8
" A boat, for all its complexity, is in fact a version of simplicity, but of a satisfyingly complex kind. Get to know the hundreds of ways in which a boat-at-sea works and you become its master and commander. A boat provides control in what looks like uncontrollable circumstances. It is the mirror image of the realities of life on land, which look easier but are, psychologically, far more difficult, more subtle, less visible, and less predictable. The boat, in other words, is the haven from the storms at home. And because a boat's workings are a mystery, in the old sense that it is an arcane art, with its own equipment and vocabulary, its nostrums and obscurities from which the vulgar are excluded, it is also a source of potency and seduction. "
― Adam Nicolson , Seamanship: A Voyage Along the Wild Coasts of the British Isles
11
" Look at them on days like that, when the wind is blowing through the boundaries of fresh and stiff, and you will see them for what they are: wind-runners, wind-dancers, the wind-spirits, alive with an evolved ability to live with the wind, in it and on it, drawing out its energy to make their own feathered, mobile, ocean-ranging magnificence. "
― Adam Nicolson , The Seabird's Cry: The Lives and Loves of the Planet's Great Ocean Voyagers
19
" The modern world had lost the thing which informs every act and gesture of Hatfield, of the King James Bible, and of that incomparable age: a sense of encompassing richness which stretches unbroken from the divine to the sculptural, from theology to cushions, from a sense of the beauty of the created world to the extraordinary capabilities of language to embody it. This is about more than mere sonority or the beeswaxed heritage-appeal of antique vocabulary and grammar. The flattening of language is a flattening of meaning. Language which is not taut with a sense of its own significance, which is apologetic in its desire to be acceptable to a modern consciousness, language in other words which submits to its audience, rather than instructing, informing, moving, challenging and even entertaining them, is no longer a language which can carry the freight the Bible requires. It has, in short, lost all authority. The language of the King James Bible is the language of Hatfield, of patriarchy, of an instructed order, of richness as a form of beauty, of authority as a form of good; the New English Bible is motivated by the opposite, an anxiety not to bore or intimidate. It is driven, in other words, by the desire to please and, in that way, is a form of language which has died. "
― Adam Nicolson , God's Secretaries : The Making of the King James Bible
