from haunts of coot and hern,         I make a sudden sally,       And sparkle out among the fern, 25         To bicker down a valley.       By thirty hills I hurry down,         Or slip between the ridges,       By twenty thorps, a little town,         And half a hundred bridges. 30       Till last by Philip's farm I flow         To join the brimming river,       For men may come and men may go,         But I go on for ever.

Leftenant Gravey settled his wooden hand kindly on Charlotte’s shoulder. “Don’t let them do that to you, you nor your sister.” How had she never noticed that Gravey had such a lovely Northern accent, so like Tabitha’s? “Let who do what, Leftenant?” “Men. Dazzle you. They do it for advantage, no different from a field marshal gaining the high ground. You do the dazzling. You climb the hill. Or else you’ll be stuck down in the muddy marsh with the rest of us, and that’s no place to be.” “But I don’t know how to dazzle. I couldn’t dazzle a house fern.” Gravey kissed her forehead. He smelled like a warm autumn bonfire sparkling away. “Learn fast,” he said.

We are accustomed to thinking of Ernest Hemingway as a boozy, undisciplined genius who got through a quart of whiskey a day for the last twenty years of his life but nevertheless had the muse upon him. He was indeed an alcoholic driven by complex passions.2 But when it came to writing, he was the quintessence of discipline! His early writing was characterized by obsessive literary perfectionism as he labored to develop his economy of style, spending hours polishing a sentence, or searching for the mot juste—the right word. It is a well-known fact that he rewrote the conclusion to his novel A Farewell to Arms seventeen times in an effort to get it right. This is characteristic of great writers. Dylan Thomas made over two hundred handwritten(!) manuscript versions of his poem “Fern Hill.”3 Even toward the end, when Hemingway was reaping the ravages of his lifestyle, while writing at his Finca Vigia in Cuba he daily stood before an improvised desk in oversized loafers on yellow tiles from 6:30 A.M. until noon every day, carefully marking his production for the day on a chart. His average was only two pages — five hundred words.4 It was discipline, Ernest Hemingway’s massive literary discipline, which transformed the way his fellow Americans, and people throughout the English-speaking world, expressed themselves.

Lougarry was waiting over the brow of the hill, lying so still in the grass that a butterfly had perched within an inch of her nose. The stems bent and shimmered as she rose to her feet, and the butterfly floated away like a wind-borne petal. Fern wondered if , like Ragginbone, the she-wolf possessed the faculty of making herself at one with her surroundings, not invisible but transmuted, so close to nature that she could blend with it at will and be absorbed into its many forms, becoming grass blade and wildflower, still earth and moving air, resuming her true self at the prompting of a thought. It came to Fern that we are all part of one vast pattern of Being, the real world and the shadow-world, sunlight and werelight, Man and spirit, and to understand and accept that was the first step toward the abnegation of ego, the affirmation of the soul. To comprehend the wind, not as a movement of molecules but as the pulse of the air, the pulse of her pulse, was to become the wind, to blow with it through the dancing grasses to the edge of the sky...

The Brook Alfred Tennyson By Alfred Tennyson more Alfred Tennyson I come from haunts of coot and hern, I make a sudden sally And sparkle out among the fern, To bicker down a valley. By thirty hills I hurry down, Or slip between the ridges, By twenty thorpes, a little town, And half a hundred bridges. Till last by Philip's farm I flow To join the brimming river, For men may come and men may go, But I go on for ever. I chatter over stony ways, In little sharps and trebles, I bubble into eddying bays, I babble on the pebbles. With many a curve my banks I fret By many a field and fallow, And many a fairy foreland set With willow-weed and mallow. I chatter, chatter, as I flow To join the brimming river, For men may come and men may go, But I go on for ever. I wind about, and in and out, With here a blossom sailing, And here and there a lusty trout, And here and there a grayling, And here and there a foamy flake Upon me, as I travel With many a silvery waterbreak Above the golden gravel, And draw them all along, and flow To join the brimming river For men may come and men may go, But I go on for ever. I steal by lawns and grassy plots, I slide by hazel covers; I move the sweet forget-me-nots That grow for happy lovers. I slip, I slide, I gloom, I glance, Among my skimming swallows; I make the netted sunbeam dance Against my sandy shallows. I murmur under moon and stars In brambly wildernesses; I linger by my shingly bars; I loiter round my cresses; And out again I curve and flow To join the brimming river, For men may come and men may go, But I go on for ever.

The mainland of Greece was dark; and somewhere off Euboea a cloud must have touched the waves and spattered them—the dolphins circling deeper and deeper into the sea. Violent was the wind now rushing down the Sea of Marmara between Greece and the plains of Troy. In Greece and the uplands of Albania and Turkey, the wind scours the sand and the dust, and sows itself thick with dry particles. And then it pelts the smooth domes of the mosques, and makes the cypresses, standing stiff by the turbaned tombstones of Mohammedans, creak and bristle. Sandra’s veils were swirled about her. “I will give you my copy,” said Jacob. “Here. Will you keep it?” (The book was the poems of Donne.) Now the agitation of the air uncovered a racing star. Now it was dark. Now one after another lights were extinguished. Now great towns—Paris—Constantinople—London—were black as strewn rocks. Waterways might be distinguished. In England the trees were heavy in leaf. Here perhaps in some southern wood an old man lit dry ferns and the birds were startled. The sheep coughed; one flower bent slightly towards another. The English sky is softer, milkier than the Eastern. Something gentle has passed into it from the grass–rounded hills, something damp. The salt gale blew in at Betty Flanders’s bedroom window, and the widow lady, raising herself slightly on her elbow, sighed like one who realizes, but would fain ward off a little longer—oh, a little longer!—the oppression of eternity. But to return to Jacob and Sandra. They had vanished. There was the Acropolis; but had they reached it? The columns and the Temple remain; the emotion of the living breaks fresh on them year after year; and of that what remains?

The slender maindenhair fern grows firm on a rock While all around her the water swirls and chatters And then disappears in a rush Down to the bottom of the hill When I'm surrounded by troubled water, Lord, Let me find within a rock to cling to, And give me the quiet patience of the maidenhair Who has learned to live with the rock

Norton was very short-sighted her whole life and the Borrowers’ environment, whether under the floorboards, out and about in the house’s drawing room and nursery or in the fields and furrows across which they travel in the sequels, always has an absolute authenticity about it – the textural truth of someone who has spent her life with her nose squashed up close to things. ‘Where others saw the far hills, the distant woods, the soaring pheasant,’ she once wrote in an essay, ‘I, as a child would turn sideways to the close bank, the tree-roots, and the tangled grasses. Moss, fern-stalks, sorrel stems, created the mise en scène for a jungle drama … One invented the characters – small, fearful people picking their way through miniature undergrowth; one saw smooth places where they might sit and rest; branched stems which might invite them to climb; sandy holes in which they might creep for shelter.

Everything reminded him of something else: the fragrance of a peach-skin was like opening his stamp-album, the chack-chack of the wheatear not only recalled mist on the hills, but also reminded him of foxgloves, droplets of rain tapping from the mauve bells on to a dock leaf or fern. Ferns reminded him of his mother's soap, the luxurious tan-coloured lozenges that came to her in a box each christmas and birthday, and other scents too, the yellow of oriental jasmine, the pink of tea-rose, the green of mimosa. For all of these scents he could find a correlative within the spectrum of his own experience.

How many, many years, how many cycles of years, how many bundles of cycles of years, had the sun glowed down thus on that hollow? Since it was formed how long? Since it was worn and shaped, groove-like, in the flanks of the hills by mighty forces which had ebbed. Alone with the sun which glowed on the work when it was done, I saw back through space to the old time of tree-ferns, of the lizard flying through the air, the lizard-dragon wallowing in sea foam, the mountainous creatures, twice-elephantine, feeding on land; all the crooked sequence of life. The dragon-fly which passed me traced a continuous descent from the fly marked on stone in those days. The immense time lifted me like a wave rolling under a boat; my mind seemed to raise itself as the swell of the cycles came; it felt strong with the power of the ages. With all that time and power I prayed: that I might have in my soul the intellectual part of it; the idea, the thought. Like a shuttle the mind shot to and fro the past and the present, in an instant.

Because smoke rolled out of the hollows in the wooded hills and the ferns were burnt brown by time. There was a sternness of judgment in the barrens, shades of flamed earth under darkish skies, and in the boulders sea-strewn at the edge of the pine woods, an old stony temper, a rigor of oath-taking and obduracy.

On the spur of the hill stood the ruins of an old brewery. The roof had long since disappeared and the rain had beaten the stone floors smooth and yellow. Some enterprising Englishman had spent a lifetime here making beer for his thirsty compatriots down in the plains. Now, moss and ferns grew from the walls.

As she stepped through the front door onto the verandah, a warm breeze brushed her face and she felt a heavy wave of deep familiarity: the smell of eucalyptus and sunbaked dirt, the light so bright it put creases around her eyes just to look at it. The slender blue gums on the ridge, ancient and watchful. This was the landscape of her childhood and she would never be able to escape its influence. But just as Daniel Miller had brought her to Halcyon, the books that she'd read as a child, lying beneath the ferns at Darling House, had taken her to lands where trees with names like oak and chestnut and elm grew in great, ancient forests, and the soil was moist and the sun was gentle, where there were magical words like "hedgerow" and "conker," and snow kissed the glass of windows in winter, and children went sledding at Christmas and ate "pudding" and "blancmange." And so, she had come to know another landscape, not just intellectually, but viscerally: a landscape of the imagination as real to her as the geographical landscape in which she moved. When she first arrived in England as a twenty-year-old graduate, she had stepped off the plane and known it already. Standing here now, looking across the valley toward the facing hill, Jess could imagine how homesick Isabel must have felt at times. She herself had been thinking about "home" a lot. Home, she'd realized, wasn't a place or a time or a person, though it could be any and all of those things: home was a feeling, a sense of being complete. The opposite of "home" wasn't "away", it was "lonely." When someone said, "I want to go home," what they really meant was that they didn't want to feel lonely anymore.

...he will accompany us on a hike in the hills, leaping and whizzing back and forth, and coming when called as well as a dog. It is just that the organism, the whole pattern of nerve and muscle, is more complex and intelligent than logical systems of arithmetic, geometry and grammar - which are in fact nothing but inferior ritual. Life itself dances, for what else are trees, ferns, butterflies, and snakes but elaborate forms of dancing? Even wood and bones show, in their structure, the characteristic patterns of flowing water, which (as Lao-tzu pointed out in 400 B.C.) derives its incredible power by following gravity and seeking that "lowest level which all men abhor." When dance I do not think-count my steps, and some women say I have no sense of rhythm, but I have a daughter who (without ever having taken lessons in dancing) can follow me as if she were my shadow or I were hers. The whole secret of life and of creative energy consists in flowing with gravity. Even when he leaps and bounces our cat is going with it. This is the way the whole earth and everything in the universe beehives.* But man is making a mess of the earth be- *Harrumph! Excuse the pun, but it is important, because bees live in hexagonal as distinct from quadrilateral structures, and this is the natural way in which all things, such as bubbles and pebbles, congregate, nestling into each other by gravity. It will follow, because 2 x 6 is 12, that - as Buckminster Fuller has pointed out - as number-system to the base 12 (duodecimal) is closer to nature than one to the base of 10 (decimal). For 12 is divisible by both 2 and 3, whereas 10 is not. After all, we use the base 12 for measuring circles and spheres and time, and so can "think circles" around people who use only meters. The world is better duodecimal than decimated.

Dylan Thomas, ‘Fern Hill,

Below the garden a green field lush with clover sloped down to the hollow where the brook ran and where scores of white birches grew, upspringing airily out of an undergrowth suggestive of delightful possibilities in ferns and mosses and woodsy things generally. Beyond it was a hill, green and feathery with spruce and fir; there was a gap in it where the gray gable end of the little house she had seen from the other side of the Lake of Shining Waters was visible.