Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school by Thomas Hardy
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page 5 of 234 (02%)
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Mellstock parish with Upper Mellstock and Lewgate, and to his eyes,
casually glancing upward, the silver and black-stemmed birches with their characteristic tufts, the pale grey boughs of beech, the dark-creviced elm, all appeared now as black and flat outlines upon the sky, wherein the white stars twinkled so vehemently that their flickering seemed like the flapping of wings. Within the woody pass, at a level anything lower than the horizon, all was dark as the grave. The copse-wood forming the sides of the bower interlaced its branches so densely, even at this season of the year, that the draught from the north-east flew along the channel with scarcely an interruption from lateral breezes. After passing the plantation and reaching Mellstock Cross the white surface of the lane revealed itself between the dark hedgerows like a ribbon jagged at the edges; the irregularity being caused by temporary accumulations of leaves extending from the ditch on either side. The song (many times interrupted by flitting thoughts which took the place of several bars, and resumed at a point it would have reached had its continuity been unbroken) now received a more palpable check, in the shape of "Ho-i-i-i-i-i!" from the crossing lane to Lower Mellstock, on the right of the singer who had just emerged from the trees. "Ho-i-i-i-i-i!" he answered, stopping and looking round, though with no idea of seeing anything more than imagination pictured. "Is that thee, young Dick Dewy?" came from the darkness. "Ay, sure, Michael Mail." "Then why not stop for fellow-craters--going to thy own father's house |
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