Grey Wethers: A Romantic NovelSackville-West, V. (Victoria)
General
Grey Wethers: A Romantic Novel
Sackville-West, V. (Victoria)
Great Britain -- Social life and customs -- 20th century -- Fiction; Romance fiction; Social classes -- Fiction
In all seasons and weathers she had known the Downs with him, and like
sailors at sea they had accepted the bad with the good, without thought
of avoidance. Like all English country people, they disliked extremes
of heat as well as extremes of cold; a high summer’s day, when the
heat winked along the ridge of the hills, held for them none of that
poetic quality it holds for the idle. Their point of view was sober
and practical; if feed grew short, they hoped for rain; if the corn in
the lowlands were flattened by rain, they hoped for fine weather; it
was simple. If the day were a holiday,--that is to say, if Lovel had
taken no job,--then they were as content as any other idlers to lie
soaked in sun upon the most exposed flank of upland they could find.
They would pull the long grass to nibble it down to the juice at the
end, or Lovel with a blade of grass drawn taut between his thumbs would
shrill the empty air with strange whistlings, or they would tease the
ants and small insects by walling them in with a circle of miniature
chalk cliffs. Their laughter spread with the song of the larks as
fresh and clear as water, and the great spaces lay all around them with
the cloud-shadows chasing one another down and over the slopes, and
creating in their overhead passage the perpetual variety of mood and
colour of the Down-country.
Down-country, so temperamental; in halcyon days bright and blithe;
candid in its well-being, wholesome in its wind-cleaned delight; yet
keeping in the valleys and sweeping folds the deeper shadows which
gave it tone like the soberness of some latent melancholy. Upon the
heights it would receive the sun, and glitter and rejoice like a woman
in love, but the cup of the valleys was deep with a greater richness,
with remembrance, and foreboding. So, although simple and large in
outline, the country,--to Clare and Lovel personal, not inanimate,--was
not simple with a shallow or trivial simplicity; not the simplicity
of ignorance or emotional poverty; but with a wisdom that still
had the courage to be gay,--the reckless gaiety of the profoundly
tragic. No monotony was possible over that landscape of sunburnt tan,
of blue distances, and stains of a lowering purple. No monotony,
no sentimentality; the moods all visible at once over the range of
country, all definite and certain of their intention, whether the naked
sunburnt heights, or the brooding plunge of shadow.
Public-domain text, read in full here on John Shaqi.
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