Mary Webb Quotes

We are tomorrow's past.

I've thought since that when folk grumble about this and that and be not happy, it is not the fault of creation, that is like a vast mere full of good, but it is the fault of their bucket's smallness.

[...]we are all as full of echoes as a rocky wood--echoes of the past, reflex echoes of the future, and echoes of the soil (these last reverberating through our filmiest dreams, like the sound of thunder in a blossoming orchard).

She had so deep a kinship with the trees, so intuitive a sympathy with leaf and flower, that it seemed as if the blood in her veins was not slow-moving human blood, but volatile sap.

I'd laboured over it a long while, and labour brings a thing near the heart's core.

He was ever a strong man, which is almost the same, times, as to say a man with little time for kindness. For if you stop to be kind, you must swerve often from your pat. So when folk tell me of this great man and that great man, I think to myself, Who was stinted of joy for his glory? How many old folk and children did his coach wheels go over? What bridal lacked his song, and what mourner his tars, that he found time to climb so high?

That vivid present of theirs, how faint it grows! The past is only the present become invisible and mute, and because it is invisible and mute, its memoried glances and its murmurs are infinitely precious. We are to-morrow's past.

You wasn't made like watch-dogs and house-cats and cows. You was made a fox, and you be a fox, and its queer-like to me, Foxy, as folk canna see that. They expect you to be what you wanna made to be. You'm made to be a fox; and when you'm busy being a fox they say you'm a sinner!

The past is only the present become invisible and mute; its memoried glances and its murmurs are infinitely precious.

We are tomorrow's past. Even now we slip away like those pictures painted on the moving dials of antique clocks - a ship, a cottage, sun and moon, a nosegay. The dial turns, the ship rides up and sinks again, the yellow painted sun has set, and we, that were the new thing, gather magic as we go. The whirr of the spinning wheels has ceased in our parlours, and we hear no more the treadles of the loom, the swift, silken noise of the flung shuttle, the intermittent thud of the batten. But the imagination hears them, and theirs is the melody of romance." ~ from Mary Webb's introduction to her novel Precious Bane.

What did I do, I, that knew his smile was my summer?

Tomorrow is a word of hope,I do believe !

There are misfortunes that make you spring up and rush to save yourself, but, there are others that are too bad for this, for they leave nought to do. Then a stillness falls on the soul, like the stillness of a rabbit when the stoat looks hotly upon it and it knows that there is no more to be done.

Not only had he looked at me, but he had looked with favour and longing, and though I knew it was only because the truth was hidden from him, yet I was glad of what I had, as a winter bird is, that will come to your hand for a little crumb, though in plenteous times she would but mock you from the topmost bough.

All this was only, in my father's estimation, a means; the end was the Earthly Paradise, the translation of William Morris's 'News from Nowhere' into 'News from Somewhere.' Then Whitman's sense of abounding joy in his own and all creation's sensuality would sweep away the paltry backwaters of bourgeois morality; the horrors of industrial ugliness which Ruskin so eloquently denounced would dissolve, and die forgotten as a dream (phrases from hymns still washed about in my father's mind) as slums were transformed into garden cities, and the belching smoke of hateful furnaces into the cool elegance of electric power. As for the ferocious ravings of my namesake, Carlyle, about the pettifogging nature of modern industrial man's pursuits and expectations -- all that would be corrected as he was induced to spend ever more of his increasing leisure in cultural and craft activities; in the enjoyment of music, literature and art. It was pefectly true -- a point that Will Straughan was liable to bring up at the Saturday evening gatherings -- that on the present form the new citizenry might be expected to have a marked preference for dog-racing over chamber music or readings from 'Paradise Lost,' but, my father would loftily point out, education would change all that. Education was, in fact, the lynchpin of the whole operation; the means whereby the Old Adam of the Saturday night booze-up, and fondness for Marie Lloyd in preference to Beatrice Webb, would be cast off, and the New Man be born as potential fodder for third Programmes yet to come.

Era un uomo forte, il che a volte equivale a dire un uomo poco incline alla bontà, perché per essere buoni spesso bisogna allontanarsi dalla propria strada. Infatti, quando la gente mi parla di questo o di quel grand'uomo, io penso subito: “Se ha trovato il tempo per arrivare così in alto, a chi sarà stata sottratta la gioia per la sua gloria? Su quanti vecchi e su quanti bambini sono passate le ruote del suo carro? A quali nozze non è andato, a quali funerali non ha pianto, per trovare il tempo di arrivare tanto in alto?

what she ought to have done as soon as she discovered that Lady Webb was not in London to help her. She was going to find the Earl of Durbury if he was still in town. If he was not, she was going to find out where the Bow Street Runners had their headquarters and go there. She was going to write to Charles. She was going to tell her story to anyone who would listen. She was going to embrace her fate. Perhaps she would be arrested and tried and convicted of murder. Perhaps that would mean a hanging or at the very least transportation or lifelong imprisonment. But she would not give in meekly. She would fight like the very devil to the last moment—but not by running away and hiding. She was going to come out into the open at last and fight. But not just yet. That was the agreement she made with herself as she pulled weeds from about the rosebushes and turned the soil until it was a richer brown. A definite time limit must be set so that she would not continue to procrastinate week after week, month after month. She was going to give herself one month, one calendar month, starting today. One month to be Jocelyn’s mistress, his love, though he would not be aware of the latter, of course. One month to spend with him as a person, as a friend in the den, if he ever returned there, as a lover in the bed upstairs. One month. And then she was going to give herself up. Without telling him. There might be scandal for him, of course, when it became known that he had harbored her at Dudley House for three weeks, or if anyone knew that she had been his mistress here. But she would not worry about that. His life had been one scandal after another. He appeared to thrive on them. She thought he would probably be rather amused by this particular one. One month. Jane leaned back on her heels to inspect her work, but Phillip was approaching from the direction of the house. “Mr. Jacobs sent me, ma’am,” he said, “to tell you that a new pianoforte just arrived and an easel and other parcels too. He wants to know where you want them put.” Jane got to her feet, her heart soaring, and followed him back to the house. One glorious month, in which she would not even try to guard her feelings. One month of love. There followed a week during

She hated him. She believed the heavy ache in her heart would never go away. And then she felt sudden panic. Her portrait. Her precious painting. She had left home without it! Home? Home? All the fashionable world rode or drove or promenaded in Hyde Park late in the afternoon during the spring Season. Everyone came to see and be seen, to gossip and be gossiped about, to display and observe all the latest fashions, to flirt and be flirted with. Jane was wearing a blue dress and pelisse and a plain straw bonnet tied beneath her chin with a wide blue ribbon. She carried a straw-colored parasol, which Lady Webb had lent her. She was perched on the high seat of Lord Ferdinand Dudley’s new curricle while he wielded the ribbons, conversed amiably with her, and introduced her to a number of people who approached for the specific purpose of meeting the notorious Lady Sara Illingsworth,

Perché io credo che l'anima agisca sul corpo, che lo vivifichi col suo soffio e lo ricopra di un velo che lo fa sembrare più bello di quanto non sia.

Today’s Children, The Woman in White, and The Guiding Light crossed over and interchanged in respective storylines.) June 2, 1947–June 29, 1956, CBS. 15m weekdays at 1:45. Procter & Gamble’s Duz Detergent. CAST: 1937 to mid-1940s: Arthur Peterson as the Rev. John Ruthledge of Five Points, the serial’s first protagonist. Mercedes McCambridge as Mary Ruthledge, his daughter; Sarajane Wells later as Mary. Ed Prentiss as Ned Holden, who was abandoned by his mother as a child and taken in by the Ruthledges; Ned LeFevre and John Hodiak also as Ned. Ruth Bailey as Rose Kransky; Charlotte Manson also as Rose. Mignon Schrieber as Mrs. Kransky. Seymour Young as Jacob Kransky, Rose’s brother. Sam Wanamaker as Ellis Smith, the enigmatic “Nobody from Nowhere”; Phil Dakin and Raymond Edward Johnson also as Ellis. Henrietta Tedro as Ellen, the housekeeper. Margaret Fuller and Muriel Bremner as Fredrika Lang. Gladys Heen as Torchy Reynolds. Bill Bouchey as Charles Cunningham. Lesley Woods and Carolyn McKay as Celeste, his wife. Laurette Fillbrandt as Nancy Stewart. Frank Behrens as the Rev. Tom Bannion, Ruthledge’s assistant. The Greenman family, early characters: Eloise Kummer as Norma; Reese Taylor and Ken Griffin as Ed; Norma Jean Ross as Ronnie, their daughter. Transition from clergy to medical background, mid-1940s: John Barclay as Dr. Richard Gaylord. Jane Webb as Peggy Gaylord. Hugh Studebaker as Dr. Charles Matthews. Willard Waterman as Roger Barton (alias Ray Brandon). Betty Lou Gerson as Charlotte Wilson. Ned LeFevre as Ned Holden. Tom Holland as Eddie Bingham. Mary Lansing as Julie Collins. 1950s: Jone Allison as Meta Bauer. Lyle Sudrow as Bill Bauer. Charita Bauer as Bert, Bill’s wife, a role she would carry into television and play for three decades. Laurette Fillbrandt as Trudy Bauer. Glenn Walken as little Michael. Theo Goetz as Papa Bauer. James Lipton as Dr. Dick Grant. Lynn Rogers as Marie Wallace, the artist.

Mi piaceva osservare la pasta che lievitava al calore della fiamma, e scaldare il forno con le fascine, raccattandone poi la cenere, e allineare per bene le pagnottine. Era piacevole stare nella cucina calda e piena di luce, in cui si diffondeva il buon odore del pane, e guardare fuori i campi e i boschi grigi, freddi e solitari, e poi chiudere le imposte, accendere la candela, apparecchiare e mettere a scaldare la focaccia di patate sulla brace, e sapere anche che di lì a poco tutti quelli che amavo sarebbero stati al riparo per una notte intera.

Sleep was her fetish, panacea and art.

She was a being who needed joy. Having joy, she could triumph over the most desperate physical ills. But when joy flickered and went out, then she remembered the grave. Now, as she went softly over the bridge and began to climb the woods, joy seemed fled forever. “She looked round her in a kind of terror, for she had come to the moment, which all sensitive people must reach at some time, when the soul perceives simultaneously the life of man—its small comforts, its upholstery of everyday—and the infinite; when it asks, bemused and anxious, ‘Which is the dream?’ They cannot both be true, it seems, for they are in flat contradiction. Yet daily life is true. There it is, with its duties and meals and wordy meetings; with its sweetness of affectionate glances and homely jests. That is no dream. Yet, when the beloved is dead, the daily life shrinks and withers; the infinite presses in. There it is, with all its indifferent stars, fearfully real, utterly unknown. With this intrusion of the infinite there come all the strange instincts of the spirit that have no part in daily life. These also are no dream. So there the soul stands, browbeaten and stunned by antithesis, murmuring, ‘Which is true? Is anything true?

When you've come through a bad time, to tell of it takes the thorn out.

Green is the fresh emblem of well founded hopes. In blue the spirit can wander, but in green it can rest.