Letters From Yorkshire Quotes

It chances that I'd a letter myself by today's post, from Uncle Jonas Henry.' He chuckled. 'Seemingly he's as throng as he can be, and a trifle hackled with me for loitering here. I shall have to post off to Huddersfield next week, sir - and a bear-garden jaw I'll get when I arrive there, if I know Jonas Henry!

Mr. Shaw himself said once, “I am a typical Irishman; my family came from Yorkshire.” Scarcely anyone but a typical Irishman could have made the remark. It is in fact a bull, a conscious bull. A bull is only a paradox which people are too stupid to understand. It is the rapid summary of something which is at once so true and so complex that the speaker who has the swift intelligence to perceive it, has not the slow patience to explain it. Mystical dogmas are much of this kind. Dogmas are often spoken of as if they were signs of the slowness or endurance of the human mind. As a matter of fact, they are marks of mental promptitude and lucid impatience. A man will put his meaning mystically because he cannot waste time in putting it rationally. Dogmas are not dark and mysterious; rather a dogma is like a flash of lightning—an instantaneous lucidity that opens across a whole landscape. Of the same nature are Irish bulls; they are summaries which are too true to be consistent. The Irish make Irish bulls for the same reason that they accept Papal bulls. It is because it is better to speak wisdom foolishly, like the Saints, rather than to speak folly wisely, like the Dons.

They were already out of her lands, and in another day Yorkshire would be behind them altogether. By the end of the week she'd be in London, resuming her life as if this trip had never happened. Three or four months from now, Harry, acting as her land steward, might write to ask if she wanted him to present his report on her lands in person. And she, having just returned from another soiree, might turn the letter over in her hand and muse, Harry Pye. Why, I once lay in his arms. I looked up into his illuminated face as he joined his flesh with mine, and I was alive. She might toss the letter on her desk and think, But that was so long ago now and in a different place. Perhaps it was only a dream. She might think that. George closed her eyes. Somehow she knew that there would never come a day when Harry Pye was not her first memory when she woke and her last thought as she drifted into sleep. She would remember him all the days of her life. Remember and regret.

She haunted many a low resort, Round the grimy road of Tottenham Court. She flitted around the no man’s land From The Rising Sun to The Friend At Hand And the postman sighed as he scratched his head You really would have thought she ought to be dead And who would ever suppose that that Was Grizabella The Glamour Cat. And that was not all. There was a letter from Tom Eliot to his publisher Geoffrey Faber about an event which brought all the Pollicle Dogs and Jellicle Cats together who then ascended to the “Heaviside Layer” in a great big air balloon. There was even a couplet to go with it: “Up, up, up, past the Russell Hotel, / Up, up, up, to the Heaviside Layer.” So Eliot himself had an idea for a bigger structure for these poems, very vague, but it was there. I knew then that I had the bare bones of a stage musical. Most importantly Grizabella the Glamour Cat gave me a tragic character, a character who you would really care about. I asked Cameron and Gillie to join Valerie and Matthew, and the excitement was tangible. There were other poems too, the story of a parrot called Billy McCaw, who lived on the bar of an East End pub. There was the saga of a Yorkshire terrier called Little Tom Pollicle which was apparently Eliot’s nickname, and a long poem about a man in white spats who meets a casual diner in a pub called the Princess Louise and starts talking about “this’s and thats and Pollicle Dogs and Jellicle Cats.” I asked Valerie what the words “Pollicle” and “Jellicle” meant. She explained it was Eliot’s private joke about how the British upper class slurred the words “poor little dogs” and “dear little cats.” She also revealed that Eliot intended the “Princess Louise” poem, as we came to call it, to be the preface of a book about dogs and cats, but in the end cats prevailed. “The Awefull Battle of the

JUSTIFYING OPPRESSION While history has proven Malthusianism empirically false, however, it provides the ideal foundation for justifying human oppression and tyranny. The theory holds that there isn’t enough to go around, and can never be. Therefore human aspirations and liberties must be constrained, and authorities must be empowered to enforce the constraining. During Malthus’s own time, his theory was used to justify regressive legislation directed against England’s lower classes, most notably the Poor Law Act of 1834, which forced hundreds of thousands of poor Britons into virtual slavery. 11 However, a far more horrifying example of the impact of Malthusianism was to occur a few years later, when the doctrine motivated the British government’s refusal to provide relief during the great Irish famine of 1846. In a letter to economist David Ricardo, Malthus laid out the basis for this policy: “The land in Ireland is infinitely more peopled than in England; and to give full effect to the natural resources of the country, a great part of the population should be swept from the soil.” 12 For the last century and a half, the Irish famine has been cited by Malthusians as proof of their theory of overpopulation, so a few words are in order here to set the record straight. 13 Ireland was certainly not overpopulated in 1846. In fact, based on census data from 1841 and 1851, the Emerald Isle boasted a mere 7.5 million people in 1846, less than half of England’s 15.8 million, living on a land mass about two-thirds that of England and of similar quality. So compared to England, Ireland before the famine was if anything somewhat underpopulated. 14 Nor, as is sometimes said, was the famine caused by a foolish decision of the Irish to confine their diet to potatoes, thereby exposing themselves to starvation when a blight destroyed their only crop. In fact, in 1846 alone, at the height of the famine, Ireland exported over 730,000 cattle and other livestock, and over 3 million quarts of corn and grain flour to Great Britain. 15 The Irish diet was confined to potatoes because—having had their land expropriated, having been forced to endure merciless rack-rents and taxes, and having been denied any opportunity to acquire income through manufactures or other means—tubers were the only food the Irish could afford. So when the potato crop failed, there was nothing for the Irish themselves to eat, despite the fact that throughout the famine, their homeland continued to export massive amounts of grain, butter, cheese, and meat for foreign consumption. As English reformer William Cobbett noted in his Political Register: Hundreds of thousands of living hogs, thousands upon thousands of sheep and oxen alive; thousands upon thousands of barrels of beef, pork, and butter; thousands upon thousands of sides of bacon; and thousands and thousands of hams; shiploads and boats coming daily and hourly from Ireland to feed the west of Scotland; to feed a million and a half people in the West Riding of Yorkshire, and in Lancashire; to feed London and its vicinity; and to fill the country shops in the southern counties of England; we beheld all this, while famine raged in Ireland amongst the raisers of this very food. 16 “The population should be swept from the soil.” Evicted from their homes, millions of Irish men, women, and children starved to death or died of exposure. (Contemporary drawings from Illustrated London News.)

And that was not all. There was a letter from Tom Eliot to his publisher Geoffrey Faber about an event which brought all the Pollicle Dogs and Jellicle Cats together who then ascended to the “Heaviside Layer” in a great big air balloon. There was even a couplet to go with it: “Up, up, up, past the Russell Hotel, / Up, up, up, to the Heaviside Layer.” So Eliot himself had an idea for a bigger structure for these poems, very vague, but it was there. I knew then that I had the bare bones of a stage musical. Most importantly Grizabella the Glamour Cat gave me a tragic character, a character who you would really care about. I asked Cameron and Gillie to join Valerie and Matthew, and the excitement was tangible. There were other poems too, the story of a parrot called Billy McCaw, who lived on the bar of an East End pub. There was the saga of a Yorkshire terrier called Little Tom Pollicle which was apparently Eliot’s nickname, and a long poem about a man in white spats who meets a casual diner in a pub called the Princess Louise and starts talking about “this’s and thats and Pollicle Dogs and Jellicle Cats.” I asked Valerie what the words “Pollicle” and “Jellicle” meant. She explained it was Eliot’s private joke about how the British upper class slurred the words “poor little dogs” and “dear little cats.” She also revealed that Eliot intended the “Princess Louise” poem, as we came to call it, to be the preface of a book about dogs and cats, but in the end cats prevailed. “The Awefull Battle of the

They were already out of her lands, and in another day Yorkshire would be behind them altogether. By the end of the week she'd be in London, resuming her life as if this trip had never happened. Three or four months from now, Harry, acting as her land steward, might write to ask if she wanted him to present his report on her lands in person. And she, having just returned from another soiree, might turn the letter over in her hand and muse, Harry Pye. Why, I once lay in his arms. I looked up into his illuminated face as he joined his flesh with mine, and I was alive. She might toss the letter on her desk and think, But that was so long ago now and in a different place. Perhaps it was only a dream. She might think that. George closed her eyes. Somehow she knew that there would never come a day when Harry Pye was not her first memory when she woke and her last thought as she drifted into sleep. She would remember him all the days of her life. Remember and regret.

you. For nearly forty years I was

In his article, Barrell had cited a letter by Ketel’s biographer that proved Ketel had indeed painted de Vere. Barrell then pointed out that the Ashbourne had likely resided for decades at Wentworth Woodhouse in South Yorkshire, where a 1695 will mentioned a portrait of “the earl of Oxford my wife’s great grand-father at [full] length.” In 1721 that de Vere portrait was again noted by the antiquarian George Vertue, but by 1782 this framed picture had vanished; yet that year’s inventory recorded a new portrait now hung in the main dining hall: an unframed three-quarter-length Will Shakespeare. De Vere full-length with frame disappears, Shakespeare three-quarter-length unframed appears, and all this taking place some thirty-five miles from where the Ashbourne would be discovered. It was hard to fault Barrell’s logic here, I felt, especially since the Folger itself had recorded the Ashbourne as owning no original edges, meaning the picture had been cut down in size at some point.