The half moon sailed high, sharp-winged shadows skimming across it, and the conical hills and the vine-shrouded trees washed silver-green under the moonlight had the look of a decaying city millennia after a great catastrophe.

It was a full moon and, shining on all the snow, it made everything almost as bright as day — only the shadows were rather confusing.

High above our heads the owl hoots under the lost moon. A pre-dawn wind comes sifting and sighing through the cottonwood trees; the sound of their dry, papery leaves is like the murmur of distant water, or like the whispering of ghosts in an ancient, empty, condemned cathedral.

Along the illimitable shade
Darkling and lone their way they made, Through the vast kingdom of the dead, An empty void, though tenanted:
So travellers in a forest move
With but the uncertain moon above,
Beneath her niggard light.

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 we 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.<p>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 is 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.<p>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.

The great tapestries of trees had darkened to ghosts back at the last edge of twilight. The early moon had drenched the arches with pale blue, and, weaving over the night, in and out of the gossamer rifts of moon, swept a song, a song with more than a hint of sadness, infinitely transient, infinitely regretful.

The sun was already declining and each of the trees held a premonition of night.

It was a still afternoon — the golden light was lingering languidly among the upper boughs, only glancing down here and there on the purple pathway and its edge of faintly sprinkled moss: an afternoon in which destiny disguises her cold awful face behind a hazy radiant veil, encloses us in warm downy wings, and poisons us with violet-scented breath.

The crescent moon, The night’s lucent lesion. We are felled oaks beneath it, Branches full of empty. Look closer. What we share is more Than what we’ve shed.

On a midsummer night, on a night that was eerie with stars,
In a wood too deep for a single star to look through,
You led down a path whose turnings you knew in the darkness,
But the scent of the dew-dripping cedars was all that I knew.

I drank of the darkness, I was fed with the honey of fragrance,
I was glad of my life, the drawing of breath was sweet;
I heard your voice, you said, 'Look down, see the glow-worm!'
It was there before me, a small star white at my feet.

As I walked out one harvest night
About the stroke of One,
The Moon attained to her full height
Stood beaming like the Sun.
She exorcised the ghostly wheat
To mute assent in Love's defeat
Whose tryst had now begun.

The fields lay sick beneath my tread,
A tedious owlet cried;
The nightingale above my head
With this or that replied,
Like man and wife who nightly keep
Inconsequent debate in sleep
As they dream side by side.

Your phantom wore the moon's cold mask,
My phantom wore the same,
Forgetful of the feverish task
In hope of which they came,
Each image held the other's eyes
And watched a grey distraction rise
To cloud the eager flame.

To cloud the eager flame of love,
To fog the shining gate:
They held the tyrannous queen above
Sole mover of their fate,
They glared as marble statues glare
Across the tessellated stair
Or down the Halls of State.

And now cold earth was Arctic sea,
Each breath came dagger keen,
Two bergs of glinting ice were we,
The broad moon sailed between;
There swam the mermaids, tailed and finned,
And Love went by upon the wind
As though it had not been.

- Full Moon

sleepily through the olive groves, silvered by a moon as large and as white as a magnolia blossom.

"It was then between one o'clock in the morning and half-past that hour; the sky soon cleared a bit before me, and the lunar crescent peeped out from behind the clouds - that sad crescent of the last quarter of the moon. The crescent of the new moon, that which rises at four or five o'clock in the evening, is clear, bright and silvery; but that which rises after midnight is red, sinister and disquieting; it is the true crescent of the witches' Sabbath: all night-walkers must have remarked the contrast. The first, even when it is as narrow as a silver thread, projects a cheery ray, which rejoices the heart, and casts on the ground sharply defined shadows; while the latter reflects only a mournful glow, so wan that the shadows are bleared and indistinct. ("Who Knows?")"

Haunted trees covered behind the curtains of their own leaves stare at the dark from the fringe of streets.