There was an ocean above us, held in by a thin sac that might rupture and let down a flood at any second.

Spring, if it lingers more than a week beyond its span, starts to hunger for summer to end the days of perpetual promise. Summer in its turn soon begins to sweat for something to quench its heat, and the mellowest of autumns will tire of gentility at last, and ache for a quick sharp frost to kill its fruitfulness. Even winter _ the hardest season, the most implacable _ dreams, as February creeps on, of the flame that will presently melt it away. Everything tires with time, and starts to seek some opposition, to save it from itself.

Money is time. With money I buy for cheerful use the hours which otherwise would not in any sense be mine; nay, which would make me their miserable bondsman.

Grace will meet you in the valley, and her song will carry you home on the wind to another sky filled with ethereal beauty unfolding and love everlasting.

Money is made at Christmas out of holly and mistletoe, but who save the vendors would greatly care if no green branch were procurable? One symbol, indeed, has obscured all others--the minted round of metal. And one may safely say that, of all the ages since a coin first became the symbol of power, ours is that in which it yields to the majority of its possessors the poorest return in heart's contentment.

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.