A Quote by Thomas More
They set great store by their gardens . . . Their studie and deligence herein commeth not only of pleasure, but also of a certain strife and contention . . . concerning the trimming, husbanding, and furnishing of their gardens; everye man or his owne parte.
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Bad Gardens copy, good gardens create, great gardens transcend.
Bad Gardens copy, good gardens create, great gardens transcend. What all great gardens have in common are their ability to pull the sensitive viewer out of him or herself and into the garden, so completely that the separate self-sense disappears entirely, and at least for a brief moment one is ushered into a nondual and timeless awareness. A great garden, in other words, is mystical no matter what its actual content.
My favorite thing is landscaping. I love landscaping. And so what I'll do is, mostly I put language into search engines, and if I want to look, like, at tulip gardens, or, like, Georgian gardens, i love English gardens, how they're laid out. Japanese gardens, Asian gardens. So, I'm kind of a frustrated landscaper.
As for the meaning of gardens, particular gardens may have, of course, all sorts of different meanings - emotive, historical, emblematic, religious, commemorative, and so on. But I think that good gardens all signify or exemplify an important truth about the relationship of culture and nature - their inseparability.
Some places speak distinctly. Certain dark gardens cry aloud for a murder; certain old houses demand to be haunted; certain coasts are set apart for shipwreck.
I loathe gardening, but I love gardens, and I have two beautiful gardens. I can not bear gardening, but I love gardens.
These gardens may be called the gardens of the respectable working classes.
And add to these retired Leisure, That in trim gardens take his pleasure.
Everybody's got plants, but most are just growing weeds. The cultivated have greater gardens, finer and gaudier gardens.
The gardens of my youth were fragrant gardens and it is their sweetness rather than their patterns of their furnishings that I now most clearly recall.
That's exactly why nature always trumps gardens. Gardens are just reality pruned of chaos. What doesn't work you rip out.
Gardens do offer a temporal tableau and certainly mean differently in different eras and indeed geographies (think of the formal gardens in France).
In all places where there is a Summer and a Winter, and where your Gardens of pleasure are sometimes clothed with their verdant garments, and bespangled with variety of Flowers, and at other times wholly dismantled of all these; here to recompense the loss of past pleasures, and to buoy up their hopes of another Spring, many have placed in their Gardens, Statues, and Figures of several Animals, and great variety of other curious pieces of Workmanship, that their walks might be pleasant at any time in those places of never dying pleasures.
The greatest change we need to make is from consumption to production, even if on a small scale, in our own gardens. If only 10% of us do this, there is enough for everyone. Hence the futility of revolutionaries who have no gardens, who depend on the very system they attack, and who produce words and bullets, not food and shelter.
Steven Erikson is an extraordinary writer. I read Gardens of the Moon with great pleasure. And now that I have read it, I would be hard pressed to decide what I enjoyed more: the richly and ominously magical world of Malaz and Genabackis; the large cast of sympathetically-rendered characters; or the way the story accumulates to a climax that hits like machinegun fire. My advice to anyone who might listen to me is, Treat yourself to Gardens of the Moon. And my entirely selfish advice to Steven Erikson is, write faster.
But where only a free play of our presentational powers is to be sustained, as in the case of pleasure gardens, room decoration, all sorts of useful utensils, and so on, any regularity that has an air of constraint is [to be] avoided as much as possible. That is why the English taste in gardens, or the baroque taste in furniture, carries the imagination's freedom very far, even to the verge of the grotesque, because it is precisely this divorce from any constraint of a rule that the case is posited where taste can show its greatest perfection in designs made by the imagination.
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