Playwrights From England

"O lift me from the grass! I die! I faint! I fail! Let thy love in kisses rain On my lips and eyelids pale. My cheek is cold and white, alas! My heart beats loud and fast: O press it to thine own again, Where it will break at last!"

"I arise from dreams of thee In the first sweet sleep of night, When the winds are breathing low, And the stars are shining bright."

"The sunlight clasps the earth, And the moonbeams kiss the sea: What are all these kissings worth If thou kiss not me?"

"Nothing in the world is single, All things by a law divine In one spirit meet and mingle — Why not I with thine?"

"The seed ye sow another reaps; The wealth ye find another keeps; The robes ye weave another wears; The arms ye forge another bears."

"Men of England, wherefore plough For the lords who lay ye low?"

"Fame is love disguised."

"Chameleons feed on light and air: Poets' food is love and fame."

"Sun-girt City, thou hast been Ocean's child, and then his queen; Now is come a darker day, And thou soon must be his prey."

"Yet now despair itself is mild, Even as the winds and waters are; I could lie down like a tired child, And weep away the life of care Which I have borne and yet must bear, Till death like sleep might steal on me, And I might feel in the warm air My cheek grow cold, and hear the sea Breathe o'er my dying brain its last monotony."

"We rest. — A dream has power to poison sleep; We rise. — One wandering thought pollutes the day; We feel, conceive or reason, laugh or weep; Embrace fond woe, or cast our cares away: It is the same! — For, be it joy or sorrow, The path of its departure still is free: Man's yesterday may ne'er be like his morrow; Nought may endure but Mutability."

"Some say that gleams of a remoter world Visit the soul in sleep, — that death is slumber, And that its shapes the busy thoughts outnumber Of those who wake and live."

"The lone couch of his everlasting sleep."

"Twilight, ascending slowly from the east, Entwined in duskier wreaths her braided locks O'er the fair front and radiant eyes of day, Night followed, clad with stars."

"The butchering of harmless animals cannot fail to produce much of that spirit of insane and hideous exultation in which news of a victory is related altho' purchased by the massacre of a hundred thousand men. If the use of animal food be in consequence, subversive to the peace of human society, how unwarrantable is the injustice and barbarity which is exercised toward these miserable victims. They are called into existence by human artifice that they may drag out a short and miserable existence of slavery and disease, that their bodies may be mutilated, their social feelings outraged. It were much better that a sentient being should never have existed, than that it should have existed only to endure unmitigated misery."

"I am willing to admit that some few axioms of morality, which Christianity has borrowed from the philosophers of Greece and India, dictate, in an unconnected state, rules of conduct worthy of regard; but the purest and most elevated lessons of morality must remain nugatory, the most probable inducements to virtue must fail of their effect, so long as the slightest weight is attached to that dogma which is the vital essence of revealed religion."

"Once, early in the morning, Beelzebub arose, With care his sweet person adorning, He put on his Sunday clothes."

"I think that the leaf of a tree, the meanest insect we trample are in themselves arguments more conclusive than any which can be adduced that some vast intellect animates Infinity."

"Here I swear, and as I break my oath may Infinity Eternity blast me, here I swear that never will I forgive Christianity! It is the only point on which I allow myself to encourage revenge... Oh, how I wish I were the Antichrist, that it were mine to crush the Demon, to hurl him to his native Hell never to rise again — I expect to gratify some of this insatiable feeling in Poetry."

"Age cannot Love destroy, But perfidy can blast the flower, Even when in most unwary hour It blooms in Fancy's bower. Age cannot Love destroy, But perfidy can rend the shrine In which its vermeil splendours shine."

"Sweet the rose which lives in Heaven, Although on earth ’tis planted, Where its honours blow, While by earth’s slaves the leaves are riven Which die the while they glow."

"Not the swart Pariah in some Indian grove, Lone, lean, and hunted by his brother's hate, Hath drunk so deep the cup of bitter fate As that poor wretch who cannot, cannot love: He bears a load which nothing can remove, A killing, withering weight."

"Dar'st thou amid the varied multitude To live alone, an isolated thing?"

"Cease, cease, wayward Mortal! I dare not unveil The shadows that float o'er Eternity's vale; Nought waits for the good but a spirit of Love, That will hail their blest advent to regions above. For Love, Mortal, gleams through the gloom of my sway, And the shades which surround me fly fast at its ray."

"You would not easily guess All the modes of distress Which torture the tenants of earth; And the various evils, Which like so many devils, Attend the poor souls from their birth."

"Swiftly walk over the western wave, Spirit of Night! Out of the misty eastern cave Where, all the long and lone daylight, Thou wovest dreams of joy and fear, Which make thee terrible and dear, — Swift be thy flight!"

"The desire of the moth for the star, Of the night for the morrow, The devotion to something afar From the sphere of our sorrow."

"One word is too often profaned For me to profane it; One feeling too falsely disdained For thee to disdain it."

"Music, when soft voices die, Vibrates in the memory — Odours, when sweet violets sicken, Live within the sense they quicken. Rose leaves, when the rose is dead, Are heaped for the beloved's bed; And so thy thoughts, when thou art gone, Love itself shall slumber on."

"Rough wind, the moanest loud Grief too sad for song; Wild wind, when sullen cloud Knells all the night long; Sad storm, whose tears are vain, Bare woods, whose branches strain, Deep caves and dreary main, — Wail, for the world's wrong!"

"A Sensitive Plant in a garden grew, And the young winds fed it with silver dew, And it opened its fan-like leaves to the light. And closed them beneath the kisses of Night."

"Though we eat little flesh and drink no wine, Yet let's be merry: we'll have tea and toast; Custards for supper, and an endless host Of syllabubs and jellies and mince-pies, And other such ladylike luxuries."

"His fine wit Makes such a wound, the knife is lost in it."

"Have you not heard When a man marries, dies, or turns Hindoo, His best friends hear no more of him?"

"It’s no use crying over spilt evils. It’s better to mop them up laughing."

"In Fleet Street, in Fleet Street, the People are so fleet They barely touch the cobble-stones with their nimble feet!"

"Water, Loo! water, Loo! fetch me some water! There isn't a drop for a mile and a quarter! The ground is so hard and the ground is so dry I'm frightened my little red rose-bush will die."

"The little White Chapel Is ringing its bell With a ring-a-ding-dong, All day long"

"King's Cross! What shall we do? His Purple Robe Is rent in two!"

"Dropt tears have hastened your decay And brought you one step nigher death; And you have heard, unthrilled, unmoved, The music of Love's golden breath And seen the light in eyes that loved. You think you hold the core and kernel Of all the world beneath your crust, Old dial? But when you lie in dust, This vine will bloom, strong, green, and proved. Love is eternal."

"Upon your shattered ruins where This vine will flourish still, as rare, As fresh, as fragrant as of old. Love will not crumble."

"Old sundial, you stand here for Time: For Love, the vine that round your base Its tendrils twines, and dares to climb And lay one flower-capped spray in grace Without the asking on your cold Unsmiling and unfrowning face."

"Of troubles know I none, Of pleasures know I many — I rove beneath the sun Without a single penny."

"O evanescent temples built of man To deities he honoured and dethroned! Earth shoots a trail of her eternal vine To crown the head that men have ceased to honour. Beneath the coronal of leaf and lichen The mocking smile upon the lips derides Pan's lost dominion; but the pointed ears Are keen and prick'd with old remember'd sounds. All my breast aches with longing for the past! Thou God of stone, I have a craving in me For knowledge of thee as thou wert in old Enchanted twilights in Arcadia."

"In Arcady there lies a crystal spring Ring'd all about with green melodious reeds Swaying seal'd music up and down the wind. Here on its time-defaced pedestal The image of a half-forgotten God Crumbles to its complete oblivion."

"An author is known by the worlds he creates. The measure of his greatness is the degree of clarity and the consistency with which he builds his spirit’s habitation, the depth and height it offers the reader who enters it. Eleanor Farjeon’s world is construed of fantasy, romance, and an abounding yea-saying joy in the experience of life. It is the stuff that dreams are made of, and as dangerous as dynamite except for those who have genius in their blood, a compassionate heart, a sense of wonder at the multitudinous miracles to be met in one day’s living in this world, and the blessed proportion of wit, humor and nonsense. All these she has."

"No doubt she wrote "Morning Has Broken" for children, since they were so surely her preferred audience, but it is as engaging a piece of theology as one is likely to find. … the quality of the day has a head start for me if the worship includes Farjeon's poem/hymn. Farjeon subtitled her poem "For the First Day of Spring." I suspect that the inspiration came to her on such a day, and I agree that it is a perfect way to enter that lovely season. But the wonder of the poem, of course, is that on such a day the poet found herself transported to the first days of creation. … So it is that I recommend Farjeon's poem not only for the first day of spring, but as the right way to begin every day. What better than to look out on a new day — any new day — as an unspoiled gift from the hand of God, "fresh from the Word"? … One wonders if Farjeon expected children to get it? Personally, I am confident she did. She wasn’t one to talk down to her readers, nor was she one to underestimate their capacities. I suspect she knew that what children lack in intellectual training they make up for in innate perceptiveness — and perhaps especially in their refusing to let literalism get in the way of reality. We adults lose our appetite for Eden. After so many battles with the real world, as we experience it, we find it hard to imagine that things can be perfect. So it is that a child can sing "Sweet the rain's new fall, / Sunlit from heaven," while adults calculate what the rain will do for market futures or for the prospects of this afternoon's ball game. I remember a summer morning nearly half a century ago. As I returned from a walk, I picked up an earthworm from the sidewalk and took it to my then four-year old daughter, who couldn't have a dog because the parsonage was next door to the church. "I've got a pet, I've got a pet!" she squealed. I wouldn't trade ten seconds of childish ecstasy for a full day of adult disillusionment. Eleanor Farjeon was quite right to tell children that the first day of spring is a return to Eden and this blackbird that sings is "like the first bird." And she was more than right in thinking that children would get it."

"Great Britain has blessed the world of children with a number of poets and storytellers. … But perhaps no one was more loved by children in the British Isles or published more books than Eleanor Farjeon. She once said that she was "singing songs before she could write, and even before she could speak, and as soon as she could guide a pencil she began to write them down." When she died in 1965 at the age of eighty-four, she had published more than eighty books of stories and poems for children."

"Although her voice was faint she could still joke, for one day taking my hand she felt a large ring, which she raised close to her face for inspection. With a faint smile she whispered, "Ah, like Edith Sitwell I see." She was given the last rites by her priest and died on June 5th. Eleanor was buried in the romantic little churchyard which spans the side of Hampstead Hill between the Protestant church in Church Row and the Catholic church in Holly Walk. Her grave is generally smothered by a big rambler rose and is hard to discover. She was never keen on personal publicity."

"I was touched and surprised when, one day in her eighties, she said a little sadly, yet with the confidence of one who can face her own limitations, "I have always tried to use what little talent I had to the full". This remark had to do with the statement in the preface to Silver-Sand and Snow, … that – "In my youth I dreamed of being a 'real' poet, but half way through my life that dream died, and whatever figments of it remained went into writing songs and verses for children.""