paper in my pocket along with the chalks, and possibly other things.
I suppose every one must have reflected how primeval and how poetical
are the things that one carries in one's pocket; the pocket-knife,
for instance, the type of all human tools, the infant of the sword.
Once I planned to write a book of poems entirely about the things
in my pockets. But I found it would be too long; and the age
of the great epics is past.

. . . . .

With my stick and my knife, my chalks and my brown paper,
I went out on to the great downs. I crawled across those colossal
contours that express the best quality of England, because they
are at the same time soft and strong. The smoothness of them
has the same meaning as the smoothness of great cart-horses,
or the smoothness of the beech-tree; it declares in the teeth
of our timid and cruel theories that the mighty are merciful.
As my eye swept the landscape, the landscape was as kindly
as any of its cottages, but for power it was like an earthquake.
The villages in the immense valley were safe, one could see,
for centuries; yet the lifting of the whole land was like
the lifting of one enormous wave to wash them all away.

I crossed one swell of living turf after another, looking for a place
to sit down and draw. Do not, for heaven's sake, imagine I was going
to sketch from Nature. I was going to draw devils and seraphim,
and blind old gods that men worshipped before the dawn of right,
and saints in robes of angry crimson, and seas of strange green,
and all the sacred or monstrous symbols that look so well in bright
colours on brown paper. They are much better worth drawing than Nature;