The English countryside was once a refuge for writers and artists of slender means. The life was peaceful, the air was fresh, and the rents were cheap. But like exotic plants transplanted to alien soil, they brought their own peculiarities to their new habitat. And they could arouse suspicion and sometimes loathing in the natives.
Kentish field flecked with flint.
Farmer picked the flint from field,
Planting piles along the fringe.
When she was brought thither and laid before the image of our Lady, her face was wonderfully disfigured, her tongue hanging out and her eyes being in a manner plucked out and laid upon her cheeks: and so, greatly disordered. Then there was a voice heard speaking within her belly, as it had been in a tun, her lips not greatly moving; she all that while continuing by the space of three hours in a trance. The which voice, when it told anything of the joys of heaven, it spake so sweetly and heavenly that every man was ravished with the hearing thereof. And contrary, when it told anything of hell, it spake so horribly and terribly that it put the hearers in a great fear. (From a letter written by Archbishop Thomas Cranmer to Archdeacon Nicholas Hawkins, 1533)
You cannot call such fliers strange Nor imitate surprise Although their subtle pinions range Beyond your soldered eyes. (‘The Birds’ – Edward A Richards)
Derek said: ‘There’s a beautiful fisherman’s cottage here, and if it was ever for sale, I think I’d buy it.’ As we neared the cottage, black varnished with bright yellow window frames , we saw the green-and-white ‘For Sale’ sign – the improbability of it made the purchase of it inescapable. (Derek Jarman’s Garden – Derek Jarman & Howard Sooley, from the foreword by Keith Collins)
Seas pleat winds keen fogs deepen ships lean no doubt, and the lighthouse keeper keeps a light for those left out. (‘Lighthouse Keeping’ – Kay Ryan)