Summary

Portrait of E. M. Forster E. M. Forster Pharos and Pharillon — The Solitary Place (1923)

The spongeous red growth of the ice-plant endures longest and further empurples the hills. This too will dry up and the bones of the limestone reappear. Then all will be quiet till the first winter rain, when the camels will be driven out to surface-plough. A rectangle is outlined on the soil and scattered with seed barley. Then the camel will shuffle up and down dragging after him a wooden plough that looks like a half-open penknife, and the Bedouin, guiding it, will sing tunes to the camel that he can only sing to the camel, because in his mind the tune and the camel are the same thing.
Source: Wikisource

Portrait of E. M. Forster E. M. Forster Pharos and Pharillon — The Solitary Place (1923)

It would require a botanist to do justice to these flowers, but fortunately there is no occasion to do justice to flowers. They are not Government officials. Let their titles and duties remain for the most part unknown. The most permanent of them are, oddly enough, the asphodels, whose coarse stems and turbid venous blossoms have disappointed many who dreamt of the Elysian Fields. How came the Greeks to plant so buxom a bulb in the solitary place they imagined beyond the grave—that place which though full of philosophers and charioteers remains for ever empty?
Source: Wikisource

Portrait of E. M. Forster E. M. Forster Pharos and Pharillon — The Solitary Place (1923)

But what impresses one most in the scene is the quiet persistence of the earth. There is so little soil about and she does so much with it. Year after year she has given this extraordinary show to a few Bedouins, has covered the Mareotic civilization with dust and raised flowers from its shards. Will she do the same to our own tins and barbed wire? Probably not, for man has now got so far ahead of other forms of life that he will scarcely permit the flowers to grow over his works again.
Source: Wikisource

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