By G. K. Chesterton
A rousing ballad in line with the real tale of mythical Saxon king Alfred the Great
at nighttime instances ahead of a unified England, warring tribes roved and sparred for territory around the British Isles. The Ballad of the White Horse files the deeds and armed forces accomplishments of Alfred the good as he defeats the invading Danes on the conflict of Ethandun.
Published in 1911, this poem follows the battle—from the collection of the chiefs to the final conflict cry—with a care to rhythm, sound, and language that makes it a powerful murals in addition to an essential piece of English history.
an important impression at the constitution of Tolkien’s The Lord of the Rings, The Ballad of the White Horse transforms the exciting exploits of a brave chief into an inspirational Christian allegory.
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And his love of the new, this thirst for fresh experience and changing scenes persists in Kim's young life: on the Grand Trunk Road, "there were people and new sights at every stride-castes he knew and castes that were altogether out of his experience"; and with the important Sahiba's entourage (the Wife of Bath's world) "this was the life as he would have it-bustling and shouting, the beating of bullocks and the creaking of wheels, lighting of fires and cooking of food, and new sights at every turn of the approving eye ....
It is a note of delight in life, of openness to people and things that is maintained throughout the novel and is the essence of its magic. Kipling's passionate interest in people and their vocabularies and their crafts is, of course, the essence of the magic of all his work. But in all the other books it tends to be marred by aspects of his social ethic-by caution, reserve, distrust, mastered emotion, stiff upper lips, direct puritanism or the occasional puritan's leer, retributive consequences, cruelty masquerading as justifiable restraint or bullying as the assertion of superiority.
However, before we set this change of heart entirely to Eliot's credit, we need to take note of certain difficulties whicK arise rn our reading of the poet for whom he is soliciting our admiration. There is for instance what is probably the most justly famous of all Kipling's poems, his "Recessional" of 1897, quoted in part here: God of our fathers, known of old, Lord of our far-flung battle-line, Beneath whose awful Hand we hold Dominion over palm and pineLord God of Hosts, be with us yet, Lest we forget-lest we forget!