The far distant shore 2


 * [[image: button_0.png|25px|link=Cover_page|Go to cover page]]
 * [[image: button_i.png|25px|link=Introduction|Go to i. Introducion]]
 * [[image: button_ii.png|25px|link=The_title|Go to ii. The title]]
 * [[image: button_iii.png|25px|link=The_totem|Go to iii. The totem]]
 * [[image: button_iv.png|25px|link=The_far_distant_shore|Go to iv. The far distant shore]]
 * [[image: button_v.png|25px|link=Driftwood|Go to v. Driftwood]]
 * [[image: button_vi.png|25px|link=Dry_tears|Go to vi. Dry tears]]
 * [[image: button_vii.png|25px|link=A_circle_of_grey|Go to vii. A circle of grey]]
 * [[image: button_viii.png|25px|link=To_be_found...|Go to viii. To be found…]]
 * [[image: button_ix.png|25px|link=Information_pack|Go to ix. Information pack]]

page 31  Syd used grey to describe a sad, distant rain in "Baby Lemonade":  Rain falls in grey far away Please, please, Baby Lemonade  And a hill in "It Is Obvious":  So equally over a valley, a hill wood on quarry stood Each of us crying A velvet curtain of gray mark the blanket where the sparrows play  He was more or less metaphorical: while grey and blue in "Gigolo Aunt" aptly remind sand and sea for a beach, his reply to Robert Wyatt about how to play a song was colourful, but dark like a grey:

Perhaps we could make the middle darker and maybe the end a bit middle-afternoonish... at the moment it's too windy and icy. &mdash; Syd Barrett

Even writing about a dream is not an avowal of unclear ideas for Syd, since on one of his first compositions, "Bob Dylan Blues", he stated he usually is writing about dreams:  Well I sing about dreams and I rhymes it with seams Cause it seems that my dream always means That I can prophesy all kinds of things   sources → Willis, Tim. Madcap: the half-life of Syd Barrett, Pink Floyd's lost genius. London: Short books, 2002. 105. Print. http://www.lrb.co.uk/v25/n01/jeremy-harding/afternoonishness