The House of Quiet: An AutobiographyBenson, Arthur Christopher
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The House of Quiet: An Autobiography
Benson, Arthur Christopher
Country life -- England -- Fiction; English fiction -- 20th century; Invalids -- Fiction
To-day I was more than usually impatient; over me all the week had hung
the shadow of some trying, difficult business—the sort of business which,
whatever you do, will be done to nobody’s satisfaction. After a vain
attempt to wrestle with it, I gave it up, and went out on a bicycle;
the wind blew gently and steadily this soft June day; all the blue sky
was filled with large white clouds, blackening to rain. I made for the
one piece of flat ground in our neighbourhood. It is tranquillising, I
have often found, to the dweller in a hilly land, to cool and sober the
eye occasionally with the pure breadths of a level plain. The grass was
thick and heavy-headed in the fields, but of mere wantonness I turned
down a lane which I know has no ending,—a mere relief-road for carts to
have access to a farm,—and soon came to the end of it in a small grassy
circle, with a cottage or two, where a footpath strikes off across the
fields.
[Sidenote: HERETOFORE UNVISITED]
Why did I never come here before, I thought. Through a gap in the
hedge I saw a large broad pasture, fringed in the far distance with
full-foliaged, rotund elms in thick leaf; a row of willows on the horizon
marked the track of a stream. In the pasture in front of me was a broad
oblong pool of water with water-lilies; down one side ran a row of huge
horse-chestnuts, and the end was rich in elders full of flat white cakes
of blossom. In the field grazed an old horse; while a pigeon sailed
lazily down from the trees and ran to the pool to drink. That was all
there was to see. But it brought me with a deep and inexplicable thrill
close to the heart of the old, kindly, patient Earth, the mother and the
mistress and the servant of all—she who allows us to tear and rend her
for our own paltry ends, and then sets, how sweetly and tranquilly, to
work, with what a sense of inexhaustible leisure, to paint and mellow
and adorn the rude and bleeding gaps. We tear up a copse, and she fills
the ugly scars in the spring with a crop of fresh flowers—of flowers,
perhaps, which are not seen in the neighbourhood, but whose seeds have
lain vital and moist in the ground, but too deep to know the impulse
born of the spring sun. Yet now they burst their armoured mail, and send
a thin, white, worm-like arm to the top, which, as soon as it passes
into the light, drinks from the rays the green flush that it chooses to
hide its nakedness. We dig a pool in the crumbling marl. At the time the
wound seems irreparable; the ugly, slobbered banks grin at us like death;
the ground is full of footprints and slime, broken roots and bedabbled
leaves,—and next year it is all a paradise of green and luscious
water-plants, with a hundred quiet lives being lived there, of snail and
worm and beetle, as though the place had never been disturbed. We build
a raw red house with an insupportably geometrical outline, the hue of
the vicious fire still in the bricks; pass fifty years, and the bricks
Public-domain text, read in full here on John Shaqi.
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