Rustic Love Quotes

There were no formerly heroic times, and there was no formerly pure generation. There is no one here but us chickens, and so it has always been: A people busy and powerful, knowledgeable, ambivalent, important, fearful, and self-aware; a people who scheme, promote, deceive, and conquer; who pray for their loved ones, and long to flee misery and skip death. It is a weakening and discoloring idea, that rustic people knew God personally once upon a time-- or even knew selflessness or courage or literature-- but that it is too late for us. In fact, the absolute is available to everyone in every age. There never was a more holy age than ours, and never a less.

Ah, I do so love this charmingly rustic, elvin kingdom!-Baozhai

Why have such scores of lovely, gifted girls Married impossible men? Simple self-sacrifice may be ruled out, And missionary endeavour, nine times out of ten. Repeat 'impossible men': not merely rustic, Foul-tempered or depraved (Dramatic foils chosen to show the world How well women behave, and always have behaved). Impossible men: idle, illiterate, Self-pitying, dirty, sly, For whose appearance even in City parks Excuses must be made to casual passers-by. Has God's supply of tolerable husbands Fallen, in fact, so low? Or do I always over-value woman At the expense of man? Do I? It might be so.

Would you - would you like to marry me, Kitty?' Lord Radcliffe - James - asked, voice like gravel. She gave a helpless little laugh at the absurdity of the question - as if he did not know. 'I would,' she said. 'But first, I feel I must inform you that I come with four sisters, a badly leaking roof, and a veritable ocean of debt.' He had started to smile now, and once begun it did not seem to stop, overtaking his whole face. “I thank you for your honesty,’ he said cordially, and she laughed. ‘May I reassure you that I am desperate to meet your other sisters, the roof sounds charmingly rustic, and the debt does not faze me.’ He paused. ‘Of course, I understand that you will need to see my accounts before committing yourself,’ he went on, and she laughed again, loud and bright. ‘I’m sure that won’t be necessary,’ she said. ‘As long as you can promise you’re absurdly rich and you’ll pay off all my family’s debts.’ ‘I am absurdly rich,’ he repeated. ‘And I will pay off all your family’s debts.’ ‘Why then by all means,’ she said, grinning up at him, ‘I would indeed like to marry you.

Real love survives time and distance. It doesn’t need to be constantly reassured. It just is.

Falling in love is the easy part, the fun part. It’s staying in love that’s hard.

It was Buckley, as my father and sister joined the group and listened to Grandma Lynn’s countless toasts, who saw me. He saw me standing under the rustic colonial clock and stared. He was drinking champagne. There were strings coming out from all around me, reaching out, waving in the air. Someone passed him a brownie. He held it in his hand but did not eat. He saw my shape and face, which had not changed-the hair still parted down the middle, the chest still flat and hips undeveloped-and wanted to call out my name. It was only a moment, and then I was gone.

Every Day You Play.... Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water, You are more than this white head that I hold tightly as a bunch of flowers, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. The birds go by, fleeing. The wind.  The wind. I alone can contend against the power of men. The storm whirls dark leaves and turns loose all the boats that were moored last night to the sky. You are here.  Oh, you do not run away. You will answer me to the last cry. Curl round me as though you were frightened. Even so, a strange shadow once ran through your eyes. Now, now too, little one, you bring me honeysuckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the grey light unwinds in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. Until I even believe that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.

He loved the interminable winter nights, when the dissatisfied wind mewed through the keyhole, and gusts of acrid smoke were driven down through the chimney; the imperfect silence when you awoke, as of a conversation hastily lulled, objects being hastily replaced. ‘Blow, blow thou winter wind, thou art not so unkind as man’s ingratitude.’ Why was it that he felt so perfectly attuned to winter, to its fatalistic expectation of the worst, then, when the worst came, its rustic heroisms and shouldering of burdens, improvised ingeniousness, constructive despair?

her mind in that freshness which is sometimes falsely supposed to be an invariable attribute of rusticity. Perfect love has a breath of poetry which can exalt the relations of the least-instructed human beings; and this breath of poetry had surrounded Eppie from the time when she had followed the bright gleam that beckoned her to Silas’s hearth;

Real rustics are not conscious of being picturesque, they do not construct bird sanctuaries, they are uninterested in any bird or animal that does not affect them directly ... The fact is that those who really have to deal with nature have no cause to be in love with it.

In the morning I write love letters; in the evening I dig graves. Such is life, rustic.

We hear every day of murders committed in the country. Brutal and treacherous murders; slow, protracted agonies from poisons administered by some kindred hand; sudden and violent deaths by cruel blows, inflicted with a stake cut from some spreading oak, whose every shadow promised—peace. In the county of which I write, I have been shown a meadow in which, on a quiet summer Sunday evening, a young farmer murdered the girl who had loved and trusted him; and yet, even now, with the stain of that foul deed upon it, the aspect of the spot is—peace. No species of crime has ever been committed in the worst rookeries about Seven Dials that has not been also done in the face of that rustic calm which still, in spite of all, we look on with a tender, half-mournful yearning, and associate with—peace.

To be gripped by Foteini's calloused, rustic hand felt like being lovingly embraced by a 1,000 year old olive tree. For the first time since I arrived I felt the outer layer of my foreignness begin to peel away, just a tiny bit.

The tender and peculiar love with which Silas had reared her in almost inseparable companionship with himself, aided by the seclusion of their dwelling, had preserved her from the lowering influences of the village talk and habits, and had kept in her mind that freshness which is sometimes falsely supposed to be an invariable attribute of rusticity.

But they had their Christmas, beginning thus with parental advice and continuing through all the acts of contrition, love, and decorum. They put on, over their savage lives, the raiment of society, going diligently through the forms and conventions, and thinking, "Now, we are like all other families"; but they were timid and shy and stuff, like rustics dressed in evening clothes.

   Is there a place, save one the poet sees, A land of love, of liberty, and ease; Where labour wearies not, nor cares suppress Th’ eternal flow of rustic happiness; Where no proud mansion frowns in awful state, Or keeps the sunshine from the cottage-gate; Where young and old, intent on pleasure, throng, And half man’s life is holiday and song? Vain search for scenes like these! no view appears, By sighs unruffled or unstain’d by tears; Since vice the world subdued and waters drown’d, Auburn and Eden can no more be found.

As you rusticate, you'll encounter beauty and ugliness, peace and danger. But it will be real and of the earth. I'm an optimistic person, but deep inside all optimists, there's a bound-and-gagged pessimist sitting in the basement, struggling to get out. I believe if we don't deconstruct our lives and learn to be more earthbound and earth-friendly and sustainable, and try to live with all God's creatures, even if they're not big-eyed and behind bars in a zoo, or on our screen savers, then sooner than expected we'll be forced to, through political mandate or economics or from overuse of our resources.

Pray don't imagine that he conceals depths of benevolence and affection beneath a stern exterior! He's not a rough diamond - a pearl-containing oyster of a rustic; he's a fierce, pitiless, wolfish man... and he'd crush you like a sparrow's egg, Isabella, if he found you a troublesome charge. I know he couldn't love a Linton; and yet he'd be quite capable of marrying your fortune and expectations. Avarice is growing with him a besetting sin. There's my picture; and I'm his friend - so much so, that had he thought seriously to catch you, I should, perhaps, have held my tongue, and let you fall into his trap.

From Vergil's Tenth Eclogue Verses 1-26. Published by Rossetti, "Complete Poetical Works of P. B. S.", 1870, from the Boscombe manuscripts now in the Bodleian. Mr. Locock ("Examination", etc., 1903, pages 47-50), as the result of his collation of the same manuscripts, gives a revised and expanded version which we print below. Melodious Arethusa, o'er my verse Shed thou once more the spirit of thy stream: Who denies verse to Gallus? So, when thou Glidest beneath the green and purple gleam Of Syracusan waters, mayst thou flow Unmingled with the bitter Doric dew! Begin, and, whilst the goats are browsing now The soft leaves, in our way let us pursue The melancholy loves of Gallus. List! We sing not to the dead: the wild woods knew His sufferings, and their echoes... Young Naiads,...in what far woodlands wild Wandered ye when unworthy love possessed Your Gallus? Not where Pindus is up-piled, Nor where Parnassus' sacred mount, nor where Aonian Aganippe expands... The laurels and the myrtle-copses dim. The pine-encircled mountain, Maenalus, The cold crags of Lycaeus, weep for him; And Sylvan, crowned with rustic coronals, Came shaking in his speed the budding wands And heavy lilies which he bore: we knew Pan the Arcadian. ... 'What madness is this, Gallus? Thy heart's care With willing steps pursues another there

The Same (As revised by Mr. C.D. Locock.) Melodious Arethusa, o'er my verse Shed thou once more the spirit of thy stream: (Two lines missing.) Who denies verse to Gallus? So, when thou Glidest beneath the green and purple gleam Of Syracusan waters, mayest thou flow Unmingled with the bitter Dorian dew! Begin, and whilst the goats are browsing now The soft leaves, in our song let us pursue The melancholy loves of Gallus. List! We sing not to the deaf: the wild woods knew His sufferings, and their echoes answer... Young Naiades, in what far woodlands wild Wandered ye, when unworthy love possessed Our Gallus? Nor where Pindus is up-piled, Nor where Parnassus' sacred mount, nor where Aonian Aganippe spreads its... (Three lines missing.) The laurels and the myrtle-copses dim, The pine-encircled mountain, Maenalus, The cold crags of Lycaeus weep for him. (Several lines missing.) 'What madness is this, Gallus? thy heart's care, Lycoris, mid rude camps and Alpine snow, With willing step pursues another there.' (Some lines missing.) And Sylvan, crowned with rustic coronals, Came shaking in his speed the budding wands And heavy lilies which he bore: we knew Pan the Arcadian with.... ...and said, 'Wilt thou not ever cease? Love cares not. The meadows with fresh streams, the bees with thyme, The goats with the green leaves of budding spring Are saturated not—nor Love with tears.

You truly are the most astonishingly beautiful hobbit I’ve ever seen,” he said, and Tamsyn froze. “Hobbit??” “Um, yes?” he said, and Tamsyn looked down at herself in panic. Her suit had disappeared and been replaced by a straight dress in a rustic homespun fabric of a drab, brownish grey. Her hair still looked the same, she established when she grabbed a handful and held it up in front of her face, but when she scrabbled up and caught a glimpse of her feet, her legs immediately lost their strength again. She thudded back down hard and grabbed her left leg, yanking her foot up to her eyes. It was bare, large and very, very hairy. She checked her other foot as well, hoping against all laws of probability that it would be different, and groaned in consternation when it looked the same as the left one. “This can’t be true!” she wailed, scrambling to get up again. “I’m a hobbit!

You may, for instance, inquire of a popular preacher, or any one else, who denounces his countrymen as "pagan" (as speakers, and even Bishops, at religious gatherings have been known to do) what, exactly, he means by this word, and you will find that he means irreligious, and is apparently oblivious of the fact that pagans were and are, in their village simplicity, the most religious persons who have ever flourished, having more gods to the square mile then the Christian or any other Church has ever possessed or desired, and paying these gods more devout and more earnest devotion than you will meet even among Anglo-Catholics in congress. To be pagan may not be very intelligent; it is rustic and superstitious, but it is at least religious. Yet you will hear the word "pagan" flung loosely about for "irreligious", or sometimes as meaning joyous, material and comfort-loving, whereas the simple pagans walked the earth full of what is called holy awe and that mystic faith in unseen powers which is the antithesis of materialism, and gloomy with apprehension of the visitations of their horrid and vindictive gods; and, though no doubt, like all men, they loved comfort, they only obtained, just as we do, as much of that as they could afford.

Every Day You Play" Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water. You are more than this white head that I hold tightly as a cluster of fruit, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. The birds go by, fleeing. The wind. The wind. I can contend only against the power of men. The storm whirls dark leaves and turns loose all the boats that were moored last night to the sky. You are here. Oh, you do not run away. You will answer me to the last cry. Cling to me as though you were frightened. Even so, at one time a strange shadow ran through your eyes. Now, now too, little one, you bring me honeysuckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the gray light unwind in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. I go so far as to think that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.

The car ploughed uphill through the long squalid straggle of Tevershall, the blackened brick dwellings, the black slate roofs glistening their sharp edges, the mud black with coal-dust, the pavements wet and black. It was as if dismalness had soaked through and through everything. The utter negation of natural beauty, the utter negation of the gladness of life, the utter absence of the instinct for shapely beauty which every bird and beast has, the utter death of the human intuitive faculty was appalling. The stacks of soap in the grocers’ shops, the rhubarb and lemons in the green-grocers’! the awful hats in the milliners’! all went by ugly, ugly, ugly, followed by the plaster-and-gilt horror of the cinema with its wet picture announcements, “A Woman’s Love!”, and the new big Primitive chapel, primitive enough in its stark brick and big panes of greenish and raspberry glass in the windows. The Wesleyan chapel, higher up, was of blackened brick and stood behind iron railings and blackened shrubs. The Congregational chapel, which thought itself superior, was built of rusticated sandstone and had a steeple, but not a very high one. Just beyond were the new school buildings, expensive pink brick, and graveled playground inside iron railings, all very imposing, and mixing the suggestion of a chapel and a prison. Standard Five girls were having a singing lesson, just finishing the la-me-do-la exercises and beginning a “sweet children’s song.” Anything more unlike song, spontaneous song, would be impossible to imagine: a strange bawling yell that followed the outlines of a tune. It was not like savages: savages have subtle rhythms. It was not like animals: animals mean something when they yell. It was like nothing on earth, and it was called singing... What could possibly become of such a people, a people in whom the living intuitive faculty was dead as nails, and only queer mechanical yells and uncanny will power remained?

Colette"s "My Mother's House" and "Sido" After seeing the movie "Colette" I felt so sad that it didn't even touch the living spirit of her that exists in her writing. 'What are you doing with that bucket, mother? Couldn't you wait until Josephine (the househelp) arrives?' "And out I hurried. But the fire was already blazing, fed with dry wood. The milk was boiling on the blue-tiled charcoal stove. Nearby, a bar of chocolate was melting in a little water for my breakfast, and, seated squarely in her cane armchair, my mother was grinding the fragrant coffee which she roasted herself. The morning hours were always kind to her. She wore their rosy colours in her cheeks. Flushed with a brief return to health, she would gaze at the rising sun, while the church bell rang for early Mass, and rejoice at having tasted, while we still slept, so many forbidden fruits. "The forbidden fruits were the over-heavy bucket drawn up from the well, the firewood split with a billhook on an oaken block, the spade, the mattock, and above all the double steps propped against the gable-windows of the attic, the flowery spikes of the too-tall lilacs, the dizzy cat that had to be rescued from the ridge of the roof. All the accomplices of her old existence as a plump and sturdy little woman, all the minor rustic divinities who once obeyed her and made her so proud of doing without servants, now assumed the appearance and position of adversaries. But they reckoned without that love of combat which my mother was to keep till the end of her life. At seventy-one dawn still found her undaunted, if not always undamaged. Burnt by fire, cut with the pruning knife, soaked by melting snow or spilt water, she had always managed to enjoy her best moments of independence before the earliest risers had opened their shutters. She was able to tell us of the cats' awakening, of what was going on in the nests, of news gleaned, together with the morning's milk and the warm loaf, from the milkmaid and the baker's girl, the record in fact of the birth of a new day.

The Enchanted Broccoli Forest. Oh, what a pleasure that was! Mollie Katzen's handwritten and illustrated recipes that recalled some glorious time in upstate New York when a girl with an appetite could work at a funky vegetarian restaurant and jot down some tasty favorites between shifts. That one had the Pumpkin Tureen soup that Margo had made so many times when she first got the book. She loved the cheesy onion soup served from a pumpkin with a hot dash of horseradish and rye croutons. And the Cardamom Coffee Cake, full of butter, real vanilla, and rich brown sugar, said to be a favorite at the restaurant, where Margo loved to imagine the patrons picking up extras to take back to their green, grassy, shady farmhouses dotted along winding country roads. Linda's Kitchen by Linda McCartney, Paul's first wife, the vegetarian cookbook that had initially spurred her yearlong attempt at vegetarianism (with cheese and eggs, thank you very much) right after college. Margo used to have to drag Calvin into such phases and had finally lured him in by saying that surely anything Paul would eat was good enough for them. Because of Linda's Kitchen, Margo had dived into the world of textured vegetable protein instead of meat, and tons of soups, including a very good watercress, which she never would have tried without Linda's inspiration. It had also inspired her to get a gorgeous, long marble-topped island for prep work. Sometimes she only cooked for the aesthetic pleasure of the gleaming marble topped with rustic pottery containing bright fresh veggies, chopped to perfection. Then Bistro Cooking by Patricia Wells caught her eye, and she took it down. Some pages were stuck together from previous cooking nights, but the one she turned to, the most splattered of all, was the one for Onion Soup au Gratin, the recipe that had taught her the importance of cheese quality. No mozzarella or broken string cheeses with- maybe- a little lacy Swiss thrown on. And definitely none of the "fat-free" cheese that she'd tried in order to give Calvin a rich dish without the cholesterol. No, for this to be great, you needed a good, aged, nutty Gruyère from what you couldn't help but imagine as the green grassy Alps of Switzerland, where the cows grazed lazily under a cheerful children's-book blue sky with puffy white clouds. Good Gruyère was blocked into rind-covered rounds and aged in caves before being shipped fresh to the USA with a whisper of fairy-tale clouds still lingering over it. There was a cheese shop downtown that sold the best she'd ever had. She'd tried it one afternoon when she was avoiding returning home. A spunky girl in a visor and an apron had perked up as she walked by the counter, saying, "Cheese can change your life!" The charm of her youthful innocence would have been enough to be cheered by, but the sample she handed out really did it. The taste was beyond delicious. It was good alone, but it cried out for ham or turkey or a rich beefy broth with deep caramelized onions for soup.

Under these circumstances the most anodyne book was a source of danger from the simple fact that love was alluded to, and woman depicted as an attractive creature; and this was enough to account for all—for the inherent ignorance of Catholics, since it was proclaimed as the preventive cure for temptations—for the instinctive horror of art, since to these craven souls every written and studied work was in its nature a vehicle of sin and an incitement to fall. Would it not really be far more sensible and judicious to open the windows, to air the rooms, to treat these souls as manly beings, to teach them not to be so much afraid of their own flesh, to inculcate the firmness and courage needed for resistance? For really it is rather like a dog which barks at your heels and snaps at your legs if you are afraid of him, but who beats a retreat if you turn on him boldly and drive him off. The fact remains that these schemes of education have resulted, on the one hand, in the triumph of the flesh in the greater number of men who have been thus brought up and then thrown into a worldly life, and on the other, in a wide diffusion of folly and fear, an abandonment of the possessions of the intellect and the capitulation of the Catholic army surrendering without a blow to the inroads of profane literature, which takes possession of territory that it has not even had the trouble of conquering. This really was madness! The Church had created art, had cherished it for centuries; and now by the effeteness of her sons she was cast into a corner. All the great movements of our day, one after the other—romanticism, naturalism—had been effected independently of her, or even against her will. If a book were not restricted to the simplest tales, or pleasing fiction ending in virtue rewarded and vice punished, that was enough; the propriety of beadledom was at once ready to bray. As soon as the most modern form of art, the most malleable and the broadest—the Novel—touched on scenes of real life, depicted passion, became a psychological study, an effort of analysis, the army of bigots fell back all along the line. The Catholic force, which might have been thought better prepared than any others to contest the ground which theology had long since explored, retired in good order, satisfied to cover its retreat by firing from a safe distance, with its old-fashioned match-lock blunderbusses, on works it had neither inspired nor written. The Church party, centuries behind the time, and having made no attempt to follow the evolution of style in the course of ages, now turned to the rustic who can scarcely read; it did not understand more than half of the words used by modern writers, and had become, it must be said, a camp of the illiterate. Incapable of distinguishing the good from the bad, it included in one condemnation the filth of pornography and real works of art; in short, it ended by emitting such folly and talking such preposterous nonsense, that it fell into utter discredit and ceased to count at all. And it would have been so easy for it to work on a little way, to try to keep up with the times, and to understand, to convince itself whether in any given work the author was writing up the Flesh, glorifying it, praising it, and nothing more, or whether, on the contrary, he depicted it merely to buffet it—hating it. And, again, it would have done well to convince itself that there is a chaste as well as a prurient nude, and that it should not cry shame on every picture in which the nude is shown. Above all, it ought to have recognized that vices may well be depicted and studied with a view to exciting disgust of them and showing their horrors.

In a small community sex constitutes the most accessible and least extravagant pastime of all, rustic love being rarely mercenary.

I don't want to work in a kitchen, I want to work in my kitchen. I want chairs that don't match and a porch with a swing. I want mason jars filled with wildflowers in the center of rustic wooden tables. I want flickering candles and a fire in a fireplace. I want mismatched dishes and old-timey silver. I want people to be able to smell what's cooking a mile away so that even though they don't know the address, they'll still find us. I want a honky-tonk band and couples dancing under colorful lanterns. I want a place that feels like home. A place where I belong. I stare at Momma's skillet, on the stovetop waiting for me to fry up those chicken fried steaks. She may not have loved me. She may not have even liked me. But goddamn if that woman didn't teach me how to cook.

XIV [Every day you play with the light of the universe.]” Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water. You are more than this white head that I hold tightly as a cluster of fruit, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars of the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. The birds go by, fleeing. The wind. The wind. I can contend only against the power of men. The storm whirls dark leaves and turns loose all the boats that were moored last night to the sky. You are here. Oh, you do not run away. You will answer me to the last cry. Cling to me as though you were frightened. Even so, at one time a strange shadow ran through your eyes. Now, now too, little one, you bring me honeysuckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the gray light unwind in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. I go so far as to think that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees. Pablo Neruda, Twenty Love Poems and a Song of Despair. Trans. W.S. Merwin (Penguin Classics; Bilingual edition, December 26, 2006)

We see this even more in Seven Brides For Seven Brothers (1954), with Mercer again at MGM, collaborating with composer Gene De Paul. This one has a real Broadway score, every number embedded in the characters’ attitudes. Ragged, bearded, buckskinned Howard Keel has come to town to take a wife, and a local belle addresses him as “Backwoodsman”: it’s the film’s central image, of rough men who must learn to be civilized in the company of women. The entire score has that flavor—western again, rustic, primitive, lusty. “Bless Yore Beautiful Hide,” treating Keel’s tour of the Oregon town where he seeks his bride, sounds like something Pecos Bill wrote with Calamity Jane. When the song sheet came out, the tune was marked “Lazily”—but that isn’t how Keel sings it. He’s on the hunt and he wants results, and, right in the middle of the number, he spots Jane Powell chopping wood and realizes that he has found his mate. But he hasn’t, not yet. True, she goes with him, looking forward to love and marriage. But her number, “Wonderful, Wonderful Day,” warns us that she is of a different temperament than he: romantic, vulnerable, poetic. They don’t suit each other, especially when he incites his six brothers to snatch their intended mates. Not court them: kidnap them. “Sobbin’ Women” (a pun on the Sabine Women of the ancient Roman legend, which the film retells, via a story by Stephen Vincent Benét) is the number outlining the plan, in more of Keel’s demanding musical tone. But the six “brides” are horrified. Their number, in Powell’s pacifying tone, is “June Bride,” and the brothers in turn offer “Lament” (usually called “Lonesome Polecat”), which reveals that they, too, have feelings. That—and the promise of good behavior—shows that they at last deserve their partners, whereupon each brother duets with each bride, in “Spring, Spring, Spring.” And we note that this number completes the boys’ surrender, in music that gives rather than takes. Isn’t

Baker’s love of the Essex landscape is already clear, and, long before he is following peregrines, he is rehearsing some of the writing that appears in his later work: ‘The loveliest country of all lies between Gt. Baddow and West Hanningfield. Green undulating fields, rugged, furrowed earth, luscious orchards, pine clumps, rows of stately elms – all these combine and resolve into a delicately balanced landscape that can never become tedious to the eye. One cannot get far from people – from the little rustic cottages that huddle in the winding lanes. Yet the very proximity of these dwellings seems to give an impression of remoteness. / As you walk across these fields – Danbury stands all green and misty blue in the late afternoon of declining summer. Everchanging – sometimes assuming truly mountainous grandeur – it fascinates the eyes and brings an exaltation and a faith. / These last days of summer are delicate poems in green and gold – the clouds unfurl in unsurpassed magnificence and move me to tears for their passing. / This country with its little fields and murmuring streams that basks in its waning summer gold will still be there when you return – it is for you and all men, for it is beauty.

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What makes Galadriel such a remarkable figure is her serenity amidst the coming defeat of her realm and her people. Far from resigning herself to any sort of fatalism, she desires only that the ought shall become the is: "Yet if you [Frodo] succeed, then our power is diminished, and Lothlorien will fade, and the tides of Time will sweep it away. We must depart into the West, or dwindle to a rustic folk of dell and cave, slowly to forget and to be forgotten." Frodo bent his head. "And what do you wish?" he said at last. "That what should be shall be," she answered. "The love of the Elves for their land and their works is deeper than the deeps of the Sea, and their regret is undying and cannot ever wholly be assuaged. Yet they will cast all away rather than submit to Sauron: for they know him now." (1.380)

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Laid out on the rustic farm table that sits to the side of Maria's enormous kitchen island is a lovely spread of fresh-looking salads. Wheat-berry salad, what looks like a Greek salad, asparagus, a platter of beautifully arranged fruit, and some cooked tuna steaks. "This looks amazing!" I've been mired in fall comfort foods for work, all braised and hearty, and it is very exciting to see such fresh and light fare for a change.

A long time I have loved the sunned mother-of-pearl of your body. I will go so far as to think you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.

I've always loved funky rustic quilts more than elegant and maybe lovelier ones. You see the beauty of homeliness and rough patches in how they defy expectations of order and comfort. They have at the same time enormous solemnity and exuberance. They may be made of rags, torn clothes that don't at all go together, but they somehow can be muscular and pretty. The colors are often strong, with a lot of rhythm and discipline and a crazy sense of order. They're improvised, like jazz, where one thing leads to another, without any idea of exactly where the route will lead, except that it will refer to something else maybe already established, or about to be. Embedded in quilts and jazz are clues to escape and strength, sanctuary and warmth. the world is always going to be dangerous, and people get badly banged up, but how can there be more meaning than helping one another stand up in a wind and stay warm?

Pie is this durable thing that you can share with people. It's kind of homey and rustic and nostalgic without being some fancy, decorated confectionary.

I obviously love Jack the Horse Tavern in Brooklyn Heights. The smoked trout salad is what lures me back again and again; it's indicative of the offbeat menu that also includes baked eggs, buckwheat pancakes, and a shrimp club sandwich. Everything at the Farm on Adderly is fresh and tasty. This Ditmas Park pioneer keeps it simple and refined: a smoked pollock cake with harissa mayonnaise, french toast with apple compote, and a kale salad with dried cherries and hazelnuts. Yes, please! Tucked away in the north of ever-popular DUMBO, Vinegar Hill House feels like you've actually trekked to Vermont. In the rustic ambiance, you can indulge in fancy cocktails along with the oversized sourdough pancake, tarragon-accented omelet, or eggs Benedict topped with pickled onion. Buttermilk Channel is the ultimate indulgence- pecan pie french toast, Provençal bean stew, a house-cured lox platter. Because of the over-the-top menu and portions, this Carroll Gardens bistro hops all day, every Sunday.

People forget that saffron is the backbone of a flower," he said, still sniffing. "They get so preoccupied with saffron's cost that they forget what saffron really is." "My boyfriend used to study crocuses in college," I said, unsure where the conversation was going, but determined to set it on stable ground. 'He harvested the strands for a pilot dining hall program, but gave me the best ones to cook with." "A match made in heaven." "Yeah," I said. "He's great..." But we weren't here to discuss my love life. What were we here to discuss? "And what did you make with the saffron?" Michael Saltz asked. "My specialty is a rice stew with ginger and flounder." He had brought the conversation back to food and I felt more at ease. "Like a paella?" "No, not like a paella. I don't use shellfish, because..." "Oh, right, allergic! Yes, how could I forget?" He had an excellent memory. Or maybe just for me. "It has an Asian flair," I continued. "The saffron adds a taste of the sun. You have the pillowy sea element of the flounder and the earthiness of the rice, and I think the farminess of the saffron- that rustic, rough flavor- brings the dish together.

XIV. Every Day You Play" Every day you play with the light of the universe. Subtle visitor, you arrive in the flower and the water. You are more than this white head that I hold tightly as a cluster of fruit, every day, between my hands. You are like nobody since I love you. Let me spread you out among yellow garlands. Who writes your name in letters of smoke among the stars if the south? Oh let me remember you as you were before you existed. Suddenly the wind howls and bangs at my shut window. The sky is a net crammed with shadowy fish. Here all the winds let go sooner or later, all of them. The rain takes off her clothes. The birds go by, fleeing. The wind. the wind. I can only contend against the power of men. The storm whirls dark leaves and turns loose all the boats that were moored last night to the sky. You are here. Oh you do not run away. You will answer me to the last cry. Cling to me as though you were frightened. Even so, at one time a strange shadow ran through your eyes. Now, now too, little one, you bring me honey suckle, and even your breasts smell of it. While the sad wind goes slaughtering butterflies I love you, and my happiness bites the plum of your mouth. How you must have suffered getting accustomed to me, my savage, solitary soul, my name that sends them all running. So many times we have seen the morning star burn, kissing our eyes, and over our heads the grey light unwind in turning fans. My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. I go so far as to think that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.

I love big breakfasts with new-laid eggs boiled until the yolks are set but still a bit soft, and hot buttered muffins spread with comb honey, and rashers of fried bacon and slabs of Hampshire ham, and bowls of ripe blackberries just picked from the hedgerows-

Ah, such lovely, rustic beauty, like that of a simple white clover." ? "It may be that I was born to meet you here today, my sweet. Would you care to join me at my auberge so we may chat the night away?" "Eh? Umm... I-I...

Despite all the solo vocals, each using the others as a back-up group, the White Album still sounds haunted by memories of friendship—that “dreamlike state” they could still zoom into hearing each other sing. They translated Rishikesh into their own style of English pagan pastoral—so many talking animals, so many changes in the weather. One of my favorite British songwriters, Luke Haines from the Auteurs and Black Box Recorder, once told me in an interview that his band was making “our Wicker Man album.” He was miffed I had no idea what he meant. “You can’t understand British bands without seeing The Wicker Man. Every British band makes its Wicker Man album.” So I rented the classic 1973 Hammer horror film, and had creepy dreams about rabbits for months, but he’s right, and the White Album is the Beatles’ Wicker Man album five years before The Wicker Man, a rustic retreat where nature seems dark and depraved in a primal English sing-cuckoo way. They also spruced up their acoustic guitar chops in India, learning folkie fingerpicking techniques from fellow pilgrim Donovan, giving the songs some kind of ancient mystic chill.

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A Solo Explorer’s Drive on the Agra–Etawah Expressway Introduction Every solo traveller seeks a route that offers both comfort and discovery. The Agra–Etawah Toll Road Project is one such stretch in Uttar Pradesh that has redefined highway experiences. It connects two culturally significant cities while providing a world-class roadway for those who love the thrill of an uninterrupted journey. The Road That Connects More Than Cities Agra, globally known for the Taj Mahal, and Etawah, famous for its safari park and rustic charm, are now seamlessly linked by this toll road. For decades, travellers faced delays, uneven roads, and unpredictable traffic. With the launch of this project, commuting has become quicker, safer, and far more enjoyable. The highway is not just a passage—it’s a bridge to opportunities, tourism, and cultural exchange. A Traveller’s Experience Driving solo along this stretch feels like gliding over silk. Wide lanes, smooth surfaces, and reliable signages make the journey stress-free. What makes it even more remarkable is the balance between speed and safety. Modern toll systems and lane management ensure minimum waiting time, making the traveller’s road story an effortless one. It’s a reminder that #modernroadmakers long-distance driving truly liberating. Scenic Beauty Along the Way Unlike a monotonous highway, this toll road offers delightful glimpses of the countryside. From expansive farmlands to occasional clusters of local life, the view refreshes the mind. Stopping at roadside dhabas adds a flavour of authenticity to the ride—small breaks that add character to the overall travel experience. Safety and Planning For a solo explorer, safety is a prime concern. Here, the project shines again. Proper lighting, well-marked emergency zones, and accessible rest areas provide reassurance throughout the trip. The road not only saves time but also builds confidence in travellers who venture out alone. Conclusion The Agra Etawah Toll Road Project is more than an infrastructural achievement—it is a journey-maker. It transforms routine travel into a memorable adventure by combining speed, comfort, and scenic charm. For any solo wanderer, this highway stands as a symbol of India’s modern travel evolution. #agraetawahtollroadproject

Every road, every star, every fading fire becomes a verse in Countrymance.

Countrymance is where the countryside meets the timeless romance of words, music that is literature, and literature that sings.

Countrymance is the song the earth writes when love refuses to fade.

In Countrymance, words wear boots, songs carry hearts, and love belongs to the open fields.

Countrymance is literature that hums, and music that remembers.

Don’t Let the Night Take You In Verse 1 The days grow shorter, the years run fast, But love’s the one thing that always lasts. The fire is fading, the road runs thin, But don’t let the night take you in. Chorus Don’t let the night take you in, my dear, Hold to the light that brought you here. Through every sorrow, loss, and sin, Don’t let the night take you in. Verse 2 The hands grow weary, the hair turns gray, But the heart still beats in the same old way. The stars keep watch and the winds begin, But don’t let the night take you in. Bridge Time may whisper, “Lay it down,” But love still sings in every sound. So lift your soul, let hope begin, And don’t let the night take you in. Final Chorus Don’t let the night take you in, my dear, Hold to the light that brought you here. Through every sorrow, loss, and sin, Don’t let the night take you in.

Countrymance is where a dusty road becomes a poem and a love song becomes a story.

In Countrymance, every starry night holds a verse, and every weary hand still writes of love that lasts.

Through fields, rain, and endless roads, Countrymance sings the kind of love that time cannot take away.

Countrymance is the literature of the heart, carried on the strings of a country song.

Countrymance is not just music, it is rustic love written in melody and memory.

In a moment she lost sight of the couple and instead saw in front of her a woman dressed in baggy trousers barely reaching the knees, as was the fashion that year. The outfit seemed to make her behind even heavier and closer to the ground. Her bare, pale calves resembled a pair of rustic pitchers decorated by varicose veins entwined like a ball of tiny blue snakes. Agnes said to herself: that woman could have found a dozen outfits that would have covered her bluish veins and made her behind less monstrous. Why hadn't she done so? Not only have people stopped trying to be attractive when they are out among other people, but they are no longer even trying not to look ugly! She said to herself: when once the onslaught of ugliness became completely unbearable, she would go to a florist and buy a forget-me-not, a single forget-me-not, a slender stalk with miniature blue flowers. She would go out into the street holding the flower before her eyes, staring at it tenaciously so as to see only that single beautiful blue point, to see it as the last thing she wanted to preserve for herself from a world she had ceased to love. She would walk like that through the streets of Paris, she would soon become a familiar sight, children would run after her, laugh at her, throw things at her and all Paris would call her: the crazy woman with the forget-me-not… (...) Suddenly frightened by her hatred she said to herself: the world is at some sort of border; if it is crossed everything will turn to madness: people will walk the streets holding forget-me-nots or kill one another on sight. And it will take very little for the glass to overflow, perhaps just one drop: perhaps just one car too many, or one person, or one decibel. There is a certain quantitative border that must not be crossed, yet no one stands guard over it and perhaps no one even realizes that it exists.

A Solo Explorer’s Drive on the Agra–Etawah Expressway Introduction Every solo traveller seeks a route that offers both comfort and discovery. The Agra–Etawah Toll Road Project is one such stretch in Uttar Pradesh that has redefined highway experiences. It connects two culturally significant cities while providing a world-class roadway for those who love the thrill of an uninterrupted journey. The Road That Connects More Than Cities Agra, globally known for the Taj Mahal, and Etawah, famous for its safari park and rustic charm, are now seamlessly linked by this toll road. For decades, travellers faced delays, uneven roads, and unpredictable traffic. With the launch of this project, commuting has become quicker, safer, and far more enjoyable. The highway is not just a passage—it’s a bridge to opportunities, tourism, and cultural exchange. A Traveller’s Experience Driving solo along this stretch feels like gliding over silk. Wide lanes, smooth surfaces, and reliable signages make the journey stress-free. What makes it even more remarkable is the balance between speed and safety. Modern toll systems and lane management ensure minimum waiting time, making the traveller’s road story an effortless one. It’s a reminder that #modernroadmakers long-distance driving truly liberating. Scenic Beauty Along the Way Unlike a monotonous highway, this toll road offers delightful glimpses of the countryside. From expansive farmlands to occasional clusters of local life, the view refreshes the mind. Stopping at roadside dhabas adds a flavour of authenticity to the ride—small breaks that add character to the overall travel experience. Safety and Planning For a solo explorer, safety is a prime concern. Here, the project shines again. Proper lighting, well-marked emergency zones, and accessible rest areas provide reassurance throughout the trip. The road not only saves time but also builds confidence in travellers who venture out alone. Conclusion The Agra Etawah Toll Road Project is more than an infrastructural achievement—it is a journey-maker. It transforms routine travel into a memorable adventure by combining speed, comfort, and scenic charm. For any solo wanderer, this highway stands as a symbol of India’s modern travel evolution. #agraetawahtollroadproject