The House of Quiet: An AutobiographyBenson, Arthur Christopher
General
The House of Quiet: An Autobiography
Benson, Arthur Christopher
Country life -- England -- Fiction; English fiction -- 20th century; Invalids -- Fiction
are mellow and soft, plastered with orange rosettes or grey filaments of
lichen; the ugly window frames are blistered and warped; the roof has
taken a soft and yielding outline—all is in peace and harmony with the
green world in which it sits.
[Sidenote: THE REPAIRER OF THE BREACH]
I never saw this more beautifully illustrated than once, when a great
house in Whitehall was destroyed, and heaped up in a hideous rockery of
bricks. All through the winter these raw ruins, partly concealed by a
rough hoarding, tainted the view; but as soon as spring returned, from
every inch of grit rose a forest of green stalks of willow-herb, each in
summer to be crowned with a spire of fantastic crimson flowers, and to
pass a little later into those graceful, ghostly husks that shiver in
the wind. Centuries must have passed since willow-herb had grown on that
spot. Had they laid dormant, these hopeful seeds, or had they been wafted
along dusty streets and high in air over sun-scorched spaces? Nature at
all events had seen her chance, and done her work patiently and wisely
as ever.
But to return to my lane-end. How strange and deep are the impressions
of a deep and inviolate peace that some quiet corner like this gives to
the restless spirit! It can never be so with the scenes that have grown
familiar, where we have carried about with us the burden of private
cares—the symptoms of the disease of life. In any house where we have
lived, every corner, however peaceful and beautiful in itself, is bound
to be gradually soaked, as it were, in the miseries of life, to conceal
its beauties under the accretion of sordid associations.
This room we connect with some sad misunderstanding. There we gave way to
some petty passion of resentment, of jealousy, of irritation, or vainly
tried to pacify some similar outbreak from one we loved. This is the
torture of imagination; to feel the beauty of sight and sound, we must be
sensitive; and if we are sensitive, we carry about the shadow with us—the
capacity for self-torment, the struggle of the ideal with the passing
mood.
[Sidenote: SAD ASSOCIATIONS]
Public-domain text, read in full here on John Shaqi.
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