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Hope Mirrlees

Hope Mirrlees Books

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Lud-in-the-Mist

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“To the imaginative, it is always something of an adventure to walk down a pleached alley. You enter boldly enough, but soon you find yourself wishing you had stayed outside — it is not air that you are breathing, but silence, the almost palpable silence of trees. And is the only exit that small round hole in the distance? Why, you will never be able to squeeze through that! You must turn back ... too late! The spacious portal by which you entered has in its turn shrunk to a small round hole.”

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“What's the use of crying, and retching, and belching, all day long, like your lady downstairs? Life has its sad side, and we must take the rough with the smooth. Why, maids have died on their marriage eve, or, what's worse, bringing their first baby into the world, and the world's wagged on all the same. Life's sad enough, in all conscience, but there's nothing to be frightened about in it or to turn one's stomach. I was country-bred, and as my old granny used to say, "There's no clock like the sun and no calendar like the stars." And why? Because it gets one used to the look of Time. There's no bogey from over the hills that scares one like Time. But when one's been used all one's life to seeing him naked, as it were, instead of shut up in a clock, like he is in Lud, one learns that he is as quiet and peaceful as an old ox dragging the plough. And to watch Time teaches one to sing. They say the fruit from over the hills makes one sing. I've never tasted so much as a sherd of it, but for all that I can sing.”

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“...it is never safe to classify the souls of one's neighbors; one is apt, in the long run, to be proved a fool. You should regard each meeting with a friend as a sitting he is unwillingly giving you for a portrait -- a portrait that, probably, when you or he die, will still be unfinished. And, though this is an absorbing pursuit, nevertheless, the painters are apt to end pessimists. For however handsome and merry may be the face, however rich the background, in the first rough sketch of each portrait, yet with every added stroke of the brush, with every tiny readjustment of the 'values,' with every modification of the chiaroscuro, the eyes looking out at you grow more disquieting. And, finally, it is your own face that you are staring at in terror, as in a mirror by candle-light, when all the house is still.”

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“Stop a minute, Ambrose!" interrupted Master Nathaniel. "I've got a sudden silly whim that we should take an oath I must have read when I was a youngster in some old book... the words have suddenly come back to me. They go like this: We (and then we say our own names), Nathaniel Chanticleer and Ambrose Honeysuckle, swear by the Living and the Dead, by the Past and the Future, by Memories and Hopes, that if a Vision comes begging at our door we will take it in and warm it at our hearth, and that we will not be wiser than the foolish nor more cunning than the simple, and that we will remember that he who rides the Wind needs must go where his Steed carries him.”

MemoriesThe PastVisionsHopesThe FutureThe DeadOathsThe LivingAmbrose HoneysuckleNathaniel ChanticleerRiding The Wind
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“You should regard each meeting with a friend as a sitting he is unwillingly giving you for a portrait - a portrait that, probably, when you or he die, will still be unfinished. And, though this is an absorbing pursuit, nevertheless, the painters are apt to end pessimists. For however handsome and merry may be the face, however rich may be the background, in the first rough sketch of each portrait, yet with every added stroke of the brush, with every tiny readjustment of the "values," with every modification of the chiaroscuro, the eyes looking out at you grow more disquieting. And, finally, it is your own face that you are staring at in terror, as in a mirror by candlelight, when all the house is still.”

FacesFriendshipPortraitureCandlelightWhen All The House Is Still
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