Summary: “No matter the endeavour you were on, no matter the storms you
encountered on rocky seas, or the possible threat of encountering blood-thirsty
pirates, no one intrigued you or intimidated you more than the thought of him,
of Park Jimin, the most notorious of pirates, the most brutal of men,
the devil incarnate.”
Elizabeth’s mind was too full for conversation, but she saw and admired every remarkable spot and point of view. They gradually ascended for half a mile, and then found themselves at the top of a considerable eminence, where the wood ceased, and the eye was instantly caught by Pemberley House, situated on the opposite side of a valley, into which the road, with some abruptness, wound. It was a large, handsome, stone building, standing well on rising ground, and backed by a ridge of high woody hills; – and in front, a stream of some natural importance was swelled into greater, but without any artificial appearance. Its banks were neither formal, nor falsely adorned. Elizabeth was delighted. She had never seen a place for which nature had done more, or where natural beauty had been so little counteracted by an awkward taste. They were all of them warm in their admiration; and at that moment she felt that to be mistress of Pemberley might be something!
Gryffindor red is the color of lips before a kiss. It’s the color bloody noses and skinned knees, of scabs forming over knuckles. It’s the color of floor length curtains and old rugs with too much fringe. It’s the red that tinges anger, sleeps at the heart of anxiety, and escorts love. It’s the color of a dancer’s dress as she spins in front of a window. The color of melted sealing wax. It’s a robin’s chest, a roaring crowd, and the hearth within an old stone building. It’s the color of home.
Slytherin green is the color of ivy wreathing windows. It’s the color of forest leaves and crushed grass, of pebbles covered in moss. It’s the color of forgotten old paintings and favorite coats with ripped pockets. It’s the green that bathes with jealousy, mixes with fatigue, and gleams next to excitement. It’s the color of a worn quilt. The color of nails tapping in anticipation. It’s the pine tree boughs, a whisper in an ear, and the world right before it rains. It’s the color of life.
Ravenclaw blue is the color of the sky a breath after dusk. It’s the color of the ocean and morning fog, of tears slipping down a cheek. It’s the color of wide eyes and the fresh sheets on a newly made bed. It’s the blue that swirls with sadness, smiles at greed, and dances with wonder. It’s the color of a ribbon marking a page in a book. The color of a fallen feather. It’s the hiss of the wind, the howl of a wolf, and a teacup set perfectly in the center of its dish. It’s the color of hope.
Hufflepuff yellow is the color of pollen stained fingers. It’s the color of dandelions and old parchment, of an unopened locket. It’s the color of fresh pie and old bruises. It’s the yellow that takes guilt’s hand, whirls with loneliness, and links arms with joy. It’s the color of dust drifting through sunbeams. The color of broken paintbrushes. It’s the whine of a teakettle, a pair of loved socks, and a wide open window. It’s the color of light.
The laborer who for 12 hours long, weaves, spins, bores, turns, builds, shovels, breaks stone, carries hods, and so on – is this 12 hours’ weaving, spinning, boring, turning, building, shovelling, stone-breaking, regarded by him as a manifestation of life, as life? Quite the contrary. Life for him begins where this activity ceases, at the table, at the tavern, in bed. The 12 hours’ work, on the other hand, has no meaning for him as weaving, spinning, boring, and so on, but only as earnings, which enable him to sit down at a table, to take his seat in the tavern, and to lie down in a bed.