Short of coming to their senses and abolishing the whole thing, we might expect that the rules for daylight saving time will remain the same for some time to come, but there is no guarantee. (We can only be glad there is no daylight loan time, or we would face decades of too much daylight, only to be faced with a few years of total darkness to make up for it.
I wanted to see something in full daylight; I was sated with the pleasure and comfort of the half light; I had the same desire for the daylight as for water and air. And if seeing was fire, I required the plenitude of fire, and if seeing would infect me with madness, I madly wanted that madness.
I object to being told that I am saving daylight when my reason tells me that I am doing nothing of the kind... At the back of the Daylight Saving scheme, I detect the bony, blue-fingered hand of Puritanism, eager to push people into bed earlier, and get them up earlier, to make them healthy, wealthy, and wise in spite of themselves.
The full moon, well risen in a cloudless eastern sky, covered the high solitude with its light. We are not conscious of daylight as that which displaces darkness. Daylight, even when the sun is clear of clouds, seems to us simply the natural condition of the earth and air. When we think of the downs, we think of the downs in daylight, as with think of a rabbit with its fur on. Stubbs may have envisaged the skeleton inside the horse, but most of us do not: and we do not usually envisage the downs without daylight, even though the light is not a part of the down itself as the hide is part of the horse itself. We take daylight for granted. But moonlight is another matter. It is inconstant. The full moon wanes and returns again. Clouds may obscure it to an extent to which they cannot obscure daylight. Water is necessary to us, but a waterfall is not. Where it is to be found it is something extra, a beautiful ornament. We need daylight and to that extent it us utilitarian, but moonlight we do not need. When it comes, it serves no necessity. It transforms. It falls upon the banks and the grass, separating one long blade from another; turning a drift of brown, frosted leaves from a single heap to innumerable flashing fragments; or glimmering lengthways along wet twigs as though light itself were ductile. Its long beams pour, white and sharp, between the trunks of trees, their clarity fading as they recede into the powdery, misty distance of beech woods at night. In moonlight, two acres of coarse bent grass, undulant and ankle deep, tumbled and rough as a horse's mane, appear like a bay of waves, all shadowy troughs and hollows. The growth is so thick and matted that event the wind does not move it, but it is the moonlight that seems to confer stillness upon it. We do not take moonlight for granted. It is like snow, or like the dew on a July morning. It does not reveal but changes what it covers. And its low intensity-so much lower than that of daylight-makes us conscious that it is something added to the down, to give it, for only a little time, a singular and marvelous quality that we should admire while we can, for soon it will be gone again.
It felt like I was living in two worlds. There was one world which was a daylight world and another dark world (though I'm not saying that everything bad happened in darkness because it didn't). In the daylight world, life had a veneer of normality - my mum was a bit violent, my dad was a bit distant, my big brother was in hospital somewhere, my little brother was always with Mum, and I had an uncle who was very loving and caring and did nice things for me. In this daylight world, I went to church and learned about Jesus. I was told about innocence and how He loves children. Then there was the other side, the dark world, which was almost a mirror image. But what I was getting taught there was all of the opposites. It was almost the reverse of Christianity. They would say that the Christian teachings were rubbish, and everything in the Kirk was right. they would sing a hymn - not like 'All Things Bright and Beautiful' but something about being strong. The hymns were quite Germanic, with harsh, aggressive chanting. They were always about power and strength and right. When they were singing I would be standing or sitting with whoever had taken me.
She sat down on one of her grandmother's uncomfortable armchairs, and the cat sprang up into her lap and made itself comfortable. The light that came through the picture window was daylight, real golden late-afternoon daylight, not a white mist light. The sky was a robin's-egg blue, and Coraline could see trees and, beyond the trees, green hills, which faded on the horizon into purples and grays. The sky had never seemed so sky, the world had never seemed so world ... Nothing, she thought, had ever been so interesting.
Rosa Mystica 'The rose is a mystery'-where is it found? Is it anything true? Does it grow upon the ground? It was made of earth's mould, but it went from men's eyes, And its place is a secret and shut in the skies. In the gardens of God, in the daylight divine, Find me a place by thee, mother of mine. But where was it formerly? Which is the spot That was blest in it once, though now it is not? It is Galilee's growth: it grew at God's will And broke into bloom upon Nazareth hill. In the gardens of God, in the daylight divine, I shall look on thy loveliness, mother of mine. What was its season then? How long ago? When was the summer that saw the bud blow? Two thousands of years are near upon past Since its birth and its bloom and its breathing its last. In the gardens of God, in the daylight divine, I shall keep time with thee, mother of mine. Tell me the name now, tell me its name. The heart guesses easily: is it the same? Mary the Virgin, well the heart knows, She is the mystery, she is that rose. In the gardens of God, in the daylight divine, I shall come home to thee, mother of mine. Is Mary the rose then? Mary, the tree? But the blossom, the blossom there-who can it be? Who can her rose be? It could but be One Christ Jesus our Lord, her God and her son. In the gardens of God, in the daylight divine, Show me thy son, mother, mother of mine. What was the colour of that blossom bright?- White to begin with, immaculate white. But what a wild flush on the flakes of it stood When the rose ran in crimsonings down the cross-wood! In the gardens of God, in the daylight divine I shall worship His wounds with thee, mother of mine. How many leaves had it?-Five they were then, Five, like the senses and members of men; Five is their number by nature, but now They multiply, multiply-who can tell how? In the gardens of God, in the daylight divine Make me a leaf in thee, mother of mine. Does it smell sweet, too, in that holy place? Sweet unto God and the sweetness is grace: The breath of it bathes great heaven above In grace that is charity, grace that is love. To thy breast, to thy rest, to thy glory divine Draw me by charity, mother of mine.
Gerard Manley Hopkins
Most attribute the domain of night to evil because they can't see. People fear the shadows of the night because shadows represent the unknown, and the unknown is frightening. They assume evil lurks behind every shadow, in every corner not illuminated. But their fear of the unknown is often what really terrifies them. They find comfort seeing in the daylight for that reason, but the irony is they are often more blinded by their comfort than by the shadow of night. It's a pity. If they could overcome their fear of the unknown they might realize that the unknown is not evil, it is simply an opportunity waiting to be explored. The night is no more a domain of evil than the daylight, both were created good, both have evil lurking in them. When you can overcome your fear, the night becomes a domain of beauty interlaced with danger, and that is exciting!