Glory gardens series 7 books collection set by bob cattell

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First published in A History of England (1911) by C.R.L.Fletcher and Rudyard Kipling, and then in all subsequent editions of the book. It was placed at the end of Chapter XII, ‘George III to George V, 1815-1911,’ though it is not related specifically to this chapter, but serves rather as a summary of the whole book and a final exhortation to the reader. When the poem was reprinted in the Inclusive Edition of the Verse (1919), it was also used as the closing poem of the volume, even allowing two extraneous poems – “Philadelphia” and “When ’Omer Smote ’Is Bloomin’ Lyre” – to be inserted awkwardly between it and the rest of the items from the School History. It seems likely that in re-arranging the poems in this way Kipling was making a patriotic statement on the recent close of the First World War. Line 7] cold-frame: a small unheated container with a glass top for protecting young plants; hot-house, a heated building, made largely of glass, for rearing tender or exotic plants; dung-pit, a compost heap; tanks, to store water. Not Much of a Warrior - Wigan RLFC in the fifties and sixties, through rose coloured glasses. A golden age of legendary players and memorable moments, along with some personal memories.

Line 26] netting strawberries: Strawberries grow along the ground and are covered with nets to stop birds from eating them. There is a very interesting section on Kipling and Fletcher’s collaboration in Peter Sutcliffe’s The Oxford University Press: An Informal History (1978, Oxford), pp. 158-62. I quote from pp. 161-62: Line 24] glorifieth everyone (see also l.28, a partner in the glory) Kipling is also alluding here to chapter 17 of the Gospel of John, where Christ speaks of the Father glorifying Him, of His glorifying the Father, and of believers than being united to this glorification. John 17 is part of the same long final discourse of Christ as is John 15.1-8, on Christ as the vine, the Father as the husbandman, the believers as the branches. This too is in Kipling’s mind: vineyards are proximate to gardens (note in particular 15.8: “Herein is my Father glorified, that ye bear much fruit”). All in all, Kipling is suggesting an equivalence between England and the Incarnate Son of God. [D.H.] The image of a kingdom, state, or community as a garden, with all its accompanying connotations of natural growth and development, seasonal change, decay and rebirth, is ages old. The main literary traditions on which Kipling draws are those established by the Bible and Shakespeare. He is also obviously aware of the country-house poem which holds such a distinguished place in English literature, though in the main he stands aloof from it, largely for positive reasons. It is the garden itself that Kipling wants to focus on, not the grand architecture of a house or its social arrangements which feature so prominently in many country-house poems. In the opening stanza of the poem, Kipling seems to suggest that he might be writing just that kind of poem, and then discards the possibility. Wigan Old Bank 1792 - A tragic boating accident on Windermere and a surprising journey through the social history of Wigan during the reign of Queen Victoria, highlighting the relationships between four families who played an important part in the commercial development of the town.Lines 21-4] There’s not a pair of legs so thin … glorifieth every one: lines which capture to perfection the range of attitudes Kipling is balancing throughout the poem. Although everyone has a democratic part to play in maintaining a healthy garden, according entirely, that is, to individual abilities, the process still clearly reveals the hierarchical manner of the whole enterprise already noted in the gardener distributing jobs (line 10). But, with that said, it remains true, that if all members of society really do play a part, with the kind of dedication expected by traditional worship, then the Garden certainly will glorify every one, though the glory will now have been inspired by a patriotic and national passion rather than religious faith. The condition of a nation-state, like that of a garden, depends on constant vigilance and work. Vegetation must be controlled, and weeds handled ruthlessly if they are not to destroy healthy plants. Richard II and Queen Isabel are forced to learn this lesson. So, in a very different Shakespearean context, is Hamlet: Even here, the attitude is pious, with nothing of Kipling’s passionate moral concern or his profound understanding of the dangers that complacent patriotism can bring. “The Glory of the Garden” opens with the strikingly communal ‘Our England’, which makes it clear that the poem is about values that the poet wishes to share with his readers. There is no sense of a view of England being imposed from outside or above. If the reader does not respond positively to Kipling’s appeal, then the purpose of the poem collapses. The personal, inner nature of the values is stressed by the final line in the first stanza in which Kipling warns that the true glory of the garden is to be found in more than meets the eye. In other words, the reader is to be prepared for a point-of-view that is totally different from that of Felicia Hemans. The gardener spends so much time on his knees not because he is praying but because he is working in the garden. His devotion or dedication is to that work. Only thus can the glory of the garden of England be preserved. If people assume that they can rely on God to save the country, then it will swiftly and certainly decline. But if everyone works hard at the job, then ‘the Glory of the Garden it shall never pass away!’

The nearest Hemans herself gets to admitting that her English homes may at some time require more than God’s protection comes in the final stanza:I respectfully disagree with Dr Keating’ here. The distinction between work and prayer is clearly made in l. 31, and both are encouraged. Whatever Kipling’s private views on prayer (surely complex), an exhortation to pray after work fits perfectly well into the conservative and didactic tone of the School History of England. pp. 33-35 of the School History are indicative here: Christ is called Our Lord; monks are reproached for seeking to withdraw entirely from the world, but also praised for their actual real-world accomplishments, including gardening! (“I think it is to the monks that we English owe our strong love of gardening and flowers”). In short, the mood is: “we are Christians, but not of the silly sort who look down on hard work”. Of course, Fletcher’s views weren’t Kipling’s: my point is merely that the School History wasn’t the place for Kipling to take a strong stand against conventional religious practice. Kipling and Fletcher