The Hammock Papers: Autumnal.

24 October 2021

Autumnal.

WESTMINSTER ABBEY

On one of those sober and rather melancholy days in the latter part of autumn when the shadows of morning and evening almost mingle together, and throw a gloom over the decline of the year, I passed several hours in rambling about Westminster Abbey. There was something congenial to the season in the mournful magnificence of the old pile, and as I passed its threshold it seemed like stepping back into the regions of antiquity and losing myself among the shades of former ages.

I entered from the inner court of Westminster School, through a long, low, vaulted passage that had an almost subterranean look, being dimly lighted in one part by circular perforations in the massive walls. Through this dark avenue I had a distant view of the cloisters, with the figure of an old verger in his black gown moving along their shadowy vaults, and seeming like a spectre from one of the neighboring tombs. The approach to the abbey through these gloomy monastic remains prepares the mind for its solemn contemplation. The cloisters still retain something of the quiet and seclusion of former days. The gray walls are discolored by damps and crumbling with age; a coat of hoary moss has gathered over the inscriptions of the mural monuments, and obscured the death’s heads and other funeral emblems. The sharp touches of the chisel are gone from the rich tracery of the arches; the roses which adorned the keystones have lost their leafy beauty; everything bears marks of the gradual dilapidations of time, which yet has something touching and pleasing in its very decay.

The sun was pouring down a yellow autumnal ray into the square of the cloisters, beaming upon a scanty plot of grass in the centre, and lighting up an angle of the vaulted passage with a kind of dusky splendor. From between the arcades the eye glanced up to a bit of blue sky or a passing cloud, and beheld the sun-gilt pinnacles of the abbey towering into the azure heaven.

Washington Irving, from "Westminster Abbey", found among the papers of the late Dietrich Knickerbocker in Geoffrey Crayon's Sketchbook

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WOLFGANG AMADEUS MOZART

"When I am, as it were, completely myself, entirely alone and of good cheer – say travelling in a carriage or walking after a good meal, or during the night when I cannot sleep – it is on such occasions that my ideas flow best and most abundantly. Whence, and how, they come I know not ; nor can I force them. Those ideas that please me I retain in memory and am accustomed, as I have been told, to hum them to myself. If I continue in this way, it soon occurs to me how I may turn this dainty morsel to account, so as to make a good dish of it. That is to say, agreeable to the rules of counterpoint, to the peculiarities of various instruments etc. All this fires my soul, and, provided I am not disturbed, my subject enlarges itself, becomes methodised, and defined, and the whole, though it be long, stands almost complete and finished in my mind, so that I can survey it like a fine picture or a beautiful statue at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once. What a delight this is, I cannot tell."

MARCUS AURELIUS

"Is your cucumber bitter? Throw it away. Are there briars in your path? Turn aside. That is enough. Do not go on and say, 'Why were things of this sort ever brought into this world?' neither intolerable nor everlasting - if thou bearest in mind that it has its limits, and if thou addest nothing to it in imagination. Pain is either an evil to the body (then let the body say what it thinks of it!)-or to the soul. But it is in the power of the soul to maintain its own serenity and tranquility."

VINCENT van GOGH

"What am I in the eyes of most people? A nonentity or an oddity or a disagreeable person — someone who has and will have no position in society, in short a little lower than the lowest. Very well — assuming that everything is indeed like that, then through my work I’d like to show what there is in the heart of such an oddity, such a nobody. This is my ambition, which is based less on resentment than on love in spite of everything, based more on a feeling of serenity than on passion. Even though I’m often in a mess, inside me there’s still a calm, pure harmony and music. In the poorest little house, in the filthiest corner, I see paintings or drawings. And my mind turns in that direction as if with an irresistible urge. As time passes, other things are increasingly excluded, and the more they are the faster my eyes see the picturesque. Art demands persistent work, work in spite of everything, and unceasing observation."

DAN CAMPBELL