Alfred Noyes

The modern world was not alive to the tremendous Reality that encompassed it. We were surrounded by an immeasurable abyss of darkness and splendor. We built our empires on a pellet of dust revolving around a ball of fire in unfathomable space. Life, that Sphynx, with the human face and the body of a brute, asked us new riddles every hour. Matter itself was dissolving under the scrutiny of Science; and yet, in our daily lives, we were becoming a race of somnambulists, whose very breathing, in train and bus and car, was timed to the movement of the wheels; and the more perfectly, and even alertly, we clicked through our automatic affairs on the surface of things, the more complete was our insensibility to the utterly inscrutable mystery that anything should be in existence at all.

Stand like a beaten anvil, when thy dream
Is laid upon thee, golden from the fire.
Flinch not, though heavily through that furnace-gleam
The black forge-hammers fall on thy desire.

Demoniac giants round thee seem to loom.
'Tis but the world-smiths heaving to and fro.
Stand like a beaten anvil. Take the doom
Their ponderous weapons deal thee, blow on blow.

Needful to truth as dew-fall to the flower
Is this wild wrath and this implacable scorn.
For every pang, new beauty, and new power,
Burning blood-red shall on thy heart be born.

Stand like a beaten anvil. Let earth's wrong
Beat on that iron and ring back in song.

...if he could only break away from this pseudo-modernity, and pseudo-intellectualism; if he could just once defy his own age, instead of defying the dead Victorians; if he could only shock the vicar (who reads Proust) by quoting Longfellow (one doesn't put him on the mountaintops, of course, but there's better stuff than Proust ever dreamed of in the sonnets on Dante); I should feel that he was really his own self, instead of a variation on a current theme. It seems to me that if you really like a person, you want him above everything to be his own self
...
One does get so sick of the notion of the present moment — that, because its conventions aren't those of the last century, it has no conventions of its own. The conventionalists of today all seem to forget that the conventions of yesterday were equally different from those of the day before yesterday.

...love lies hidden in every rose...

I'll come to thee by moonlight,
though hell should bar the way.

The wind was a torrent of darkness among the gusty trees,
The moon was a ghostly galleon tossed upon cloudy seas,
The road was a ribbon of moonlight, over the purple moor,
And the highwayman came riding — Riding — riding — The highwayman came riding, up to the old inn-door.

Over the cobbles he clattered and clashed in the dark inn-yard,
And he tapped with his whip on the shutters, but all was locked and barred;
He whistled a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter,
Bess, the landlord's daughter,
Plaiting a dark red love-knot into her long black hair.

He preferred to remain in Chalkdene where he was well known and universally disrespected. Permanent residents employed him occasionally for work that did not demand intelligence, honesty or personal cleanliness.

I long to get away, sometimes, from my own generation. I don't care whether it's into the past, or into the future, so long as it's away from the patter into simple realities again. I hate being a slave to my own age.
...
We are so afraid of sentimentality that we're losing the power of human feeling. Our writers today understand all the brutalities and cynicisms; but how many of them understand the simple human affections that hold decent human beings together and make the world worth living in?

And still on a winter's night, they say, when the wind is in the trees,
When the moon is a ghostly galleon tossed upon cloudy seas,
When the road is a gypsy's ribbon looping the purple moor,
The highwayman comes riding — Riding — riding — The highwayman comes riding, up to the old inn-door.

Over the cobbles he clatters and clangs in the dark inn-yard,
He taps with his whip on the shutters, but all is locked and barred,
He whistles a tune to the window, and who should be waiting there
But the landlord's black-eyed daughter — Bess, the landlord's daughter — Plaiting a dark red love-knot into her long black hair.

Heart of my heart, we are one with the wind, One with the clouds
that are whirled o'er the lea, One in many, O broken and blind, One as
the waves are at one with the sea! Ay! when life seems scattered apart,
Darkens, ends as a tale that is told, One, we are one, O heart of my
heart, One, still one, while the world grows old.

Oh, grown-ups cannot understand,
And grown-ups never will,
How short the way to fairyland
Across the purple hill.

"I like youth, and I like the real newness, which always seems to me to be a development out of the old — not a bombshell. But I'm not sure that some of the writers who are claiming those qualities today are as new and young as the elderly critics tell us. I feel surest of my young writers when I don't hear their joints creaking with the strain to be new.
...
"We must remember how badly Keats and Shelley were treated in their day, mustn't we?"

"But the Della Cruscans, who were really bad, were sat upon, too, weren't they?" said Miss Bird. "And, after all, your argument would apply to bosh as well as to beautiful things."

"Victorian, Miss Bird, Victorian," said Basil, wagging a playful finger at her. He had never heard of the Della Cruscan poets, but it was one of his principles never to give himself away in such things. "The conventional mind is the enemy, you know, in this country. I always admire that fellow — what's his name — who dedicated his book in those six words: 'To the British Public, these pearls!' We must think for ourselves. We mustn't be too conventional, you know."

"But — that's exactly — I don't want to think what the fashion of the moment and the newspapers tell me I ought to think. At least, I don't want to do it mechanically. And I don't mean what you think I mean," stammered poor Miss Bird, blushing and puzzled at her inability to penetrate that superior armor with a perfectly sound and pointed weapon. The Helmstone debates had not yet taught her that you cannot argue with an alleged "modern" who is so pleased with himself (and so ancient a type) that he waives your own remarks and hears nothing but his own blood purring in his ears."

Love is in the greenwood, dawn is in the skies, And Marian is waiting with a glory in her eyes.

newspapers, without a purpose, devoted space nowadays to illiterate imbecilities that nobody would have glanced at twice, a generation ago