Rustic Wood Quotes

torn out with pincers, and his body burned alive, because he had not kneeled down in the rain to do honour to a dirty procession of monks which passed within his view, at a distance of some fifty or sixty yards. It is likely enough that, rooted in the woods of France and Norway, there were growing trees, when that sufferer was put to death, already marked by the Woodman, Fate, to come down and be sawn into boards, to make a certain movable framework with a sack and a knife in it, terrible in history. It is likely enough that in the rough outhouses of some tillers of the heavy lands adjacent to Paris, there were sheltered from the weather that very day, rude carts, bespattered with rustic mire, snuffed about by pigs, and roosted in by poultry, which the Farmer, Death, had already set apart to be his tumbrils of the Revolution. But that Woodman and that Farmer, though they work unceasingly, work silently, and no one heard them as they went about with muffled tread: the rather, forasmuch as to entertain any suspicion that they were awake, was to be atheistical and traitorous.

I'll show thee best springs; I'll pluck thee berries; I'llift fish for thee and get thee wood enough. A plague upon the tyrant that I serve! I'll bear him no sticks, but follow thee, Thou wondrous man. ---Caliban (Act II, scene 2, lines 158-162)

France, less favoured on the whole as to matters spiritual than her sister of the shield and trident, rolled with exceeding smoothness down hill, making paper money and spending it. Under the guidance of her Christian pastors, she entertained herself, besides, with such humane achievements as sentencing a youth to have his hands cut off, his tongue torn out with pincers, and his body burned alive, because he had not kneeled down in the rain to do honour to a dirty procession of monks which passed within his view, at a distance of some fifty or sixty yards. It is likely enough that, rooted in the woods of France and Norway, there were growing trees, when that sufferer was put to death, already marked by the Woodman, Fate, to come down and be sawn into boards, to make a certain movable framework with a sack and a knife in it, terrible in history. It is likely enough that in the rough outhouses of some tillers of the heavy lands adjacent to Paris, there were sheltered from the weather that very day, rude carts, bespattered with rustic mire, snuffed about by pigs, and roosted in by poultry, which the Farmer, Death, had already set apart to be his tumbrils of the Revolution. But that Woodman and that Farmer, though they work unceasingly, work silently, and no one heard them as they went about with muffled tread: the rather, forasmuch as to entertain any suspicion that they were awake, was to be atheistical and traitorous.

For them I learned to be a mother again, cooking pancakes and thick herb-and-apple sausages. I made jam for them from figs and green tomatoes and sour cherries and quinces. I let them play with the little brown mischievous goats and feed them crusts and pieces of carrot. We fed the hens, stroked the soft noses of the ponies, collected sorrel for the rabbits. I showed them the river and how to reach the sunny sandbanks. I warned them- with such a catch in my heart- of the dangers, the snakes, roots, eddies, quicksand, made them promise never, never to swim there. I showed them the woods beyond, the best places to find mushrooms, the ways of telling the fake chanterelle from the true, the sour bilberries growing wild under the thicket.

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.

AESTHETIC SIMPLICITY For some people simplicity is an aesthetic value, so one further sense that might be attached to the notion of simple living is a preference for an uncomplicated, uncluttered living environment. Imagine, for instance, an apartment with white walls, white trim, bare wood floors, simple wooden furniture, plain white kitchenware, white towels in the bathroom, and white blankets on the simple wooden beds. Or a house where the brick walls and overhead beams are left exposed, the furniture is rustic, and any artwork on display is clearly local and amateurish. Or a study containing nothing but a desk and a chair. All these are interiors that people deliberately create for themselves. Simplicity of this sort is not necessarily frugal. The uncluttered apartment could be in the center of Paris; the plain wooden furniture might be custom-made. Wittgenstein designed a house in Vienna for his sister Margaret characterized by austere, almost minimalist aesthetic lines, yet built with no concern for cost. But although such setups may not be cheap, they make no exhibition of expense. And the styles have symbolic significance. They bespeak sympathy with the plain, the unpretentious, the unostentatious. They connote honesty, purity, and a mind focused on essentials. In the case of country retreats, closeness to nature may also be sought and expressed.

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.

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Just before noon one sunny summer’s day, three bears were returning home from their morning wander. They lived in a sturdy wooden cabin, unpretentious and rustic. Approaching the house he’d built with his own paws, Daddy Bear felt a sense of satisfaction. The residence blended in with the forest rather than standing out from it. All the construction materials had been ethically sourced. The wood came from trees felled by storms. A thick layer of turf on the roof provided insulation in winter and kept the cabin cool in summer. In addition to being practical, the turf looked pretty. Its grass sprouted straight up like hair jutting from a mythic head. A little too big to be quaint, yet a little too small to be showoffish, the house was just right. And just right was the way Daddy Bear liked things.

They took the two steps off the concrete and onto the tile. The kitchen was quasi-homey, done up to look rustic with stone veneers and wood-paneled cabinetry. Nancy stood by the kitchen table with a man Myron didn’t recognize. The man smiled at them. The smile made Myron cringe a bit. He was balding, wiry, probably in his early fifties, with the kind of glasses you call spectacles. He wore a denim shirt tucked into faded jeans. His whole persona had an emcee-at-an-outdoor-folk-festival vibe. The

Foreigners thought the Americans’ eating habits were atrocious, their food execrable, and their coffee detestable. Americans tended to eat fast, often sharing a common bowl or cup, to bolt their food in silence, and to use only their knives in eating. Everywhere travelers complained about “the violation of decorum, the want of etiquette, the rusticity of manners in this generation.”36

sixty yards. It is likely enough that, rooted in the woods of France and Norway, there were growing trees, when that sufferer was put to death, already marked by the Woodman, Fate, to come down and be sawn into boards, to make a certain movable framework with a sack and a knife in it, terrible in history. It is likely enough that in the rough outhouses of some tillers of the heavy lands adjacent to Paris, there were sheltered from the weather that very day, rude carts, bespattered with rustic mire, snuffed about by pigs, and roosted in by poultry, which the Farmer, Death, had already set apart to be his tumbrils of the Revolution. But that Woodman and that Farmer, though they work unceasingly, work silently, and no one heard them as they went about with muffled tread: the rather, forasmuch as to entertain any suspicion that they were awake, was to be atheistical and traitorous. In England, there was scarcely an amount of order and protection to justify much national boasting. Daring burglaries by armed men, and highway robberies, took place in the capital itself every night; families were publicly cautioned not to go out of town without removing their furniture to upholsterers’ warehouses for security; the highwayman in the dark was a City tradesman in the light, and, being recognised and challenged by his fellow- 5 of 670

What we have seen regarding Silvanus can be extended to other rustic female creatures who are simply called agrestes foeminae, sylvaticae, and Matres Campestres, a definition encompassing nymphs, dryads, Diana, and Dictynne, as well as indigenous spirits.6 In Germany, sylvatica is regularly translated as “woman of the wood” (holzwîp), and dryad by “weeper of the wood” (holzmuowa). Diana and Dictynne were grouped together under the generic term of agrestes foeminae, which corresponds to the locution “wild women” in Middle High German.

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

see,” she said. I noticed her looking around the room. Her eyes quickly went over the rustic wood paneling and expensive artwork by artists with names I couldn’t pronounce. Bethany bought them because she thought they were cool. If push came to shove, they would be the first things I put up for auction to raise money. I hated the damn things. “I don’t see any pictures of your daughter,” she said, letting her eyes settle on me with a frown. I looked around the room. She was right. There was not a single framed picture of my daughter. In fact, there were no personal photos at all. None in the den, none in my office, and none in my bedroom. There had once been lots of pictures of Bethany and me at various stages of our relationship. I had thrown them in the trash long ago, expensive frames and all.

The ceremony consisted of vibrant pink, purple, and coral details that complemented the rustic wood and lush green vines climbing up the chapel. Abigail's team constructed an arbor made entirely of drooping orchids and palm fronds that framed the wooden doors perfectly. The aisle was lined with thousands of coral-colored rose petals and more orchids spilling over the end of every row of seats. It was a tropical dream.

The menu was full of classic American cuisine—bone-in ribeyes with garlic mashed potatoes, cedar plank salmon served with risotto and drizzled with lemon butter, smoked sausage, venison medallions, and game hens served with grilled vegetables and wild rice. Free-range herb roasted chicken with roasted potatoes. Porterhouse steaks, seared and served with steak fries and creamed spinach. Sweet corn soup topped with fresh herbs. To finish it off, dark chocolate cake layered with velvety ganache and served with a side of vanilla ice cream. Rustic wood beams

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)

The woods and mountains opened her eyes to the beauty of Nature, and the teenaged city girl marvelled at views that Isabel regarded as commonplace. At the beginning of Mary’s sojourn she was inclined to take a book to a rustic place with a view, then spend hours there alone, reading, brooding and daydreaming. But she soon learned that woods and mountains were made for hiking, and thereafter she rarely took a book with her on her daily excursions into the outdoors.