White Cliffs Of Dover Quotes

After my wife was killed in that pogrom in Russia, I came to England with only my tools, and when I saw the white cliffs of Dover, alone without my wife, I said, "God, today I don’t believe in you anymore." "What did God say?" Dodger had asked. Solomon had sighed theatrically, as if he had been put upon by the question, and then smiled and said, “Mmm, God said to me, ‘I understand, Solomon; let me know when you change your mind.

Perhaps I shall not write my account of the Paleolithic at all, but make a film of it. A silent film at that, in which I shall show you first the great slumbering rocks of the Cambrian period, and move from those to the mountains of Wales, from Ordovician to Devonian, on the lush glowing Cotswolds, on to the white cliffs of Dover... An impressionistic, dreaming film, in which the folded rocks arise and flower and grow and become Salisbury Cathedral and York Minster...

So you’re Rory,” Sid said, “and...well, he’s handsome but not chatty. Very stone-faced. Like the white cliffs of Dover.” “Those are chalk,” Sadie replied. “He’s more solid than that. Like the Misty Mountains.” “Over the hills where the spirits fly...” “With Rivendell in the foothills.” “And Orcs in every pass,” Sid concluded. “So perhaps he’s...” “Stephen,” Stephen said, bringing an end to that.

Like all limestones, the famous White Cliffs of Dover, on England’s south coast, are made from numberless trillions of tiny marine organisms compressed over time into stone, and exist now as huge reservoirs of carbon. (credit 17.13)  

Culture and decency do not begin and end at the white cliffs of Dover, said Mr Collins. You are not a patriot, obviously, said the reverend. Nothing to do with patriotism. I believe in the unity of the world. I believe in the power of people working together.

Israel was thinking of warm beer, and muffins, and Wensleydale cheese, and Wallace and Gromit, and the music of Elgar, and the Clash, and the Beatles, and Jarvis Cocker, and the white cliffs of Dover, and Big Bend, and the West End, and Stonehenge, and Alton Towers, and the Last Night of the Proms, and Glastonbury, and William Hogarth, and William Blake, and Just William, and Winston Churchill, and the North Circular Road, and Grodzinski's for coffee, and rubbish, and potholes, and a slice of Stilton and a pickled onion, and George Orwell. And Gloria, of course. He was almost home to Gloria. G-L-O-R-I-A.

By the time they reached Calais he was in tearing spirits. Once on board he had a small Scotch and pacing the deck watched with satisfaction the waves that Britannia traditionally rules. It was grand to see the white cliffs of Dover. He gave a sigh of relief when he stepped on the stubborn English soil. He felt as though he had been away for ages. It was a treat to hear the voices of the English porters, and he laughed at the threatening uncouthness of the English customs officials who treated you as though you were a confirmed criminal. In another two hours he would be home again. That’s what his father always said: “There’s only one thing I like better than getting out of England, and that’s getting back to it.” Already

The following is a narrative poem. It became a huge success at the time of its publication, and inspired the 1944 movie The White Cliffs of Dover. It is about an American girl who visits London just before the First World War, marries, and stays in England during the succeeding years, including the start of the Second World War.

I have loved England, dearly and deeply, Since that first morning, shining and pure, The white cliffs of Dover I saw, rising steeply Out of the sea that once made her secure.

Born on March 20, 1971, she celebrated her 100th birthday this past March. During the war she toured the battle zones, where British forces were fighting by giving concerts for the troops. The songs most remembered from that era are We'll Meet Again, The White Cliffs of Dover, A Nightingale Sang in Berkeley Square and There'll Always Be an England. During the Second World War she earned the title of “the Allied Forces Sweetheart.” And in 1945 she was awarded the British War Medal and the Burma Star for her untiring devotion to the Crown and the men in uniform. As a songwriter and actress, her recordings and performances were enormously popular. This popularity remained solid after the war with recording of Auf Wiedersehen Sweetheart, My Son, My Son and I Love This Land, which was released to mark the end of the Falklands War. In 2009, at age 92, she became the oldest living artist to top the UK Albums Chart, with We'll Meet Again, The Very Best of Vera Lynn. Commemorating her 100th birthday she released the album Vera Lynn 100, in 2017, which number 3 on the charts, making her the oldest recording artist in the world and the first centenarian performer to have an album in the charts. Vera Lynn devoted much time working with wounded ex-servicemen, disabled children, and breast cancer. She is held in great affection by veterans of the Second World War and in 2000 was named the Briton who best exemplified the spirit of the 20th century.

The public house is as much of a symbol of England as St. George's cross, rare roast beef with Yorkshire pudding, and the White Cliffs of Dover.

After Dunkirk, the Luftwaffe had turned its sights onto England. We’d seen the destructive force of German military might playing to universal horror across cinema screens up and down the country, and with our army gone, Hitler and Göring’s eyes turned west to the white cliffs of Dover. Warsaw, Rotterdam… was London next? Leeds, Manchester, Liverpool, Edinburgh? They bombed us relentlessly for a fortnight, even before France signed her official surrender. Night-time bombing raids on London, now called “The Blitz”. Fires in the night sky, women and children screaming, the shriek of the bombers, the deathly silence that briefly, fatefully follows. And then dust, blood, sirens. Noise and smells and screeching yells, panic and terror. The rising panic of a people under fire, who knew they had no army left to defend them when the enemy came.

The moment I wished every sentence, everything I knew, that began with England would end with “and then it all died, we don’t know how, it just all died” was when I saw the white cliffs of Dover. I had sung hymns and recited poems that were about a longing to see the white cliffs of Dover again. At the time I sang the hymns and recited the poems, I could really long to see them again because I had never seen them at all, nor had anyone around me at the time. But there we were, groups of people longing for something we had never seen. And so there they were, the white cliffs, but they were not that pearly majestic thing I used to sing about, that thing that created such a feeling in these people that when they died in the place where I lived they had themselves buried facing a direction that would allow them to see the white cliffs of Dover when they were resurrected, as surely they would be. The white cliffs of Dover, when finally I saw them, were cliffs, but they were not white; you would only call them that if the word “white” meant something special to you; they were dirty and they were steep; they were so steep, the correct height from which all my views of England, starting with the map before me in my classroom and ending with the trip I had just taken, should jump and die and disappear forever.

There is a special loneliness in unshared music, even if it was 'The White Cliffs of Dover'.

The White Cliffs of Dover had been sculpted all along their length into the gigantic visages of famous Brits – another attempt at injecting rebrand vibrancy into the declining real-world economy.