This is a simple world. On either hand the shore sweeps out in a long curve and ends in a perpendicular, ash-coloured cliff, carving the misty air as with a hatchet-stroke. The shore is of tawny, terraced sand, like hammered metal from the prints of the retreating waves; and here and there a group of wildly carved and tragic stones—unde homines nati, durum genus—such as must have been those stones from which Deucalion made the stony race of men to arise. Up over the sand, and among these stones the water slides in tracery like May blossom or silver mail. A little way out, the long wave lifts itself up laboriously into a shadowy cliff, nods proudly and crumbles, vain and swift, into a thousand sparks of foam. Far out the desolate, ridgy leagues vibrate and murmur with an unintelligible voice, not less intelligible than when one man says, “I believe,” or another man, “I love,” or another, “I am your friend.” Almost at the horizon a sharp white sail sways, invisibly controlled. In a minute it does not move; in half-an-hour it has moved. It fascinates and becomes the image of the watcher’s hopes, as when in some tranquil grief we wait, with faint curiosity and sad foretelling, to see how our plans will travel, smiling a little even when they stray or stop, because we have foretold it. Will the sail sink? Will it take wing into the sky? Will it go straight and far, and overcome and celebrate its success? But it only fades away, and presently another is there unasked, yet not surprising, and it also fades away, and the night has come, and still the sea speaks with tongues. In the moonlight one strange flower glistens, white as a campanula, like a sweet-pea in shape—the bleached thigh-bone of a rat—and we forget the rest.
About This Book
A series of lyrical prose sketches follows the narrator's walks from suburban streets into lowland meadows, upland woods, moors and seacoast, recording seasonal changes, rural scenes, village life, farming details, and small human encounters. Each chapter captures sensory impressions of light, weather, birds and plants, and reflects on memory, solitude and the changing landscape. The work is arranged in parts that move geographically and seasonally, and it closes with several folk songs and short verses. Tone alternates between quiet observation and reflective meditation, favoring detailed description over plot.