1
" Amor" So many days, oh so many daysseeing you so tangible and so close,how do I pay, with what do I pay?The bloodthirsty springhas awakened in the woods.The foxes start from their earths,the serpents drink the dew,and I go with you in the leavesbetween the pines and the silence,asking myself how and whenI will have to pay for my luck.Of everything I have seen,it's you I want to go on seeing:of everything I've touched,it's your flesh I want to go on touching.I love your orange laughter.I am moved by the sight of you sleeping.What am I to do, love, loved one?I don't know how others loveor how people loved in the past.I live, watching you, loving you.Being in love is my nature.You please me more each afternoon.Where is she? I keep on askingif your eyes disappear.How long she's taking! I think, and I'm hurt.I feel poor, foolish and sad,and you arrive and you are lightningglancing off the peach trees.That's why I love you and yet not why.There are so many reasons, and yet so few,for love has to be so,involving and general,particular and terrifying,joyful and grieving,flowering like the stars,and measureless as a kiss.That's why I love you and yet not why.There are so many reasons, and yet so few,for love has to be so,involving and general,particular and terrifying,joyful and grieving,flowering like the stars,and measureless as a kiss. "
2
" Sometimes, in a summer morning,
having taken my accustomed bath, I sat in my sunny doorway from sunrise
till noon, rapt in a revery, amidst the pines and hickories and sumachs,
in undisturbed solitude and stillness, while the birds sing around or
flitted noiseless through the house, until by the sun falling in at
my west window, or the noise of some traveller's wagon on the distant
highway, I was reminded of the lapse of time. I grew in those seasons
like corn in the night, and they were far better than any work of the
hands would have been. They were not time subtracted from my life, but
so much over and above my usual allowance. I realized what the Orientals
mean by contemplation and the forsaking of works. For the most part, I
minded not how the hours went. The day advanced as if to light some
work of mine; it was morning, and lo, now it is evening, and nothing
memorable is accomplished. "
― Henry David Thoreau , Walden
4
" Far over the misty mountains cold
To dungeons deep and caverns old
We must away ere break of day
To seek the pale enchanted gold.
The dwarves of yore made mighty spells,
While hammers fell like ringing bells
In places deep, where dark things sleep,
In hollow halls beneath the fells.
For ancient king and elvish lord
There many a gleaming golden hoard
They shaped and wrought, and light they caught
To hide in gems on hilt of sword.
On silver necklaces they strung
The flowering stars, on crowns they hung
The dragon-fire, in twisted wire
They meshed the light of moon and sun.
Far over the misty mountains cold
To dungeons deep and caverns old
We must away, ere break of day,
To claim our long-forgotten gold.
Goblets they carved there for themselves
And harps of gold; where no man delves
There lay they long, and many a song
Was sung unheard by men or elves.
The pines were roaring on the height,
The wind was moaning in the night.
The fire was red, it flaming spread;
The trees like torches blazed with light.
The bells were ringing in the dale
And men looked up with faces pale;
The dragon's ire more fierce than fire
Laid low their towers and houses frail.
The mountain smoked beneath the moon;
The dwarves, they heard the tramp of doom.
They fled their hall to dying fall
Beneath his feet, beneath the moon.
Far over the misty mountains grim
To dungeons deep and caverns dim
We must away, ere break of day,
To win our harps and gold from him! "
― J.R.R. Tolkien , The Hobbit
6
" The poet dreams of the mountain
Sometimes I grow weary of the days, with all their fits and starts.
I want to climb some old gray mountains, slowly, taking
The rest of my lifetime to do it, resting often, sleeping
Under the pines or, above them, on the unclothed rocks.
I want to see how many stars are still in the sky
That we have smothered for years now, a century at least.
I want to look back at everything, forgiving it all,
And peaceful, knowing the last thing there is to know.
All that urgency! Not what the earth is about!
How silent the trees, their poetry being of themselves only.
I want to take slow steps, and think appropriate thoughts.
In ten thousand years, maybe, a piece of the mountain will fall. "
― Mary Oliver , Swan: Poems and Prose Poems
9
" This afternoon, being on Fair Haven Hill, I heard the sound of a saw, and soon after from the Cliff saw two men sawing down a noble pine beneath, about forty rods off. I resolved to watch it till it fell, the last of a dozen or more which were left when the forest was cut and for fifteen years have waved in solitary majesty over the sprout-land. I saw them like beavers or insects gnawing at the trunk of this noble tree, the diminutive manikins with their cross-cut saw which could scarcely span it. It towered up a hundred feet as I afterward found by measurement, one of the tallest probably in the township and straight as an arrow, but slanting a little toward the hillside, its top seen against the frozen river and the hills of Conantum. I watch closely to see when it begins to move. Now the sawers stop, and with an axe open it a little on the side toward which it leans, that it may break the faster. And now their saw goes again. Now surely it is going; it is inclined one quarter of the quadrant, and, breathless, I expect its crashing fall. But no, I was mistaken; it has not moved an inch; it stands at the same angle as at first. It is fifteen minutes yet to its fall. Still its branches wave in the wind, as it were destined to stand for a century, and the wind soughs through its needles as of yore; it is still a forest tree, the most majestic tree that waves over Musketaquid. The silvery sheen of the sunlight is reflected from its needles; it still affords an inaccessible crotch for the squirrel’s nest; not a lichen has forsaken its mast-like stem, its raking mast,—the hill is the hulk. Now, now’s the moment! The manikins at its base are fleeing from their crime. They have dropped the guilty saw and axe. How slowly and majestic it starts! as it were only swayed by a summer breeze, and would return without a sigh to its location in the air. And now it fans the hillside with its fall, and it lies down to its bed in the valley, from which it is never to rise, as softly as a feather, folding its green mantle about it like a warrior, as if, tired of standing, it embraced the earth with silent joy, returning its elements to the dust again. But hark! there you only saw, but did not hear. There now comes up a deafening crash to these rocks , advertising you that even trees do not die without a groan. It rushes to embrace the earth, and mingle its elements with the dust. And now all is still once more and forever, both to eye and ear.
I went down and measured it. It was about four feet in diameter where it was sawed, about one hundred feet long. Before I had reached it the axemen had already divested it of its branches. Its gracefully spreading top was a perfect wreck on the hillside as if it had been made of glass, and the tender cones of one year’s growth upon its summit appealed in vain and too late to the mercy of the chopper. Already he has measured it with his axe, and marked off the mill-logs it will make. And the space it occupied in upper air is vacant for the next two centuries. It is lumber. He has laid waste the air. When the fish hawk in the spring revisits the banks of the Musketaquid, he will circle in vain to find his accustomed perch, and the hen-hawk will mourn for the pines lofty enough to protect her brood. A plant which it has taken two centuries to perfect, rising by slow stages into the heavens, has this afternoon ceased to exist. Its sapling top had expanded to this January thaw as the forerunner of summers to come. Why does not the village bell sound a knell? I hear no knell tolled. I see no procession of mourners in the streets, or the woodland aisles. The squirrel has leaped to another tree; the hawk has circled further off, and has now settled upon a new eyrie, but the woodman is preparing [to] lay his axe at the root of that also. "
― Henry David Thoreau , The Journal, 1837-1861
12
" There, on the far side of of the Atlantic, would be Maine, but despite the shared ocean, her island and this one were worlds apart. Where Inishmaan was gray and brown, its fragile man-made soil supporting only the hardiest of low-growing plants, the fertile Quinnipeague invited tall pines in droves, not to mention vegetables, flowers, and improbable, irrepressible herbs. Lifting her head, eyes closed now, she breathed in the damp Irish air and the bit of wood smoke that drifted on the cold ocean wind. Quinnipeague smelled of wood smoke, too, since early mornings there could be chilly, even in summer. But the wood smoke would clear by noon, giving way to the smell of lavender, balsam, and grass. If the winds were from the west, there would be fry smells from the Chowder House; if from the south, the earthiness of the clam flats; if from the northeast, the purity of sweet salt air. "
― Barbara Delinsky , Sweet Salt Air
18
" A bay is a noun only if water is dead. When bay is a noun, it is defined by humans, trapped between its shores and contained by the word. But the verb wiikwegamaa—to be a bay—releases the water from bondage and lets it live. “To be a bay” holds the wonder that, for this moment, the living water has decided to shelter itself between these shores, conversing with cedar roots and a flock of baby mergansers. Because it could do otherwise—become a stream or an ocean or a waterfall, and there are verbs for that, too. To be a hill, to be a sandy beach, to be a Saturday, all are possible verbs in a world where everything is alive. Water, land, and even a day, the language a mirror for seeing the animacy of the world, the life that pulses through all things, through pines and nuthatches and mushrooms. This is the language I hear in the woods; this is the language that lets us speak of what wells up all around us.[…]
This is the grammar of animacy. "
― Robin Wall Kimmerer , Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge, and the Teachings of Plants