Beyond Eden Rock

The collection of a literary magpie

[fleurdulys]

Tulip Pickers - Harold Harvey

[beyond-eden-rock]

It is late last night the dog was speaking of you; the snipe was speaking of you in her deep marsh. It is you are the lonely bird through the woods; and that you may be without a mate until you find me. You promised me, and you said a lie to me, that you would be before me where the sheep are flocked; I gave a whistle and three hundred cries to you, and I found nothing there but a bleating lamb. You promised me a thing that was hard for you, a ship of gold under a silver mast; twelve towns with a market in all of them, and a fine white court by the side of the sea. You promised me a thing that is not possible, that you would give me gloves of the skin of a fish; that you would give me shoes of the skin of a bird; and a suit of the dearest silk in Ireland. When I go by myself to the Well of Loneliness, I sit down and I go through my trouble; when I see the world and do not see my boy, he that has an amber shade in his hair. It was on that Sunday I gave my love to you; the Sunday that is last before Easter Sunday. And myself on my knees reading the Passion; and my two eyes giving love to you for ever. My mother said to me not to be talking with you today, or tomorrow, or on the Sunday; it was a bad time she took for telling me that; it was shutting the door after the house was robbed. My heart is as black as the blackness of the sloe, or as the black coal that is on the smith’s forge; or as the sole of a shoe left in white halls; it was you that put that darkness over my life. You have taken the east from me; you have taken the west from me; you have taken what is before me and what is behind me; you have taken the moon, you have taken the sun from me; and my fear is great that you have taken God from me!

‘Donal Og’ - translated by Isabella Augusta, Lady Gregory, from an anonymous eighth-century Irish poem

[books0977]

Interior with a mother reading aloud to her daughter. Carl Vilhelm Holsøe (Danish, 1863-1935). Oil on canvas.

[beyond-eden-rock]

The island is full of flowers. Ashore, Alys knows that honeysuckle will clutter the hedgerows like clotted cream, weaving a dense tapestry with marching lines of purple foxgloves. Earlier in the year there would have been clumps of thrift, a wild rock garden defining all the bays. Later, meadowsweet will fill the hedges and ditches. But now there will be pink roses and yellow irises. There will be nut-brown boats drawn up on the pale sand, and dress-suited oystercatchers patrolling among the seaweed. As the ferry comes to shore, she notices that the sea around Garve is still that shade of turquoise that she has seen nowhere else. The light is different here; the colours are brighter and more luminous. None of that has changed. It is the same as it always was.

'The Curiosity Cabinet' by Catherine Czerkawska

[laclefdescoeurs]

Leisure, 1910, William Worcester Churchill

[sollertias]

The Sonata by Irving Ramsey Wiles, 1889 (detail)

[thedefloweringofagatha]

I love you not only for what you are, but for what I am when I am with you. I love you not only for what you have made of yourself, but for what you are making of me. I love you for the part of me that you bring out.

Elizabeth Barrett Browning (via thedefloweringofagatha)

[beyond-eden-rock]

She had remained in her sister's room until long after midnight, and by the time the American letter was completed and sealed, a pale touch of dawning light was showing itself. She rose, and going to the window drew the blind up and looked out. The looking out made her open the window, and when she had done so she stood feeling the almost unearthly freshness of the morning about her. The mystery of the first faint light was almost unearthly, too. Trees and shrubs were beginning to take form and outline themselves against the still pallor of the dawn. Before long the waking of the birds would begin—a brief chirping note here and there breaking the silence and warning the world with faint insistence that it had begun to live again and must bestir itself. She had got out of her bed sometimes on a summer morning to watch the beauty of it, to see the flowers gradually reveal their colour to the eye, to hear the warmly nesting things begin their joyous day. There were fewer bird sounds now, and the garden beds were autumnal. But how beautiful it all was! How wonderful life in such a place might be if flowers and birds and sweep of sward, and mass of stately, broad-branched trees, were parts of the home one loved and which surely would in its own way love one in return. But soon all this phase of life would be over.

From The Shuttle by Frances Hodgson-Burnett

[laclefdescoeurs]

Moonlit Landscape with Fishermen, Pietro Giacomo Palmieri

[beyond-eden-rock]

She was a child of four or five years old; huddled in coarse linen and in a little red garment of fox's skin, and blanched from head to foot, for the flakes were frozen on her and on the little hood that covered, gypsy-like, her curls. It was a strange, little, ice-cold, ghostlike figure, but out of this mass of icicles and whiteness there glowed great beaming frightened eyes and a mouth like a scarlet berry; the radiance and the contrast of it were like the glow of holly fruit thrust out from a pile of drifted snow.

From Folle-Farine by Ouida

[dancingdreamsandfairydust]

Arthur Rackham’s illustration of Peter Pan in the Kensington Gardens. 1912.

[beyond-eden-rock]

THE marshes stretched mellow in the autumn sun, sheep wandered about, nibbling contentedly, or lay down to rest in groups, the sky reflecting itself in the narrow dykes gave a blue colour to the water, a scent of the sea was in the air as one breathed it, flocks of plover rose, now and then, crying softly. Betty, walking with her dog, had passed a heron standing at the edge of a pool. From her first discovery of them, she had been attracted by the marshes with their English suggestion of the Roman Campagna, their broad expanse of level land spread out to the sun and wind, the thousands of white sheep dotted or clustered as far as eye could reach, the hues of the marsh grass and the plants growing thick at the borders of the strips of water. Its beauty was all its own and curiously aloof from the softly-wooded, undulating world about it. Driving or walking along the high road—the road the Romans had built to London town long centuries ago—on either side of one were meadows, farms, scattered cottages, and hop gardens, but beyond and below stretched the marsh land, golden and grey, and always alluring one by its silence.

From The Shuttle by Frances Hodgson-Burnett

[beyond-eden-rock]

Come to me in the silence of the night; Come in the speaking silence of a dream; Come with soft rounded cheeks and eyes as bright As sunlight on a stream; Come back in tears, O memory, hope, love of finished years. O dream how sweet, too sweet, too bitter sweet, Whose wakening should have been in Paradise, Where souls brimful of love abide and meet; Where thirsting longing eyes Watch the slow door That opening, letting in, lets out no more. Yet come to me in dreams, that I may live My very life again though cold in death: Come back to me in dreams, that I may give Pulse for pulse, breath for breath: Speak low, lean low, As long ago, my love, how long ago!

Echo by Christina Rossetti

[poboh]

A forest path, Jean-Pierre-Francois Lamorinière. (1828 - 1911)

[moonstormsbrewing]

Especially when the October wind With frosty fingers punishes my hair, Caught by the crabbing sun I walk on fire And cast a shadow crab upon the land, By the sea’s side, hearing the noise of birds, Hearing the raven cough in winter sticks, My busy heart who shudders as she talks Sheds the syllabic blood and drains her words. Shut, too, in a tower of words, I mark On the horizon walking like the trees The wordy shapes of women, and the rows Of the star-gestured children in the park. Some let me make you of the vowelled beeches, Some of the oaken voices, from the roots Of many a thorny shire tell you notes, Some let me make you of the water’s speeches. Behind a pot of ferns the wagging clock Tells me the hour’s word, the neural meaning Flies on the shafted disk, declaims the morning And tells the windy weather in the cock. Some let me make you of the meadow’s signs; The signal grass that tells me all I know Breaks with the wormy winter through the eye. Some let me tell you of the raven’s sins. Especially when the October wind (Some let me make you of autumnal spells, The spider-tongued, and the loud hill of Wales) With fists of turnips punishes the land, Some let me make you of the heartless words. The heart is drained that, spelling in the scurry Of chemic blood, warned of the coming fury. By the sea’s side hear the dark-vowelled birds.

Dylan Thomas (via soulsintheblue)

[lilacsinthedooryard]

Henri Rousseau: Le pêcheur (1909) via petrus.agricola on Flickr.

[beyond-eden-rock]

In one of the most fertile and most fair districts of northern France there was a little Norman town, very very old, and beautiful exceedingly by reason of its ancient streets, its high peaked roofs, its marvelous galleries and carvings, its exquisite grays and browns, its silence and its color, and its rich still life. Its center was a great cathedral, noble as York or Chartres; a cathedral, whose spire shot to the clouds, and whose innumerable towers and pinnacles were all pierced to the day, so that the blue sky shone and the birds of the air flew all through them. A slow brown river, broad enough for market-boats and for corn-barges, stole through the place to the sea, lapping as it went the wooden piles of the houses, and reflecting the quaint shapes of the carvings, the hues of the signs and the draperies, the dark spaces of the dormer windows, the bright heads of some casement-cluster of carnations, the laughing face of a girl leaning out to smile on her lover.

From Folle-Farine by Ouida