Quiet drizzle inside and out.

home, my garden, , , , , ,

In the latter half of January, it always happens: I see spring coming. For several weeks the most growth in the garden has been of the green algae in my fountain, because I’ve neglected to put in the drops that prevent it. The sun shone briefly this afternoon, but by the time I got outside to clean leaves and redwood needles out of the little pump, I had to do it in a drizzle. The drizzle faded to a mist, and I could take a couple of pictures. The fruit trees have been pruned, and the sedum is sending out new shoots that are little cups to collect the fine rain.

Indoors, how companionable to have this color of paint in my new sewing room,
Kelly-Moore’s Quiet Drizzle:

Yes, work progresses, slowly. You can be sure that when I have
more complete results to show you, I’ll dedicate a long post to those refreshing views!

They were melting under the influence.

books, music, quotes,

“A thread of sweet sound was spun into the night.” Rose and Richard Quin attend a party at which he charms the hostess in many ways, not least by playing his flute in the summer-house.

“Above us the sweet hollow voice rose and fell, doubled back on itself and glided forward, ubiquitous, tracing a pattern among the stars and another within us, behind our breast-bones,” and Rose finds herself thinking about the boy standing next to her, that if he wished she would marry him, though she had planned up to this point never to marry. “There was no need for an exceptional destiny.”

“My brother’s music was proclaiming that there would be a huge vacuum in the universe, a hole that would swallow all, if we did not fill it with something that the notes defined with a clarity forbidden to words.”

But then she begins to listen to Richard Quin, “with the special knowledge that came of being his sister, and I was astonished by the simplicity of the strangers. They were melting under the influence of a tenderness which they believed to be in his performance, but was not there. They were inventing it because they needed it. The music promised sweetness which was for himself alone. He ached with a desire to be in another place than this, where he would find that sweetness. If he felt concern whether they found this same delight for themselves, it left no trace in the sounds he made. And he felt no such concern; from this and that, over the years, I knew he did not.

“There was this excuse for his indifference, he had already discharged whatever debt he owed to them. He could speak of what they desired and they could not. Without him they would have been voiceless. With him their need pierced the night like the reply to the ray of a star.

“Yet surely that was not quite right, surely one never discharges one’s full debt to other people. But again that cannot be true, if the payment one makes is large enough. I could not work it out.”

-Rebecca West, This Real Night

I wished one could live slowly.

books, quotes, time, , ,

This Real Night“The day was so delightful that I wished one could live slowly as one can play music slowly…. It was warm as high summer, and bars of sunshine lay honey-coloured across the floor, the air above them shimmering with motes; and bees droned about a purple branch of viburnum in a vase on the mantelpiece. We four girls were bathed in a sense of leisure we had never enjoyed before and were never to enjoy again, for we were going to leave school at the end of term, and we had passed all the examinations which were to give us the run of the adult world. We were as happy as escaped prisoners, for we had all hated being children.”

-Rebecca West, from the first page of This Real Night

Light itself was permanently stained.

architecture, history, quotes, , , , , ,

When in the novel The Fountain Overflows Rose Aubrey accompanies her father to the House of Commons to persuade a particular MP to help his current cause, we find out just how wily a politician he is. We also get a glimpse of the glory of the architecture:

“…I looked down for the first time on Westminster Hall. We had entered a Victorian building and had come on Shakespeare. The stone chamber was splendid like blank verse, the golden angels who held up the roof matched the poetry of earth with heavenly hymns, great embodiments of the passions had gone out a minute before, trailing their gold and crimson cloaks on the staircase that leads up the wall and into the end of the play.”

… and of the drabness of the age, mused upon while waiting in the Central Lobby:

“It was like sitting in the midst of a tureen full of gravy soup. I was growing up at the end of an age which, partly by necessity and partly by choice, was very brown. In the towns chimneys poured out smoke from open fires and kitchen ranges, and light itself was permanently stained; and town-dwellers, who then so largely set the way of thinking, romanticized the obscurity to which they grew accustomed. Such sights as a narrow shaft of light struggling over a broad dark passage aroused none of the impatience we would feel today, but rather a sense that here was something as acceptable as a succession of major chords or a properly scanned line of verse.

“The House of Commons was a supreme effort of brownness. I can remember looking at one such needle-broad shaft of sunlight that afternoon, struggling through an interior brown in itself, what with brown wood, brown paint, and brown upholstery, and made more brown because the struggling rays of defeated natural light were supplemented by the molasses of shaded gaslight.”

The Central Lobby no longer lit by gas.

Originally I had planned for the photo just above to end my post, but then I saw Susan Branch’s recent exploration with lovely illustrations of BROWN. I am drawn to Rebecca West’s descriptions as an intimate peek into another time and place, but not having lived through that dimness to see the brightening of it, Susan’s take on Brown is closer to my own!