You cannot have too many aconites. They cost, as I said before, about fifty shillings a thousand. A thousand will make a brave splash of colour, which lasts a month. If you can afford ten thousand, you are mad not to buy them. There are so many exciting places you can put them. . . in the hollow of a felled tree, by the border of a pond, in a circle round a statue, or immediately under your window, so that you can press your nose against the glass, when it is too cold to go out, and stare at them, and remember that spring is on its way.
Obviously a garden is not the wilderness but an assembly of shapes, most of them living, that owes some share of its composition, it’s appearance, to human design and effort, human conventions and convenience, and the human pursuit of that elusive, indefinable harmony that we call beauty. It has a life of its own, an intricate, willful, secret life, as any gardener knows. It is only the humans in it who think of it as a garden. But a garden is a relationship, which is one of the countless reasons why it is never finished.
The Daffodil-Yellow VillaThe new villa was enormous, a tall, square Venetian mansion, with faded daffodil-yellow walls, green shutters, and a fox-red roof. It stood on a hill overlooking the sea, surrounded by unkempt olive groves and silent orchards of lemon and orange trees. ... the little walled and sunken garden that ran along one side of the house, its wrought-iron gates scabby with rust, had roses, anemones and geraniums sprawling across the weed-grown paths ...... there were fifteen acres of garden to explore, a vast new paradise sloping down to the shallow, tepid sea.
— Далеко-далеко отсюда, там, за сосновым бором, — отвечал призрак тихим, мечтательным голосом, — есть маленький сад. Трава там высокая и густая, там белеют цветы болиголова, подобные звездам, и всю ночь там поет соловей. Да, всю ночь не смолкая поет соловей, холодная хрустальная луна бесстрастно взирает вниз и могучий тис простирает над спящими свои исполинские ветви. Глаза Вирджинии заволоклись слезами, и она спрятала в ладони лицо. — Ты говоришь о Саде Смерти? — прошептала она. — Да, я говорю о нем. Как, должно быть, прекрасна Смерть! Как хорошо лежать в мягкой, теплой земле, зная, что над тобой колышутся травы, и слушать вечную тишину. Как хорошо, что нет ни вчера, ни завтра, что можно забыть о ходе времени и навеки забыться, обретя наконец покой.("Кентервильское привидение", О. Уайльд)
Anthropocentric as [the gardener] may be, he recognizes that he is dependent for his health and survival on many other forms of life, so he is careful to take their interests into account in whatever he does. He is in fact a wilderness advocate of a certain kind. It is when he respects and nurtures the wilderness of his soil and his plants that his garden seems to flourish most. Wildness, he has found, resides not only out there, but right here: in his soil, in his plants, even in himself...But wildness is more a quality than a place, and though humans can't manufacture it, they can nourish and husband it...The gardener cultivates wildness, but he does so carefully and respectfully, in full recognition of its mystery.
A poor old Widow in her weedsSowed her garden with wild-flower seeds;Not too shallow, and not too deep,And down came April -- drip -- drip -- drip.Up shone May, like gold, and soonGreen as an arbour grew leafy June.And now all summer she sits and sewsWhere willow herb, comfrey, bugloss blows,Teasle and pansy, meadowsweet,Campion, toadflax, and rough hawksbit;Brown bee orchis, and Peals of Bells;Clover, burnet, and thyme she smells;Like Oberon's meadows her garden isDrowsy from dawn to dusk with bees.Weeps she never, but sometimes sighs,And peeps at her garden with bright brown eyes;And all she has is all she needs --A poor Old Widow in her weeds.