Plans discussed

Plans discussed—Pleasures of `camping out,' on fine nights—Ditto, wet nights—Compromise decided on—Montmorency, first impressions of—Fears lest he is too good for this world, fears subsequently dismissed as groundless—Meeting adjourns.

We pulled out the maps, and discussed plans.

We arranged to start on the following Saturday from Kingston. Harris and I would go down in the morning, and take the boat up to Chertsey, and George, who would not be able to get away from the City till the afternoon (George goes to sleep at a bank from ten to four each day, except Saturdays, when they wake him up and put him outside at two), would meet us there.

Should we ‘camp out’ or sleep at inns?

George and I were for camping out. We said it would be so wild and free, so patriarchal like.

Slowly the golden memory of the dead sun fades from the hearts of the cold, sad clouds. Silent, like sorrowing children, the birds have ceased their song, and only the moorhen’s plaintive cry and the harsh croak of the corncrake stirs the awed hush around the couch of waters, where the dying day breathes out her last.

From the dim woods on either bank, Night’s ghostly army, the grey shadows, creep out with noiseless tread to chase away the lingering rear-guard of the light, and pass, with noiseless, unseen feet, above the waving river-grass, and through the sighing rushes; and Night, upon her sombre throne, folds her black wings above the darkening world, and, from her phantom palace, lit by the pale stars, reigns in stillness.

Then we run our little boat into some quiet nook, and the tent is pitched, and the frugal supper cooked and eaten. Then the big pipes are filled and lighted, and the pleasant chat goes round in musical undertone; while, in the pauses of our talk, the river, playing round the boat, prattles strange old tales and secrets, sings low the old child’s song that it has sung so many thousand years—will sing so many thousand years to come, before its voice grows harsh and old—a song that we, who have learnt to love its changing face, who have so often nestled on its yielding bosom, think, somehow, we understand, though we could not tell you in mere words the story that we listen to.

And we sit there, by its margin, while the moon, who loves it too, stoops down to kiss it with a sister’s kiss, and throws her silver arms around it clingingly; and we watch it as it flows, ever singing, ever whispering, out to meet its king, the sea—till our voices die away in silence, and the pipes go out—till we, commonplace, everyday young men enough, feel strangely full of thoughts, half sad, half sweet, and do not care or want to speak— till we laugh, and, rising, knock the ashes from our burnt-out pipes, and say ‘Good night,’ and, lulled by the lapping water and the rustling trees, we fall asleep beneath the great, still stars, and dream that the world is young again—young and sweet as she used to be ere the centuries of fret and care had furrowed her fair face, ere her children’s sins and follies had made old her loving heart—sweet as she was in those bygone days when, a new-made mother, she nursed us, her children, upon her own deep breast—ere the wiles of painted civilization had lured us away from her fond arms, and the poisoned sneers of artificiality had made us ashamed of the simple life we led with her, and the simple, stately home where mankind was born so many thousands of years ago.

Harris said: ‘How about when it rained?’

You can never rouse Harris. There is no poetry about Harris—no wild yearning for the unattainable. Harris never ‘weeps, he knows not why.’ If Harris’s eyes fill with tears, you can bet it is because Harris has been eating raw onions, or has put too much Worcester over his chop.

If you were to stand at night by the seashore with Harris, and say: