Meadow Flower Quotes

I sit beside the fire and think Of all that I have seen Of meadow flowers and butterflies In summers that have been Of yellow leaves and gossamer In autumns that there were With morning mist and silver sun And wind upon my hair I sit beside the fire and think Of how the world will be When winter comes without a spring That I shall ever see For still there are so many things That I have never seen In every wood in every spring There is a different green I sit beside the fire and think Of people long ago And people that will see a world That I shall never know But all the while I sit and think Of times there were before I listen for returning feet And voices at the door

Many eyes go through the meadow, but few see the flowers in it

Roads Go Ever On Roads go ever ever on, Over rock and under tree, By caves where never sun has shone, By streams that never find the sea; Over snow by winter sown, And through the merry flowers of June, Over grass and over stone, And under mountains in the moon. Roads go ever ever on, Under cloud and under star. Yet feet that wandering have gone Turn at last to home afar. Eyes that fire and sword have seen, And horror in the halls of stone Look at last on meadows green, And trees and hills they long have known. The Road goes ever on and on Down from the door where it began. Now far ahead the Road has gone, And I must follow, if I can, Pursuing it with eager feet, Until it joins some larger way, Where many paths and errands meet. The Road goes ever on and on Down from the door where it began. Now far ahead the Road has gone, And I must follow, if I can, Pursuing it with weary feet, Until it joins some larger way, Where many paths and errands meet. And whither then? I cannot say. The Road goes ever on and on Out from the door where it began. Now far ahead the Road has gone. Let others follow, if they can! Let them a journey new begin. But I at last with weary feet Will turn towards the lighted inn, My evening-rest and sleep to meet.

But I feel as if I did know Rue, and she'll always be with me. Everything beautiful brings her to mind. I see her in the yellow flowers that grow in the Meadow by my house. I see her in the Mockingjays that sing in the trees. But most of all, I see her in my sister, Prim.

A painting is more than the sum of its parts,' he would tell me, and then go on to explain how the cow by itself is just a cow, and the meadow by itself is just grass and flowers, and the sun peeking through the trees is just a beam of light, but put them all together and you've got magic.

This life of ours...human life is like a flower gloriously blooming in a meadow: along comes a goat, eats it up---no more flower.

A painting is more than the sum of the parts,” he would tell me, and then go on to explain how the cow itself is just a cow, and the meadow by itself is just grass and flowers, and the sun peeking through the trees is just a beam of light, but put them all together and you’ve got magic.

Raindrops blossom brilliantly in the rainbow, and change to flowers in the sod, but snow comes in full flower direct from the dark, frozen sky.

Roads go ever ever on, Over rock and under tree, By caves where never sun has shone, By streams that never find the sea; Over snow by winter sown, And through the merry flowers of June, Over grass and over stone, And under mountains of the moon. Roads go ever ever on Under cloud and under star, Yet feet that wandering have gone Turn at last to home afar. Eyes that fire and sword have seen And horror in the halls of stone Look at last on meadows green And trees and hills they long have known

But I'll have to ask you to wait a long time, Anne," said Gilbert sadly. "It will be three years before I'll finish my medical course. And even then there will be no diamond sunbursts and marble halls." Anne laughed. "I don't want sunbursts and marble halls. I just want YOU. You see I'm quite as shameless as Phil about it. Sunbursts and marble halls may be all very well, but there is more `scope for imagination' without them. And as for the waiting, that doesn't matter. We'll just be happy, waiting and working for each other -- and dreaming. Oh, dreams will be very sweet now." Gilbert drew her close to him and kissed her. Then they walked home together in the dusk, crowned king and queen in the bridal realm of love, along winding paths fringed with the sweetest flowers that ever bloomed, and over haunted meadows where winds of hope and memory blew.

A poor old Widow in her weeds Sowed her garden with wild-flower seeds; Not too shallow, and not too deep, And down came April -- drip -- drip -- drip. Up shone May, like gold, and soon Green as an arbour grew leafy June. And now all summer she sits and sews Where willow herb, comfrey, bugloss blows, Teasle and pansy, meadowsweet, Campion, toadflax, and rough hawksbit; Brown bee orchis, and Peals of Bells; Clover, burnet, and thyme she smells; Like Oberon's meadows her garden is Drowsy from dawn to dusk with bees. Weeps she never, but sometimes sighs, And peeps at her garden with bright brown eyes; And all she has is all she needs -- A poor Old Widow in her weeds.

A picnic. Picture a forest, a country road, a meadow. Cars drive off the country road into the meadow, a group of young people get out carrying bottles, baskets of food, transistor radios, and cameras. They light fires, pitch tents, turn on the music. In the morning they leave. The animals, birds, and insects that watched in horror through the long night creep out from their hiding places. And what do they see? Old spark plugs and old filters strewn around... Rags, burnt-out bulbs, and a monkey wrench left behind... And of course, the usual mess—apple cores, candy wrappers, charred remains of the campfire, cans, bottles, somebody’s handkerchief, somebody’s penknife, torn newspapers, coins, faded flowers picked in another meadow.

Read poetry every day of your life. Poetry is good because it flexes muscles you don’t use often enough. Poetry expands the senses and keeps them in prime condition. It keeps you aware of your nose, your eye, your ear, your tongue, your hand. And, above all, poetry is compacted metaphor or simile. Such metaphors, like Japanese paper flowers, may expand outward into gigantic shapes. Ideas lie everywhere through the poetry books, yet how rarely have I heard short story teachers recommending them for browsing. What poetry? Any poetry that makes your hair stand up along your arms. Don’t force yourself too hard. Take it easy. Over the years you may catch up to, move even with, and pass T. S. Eliot on your way to other pastures. You say you don’t understand Dylan Thomas? Yes, but your ganglion does, and your secret wits, and all your unborn children. Read him, as you can read a horse with your eyes, set free and charging over an endless green meadow on a windy day.

My hothouse flower that I will always keep alive

How does the meadow-flower its bloom unfold? Because the lovely little flower is free Down to its root, and in that freedom bold.

Wicca's temples are flowered-splashed meadows, forest, beaches, and deserts.

The world has enough beautiful mountains and meadows, spectacular skies and serene lakes. It has enough lush forests, flowered fields and sandy beaches. It has plenty of stars and the promise of a new sunrise and sunset every day. What the world needs more of is people to appreciate and enjoy it.

It’s the place of the story, beginning here, in the meadow of late summer flowers, thriving before the Atlantic storms drive wet and winter upon them all.

Ah, in those earliest days of love how naturally the kisses spring into life! So closely, in their profusion, do they crowd together that lovers would find it as hard to count the kisses exchanged in an hour as to count the flowers in a meadow in May.

That perhaps is at the core of Wicca--it is a joyous union with nature. The earth is a manifestation of divine energy. Wicca's temples are flower-splashed meadows, forests, beaches, and deserts. When a Wicca is outdoors, she or he is actually surrounded by sanctity, much as is a Christian when entering a church or cathedral.

From p. 40 of Signet Edition of Thomas Wolfe's _You Can't Go Home Again_ (1940): Some things will never change. Some things will always be the same. Lean down your ear upon the earth and listen. The voice of forest water in the night, a woman's laughter in the dark, the clean, hard rattle of raked gravel, the cricketing stitch of midday in hot meadows, the delicate web of children's voices in bright air--these things will never change. The glitter of sunlight on roughened water, the glory of the stars, the innocence of morning, the smell of the sea in harbors, the feathery blur and smoky buddings of young boughs, and something there that comes and goes and never can be captured, the thorn of spring, the sharp and tongueless cry--these things will always be the same. All things belonging to the earth will never change--the leaf, the blade, the flower, the wind that cries and sleeps and wakes again, the trees whose stiff arms clash and tremble in the dark, and the dust of lovers long since buried in the earth--all things proceeding from the earth to seasons, all things that lapse and change and come again upon the earth--these things will always be the same, for they come up from the earth that never changes, they go back into the earth that lasts forever. Only the earth endures, but it endures forever. The tarantula, the adder, and the asp will also never change. Pain and death will always be the same. But under the pavements trembling like a pulse, under the buildings trembling like a cry, under the waste of time, under the hoof of the beast above the broken bones of cities, there will be something growing like a flower, something bursting from the earth again, forever deathless, faithful, coming into life again like April.

I don't want to drag myself down anymore.

The sky is a meadow of wildstar flowers.

O world, world when I was younger I thought there was some order governing you and your deeds. But now you seem to be a labyrinth of errors, a frightful desert, a den of wild beasts, a game in which men move in circles…a stony field, a meadow full of serpents, a flowering but barren orchard, a spring of cares, a river of tears, a sea of suffering, a vain hope.

Tis a morning pure and sweet, And a dewy splendour falls On the little flower that clings To the turrets and the walls; 'Tis a morning pure and sweet, And the light and shadow fleet; She is walking in the meadow, And the woodland echo rings; In a moment we shall meet; She is singing in the meadow, And the rivulet at her feet Ripples on in light and shadow To the ballad that she sings.

The great events of life often leave one unmoved; they pass out of consciousness, and, when thinks of them, become unreal. Even the scarlet flowers of passion seem to grow in the same meadow as the poppies of oblivion. We reject the burden of their memory, and have anodynes against them. But the little things, the things of no moment, remain with us. In some tiny ivory cell the brain stores the most delicate, and the most fleeting impressions.

Look at the four-spaced year That imitates four seasons of our lives; First Spring, that delicate season, bright with flowers, Quickening, yet shy, and like a milk-fed child, Its way unsteady while the countryman Delights in promise of another year. Green meadows wake to bloom, frail shoots and grasses, And then Spring turns to Summer's hardiness, The boy to manhood. There's no time of year Of greater richness, warmth, and love of living, New strength untried. And after Summer, Autumn, First flushes gone, the temperate season here Midway between quick youth and growing age, And grey hair glinting when the head turns toward us, Then senile Winter, bald or with white hair, Terror in palsy as he walks alone.

Next time a sunrise steals your breath or a meadow of flowers leave you speechless, remain that way. Say nothing and listen as Heaven whispers, "Do you like it? I did it just for you.

I travelled the old road every day, I took my fruits to the market, my cattle to the meadows, I ferried my boat across the stream and all the ways were well known to me. One morning my basket was heavy with wares. Men were busy in the fields, the pastures crowded with cattle; the breast of earth heaved with the mirth of ripening rice. Suddenly there was a tremor in the air, and the sky seemed to kiss me on my forehead. My mind started up like the morning out of mist. I forgot to follow the track. I stepped a few paces from the path, and my familiar world appeared strange to me, like a flower I had only known in bud. My everyday wisdom was ashamed. I went astray in the fairyland of things. It was the best luck of my life that I lost my path that morning, and found my eternal childhood.

It seemed like a magical city, floating on the lagoon as if conjured by an enchanter's wand. I sat in the meadow and stared at it, picking meadow flowers from around my feet- clover and daisies and wild garlic- and making myself a wreath.

We came to meadows full of flowers. We saw and realized that they were there, but we had no feelings about them. The first spark of joy came when we saw a rooster with a tail of multicolored feathers. But it remained only a spark; we did not yet belonged to this world.

The industrial towns were far away, a smudge of smoke and misery hidden by the curve of the earth's surface. Down here it was still the England I had known in my childhood: the railway-cuttings smothered in wild flowers, the deep meadows where the great shining horses browse and meditate, the slow-moving streams bordered by willows, the green bosoms of the elms, the larkspurs in the cottage gardens; and then the huge peaceful wilderness of outer London, the barges on the miry river, the familiar streets, the posters telling of cricket matches and Royal weddings, the men in bowler hats, the pigeons in Trafalgar Square, the red buses, the blue policemen—all sleeping the deep, deep sleep of England, from which I sometimes fear that we shall never wake till we are jerked out of it by the roar of bombs.

She grew up in the ordinary paradise of the English countryside. When she was five she walked to school, two miles, across meadows covered with cowslips, buttercups, daisies, vetch, rimmed by hedges full of blossom and then berries, blackthorn, hawthorn, dog-roses, the odd ash tree with its sooty buds.

My mom was Sara Hale. My dad was Jonathan Hale. I was no one’s son.

Some of the memories were not clear---dim human memories, seen through weak eyes and heard through weak ears: the first time I'd seen his face... the way it felt when he'd held me in the meadow... the sound of his voice through the darkness of my faltering consciousness when he'd save me from James... his face as he waited under a canopy of flowers to marry me... every precious moment on the island... his cold hands touching our baby through my skin...

Bout time you got here,” Keefe called as they crested a hill and entered a grassy meadow peppered with tiny blue flowers. “I was getting tired of stomping Fitz to a pulp in bramble.” “Only because you cheat!” Fitz shouted, tossing a red tri-pointed ball at Keefe. Keefe caught it and whipped it back so fast Fitz had to dive to avoid being smacked in the face. Then the strange ball curved back like a boomerang and Keefe caught it one-handed. “Only losers play fair. Which is why I call Foster for my team today.” “Hey—why do you get her?” Fitz asked,

how the cow by itself is just a cow, and the meadow by itself is just grass and flowers, and the sun peeking through the trees is just a beam of light, but put them all together and you've got magic.

When the world of man collapses in ruin, beauty will take over. The trees shall grow again where there were streets; the flowers will again cover the meadow that is now a dank field of hovels. That shall be the purpose of the Satanic master, to see the wild grass and the dense forest cover up all trace of the once great cities until nothing remains.

Even though the bee is small, there she is on the flower, doing something of value. And the value she creates there contributes to a larger ecosystem of value, in that mountain meadow, in that range of mountains, in the world and even the universe. And can’t you just feel how happy she is?

They held the funeral on the second day, with the town coming to look at Miss Emily beneath a mass of bought flowers with the crayon face of her father musing profoundly above the bier and the ladies sibilant and macabre; and the very old men - some in their brushed Confederate uniforms - on the porch and the lawn, talking of Miss Emily as if she had been a contemporary of theirs, believing that they had danced with her and courted her perhaps, confusing time with its mathematical progression, as the old do, to whom all the past is not a diminishing road but, instead, a huge meadow which no winter ever quite touches, divided from them now by the narrow bottle-neck of the most recent decade of years.

The Promise" Stay, I said to the cut flowers. They bowed their heads lower. Stay, I said to the spider, who fled. Stay, leaf. It reddened, embarrassed for me and itself. Stay, I said to my body. It sat as a dog does, obedient for a moment, soon starting to tremble. Stay, to the earth of riverine valley meadows, of fossiled escarpments, of limestone and sandstone. It looked back with a changing expression, in silence. Stay, I said to my loves. Each answered, Always.

I have a rendezvous with Death At some disputed barricade, When Spring comes back with rustling shade And apple-blossoms fill the air — I have a rendezvous with Death When Spring brings back blue days and fair. It may be he shall take my hand And lead me into his dark land And close my eyes and quench my breath — It may be I shall pass him still. I have a rendezvous with Death On some scarred slope of battered hill, When Spring comes round again this year And the first meadow-flowers appear. God knows 'twere better to be deep Pillowed in silk and scented down, Where love throbs out in blissful sleep, Pulse nigh to pulse, and breath to breath, Where hushed awakenings are dear... But I've a rendezvous with Death At midnight in some flaming town, When Spring trips north again this year, And I to my pledged word am true, I shall not fail that rendezvous.

I want to do something, right here, right now, to shame them, to make them accountable, to show the Capitol that whatever they do or force us to do there is a part of every tribute they can't own. That Rue was more than a piece in their Games. And so am I. "A few steps into the woods grows a bank of wildflowers. Perhaps they are really weeds of some sort, but they have blossoms in beautiful shades of violet and yellow and white. I gather an armful and come back to Rues's side. Slowly, one stem at a time, I decorate her body in the flowers. Covering the ugly wound. Wreathing her face. Weaving her hair with bright colors. "They'll have to show it. Or, even if they choose to turn the cameras elsewhere at this moment, they'll have to bring them back when they collect the bodies and everyone will see her then and know I did it. I step back and take a last look at Rue. She really could be asleep in that meadow after all. ""Bye, Rue," I whisper. I press the three middle fingers of my left hand against my lips and hold them out in her direction. Then I walk away without looking back.

You may not realize it but you're seeking the silence in your soul, a plea where you go to find the best of yourself. Learning a simple and beautiful skill, like choosing a teapot, that's seeking that silence, creating rituals where that silence may be found and nurtured. As long as you have that place, you'll never lose yourself, who you are, what you want. But you have to remember to keep bringing flowers into your meadow, always one at a time, to appreciate each blossom, to honor its contribution to your character. It helps make you into the person you were meant to be.

Listen to me," Jordan begged urgently, somehow convinced that she would stay alive if she understood how much she meant to him. "Listen to what my life was like before you hurtled into it wearing that suit of armor— Life was empty. Colorless. And then you happened to me, and suddenly I felt feelings I never believed existed, and I saw things I'd never seen before. You don't believe that, do you, darling? But it's true, and I can prove it." His deep voice ragged with unshed tears, Jordan recited his proof: "The flowers in the meadow are blue," he told her brokenly. "The ones by the stream are white. And on the arch, by the arbor, the roses are red." Lifting her hand to his face, he rubbed his cheek against it. "And that's not all I noticed. I noticed that the clearing by the pavilion—the one where my plaque is—looks like the very same one where we had our duel a year ago. Oh, and darling, there's something else I have to tell you: I love you, Alexandra." Tears choked his voice and made it a tormented whisper. "I love you, and if you die I'll never be able to tell you that.

I want to see little children adorning every home, as flowers adorn every meadow and every way-side. I want to see them welcomed to the homes they enter, to see their parents grow less and less selfish and more and more loving, because they have come. I want to see God's precious gifts accepted, not frowned upon and refused.

Candleford Green was but a small village and there were fields and meadows and woods all around it. As soon as Laura crossed the doorstep, she could see some of these. But mere seeing from a distance did not satisfy her; she longed to go alone far into the fields and hear the birds singing, the brooks tinkling, and the wind rustling through the corn, as she had when a child. To smell things and touch things, warm earth and flowers and grasses, and to stand and gaze where no one could see her, drinking it all in.

One of the deepest and strangest of all human moods is the mood which will suddenly strike us perhaps in a garden at night, or deep in sloping meadows, the feeling that every flower and leaf has just uttered something stupendously direct and important, and that we have by a prodigy of imbecility not heard or understood it. There is a certain poetic value, and that a genuine one, in this sense of having missed the full meaning of things. There is beauty, not only in wisdom, but in this dazed and dramatic ignorance.

As a flying seed will debauch a whole meadow with flowers, one kiss, one caress not even wished for, had spoiled her peace of mind, even her good health.

... Correspondence, which bears much the same relation to personal intercourse that the books of dried plats I sometimes see do to the living and fresh flowers in the lanes and meadows.

She smelled of flowers and rain. A meadow beneath a storm. It was intoxicating, and before he could even ponder why he would think something so flighty, he pulled in lungfuls of it until he swayed slightly. His eyes sprang open, and his equilibrium balanced.

If he was not personally loud, however, he was deep, and during these closing days of the Roman May he knew a complacency that matched with slow irregular walks under the pines of the Villa Borghese, among the small sweet meadow-flowers and the mossy marbles.

When I tried to sing by myself, I felt sad and empty, for inevitably my father's favorite songs came to me, and before I got to "und auf den Wiesen blühen die Blümelein rot und blau" (and on the meadows bloom the little flowers red and blue), I had to hide and cry. He was buried somewhere in France, and I was sure no one had planted a flower on his resting place. Who would have, for a soldier who had fought for Hitler?

Why, if one wants to compare life to anything, one must liken it to being blown through the Tube at fifty miles an hour--landing at the other end without a single hairpin in one's hair! Shot out at the feet of God entirely naked! Tumbling head over heels in the asphodel meadows like brown paper parcels pitched down a shoot in the post office! With one's hair flying back like the tail of a race-horse. Yes, that seems to express the rapidity of life, the perpetual waste and repair; all so casual, all so haphazard... But after life. The slow pulling down of thick green stalks so that the cup of the flower, as it turns over, deluges one with purple and red light. Why, after all, should one not be born there as one is born here, helpless, speechless, unable to focus one's eyesight, groping at the roots of the grass, at the toes of the Giants?

She went a little fucking overboard on her anger." He looks at me. "Her daughters are all a bit nuts, so you know exactly where they get it from.” "She called the fucking cops on me," I retort. "That's not nuts that's --" "It's nuts," he rebuts. "It's fucked up." "That too," he says.

In the first week of April the weather turned suddenly, unseasonably, insistently lovely. The sky was blue, the air warm and windless, and the sun beamed on the muddy ground with all the sweet impatience of June. Toward the fringe of the wood, the young trees were yellow with the first tinge of new leaves; woodpeckers laughed and drummed in the copses and, lying in bed with my window open, I could hear the rush and gurgle of the melted snow running in the gutters all night long. In the second week of April everyone waited anxiously to see if the weather would hold. It did, with serene assurance. Hyacinth and daffodil bloomed in the flower beds, violet and periwinkle in the meadows; damp, bedraggled white butterflies fluttered drunkenly in the hedgerows. I put away my winter coat and overshoes and walked around, nearly light-headed with joy, in my shirtsleeves.

turn to Rue’s family. “But I feel as if I did know Rue, and she’ll always be with me. Everything beautiful brings her to mind. I see her in the yellow flowers that grow in the Meadow by my house. I see her in the mockingjays that sing in the trees. But most of all, I see her in my sister, Prim.

Land and sea. We may think of them as opposites; as complements. But there is a difference in how we think of them; the sea, and the land. If we are walking around in a forest, a meadow or a town, we see our surroundings as being made up of individual elements. There are many different kinds of trees in varying sizes, those buildings, these streets. The meadow, the flowers, the bushes. Our gaze lingers on details, and if we are standing in a forest in the autumn, we become tongue-tied if we try to describe the richness around us. All this exists on land. But the sea. The sea is something completely different. The sea is one. We may note the shifting moods of the sea. What the sea looks like when the wind is blowing, how the sea plays with the light, how it rises and falls. But still it is always the sea we are talking about. We have given different parts of the sea different names for navigation and identification, but if we are standing before the sea, there is only one whole. The Sea. If we are taken so far out in a small boat that no land is visible in any direction, we may catch sight of the sea. It is not a pleasant experience. The sea is a god, an unseeing, unhearing deity that does not even know we exist. We mean less than a grain of sand on an elephant's back, and if the sea wants us, it will take us. That's just the way it is. The sea knows no limits, makes no concessions. It has given us everything and it can take everything away from us. To other gods we send our prayer: Protect us from the sea.

The pageant of the river bank had marched steadily along, unfolding itself in scene-pictures that succeeded itself in stately procession. Purple loosestrife arrived early, shaking luxuriant locks along the edge of the mirror whence its own face laughed back at it. Willow-herb, tender and wistful, like a pink sunset-cloud was not slow to follow. Comfrey, the purple hand-in-hand with the white, crept forth to take its place in the line; and at last one morning the diffident and delaying dog-rose stepped delicately on the stage, and one knew, as if string music has announced it in stately chords that strayed into a gavotte, that June at last was here. One member of the company was still awaited; the shepherd-boy for the nymphs to woo, the knight for whom the ladies waited at the window, the prince that was to kiss the sleeping summer back to life and love. But when meadow-sweet, debonair and odorous in amber jerkin, moved graciously to his place in the group, then the play was ready to begin.

Though the birds sang gayly to him, Though the wild-flowers of the meadow Filled the air with odors for him, Though the forests and the rivers Sang and shouted at his coming, Still his heart was sad within him, For he was alone in heaven.

Persephone to Hades You are the kindest thing that ever happened to me, even if that is not how our tale is told. When everyone else told me i was destined to be a forgotten nymph that nutured flowers and turn meadows gold, you saw that the ichor that resides in me demanded its own throne. You showed me how a love like ours can turn even the darkest, coldest realm into the happiest of homes.

Oh Danny boy, the pipes, the pipes are calling From glen to glen, and down the mountain side The summer's gone, and all the flowers are dying 'Tis you, 'tis you must go and I must bide. But come ye back when summer's in the meadow Or when the valley's hushed and white with snow 'Tis I'll be here in sunshine or in shadow Oh Danny boy, oh Danny boy, I love you so. And if you come, when all the flowers are dying And I am dead, as dead I well may be You'll come and find the place where I am lying And kneel and say an "Ave" there for me. And I shall hear, tho' soft you tread above me And all my dreams will warm and sweeter be If you'll not fail to tell me that you love me I'll simply sleep in peace until you come to me. I'll simply sleep in peace until you come to me.

Roses are picked every day, they are told that they will be better off sold in the flower shoppe. And so they go from the hands of the picker; to the hands of the delivery man; to the hands of the florist; to the hands of the customer; and then often to the hands of the final recipient of the rose. From field, cut by scissors and passed from hand to hand. The world has forgotten that it is okay for roses to be in fields, the world has forgotten the beauty of the rose uncut. The bouquet is praised and given away but the wild roses are forgotten. People have forgotten what “wild” means; they think it means something entirely different. The wild rose remains untouched, with roots and swayed by the meadow winds. And that is wild. I am wild for having roots and for being untouched and for seeing things that people have forgotten. And I will always remember— that it is okay to be uncut, that it is okay to be untouched by darkness, it is okay to be wild.

Live in the moment with Ryke Meadows.

Shadow walked the meadow, making his own slow circles around the trunk of the tree, gradually widening his circle. Sometimes he would stop and pick something up: a flower, or a leaf, or a pebble, or a twig, or a blade of grass. He would examine it minutely, as if concentrating entirely on the twigness of the twig, the leafness of the leaf, as if he were seeing it for the first time. Easter found herself reminded of the gaze of a baby, at the point where it learns to focus.

Elena had always felt like the center of her own world - who doesn't? The world arranged itself around her like petals around the stem of a flower. This way the meadows, that way the woodland. Over here, the baryn's estate, out there, the hills that hug the known world close and imply a world at beyond. She could never come up with the edge of a world, because it always kept going on beyond. She moved the center of the world as she walked. The world was balanced on her head.

Many people say 'they love nature,' by which they mean they don't dislike the charms nature displays before them. They go on outings, delight in the beauty of the earth as they trample meadows and tear off flowers and sprigs, only to discard them or let them wilt at home. That is how they love nature.

course. Josh’s little sister was so sweet and sunshiney all the time, I half-expected flowers to sprout on the ground wherever she walked and a coterie of singing woodland animals to trail behind her while she traipsed through meadows or whatever girls like her did. She stood in the corner with her friends,

If he would just work with pure ideas like a proper mathematician he could go as fast as thought. As it happens, Alan has become fascinated by the incarnations of pure ideas in the physical world. The underlying math of the universe is like the light streaming in through the window. Alan is not satisfied with merely knowing that it streams in. He blows smoke into the air to make the light visible. He sits in meadows gazing at pine cones and flowers, tracing the mathematical patterns in their structure, and he dreams about electron winds blowing over the glowing filaments and screens of radio tubes, and, in their surges and eddies, capturing something of what is going on in his own brain. Turing is neither a mortal nor a god. He is Antaeus. That he bridges the mathematical and physical worlds is his strength and his weakness.

Horses At Midnight Without A Moon" Our heart wanders lost in the dark woods. Our dream wrestles in the castle of doubt. But there's music in us. Hope is pushed down but the angel flies up again taking us with her. The summer mornings begin inch by inch while we sleep, and walk with us later as long-legged beauty through the dirty streets. It is no surprise that danger and suffering surround us. What astonishes is the singing. We know the horses are there in the dark meadow because we can smell them, can hear them breathing. Our spirit persists like a man struggling through the frozen valley who suddenly smells flowers and realizes the snow is melting out of sight on top of the mountain, knows that spring has begun.

The greatest events of life often leave one unmoved; they pass out of consciousness, and, when one thinks of them, become unreal. Even the scarlet flowers of passion seem to grow out in the same meadow as the poppies of oblivion. We reject the burden of their memory, and have anodynes against them. But the little things, the things of no moment, remain with us.

I sit beside the fire and think of all that I have seen, of meadow-flowers and butterflies in summers that have been; Of yellow leaves and gossamer in autumns that there were, with morning mist and silver sun and wind upon my hair. I sit beside the fire and think of how the world will be when winter comes without a spring that I shall ever see. For still there are so many things that I have never seen: in every wood in every spring there is a different green. I sit beside the fire and think of people long ago, and people who will see a world that I shall never know. But all the while I sit and think of times there were before, I listen for returning feet and voices at the door. (Fellowship of the Ring, Book II, chpt 3)

Tis said that Chowmushih slept in a boat so that his dreams might mingle with those of the lotus. It was the same spirit which moved the Empress Komio, one of our most renowned Nara sovereigns, as she sang: "If I pluck thee, my hand will defile thee, O flower! Standing in the meadows as thou art, I offer thee to the Buddhas of the past, of the present, of the future.

Little Birds of the Night" LITTLE birds of the night Aye, they have much to tell Perching there in rows Blinking at me with their serious eyes Recounting of flowers they have seen and loved Of meadows and groves of the distance And pale sands at the foot of the sea And breezes that fly in the leaves. They are vast in experience These little birds that come in the night

It was a heavenly summer, the summer in which France fell and the British Expeditionary Force was evacuated from Dunkirk. Leaves were never such an intense and iridescent green; sunlight glinted on flower-studded meadows as the Germans encircled the Maginot Line and overran not only France but Belgium and Holland. Birdsong filled the air in the lull between bursts of gunfire and accompanied the fleeing refugees who blocked the roads. It was as though the weather was preparing a glorious requiem for the death of Europe.

Roads go ever ever on, Over rock and under tree, By caves where never sun has shone, By streams that never find the sea; Over snow by winter sown, And through merry flowers of June, Over grass and under stone, And under mountains in the moon. Roads go ever ever on Under cloud and under star Yet feet that wandering have gone Turn at last to home afar. Eyes that fire and sword have seen And horror in the halls of stone Look at last on meadows green And trees and hills they long have known.

THE TREE OF LIFE The sun is rising, And the ether dance at the first sight of his light, As he ascends like a phoenix from the ashes of morality, His luminous rays form the magnificent tree of life. He springs up from the east, Spreading his long arms like branches, Over the horizons of milky meadows and open seas, Extending his wings to embrace all living things. He walks on water and grazes through fields, Pouring his butter like honey to feed the Earth. Towering over all of creation, He who is the lamp of the universe, The power source of all life. And in his truth and light, Everything becomes aroused Like a flower, And everything is given Sight.

Flint's pond! Such is the poverty of our nomenclature. What right had the unclean and stupid farmer, whose farm abutted on this sky water, whose shores he has ruthlessly laid bare, to give his name to it? Some skin-flint, who loved better the reflecting surface of a dollar, or a bright cent, in which he could see his own brazen face; who regarded even the wild ducks which settled in it as trespassers; his fingers grown into crooked and bony talons from the long habit of grasping harpy-like; — so it is not named for me. I go not there to see him nor to hear of him; who never saw it, who never bathed in it, who never loved it, who never protected it, who never spoke a good word for it, nor thanked God that He had made it. Rather let it be named from the fishes that swim in it, the wild fowl or quadrupeds which frequent it, the wild flowers which grow by its shores, or some wild man or child the thread of whose history is interwoven with its own; not from him who could show no title to it but the deed which a like-minded neighbor or legislature gave him who thought only of its money value; whose presence perchance cursed — him all the shores; who exhausted the land around it, and would fain have exhausted the waters within it; who regretted only that it was not English hay or cranberry meadow — there was nothing to redeem it, forsooth, in his eyes — and would have drained and sold it for the mud at its bottom. It did not turn his mill, and it was no privilege to him to behold it. I respect not his labors, his farm where everything has its price, who would carry the landscape, who would carry his God, to market, if he could get anything for him; who goes to market for his god as it is; on whose farm nothing grows free, whose fields bear no crops, whose meadows no flowers, whose trees no fruits, but dollars; who loves not the beauty of his fruits, whose fruits are not ripe for him till they are turned to dollars. Give me the poverty that enjoys true wealth.

A picnic. Imagine: a forest, a country road, a meadow. A car pulls off the road into the meadow and unloads young men, bottles, picnic baskets, girls, transistor radios, cameras … A fire is lit, tents are pitched, music is played. And in the morning they leave. The animals, birds, and insects that were watching the whole night in horror crawl out of their shelters. And what do they see? An oil spill, a gasoline puddle, old spark plugs and oil filters strewn about … Scattered rags, burnt-out bulbs, someone has dropped a monkey wrench. The wheels have tracked mud from some godforsaken swamp … and, of course, there are the remains of the campfire, apple cores, candy wrappers, tins, bottles, someone’s handkerchief, someone’s penknife, old ragged newspapers, coins, wilted flowers from another meadow …” “I get it,” said Noonan. “A roadside picnic.

walked a lot that summer. I walked through the chestnut groves, stinging my fingers; I picked bunches of honeysuckle and spindle, tasted the blackberries, arbutus berries, dogwood leaves, the tart berries of the barberry shrubs; I breathed in the heavy scent of the buckwheat in flower, lay on the ground to catch a whiff of the strange scent of the heather. Then I would sit in the wide meadow, at the foot of the silver poplar trees, and open a novel by James Fenimore Cooper. When the wind blew, the poplars would whisper. The wind enthralled me. I felt that from one end of the earth to the other, the trees spoke to each other and spoke to God; it sounded like both music and a prayer were piercing my heart before rising to the heavens.

The fact is, that people cannot come to heartily like Florida till they accept certain deficiencies as the necessary shadow to certain excellences. If you want to live in an orange-orchard, you must give up wanting to live surrounded by green grass. When we get to the new heaven and the new earth, then we shall have it all right. There we shall have a climate at once cool and bracing, yet hot enough to mature oranges and pine-apples. Our trees of life shall bear twelve manner of fruit, and yield a new one every month. Out of juicy meadows green as emerald, enamelled with every kind of flower, shall grow our golden orange-trees, blossoming and fruiting together as now they do. There shall be no mosquitoes, or gnats, or black-flies, or snakes; and, best of all, there shall be no fretful people. Everybody shall be like a well-tuned instrument, all sounding in accord, and never a semitone out of the way. Meanwhile, we caution everybody coming to Florida, Don't hope for too much. Because you hear that roses and callas blossom in the open air all winter, and flowers abound in the woods, don't expect to find an eternal summer. Prepare yourself to see a great deal that looks rough and desolate and coarse; prepare yourself for some chilly days and nights; and, whatever else you neglect to bring with you, bring the resolution, strong and solid, always to make the best of things.

--And yet this great wink of eternity, Of rimless floods, unfettered leewardings, Samite sheeted and processioned where Her undinal vast belly moonward bends, Laughing the wrapt inflections of our love; Take this Sea, whose diapason knells On scrolls of silver snowy sentences, The sceptred terror of whose sessions rends As her demeanors motion well or ill, All but the pieties of lovers’ hands. And onward, as bells off San Salvador Salute the crocus lustres of the stars, In these poinsettia meadows of her tides,-- Adagios of islands, O my Prodigal, Complete the dark confessions her veins spell. Mark how her turning shoulders wind the hours, And hasten while her penniless rich palms Pass superscription of bent foam and wave,-- Hasten, while they are true,--sleep, death, desire, Close round one instant in one floating flower. Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise.

Roses climbed the shed, entwined with dark purple clematis, leaves as glossy as satin. There were no thorns. Patience's cupboard was overflowing with remedies, and the little barn was often crowded with seekers. The half acre of meadow was wild with cosmos and lupine, coreopsis, and sweet William. Basil, thyme, coriander, and broad leaf parsley grew in billowing clouds of green; the smell so fresh your mouth watered and you began to plan the next meal. Cucumbers spilled out of the raised beds, fighting for space with the peas and beans, lettuce, tomatoes, and bright yellow peppers. The cart was righted out by the road and was soon bowed under glass jars and tin pails of sunflowers, zinnias, dahlias, and salvia. Pears, apples, and out-of-season apricots sat in balsa wood baskets in the shade, and watermelons, some with pink flesh, some with yellow, all sweet and seedless, lined the willow fence.

Summer days, and the flat water meadows and the blue hills in the distance, and the willows up the backwater and the pools underneath like a kind of deep green glass. Summer evenings, the fish breaking the water, the nightjars hawking round your head, the smell of nightstocks and latakia. Don’t mistake what I’m talking about. It’s not that I’m trying to put across any of that poetry of childhood stuff. I know that’s all baloney. Old Porteous (a friend of mine, a retired schoolmaster, I’ll tell you about him later) is great on the poetry of childhood. Sometimes he reads me stuff about it out of books. Wordsworth. Lucy Gray. There was a time when meadow, grove, and all that. Needless to say he’s got no kids of his own. The truth is that kids aren’t in any way poetic, they’re merely savage little animals, except that no animal is a quarter as selfish. A boy isn’t interested in meadows, groves, and so forth. He never looks at a landscape, doesn’tgive a damn for flowers, and unless they affect him in some way, such as being good to eat, he doesn’t know one plant from another. Killing things - that’s about as near to poetry as a boy gets. And yet all the while there’s that peculiar intensity, the power of longing for things as you can’t long when you’re grown up, and the feeling that time stretches out and out in front of you and that whatever you’re doing you could go on for ever.

The morning sea of silence broke into ripples of bird songs; and the flowers were all merry by the roadside; and the wealth of gold was scattered through the rift of the clouds while we busily went on our way and paid no heed. We sang no glad songs nor played; we went not to the village for barter; we spoke not a word nor smiled; we lingered not on the way. We quickened our pace more and more as the time sped by. The sun rose to the mid sky and doves cooed in the shade. Withered leaves danced and whirled in the hot air of noon. The shepherd boy drowsed and dreamed in the shadow of the banyan tree, and I laid myself down by the water and stretched my tired limbs on the grass. My companions laughed at me in scorn; they held their heads high and hurried on; they never looked back nor rested; they vanished in the distant blue haze. They crossed many meadows and hills, and passed through strange, far-away countries. All honour to you, heroic host of the interminable path! Mockery and reproach pricked me to rise, but found no response in me. I gave myself up for lost in the depth of a glad humiliation---in the shadow of a dim delight. The repose of the sun-embroidered green gloom slowly spread over my heart. I forgot for what I had travelled, and I surrendered my mind without struggle to the maze of shadows and songs. At last, when I woke from my slumber and opened my eyes, I saw thee standing by me, flooding my sleep with thy smile. How I had feared that the path was long and wearisome, and the struggle to reach thee was hard!

Around them the stubbled land was marked off by plaques and signs that explained to visitors what had happened here on a long-ago July day not unlike this one. But Peter already knew all they said and more. He looked around at the people with their noses tucked in brochures and guidebooks, and those trailing, sheeplike, after tour guides and park employees. He was used to feeling somewhat out of place most everywhere he went--at school or the barbershop, even at home, but here, where he knew everything, all the names and dates and facts, he somehow seemed to fit, and the knowledge of this welled up inside him. It was like he'd been born a blue flower in a field full of red ones and had only now been plunked down in a meadow so blue it might as well have been the ocean.

Orpheus chose to be the leader of mankind. Ah, not even Orpheus had attained such a goal, not even his immortal greatness had justified such vain and presumptuous dreams of grandeur, such flagrant overestimation of poetry! Certainly many instances of earthly beauty--a song, the twilit sea, the tone of the lyre, the voice of a boy, a verse, a statue, a column, a garden, a single flower--all possess the divine faculty of making man hearken unto the innermost and outermost boundaries of his existence, and therefore it is not to be wondered at that the lofty art of Orpheus was esteemed to have the power of diverting the streams from their beds and changing their courses, of luring the wild beasts of the forest with tender dominance, of arresting the cattle a-browse upon the meadows and moving them to listen, caught in the dream and enchanted, the dreamwish of all art: the world compelled to listen, ready to receive the song and its salvation. However, even had Orpheus achieved his aim, the help lasts no longer than the song, nor does the listening, and on no account might the song resound too long, otherwise the streams would return to their old courses, the wild beasts of the forest would again fall upon and slay the innocent beasts of the field, and man would revert again to his old, habitual cruelty; for not only did no intoxication last long, and this was likewise true of beauty's spell, but furthermore, the mildness to which men and beasts had yielded was only half of the intoxication of beauty, while the other half, not less strong and for the most part far stronger, was of such surpassing and terrible cruelty--the most cruel of men delights himself with a flower--that beauty, and before all the beauty born of art, failed quickly of its effect if in disregard of the reciprocal balance of its two components it approached man with but one of them.

HAVE you got a brook in your little heart, Where bashful flowers blow, And blushing birds go down to drink, And shadows tremble so? And nobody, knows, so still it flows, 5 That any brook is there; And yet your little draught of life Is daily drunken there. Then look out for the little brook in March, When the rivers overflow, 10 And the snows come hurrying from the hills, And the bridges often go. And later, in August it may be, When the meadows parching lie, Beware, lest this little brook of life 15 Some burning noon go dry!

I turn to Rue’s family. “But I feel as if I did know Rue, and she’ll always be with me. Everything beautiful brings her to mind. I see her in the yellow flowers that grow in the Meadow by my house. I see her in the mockingjays that sing in the trees. But most of all, I see her in my sister, Prim.” My voice is undependable, but I am almost finished. “Thank you for your children.” I raise my chin to address the crowd. “And thank you all for the bread.” I stand there, feeling broken and small, thousands of eyes trained on me. There’s a long pause. Then, from somewhere in the crowd, someone whistles Rue’s four-note mockingjay tune. The one that signaled the end of the workday in the orchards. The one that meant safety in the arena. By the end of the tune, I have found the whistler, a wizened old man in a faded red shirt and overalls. His eyes meet mine. What happens next is not an accident. It is too well executed to be spontaneous, because it happens in complete unison. Every person in the crowd presses the three middle fingers of their left hand against their lips and extends them to me. It’s our sign from District 12, the last good-bye I gave Rue in the arena.

One of the remarkable things about Life After Life is the way that this formal experimentation is combined with a consistently involving plot. It is as if the writing of B. S. Johnson had been crossed with the better novels of Anthony Trollope. An entire world emerges but shows itself again and again in different lights. It’s an unusual book in many ways: in part a tribute to England and to the resilience of the English character revealed under the stress of wartime; in part a book about love that doesn’t contain a love story but instead celebrates the bond between siblings. It’s a book full of horror vividly described, as in the repeated image of a dress with human arms still inside it, seen in a bombed building. Yet the most memorable passages are those which describe the prewar English countryside before suburbia encroached upon “the flowers that grew in the meadow beyond the copse—flax and larkspur, buttercups, corn poppies, red campion and oxeye daisies.” Above all, it’s a book about the act of reading itself. As you read it, it asks you to think about your expectations of plot and outcome. The reader desires happiness for certain characters, and Atkinson both challenges and rewards that tendency.

Finer feeling, which we now wish to consider, is chiefly of two kinds: the feeling of the *sublime* and that of the *beautiful*. The stirring of each is pleasant, but in different ways. The sight of a mountain whose snow-covered peak rises above the clouds, the description of a raging storm, or Milton's portrayal of the infernal kingdom, arouse enjoyment but with horror; on the other hand, the sight of flower strewn meadows, valleys with winding brooks and covered with grazing flocks, the description of Elysium, or Homer's portrayal of the girdle of Venus, also occasion a pleasant sensation but one that is joyous and smiling. In order that the former impression could occur to us in due strength, we must have *a feeling of the sublime*, and, in order to enjoy the latter well, *a feeling of the beautiful*. Tall oaks and lonely shadows in a sacred grove are sublime; flower beds, low hedges and trees trimmed in figures are beautiful. Night is sublime; day is beautiful. Temperaments that possess a feeling for the sublime are drawn gradually, by the quiet stillness of a summer evening as the shimmering light of the stars breaks through the brown shadows of night and the lonely moon rises into view, into high feelings of friendship, of disdain for the world, of eternity. The shining day stimulates busy fervor and a feeling of gaiety. The sublime *moves*, the beautiful *charms*.

The Last Hero The wind blew out from Bergen from the dawning to the day, There was a wreck of trees and fall of towers a score of miles away, And drifted like a livid leaf I go before its tide, Spewed out of house and stable, beggared of flag and bride. The heavens are bowed about my head, shouting like seraph wars, With rains that might put out the sun and clean the sky of stars, Rains like the fall of ruined seas from secret worlds above, The roaring of the rains of God none but the lonely love. Feast in my hall, O foemen, and eat and drink and drain, You never loved the sun in heaven as I have loved the rain. The chance of battle changes -- so may all battle be; I stole my lady bride from them, they stole her back from me. I rent her from her red-roofed hall, I rode and saw arise, More lovely than the living flowers the hatred in her eyes. She never loved me, never bent, never was less divine; The sunset never loved me, the wind was never mine. Was it all nothing that she stood imperial in duresse? Silence itself made softer with the sweeping of her dress. O you who drain the cup of life, O you who wear the crown, You never loved a woman's smile as I have loved her frown. The wind blew out from Bergen to the dawning of the day, They ride and run with fifty spears to break and bar my way, I shall not die alone, alone, but kin to all the powers, As merry as the ancient sun and fighting like the flowers. How white their steel, how bright their eyes! I love each laughing knave, Cry high and bid him welcome to the banquet of the brave. Yea, I will bless them as they bend and love them where they lie, When on their skulls the sword I swing falls shattering from the sky. The hour when death is like a light and blood is like a rose, -- You never loved your friends, my friends, as I shall love my foes. Know you what earth shall lose to-night, what rich uncounted loans, What heavy gold of tales untold you bury with my bones? My loves in deep dim meadows, my ships that rode at ease, Ruffling the purple plumage of strange and secret seas. To see this fair earth as it is to me alone was given, The blow that breaks my brow to-night shall break the dome of heaven. The skies I saw, the trees I saw after no eyes shall see, To-night I die the death of God; the stars shall die with me; One sound shall sunder all the spears and break the trumpet's breath: You never laughed in all your life as I shall laugh in death.

You, the woman; I, the man; this, the world: And each is the work of all. There is the muffled step in the snow; the stranger; The crippled wren; the nun; the dancer; the Jesus-wing Over the walkers in the village; and there are Many beautiful arms around us and the things we know. See how those stars tramp over the heavens on their sticks Of ancient light: with what simplicity that blue Takes eternity into the quiet cave of God, where Ceasar And Socrates, like primitive paintings on a wall, Look, with idiot eyes, on the world where we two are. You, the sought for; I, the seeker; this, the search: And each is the mission of all. For greatness is only the drayhorse that coaxes The built cart out; and where we go is reason. But genius is an enormous littleness, a trickling Of heart that covers alike the hare and the hunter. How smoothly, like the sleep of a flower, love, The grassy wind moves over night's tense meadow: See how the great wooden eyes of the forrest Stare upon the architecture of our innocence. You, the village; I, the stranger; this, the road: And each is the work of all. Then, not that man do more, or stop pity; but that he be Wider in living; that all his cities fly a clean flag... We have been alone too long, love; it is terribly late For the pierced feet on the water and we must not die now. Have you ever wondered why all the windows in heaven were broken? Have you seen the homeless in the open grave of God's hand? Do you want to aquaint the larks with the fatuous music of war? There is the muffled step in the snow; the stranger; The crippled wren; the nun; the dancer; the Jesus-wing Over the walkers in the village; and there are Many desperate arms about us and the things we know.

After a while in a very gentle voice he asked, ‘Would you like to leave now? We’ll be better off in the boat.’ ‘All right my pet,’ she said. Awash with forgiveness and with tears still in his eyes he held her two hands tightly and helped her on board. Basking in the warmth of the afternoon they rowed upstream again past the willows and the grass-covered banks. When they reached Le Grillon once more it was not yet six, so, leaving their skiff, they set off on foot towards Bezons across the meadows and past the high poplars bordering the banks. The wide hayfields waiting to be harvested were full of flowers. The sinking sun cast a mantle of russet light over all and in the gentle warmth of the day’s end the fragrance of the grass wafted in on them mingling with the damp smells of the river and filling the air with easy languor and an atmosphere of blessed well-being. He felt soft and unresistant, in communion with the calm splendour of the evening and with the vague, mysterious thrill of life itself. He felt in tune with the all-embracing poetry of the moment in which plants and all that surrounded him revealed themselves to his senses at this lovely restful and reflective time of day. He was sensitive to it all but she appeared totally unaffected. They were walking side by side when suddenly, bored by the silence, she began to sing.

Boehme makes such leaps, such contradictions, such confusions of thought. It is as though he wishes to vault directly into heaven upon the strength of his logic, but his logic is deeply impaired." She reached across the table for a book and flung it open. "In this chapter here, for instance, he is trying to find keys to God's secrets hidden inside the plants of the Bible- but what are we to make of it, when his information is simply incorrect? He spends a full chapter interpreting 'the lilies of the field' as mentioned in the book of Matthew, dissecting every letter of the word 'lilies,' looking for revelation within the syllables... but Ambrose, 'the lilies of the field' itself is a mistranslation. It would not have 'been' lilies that Christ discussed in his Sermon on the Mount. There are only two varieties of lily native to Palestine, and both are exceedingly rare. They would not have flowered in such abundance as to have ever filled a meadow. They would not have been familiar enough to the common man. Christ, tailoring his lesson to the widest possible audience, would more likely have referred to a ubiquitous flower, in order that his listeners would comprehend his metaphor. For that reason, it is exceedingly probable that Christ was talking about the anemones of the field- probably 'Anemone coronaria'- though we cannot be certain...

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin.” “As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed, long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk: 'Tis not through envy of thy happy lot, But being too happy in thine happiness,— That thou, light-winged Dryad of the trees In some melodious plot Of beechen green, and shadows numberless, Singest of summer in full-throated ease. O for a beaker full of the warm South, Full of the true, the blushful Hippocrene, With beaded bubbles winking at the brim, And purple-stained mouth; That I might drink, and leave the world unseen, And with thee fade away into the forest dim: Fade far away, dissolve, and quite forget What thou among the leaves hast never known, The weariness, the fever, and the fret Here, where men sit and hear each other groan; Where palsy shakes a few, sad, last gray hairs, Where youth grows pale, and spectre-thin, and dies; Where but to think is to be full of sorrow And leaden-eyed despairs, Where Beauty cannot keep her lustrous eyes, Or new Love pine at them beyond to-morrow. Away! away! for I will fly to thee, Not charioted by Bacchus and his pards, But on the viewless wings of Poesy, Though the dull brain perplexes and retards: Already with thee! tender is the night, And haply the Queen-Moon is on her throne, Cluster'd around by all her starry Fays; But here there is no light, Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways. I cannot see what flowers are at my feet, Nor what soft incense hangs upon the boughs, But, in embalmed darkness, guess each sweet Wherewith the seasonable month endows The grass, the thicket, and the fruit-tree wild; White hawthorn, and the pastoral eglantine; Fast fading violets cover'd up in leaves; And mid-May's eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of flies on summer eves. Darkling I listen; and, for many a time I have been half in love with easeful Death, Call'd him soft names in many a mused rhyme, To take into the air my quiet breath; Now more than ever seems it rich to die, To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad Thou wast not born for death, immortal Bird! No hungry generations tread thee down; The voice I hear this passing night was heard In ancient days by emperor and clown: Perhaps the self-same song that found a path Through the sad heart of Ruth, when, sick for home, She stood in tears amid the alien corn; The same that oft-times hath Charm'd magic casements, opening on the foam Of perilous seas, in faery lands forlorn. Forlorn! the very word is like a bell To toll me back from thee to my sole self! Adieu! the fancy cannot cheat so well As she is fam'd to do, deceiving elf. Adieu! adieu! thy plaintive anthem fades Past the near meadows, over the still stream, Up the hill-side; and now 'tis buried deep In the next valley-glades: Was it a vision, or a waking dream? Fled is that music:—Do I wake or sleep? - Ode to a Nightingale

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin. As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed,long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

This long letter is because I'm writing before breakfast. Oh, the beautiful vine leaves! The house is covered with a vine. I looked out earlier, and Mrs. Wilcox was already in the garden. No wonder she sometimes looks tired. She was watching the large red poppies come out. Then she walked off the lawn to the meadow, whose corner to the right I can just see. Trail, trail, went her long dress over the sopping grass, and she came back with her hands full of the hay that was cut yesterday - I suppose for rabbits or something, as she kept on smelling it. The air here is delicious. Later on I heard the noise of croquet balls, and looked out again, and it was Charles Wilcox practising; they are keen on all games. Presently he started sneezing and had to stop. Then I hear more clicketing, and it is Mr. Wilcox practising, and then, "a-tissue, a-tissue": he has to stop too. Then Evie comes out, and does some calisthenic exercises on a machine that is tacked to a greengage-tree - they put everything to use - and then she says "a-tissue," and in she goes. And finally Mrs. Wilcox reappears, trail, trail, still smelling hay and looking at the flowers. I inflict all this on you because once you said that life is sometimes life and sometimes only a drama, and one must learn to distinguish t'other from which, and up to now I have always put that down as "Meg's clever nonsense.

Hymn to Mercury : Continued 11. ... Seized with a sudden fancy for fresh meat, He in his sacred crib deposited The hollow lyre, and from the cavern sweet Rushed with great leaps up to the mountain's head, Revolving in his mind some subtle feat Of thievish craft, such as a swindler might Devise in the lone season of dun night. 12. Lo! the great Sun under the ocean's bed has Driven steeds and chariot—the child meanwhile strode O'er the Pierian mountains clothed in shadows, Where the immortal oxen of the God Are pastured in the flowering unmown meadows, And safely stalled in a remote abode.— The archer Argicide, elate and proud, Drove fifty from the herd, lowing aloud. 13. He drove them wandering o'er the sandy way, But, being ever mindful of his craft, Backward and forward drove he them astray, So that the tracks which seemed before, were aft; His sandals then he threw to the ocean spray, And for each foot he wrought a kind of raft Of tamarisk, and tamarisk-like sprigs, And bound them in a lump with withy twigs. 14. And on his feet he tied these sandals light, The trail of whose wide leaves might not betray His track; and then, a self-sufficing wight, Like a man hastening on some distant way, He from Pieria's mountain bent his flight; But an old man perceived the infant pass Down green Onchestus heaped like beds with grass. 15. The old man stood dressing his sunny vine: 'Halloo! old fellow with the crooked shoulder! You grub those stumps? before they will bear wine Methinks even you must grow a little older: Attend, I pray, to this advice of mine, As you would 'scape what might appal a bolder— Seeing, see not—and hearing, hear not—and— If you have understanding—understand.' 16. So saying, Hermes roused the oxen vast; O'er shadowy mountain and resounding dell, And flower-paven plains, great Hermes passed; Till the black night divine, which favouring fell Around his steps, grew gray, and morning fast Wakened the world to work, and from her cell Sea-strewn, the Pallantean Moon sublime Into her watch-tower just began to climb. 17. Now to Alpheus he had driven all The broad-foreheaded oxen of the Sun; They came unwearied to the lofty stall And to the water-troughs which ever run Through the fresh fields—and when with rushgrass tall, Lotus and all sweet herbage, every one Had pastured been, the great God made them move Towards the stall in a collected drove. 18. A mighty pile of wood the God then heaped, And having soon conceived the mystery Of fire, from two smooth laurel branches stripped The bark, and rubbed them in his palms;—on high Suddenly forth the burning vapour leaped And the divine child saw delightedly.— Mercury first found out for human weal Tinder-box, matches, fire-irons, flint and steel. 19. And fine dry logs and roots innumerous He gathered in a delve upon the ground— And kindled them—and instantaneous The strength of the fierce flame was breathed around: And whilst the might of glorious Vulcan thus Wrapped the great pile with glare and roaring sound, Hermes dragged forth two heifers, lowing loud, Close to the fire—such might was in the God. 20. And on the earth upon their backs he threw The panting beasts, and rolled them o'er and o'er, And bored their lives out. Without more ado He cut up fat and flesh, and down before The fire, on spits of wood he placed the two, Toasting their flesh and ribs, and all the gore Pursed in the bowels; and while this was done He stretched their hides over a craggy stone.