User talk:Creasyhuhu

on the darkness
level¬ling and disappearance It was all dow n, down, dow n, gradually— ruin and level¬ling and disappearance. Then it was all up, up, up, gradually, as seeds grew to saplings, and saplings to forest trees, and bramble and fern came creeping in to help. Leaf-mould rose and obliterated, streams in their winter freshets* brought sand and soil to clog and to cover, and in course of time our home was ready for us again, and we moved in. Up above us, on the surface, http://www.easylulu.com the same thing happened. Animals arrived, liked the look of the place, rook up their quarters, settled down, spread, and flourished. They didn't bother themselves about the past—they never do; they're too busy. The place was a bit humpy and anxiously awaiting the expected appearance of the sequel, to be entitled "The Back Sliding of Mr. Toad" which we hope will contain his further adventures in motor-boats, motor-bicvcles and aeroplanes.' Grahame replied (from Mayfield, Cookham Dean, 13 December): 'Of course Toad never really reformed; he was bv nature incapable of it. Hut the subject is a painful one to pursue1 (Bodleian MS Kng. misc. d. 527, 72-4). http://www.solecolor.com 145 hush them and noI fret them: perhaps an echo of a Northumbrian lullaby: i lush ye, hush ye, do not fret ye | The Black Douglas shall not get ye.' The Wind in the Willows may be the greatest case of mistaken identity in literature: it is commonly accepted as an animal story for children— despite being neither an animal story, nor for children. When it was first published, the announcement from its British publisher, \lethuen, read: http://www.webdaytona.com now at last Mr Grahame breaks his long silence with The Wind in the W illows, a fantastic and whimsical satire upon life—or allegory of life—the author's amusing device being to show the reader the real thing as if it were the play of small woodland and riverside creatures.1