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Glory gardens series 7 books collection set by bob cattell

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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. Line 26] netting strawberries: Strawberries grow along the ground and are covered with nets to stop birds from eating them. But in 1929 he was making another attempt to persuade the Press to agree to a new edition with his concluding chapter, now further revised. Kipling repeated what he had said ten years earlier. ‘As you know I didn’t do anything at all much beyond the verses,’, he wrote. ‘You lie’, Fletcher replied. ‘Some of the most valuable prose suggestions, and all the pretty little love-poems in prose to England were yours'”. Kipling is even more concerned, though, with the popular children’s hymns that inculcated this view of creation and along with it a bland mood of social passivity. Of these hymns, Mrs Cecil Frances Alexander’s “All Things Bright and Beautiful” is the type: It may be that Kipling had this hymn specifically in mind. After all, “The Glory of the Garden,” along with all the other poems in A School History was also written with the aim of instilling into young children a very different set of values and overthrowing the views expressed in hymns like “All Things Bright and Beauty.” He must have felt that this ambition had to some extent been achieved, because on 11 October 1919 he proudly told André Chevrillon that “The Glory of the Garden” had become ‘a sort of school recitation piece’. Letters 4, p. 580.

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”. Title] The Glory of the Garden: Normally such a phrase would refer to the beauty of the flowers, bushes, and trees growing in a garden, and/or to the horticultural skill that has nurtured and arranged the various plants into a splendid pattern. It also invokes many images which link God’s presence with gardens, the ‘glory’ of the one often being equated naturally with the glory of the other. Kipling refers to these various connotations in his poem, but insists that the true glory of the garden lies elsewhere. Wigan and the American Civil War - Wigan Coal and Iron Company, The Right Honourable John Lancaster MP for Wigan, the Confederate Raider Alabama, USS Kearsarge, Cherbourg and the yacht Deerhound all feature in the last great sea battle of the American Civil War. 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 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: While freelance copywriting provided his income for many years, Bob’s heart and much of his time were engaged in less lucrative projects. He gave his energy to such charities as Friends of the Earth, Book Trust and Chance to Shine and was for many years an active school governor in Tower Hamlets. He was always ready with practical help and advice to would-be authors. 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. 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: Bob was a voracious reader, avid traveller, generous host, controversial conversationalist and consistent friend. From 2000 he made his base a cottage in east Suffolk.

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.] Recent ventures with the illustrator Michael Woods resulted in Reynard the Fox, a new translation of the medieval fable, and Agon, a selection of Greek myths.

Wallgate Chronicles: Hugo Boss comes to Wigan; In the footsteps of the Manchester Rambler; Fun with Trigonometry; Surprise at the Philharmonic; The Marriage of Figaro; Cat Bells; A Walk in the Hills; Eay Times Uv Changed; Fidelio; The Ravioli Room; Desert Island Discs; Travels in Time 1960; Travels in Time 2010; The Spectroscope; The Bohemian Girl; Bookcase; Barnaby Rudge; Romance on a Budget; The Battle of Solferino; The Getaway Car; The Switchroom Wigan; The Force of Destiny; Adolphe Adam; The Fair Maid of Perth; Ivanhoe; Semele; Lohengrin; The Old Curiosity Shop; Hard Times. 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 Shakespeare’s presence in the poem is more oblique than that of the Bible. He is never alluded to directly (as the Bible is several times), but the political and social ideas being explored by Kipling are often unmistakably associated with the form they have been given by Shakespeare. They echo throughout Kipling’s poem.

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