John Edward Masefield OM (June 1878 12 May 1967) was an English poet and writer and the Poet Laureate of the United Kingdom from 1930 until 1967. (1925) is a three-act drama in which Masefield depicts the trial and condemnation of Jesus, opening in the garden of Gethsemane with the betrayal by Judas and closing with a description of Christ's death. The sincerity of purpose, solemnity of tone, and majesty of movement manifest in his writing is well in keeping with the subject he has chosen.

The choruses which begin the play and end each act are well calculated to raise the audience spiritually and place them in the proper mood for an acceptance of the divine origin and superhuman powers of Christ. This is the rare Signed, Limited, First Printing.

Printed on English HANDMADE PAPER. This book is a pleasure to read. This edition, printed on English handmade paper, is limited to five hundred and thirty copies, of which five hundred are for sale and thirty are for presentation. This book is almost 100 years old! This is a large book measuring 9 inches tall!

This is the original binding. Bound in genuine vellum (leather). A gorgeous and highly collectible book. In exceptional VERY GOOD condition, FINE internally, fresh and well preserved.

Hinges fully attached and sound. Free of foxing, one or two small spots upfront.

Some light general wear, some light abrasions. No writing or signs of previous ownership. An exceptionally well-preserved copy of this rare book. Signature guaranteed authentic as this is the signed FIRST EDITION. In a high place in the ranks of English writers, John Masefield has attained that enviable position through various means.

He is distinguished not alone as a poet, but also as dramatist, historian, novelist, and writer of short stories. But it is as a poet, and particularly as a narrative poet, that he gained his first and perhaps most lasting fame. John Masefield was born in Ledbury, Herefordshire, on June 1, 1878. Both his father and mother died while he was still a young boy, and with the other Masefield children he went to live at the home of an aunt in Ledbury.

Here he grew up, attending the local school. While still a young boy he evinced a strong proclivity for adventure. Tramping the countryside and roaming the woods appealed to him more than studying indoors. Then began the experiences that so vividly burned themselves into the memory of the restless, sensitive youth.

For several years he sailed the sea to many parts of the world, visiting strange lands, always storing up impressions that later were to help him on his way to fame. The desire to write had always been with him.

When ten years old he had read Sir Walter Scott's poems and Percy's Reliques of Ancient Poetry , and at fourteen was deep in Macaulay's Lays of Ancient Rome. These became his favorite poems, and he wrote some imitations of them. During his time at sea he had little opportunity to read or write, so he left the service when not yet seventeen years old, and in April, 1895, landed in New York, with five dollars, his clothes, and a deep yearning for a literary career.

Soon he was domiciled in a garret in Greenwich Village, subsisting on the fare provided through his meagre earnings in any odd jobs he could secure. These were work in a bakery, a livery stable, along the water-front, and the widely celebrated term of a few months in a saloon near Jefferson Market. A chance acquaintance with the owner of a carpet factory in Yonkers, New York, led to a position there, and the next two years were happy ones, as they gave security from want and time for reading. A book shop in the town was a favored haunt of his, and every Friday, which was pay day, he bought new books. In speaking of this period he has said, I did not begin to read poetry with passion and system until 1896.

I was living then in Yonkers, New York (at 8 Maple Street). Chaucer was the poet, and the Parliament of Fowls the poem of my conversion. I read the Parliament all through one Sunday afternoon, with the feeling that I had been kept out of my inheritance and had suddenly entered upon it, and had found it a new world of wonder and delight. I had never realized, until then, what poetry could be.

After that Sunday afternoon I read many poets (Chaucer, Keats, Shelley, Milton, and Shakespeare, more than others) and wrote many imitations of them. About a year later, when I was living in London, I wrote two or three of the verses now printed in. Masefield's intimate association with sailors and longshoremen had given him a deep insight into their lives, and it was as their laureate that he began his career of letters. Opens with a "A Consecration, " in which he announces himself as champion of the dust and the scum of the earth.

Theirs be the music, the colour, the glory, the gold, Mine be a handful of ashes, a mouthful of mould Of the maimed, of the halt and the blind in the rain and the cold Of these shall my songs be fashioned, my tales be told. Some of the poems in this book are now known the world over especially"Cargoes" and the oft-quoted Sea-Fever. Was published in England in 1902. Several years' strenuous apprenticeship in literary London had preceded its appearance.

The book won him his first recognition. Its unusual quality was praised by leading writers, particularly among the modernist group. A summer in Devonshire with William Butler Yeats gave him encouragement and inspiration.

Soon he was publishing verse and plays that brought him into favor. In 1903 he married Constance de la Cherois-Crommelin. His first book of prose. This, is a collection of dramatic tales of ships and sailors and strange superstitions.

Roistering, reckless rogues swagger in picturesque procession across the pages of John Masefield's. From "Sea Life in Nelson's Time".

Incorporated in these tales is everything of fear and fascination that men have found in the sea since the sailing of ships began, wrote the reviewer in the. When the book was reissued in 1925. In the same year was published his. Sea Life in Nelsons Time. An historical account of the rigorous days in the British Navy during the latter years of Nelson's career.

Fascinating illustrations picturing the ships of the. Period add to the value of the book. Some English Forays on the Isthmus of Darien.

Which tells of stirring exploits of British seamen under Drake. For some years these books were not available in the United States, but recently a supply was imported, and the books were warmly welcomed by the reviewers and the collectors of Masefield's writings. He spent many months of intensive research in British maritime history before writing these books. (1908), Masefield's first novel, found wide favor. The poetical quality which distinguishes his prose gives a sustained magnificence throughout this book.

The story tells of Charles Margaret, a gallant English gentleman and poet, owner of the sloop Broken Heart so named from his disappointment in love and the thrilling adventures encountered after sheltering his lost love and her criminal husband on board his boat. Another novel of rich and beautiful prose. London was about to take its hour of quiet. Only the poets, the scholars, and the idlers were awake now.

In a little while the May dawn would begin. Even now it was tingeing the cherry blossoms of Aleppo. The roses of Sarvistan were spilling in the heat, the blades of green corn by Troy gleamed above the river as the wind shook them. " And again "Pink cranes stood in the shallows. Slowly one of them rose aloft, heartily flagging.

Another arose, then another, till they made a pinkish ribbon against the forest. From London to Africa we follow the hero in his search for a cure for sleeping sickness.

Masefield's description in this book of a tropical storm has been acclaimed as one of the most thrilling in all literature. Several tales of adventure followed, among them.

(1909), which recounts romantic deeds in far-away lands, of the sea and buccaneers along the Spanish Main. At this time he was also experimenting with the drama, and in 1909. In three acts, was published.

Many critics have agreed that this is a masterpiece. It is an intense portrayal of tragic events in the life of simple country folk, and has been successfully performed in England. In his preface to the play Masefield says: Tragedy at its best is a vision of the heart of life.

The heart of life can only be laid bare in the agony and exultation of dreadful acts. The vision of agony or spiritual contest pushed beyond the limits of the dying personality is exalting and cleansing.

It is only by such vision that a multitude can be brought to the passionate knowledge of things exulting and eternal. Sombre tragedies of a gruesome nature.

The Sweeps of Ninety Eight. A little rebel comedy; and. Favorite one-act plays for amateur productions, were written and performed at this time.

The Tragedy of Pompei the Great. "He is no statutesque Pompey, spouting prose lines masquerading as poetry; Masefield has given us Pompey the man, " wrote a reviewer. But it was in 1911 that John Masefield startled England and occasioned intense excitement and hot discussion over his now world-famous poem. Telling of this event, W. Hamilton, in his critical study of John Masefield, writes: I shall never forget the torrid day in 1911 when I languidly picked up a blue-covered copy of the English Review in a smoker-room, sank with it into a basket-chair, lit my pipe, leisurely opened the magazine, and got one of the shocks and surprises of my life.

The'room was sudden with horror. At first we gasped'Oh! Then, dazed and unbelieving, one read the poem againand againand again.

It began to dawn on us... That here was one more of the world's great, sudden original poems and one of the greatest religious poems ever born. Vivid and powerful, written in virile, at times lurid. Tells the story of Saul Kane, drunkard and poacher, his spiritual revolt and final conversion.

Recalling the inception of the poem, Masefield said. Began to form images in my mind early in the morning of a fine day in May, 1911. I had risen very early and had gone out into the morning with a friend who had to ride to catch a train some miles away.

On our way down a lane in the freshness and brightness of the dew we saw coming towards us, up a slope in a field close to us, a plough team of noble horses followed by the advancing breaking wave of red clay thrust aside by the share. The ploughman was like Piers Plowman or Chaucer's ploughman, a staid, elderly, honest, and most kindly man whom we had long known and respected.

The beauty and nobility of this sight moved me profoundly all day long. That night he began the poem. It marked a rebellion from the contemporary spiritless poetry, and it won for Masefield the Edmond de Polignac prize of five hundred pounds and world-wide recognition. It was his first book to be published in America. The Widow in the Bye Street.

Written in much the same iconoclastic manner. It tells a tragic tale of Widow Gurney, whose son, Jimmy, is hanged for murder, causing her to lose her reason. Of these two remarkable poems Masefield tells us: In. A violent man is made happy; in.

A good woman is made unhappy. In neither case does the event fall by merit or demerit, but by the workings of Fate, which come into human affairs with the effect of justice done, for reasons not apparent to us.

In 1913 he again aroused the enthusiasm and acclaim of the critics. That magnificent spiritual vision of life. " "'Dauber' is a great poem. But great also as a book of revelation; as a book of intense, terrible, pitiful heroic vision; as a sensitive record of the sea, full of the bright face of danger, the endurance. From "Salt water Poems and Ballads". Of ships, the endurance of men. The poem tells of a painter whose heart's desire is to portray the sea as it really is. It's not been done, the sea, not yet been done.

From the inside by one who really knows I'd give up all if I could be the one. A fall from the masthead kills him before he fulfills his mission.

Masefield tells us that the poem is based on fact, and Thinking of him after many years, he seems to me to be typical of the artist, who in every age will obey the laws of his being and speak his message, in spite of every disadvantage, and in contempt of death. " This poem, his famous "Biography, and other favorite verses were published in the United States in the volume.

The Story of a Round House. His next long narrative poem, recounts a story of the tragic love of two men for the same woman. There are pages of particularly beautiful descriptions of the English countryside. "It always seems to me a most moving thing that natural beauty, the running water, the coming of the flowers of the spring, and the singing of birds should go on year after year with so little apparent change and with so little apparent passion while men change and do themselves such wrong in the same scene and subject to the same season, " Masefield says, in speaking of the poem which so beautifully portrays the contrast of man's turbulent spirit with the serene beauty of nature. Philip the King and Other Poems.

The bringing of the news of the ruin of the Armada to King Philip II of Spain is the theme of the short play. It is one of the noblest expressions of refined patriotism in our literature, and along with'The Wanderer,''Ships,''Biography,' it stands at the head of all the verse literature of the glory of ships. " "August, 1914, that most memorable of war poems, is included in this volume. It is based on episodes in Japanese history at the beginning of the eighteenth century, which have been brought together into. A legend known as the forty-seven Ronin.

Masefield keeps closely to the simple and dramatic situations of the original story. It is permeated with a heroic, Greek-like quality, and numerous critics consider it the best of Masefield's plays. A dramatic poem telling of the Passion of Jesus, is characterized by dignity and simple beauty. The volume containing this play includes also a number of his best loved sonnets. This one-act play has been presented annually for the past three years on Palm Sunday by members of the Union Congregational Church in Boston. It was published in 1916. The same year gave to the world the imperishable.

That poignantly sad and so vividly realistic saga of the Dardanelles campaignNot as a tragedy nor as a mistake, but as a great human effort, which came, more than once, very. Near to triumph, achieved the impossible many times, and failed in the end, as many great deeds of arms have failed from something which had nothing to do with arms nor with the men who bore them.

The thirteenth edition of the book was published in 1925, which surely is an indication of the precious quality of this eloquent tribute to the 38,000 Englishmen who. Is a book to strike the critical faculty numb and hush the heart of the hearer.

For an ageaye, forever on the earth, so far as we can dream itit will be read and gloried in afresh, and heads will be bowed and tears of strong men shed at every telling. It is as yet too sacred for applause, wrote W. (1917) he gives us a graphic account of the front as it was when the Battle of the Somme began. Through his active service with the Red Cross, Masefield came into direct contact with the realism of war, and his descriptions are vivid and gripping. The early days of the War can be relived through this book.

There are innumerable interesting illustrations. In the spring of 1918 John Masefield came to America as an emissary for his country, and two speeches delivered at that time are contained in.

The War and the Future. One with that title and the other St. Many anecdotes enliven the vivid descriptions of the war. In each he pleads for special cooperation between England and America.

(1918), a title given because most of the poems contained in it were written at that place, includes the famous series of lyrics and sonnets that many consider Masefield's profoundest work. With the close of the War, a new Masefield appeared.

The year 1919 saw the publication of. That flashing record of a hunt which stirs the blood of every reader, whether he has ever ridden to the hounds or not. Here is England, her people, and her dearest sport, sung in swinging, almost perfect verse.

Partly because the events of a fox hunt have been for some centuries the deepest pleasure in English country life, and partly because the fox hunt brings together on terms of equality all sorts and conditions of the English people. Hunting makes more people happy than anything I know. The quarto edition, with its colored plates and many line drawings, is a proud book in many collections. A poem about a steeplechase, followed during the next year. It concerns the subtle relation between horse and rider which, in moments of excitement, in the race, the hunt, or even the panic, makes them curiously one.

The reader queries anxiously, as the poem keeps him fascinated from the beginning to the end. Right Royal went past him, half an inch, half a head. Half a neck, he was leading, for an instant he led. From line to line the reader follows breathlessly.

A special edition of this book, containing innumerable line drawings and several colored plates, which is a favorite with collectors. Published in 1920, contains some of Masefield's most admired verse. Tells a romantic tale beginning.

All early in the April when daylight comes at five. I went into the garden most glad to be alive The thrushes and the black birds were singing in the thorn The April flowers were singing for the joy of being born. Then a swift turn to tragic events; the courageous lover willingly joining the galley slaves of the Algerian pirates to be near his captured beloved one; his thrilling rescue of her from the Khalif's harem; and their return to England. All early in the Maytime when daylight comes at four. We blessed the hawthorne blossom that welcomed us ashore O beautiful in this living that passes like the foam It is to go with sorrow and come with beauty home.

"The Hounds of Hell, " that weird story of the saint who fought the powers of darkness; "Cap on Head, " another strange. Folk-tale of diabolical meddlings in human affairs; some more of his beautiful sonnets and short poems, among them the lovely "On Growing Old, " are included in this volume. Be with me Beauty for the fire is dying.

My dog and I are old, too old for roving Man, whose young passion sets the spindrift flying Is soon too lame to march, too cold for loving. So from this glittering world with all its fashion. Its fire and play of men, its stir, its march, Let me have Wisdom, Beauty, Wisdom and Passion, Bread to the soul where the summers parch Give me but these, and though the darkness close Even the night will blossom as the rose. A delightful story of circus life in a poem of quiet beauty and singular charm.

Masefield has the legendary King Cole return as a spiritual force to help a struggling circus folk. In my poem I made him help a travelling circus, because I feel that the duty of Kingship is to encourage all the arts which add joy to life. In the circus, it seems to me that one finds all the elements of the noble arts, based, as they must be, on physical development, a lively sense of life, and a kindling, compelling quality of personality.

Circus artists are true artists. They live apart in hardship and anxiety in order to do the artist's task, which is to awaken a sense of life in their fellows. The Dream and Other Poems.

(1922) contains the poet's beautiful tribute to his friend, the late Charles Daniel, for many years Provost of Worcester College, Oxford. The title poem, Masefield tells us, is based on an actual dream. Two of these playsare based on Racine's immortal tragedies.

Here in the interpretation through the medium of an alien tongue of the music and ideals of one poet by another, we have that transformation which is the object but too often. The result is two great plays, said the New York Times. Another poetic drama based on a biblical theme is. Which tells the story of Jezebel, Queen of Samaria. It is written in blank verse of unusual effectiveness and vigor.

The play was successfully performed by the Boar Hill Players at Oxford. Melloney Holtspur or the Pangs of Love. Is a four-act drama built on the romantic plot the sins of the father are visited on the children.

A mystical intermingling of the ghosts of one generation with their living descendants makes the play one of absorbing interest. A story of Helen's flight with Paris, but uses Nireus, a friend of Paris who also is in love with Helen, as the central figure. It is written in prose of particular beauty. An essay on "Play Writing, " in which he discusses dramatic composition, with special reference to the Greek play and the English play; some passages from his letters and his essay on "Fox Hunting" are included in the volume. A most pleasing anthology of sea verse, which contains poems from Chaucer to the poets of today, was edited by Masefield.

Many famous chanteys are included. Although published some time ago in England, the book was imported but recently. In 1925 came Masefield's first novel in fourteen years. A thrilling, romantic tale entitled.

Of this book the New York Times said: It is written with verve and salt. It has the relish for rough life and the gusts of Smollet.

Life has been poured into the pages of this book in beautiful prose, in which Masefield has caught up the clash of human passion and the loveliness and fierce beauty of nature. The year 1926 brought another novel, an equally stirring story entitled ODTAA. In his prose romances John Masefield has developed such a genre as never was on land or sea. Obscure fears one by one take form with the vividness, the swiftness, the continuity of a nightmare, the unseen fear in the forest, felt by horse and by rider, the fear of dead men coming back.

Of being locked up when fire is approaching, of being caughtall these fears shot through with the familiar dread of not getting to a place on time.... So real in fact do the characters, the scenes, the republic itself become that they seem to bear witness against the author's own signed statement:'The persons and events described in this story are imaginary', wrote the reviewer in the Chicago Daily News. John Masefield and his daughter Judith. Whatever the future years may give us from the pen of John Masefield, lasting fame has already been won. Evidence of this lies in the tributes which hailed the new collected edition of his.

In four volumes, published late in 1925. Some of these reviews are appended in this booklet. Since his marriage in 1903, Masefield has lived in England. His home is now at Boar's Hill, Oxford.

He has one son, and one daughterJudith, who drew the illustrations for. A few years ago he built in his garden a little theatre which seats an audience of about one hundred. Here the Boar Hill Players stage their productions.

The theatre is dedicated to poetic drama, the furthering of which is one of Masefield's special interests. Some of his own plays, among them. Gerald Cumberland wrote of him in 1918: John Masefield has an invincible picturesquenesspicturesqueness that stamps him at once as different from his fellows. He is tall, straight, and blue-eyed, with a complexion as clear as a child's. His eyes are amazingly shy... You feel his sensitiveness and you admire the dignity that is at once its outcome and protection. There are many legends about Masefieldhe is the kind of figure that gives rise to legends and, as he is studiously reticent, some of the legends have persisted and have for many persons become true. From Wikipedia, the free encyclopedia.

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Poet Laureate of the United Kingdom. 9 May 1930 12 May 1967. 12 May 1967 (aged 88) Abingdon. 1 June 1878 12 May 1967 was an English poet and writer and the Poet Laureate of the United Kingdom. Among his best known works are the children's novels The Midnight Folk.

And The Box of Delights. And the poems The Everlasting Mercy. World War I to appointment as Poet Laureate. Masefield was born in Ledbury. In Herefordshire, to Caroline and George Masefield, a solicitor. His mother died giving birth to his sister when Masefield was only six, and he went to live with his aunt. His father died soon after, following a mental breakdown. After an unhappy education at the King's School. (now known as Warwick School), where he was a boarder between 1888 and 1891, he left to board HMS Conway.

Both to train for a life at sea, and to break his addiction to reading, of which his aunt thought little. It was aboard the Conway that Masefield's love for story-telling grew. He continued to read, and felt that he was to become a writer and story teller himself. I must down to the seas again, for the call of the running tide Is a wild call and a clear call that may not be denied; And all I ask is a windy day with the white clouds flying, And the flung spray and the blown spume, and the sea-gulls crying. From "Sea-Fever", in Salt-Water Ballads (1902).

In 1894, Masefield boarded the Gilcruix , destined for Chile this first voyage bringing him the experience of sea sickness. He recorded his experiences while sailing through the extreme weather, his journal entries reflecting a delight in seeing flying fish, porpoises, and birds, and was awed by the beauty of nature, including a rare sighting of a nocturnal rainbow.

On reaching Chile, Masefield suffered from sunstroke and was hospitalised. Destined for New York City. He lived as a vagrant for several months, drifting between odd jobs, eventually finding work as an assistant to a bar keeper, before finally returning to New York City.

Sometime around Christmas 1895, Masefield read the December edition of Truth. A New York periodical, which contained the poem "The Piper of Arll" by Duncan Campbell Scott.

Ten years later, Masefield wrote to Scott to tell him what reading that poem had meant to him. Stately Spanish galleon coming from the Isthmus, Dipping through the Tropics by the palm-green shores, With a cargo of diamonds, Emeralds, amethysts, Topazes, and cinnamon, and gold moidores. Dirty British coaster with a salt-caked smoke stack, Butting through the Channel in the mad March days, With a cargo of Tyne coal, Road-rails, pig-lead, Firewood, ironware, and cheap tin trays. From "Cargoes", in Ballads (1903). For the next two years, Masefield was employed by the huge Alexander Smith carpet factory in Yonkers, New York, where long hours were expected and conditions were far from ideal. His interests at this time were diverse and his reading included works by George du Maurier.

Also became very important to him during this time, as well as poetry by Keats. When Masefield was 23, he met his future wife, Constance de la Cherois Crommelin, who was 35 and of Huguenot descent.

Educated in classics and English Literature. And a mathematics teacher, Constance was a good match despite the difference in age.

The couple had two children (Judith, born in 1904, and Lewis, in 1910). In 1902 he was in charge of the fine art section of the Arts and Industrial Exhibition in Wolverhampton.

By the time he was 24, Masefield's poems were being published in periodicals and his first collected works, Salt-Water Ballads (1902) was published, the poem "Sea-Fever" appearing in this book. Masefield then wrote the novels, Captain Margaret (1908) and Multitude and Solitude (1909). In 1911, after a long drought of poem writing, he composed The Everlasting Mercy.

, the first of his narrative poems. And within the next year had produced two more, "The Widow in the Bye Street" and "Dauber". As a result, he became widely known to the public and was praised by the critics; in 1912, he was awarded the annual Edmond de Polignac prize. When World War I began, although old enough to be exempted from military service, Masefield joined the staff of a British hospital for French soldiers, Hôpital Temporaire d'Arc-en-Barrois.

Haute-Marne, France, serving briefly in 1915 as a hospital orderly, later publishing his own account of his experiences. At about this time, Masefield moved his country retreat from Buckinghamshire to Lollingdon Farm in Cholsey. Berkshire, a setting that inspired a number of poems and sonnets under the title Lollingdon Downs , and which his family used until 1917. After returning home, Masefield was invited to the United States on a three-month lecture tour.

Although their primary purpose was to lecture on English Literature, he also intended to collect information on the mood and views of Americans regarding the war in Europe. And suggested that he should be allowed to write a book about the failure of the allied efforts in the Dardanelles. Which possibly could be used in the United States to counter what he thought was German propaganda there. Was a success, encouraging the British people, lifting them somewhat from the disappointment they had felt as a result of the Allied losses in the Dardanelles. Due to the success of his wartime writings, Masefield met with the head of British Military Intelligence.

In France and was asked to write an account of the Battle of the Somme. Although Masefield had grand ideas for his book, he was denied access to the official records, and therefore, what was to be the preface was published as The Old Front Line , a description of the geography of the Somme area. These speaking engagements were very successful, and on one occasion, a battalion of black. Soldiers danced and sang for him after his talk. During this tour, he matured as a public speaker and realised his ability to touch the emotions of his audience with his style of speaking, learning to speak publicly with his own heart, rather than from dry scripted speeches. Towards the end of his trip, both Yale. Universities conferred honorary Doctorates of Letters on him. Masefield entered the 1920s as an accomplished and respected writer.

His family was able to settle on Boar's Hill. A somewhat rural setting not far from Oxford. Where Masefield took up beekeeping. He produced three poems early in this decade.

The first was Reynard The Fox (1920), a poem that has been critically compared with works of Geoffrey Chaucer. Not necessarily to Masefield's credit. This was followed by Right Royal and King Cole. Poems where the relationship of humanity and nature were emphasised.

While Reynard is the best known of these, all met with acclaim. After King Cole , Masefield turned away from the long poem and back to the novel, and from 1924 till the start of World War II.

Published 12 novels, which vary from stories of the sea (The Bird of Dawning , Victorious Troy) to social novels about modern England (The Hawbucks , The Square Peg), and from tales of an imaginary land in Central America (Sard Harker , Odtaa) to fantasies for children (The Midnight Folk , The Box of Delights). This variety in genre testifies most impressively to the breadth of his imagination, though it probably reduced his sales (which remained very respectable, however), since most readers of novels like knowing what to expect from their favourite authors. In this same period he wrote a large number of dramatic pieces. Most of these were based on Christian themes, and Masefield, to his amazement, encountered a ban on the performance of plays on biblical subjects that went back to the Reformation and had been revived a generation earlier to prevent production of Oscar Wilde's Salome. However, a compromise was reached, and in 1928 his "The Coming of Christ" was the first play to be performed in an English Cathedral since the Middle Ages. In 1921, Masefield received an Honorary Doctorate of Literature from the University of Oxford. In 1923, he organised Oxford Recitations. An annual contest whose purpose was to discover good speakers of verse and to encourage'the beautiful speaking of poetry'.

Given the numbers of contest applicants, the event's promotion of natural speech in poetical recitations, and the number of people learning how to listen to poetry, Oxford Recitations was generally deemed a success. Masefield was similarly a founding member in Scotland, in 1924, of the Scottish Association for the Speaking of Verse. He later came to question whether the Oxford events should continue as a contest, considering that they might better be run as a festival. However, in 1929, after he broke with the competitive element, Oxford Recitations came to an end.

The Scottish Association for the Speaking of Verse, on the other hand, continued to develop through the influence of associated figures such as Marion Angus. And exists today as the Poetry Association of Scotland.

In 1930, on the death of Robert Bridges. Many felt that Rudyard Kipling. Was a likely choice; however, upon the recommendation of Prime Minister Ramsay MacDonald. Appointed Masefield, who remained in office until his death in 1967.

The only person to hold the office for a longer period was Alfred, Lord Tennyson. On his appointment The Times. His poetry could touch to beauty the plain speech of everyday life.

Although the requirements of Poet Laureate had changed, and those in the office were rarely required to write verse for special occasions, Masefield took his appointment seriously and produced a large quantity of verse. Poems composed in his official capacity were sent to The Times.

Later he was commissioned to write a poem to be set to music by the Master of the King's Musick. And performed at the unveiling of the Queen Alexandra. Memorial by the King on 8 June 1932. This was the ode "So many true Princesses who have gone".

"Sonnet" Is there a great green commonwealth of Thought Which ranks the yearly pageant, and decides How Summer's royal progress shall be wrought, By secret stir which in each plant abides? Does rocking daffodil consent that she, The snowdrop of wet winters, shall be first?

Does spotted cowslip with the grass agree To hold her pride before the rattle burst? And in the hedge what quick agreement goes, When hawthorn blossoms redden to decay, That Summer's pride shall come, the Summer's rose, Before the flower be on the bramble spray?

Or is it, as with us, unresting strife, And each consent a lucky gasp for life? "Sonnet", in The Story of a Round-House (1915).

After his appointment, Masefield was awarded the Order of Merit. By King George V and many honorary degrees from British universities, in 1937 being elected as President of the Society of Authors.

Masefield encouraged the continued development of English literature and poetry, and began the annual awarding of the Royal Medals for Poetry. For a first or second published edition of poetry by a poet under the age of 35. Additionally, his speaking engagements were calling him further away, often on much longer tours, yet he still produced significant amounts of work in a wide variety of genres. To those he had already used he now added autobiography, producing New Chum , In the Mill , and So Long to Learn. Some critics judged Masefield to be an even finer writer of prose than of verse.

It was not until about the age of 70 that Masefield slowed his pace due to illness. In 1960, Constance died at 93, after a long illness. Although her death was heartrending, he had spent a tiring year watching the woman he loved die.

In late 1966, Masefield developed gangrene in his ankle. This spread to his leg, and he died of the infection on 12 May 1967. According to his wishes, he was cremated and his ashes placed in Poets' Corner.

Later, the following verse was discovered, written by Masefield, addressed to his "Heirs, Administrators, and Assigns". The Masefield Centre at Warwick School. Which Masefield attended, and John Masefield High School.

In Ledbury, Herefordshire, have been named in his honour. Released an album of his poetry, including some read by Masefield himself. In addition to the commission for Queen Alexandra's Memorial Ode.

With music by Elgar, many of Masefield's short poems were set as art songs. By British composers of the time. Best known by far is John Ireland. , the lasting popularity of which belies any mismatch between the urgency of the language and the slow, swung melody. Crafted several songs drawn from the Salt-Water Ballads and elsewhere.

Of these, "Trade Winds" was particularly popular in its day. Despite the tongue-twisting challenges the text presents to the singer.

Keel's defiant setting of "Tomorrow", written while interned at Ruhleben. Was frequently programmed at the BBC Proms after the war. Another memorable wartime composition is Ivor Gurney.

S climactic declamation of "By a bierside", a setting quickly set down in 1916 during a brief spell behind the lines. The Widow in the Bye Street (1912). The Story of a Round House and Other Poems (1912). Philip the King and Other Poems (1914). Lollingdon Downs and Other Poems with Sonnets (1917). Enslaved and Other Poems (1920). The Dream and Other Poems (1922).

King Cole and Other Poems (1923). The Collected Poems of John Masefield (1923). Midsummer Night and Other Tales in Verse (1928).

A Letter from Pontus and Other Verse (1936). Some Verses to Some Germans (1939). The Bluebells and Other Verses (1961). Old Raiger and Other Verses (1964). A Tarpaulin Muster (short stories) (1907). Martin Hyde: The Duke's Messenger (1910). A Book of Discoveries (children's novel) (1910). The Street of Today (1911). Jim Davis (Wells Gardner, 1911). The Bird of Dawning (Heinemann, 1933).

The Taking of the Gry. Or When the Wolves Were Running (children's novel) (1935). Victorious Troy: or The Harrying Angel (1935). The Square Peg: or The Gun Fella (1937). Live and Kicking Ned (1939).

Basilissa: A Tale of the Empress Theodora (1940). Conquer: A Tale of the Nika Rebellion in Byzantium (1941). The Tragedy of Pompey the Great. Good Friday: A Play in Verse (1916).

The Tragedy of Nan (Originally known as Nan). From the Norwegian play Anne Pedersdotter. The Coming of Christ (1928).

Sea Life in Nelson's Time (1905). The Battle of the Somme (1919).

The Wanderer of Liverpool (1930). Poetry: a Lecture Given at the Queen's Hall in London on Thursday, October 15th, 1931. The Conway: From Her Foundation to the Present Day (1933). The Nine Days Wonder (The Operation Dynamo) (1941).

So Long to Learn (autobiography) (1952). Grace Before Ploughing (autobiography) (Heinemann, 1966).

This article uncritically uses texts from within a religion or faith system. Without referring to secondary sources. By adding references to reliable secondary sources. With multiple points of view. Find sources: "Sanhedrin trial of Jesus". Jesus about to be struck in front of former High Priest Annas. As in John 18:22. Part of a series on. Death and Resurrection of Jesus.

In rest of the NT. In the New Testament, the Sanhedrin trial of Jesus refers to the trial of Jesus.

(a Jewish judicial body) following his arrest. And prior to his dispensation by Pontius Pilate.

It is an event reported by all four canonical gospels. Does not explicitly mention a Sanhedrin trial in this context. Jesus is generally quiet, does not mount a defense, and rarely responds to the accusations, but is condemned by the Jewish authorities for various accusations, violating the Sabbath law (by healing on the Sabbath), threatening to destroy the Jewish Temple. Exorcising people by the power of demons and claiming to be both the Messiah. And the Son of God.

The Jewish leaders then take Jesus to Pontius Pilate. The governor of Roman Judaea. And ask that he be tried for claiming to be the King of the Jews. The trial as depicted in the Synoptic Gospels. Is temporally placed informally on Thursday night and then again formally on Friday morning. However, since the Jewish preparation day begins Thursday at sunset, according to the Gospel of John this informally happened Wednesday night and then again formally on Thursday morning, with him eventually being taken off the cross Thursday night, being the beginning of the Jews'day of preparation', as it is written at John 19:42. In the narrative of all the canonical gospels. And arrest of Jesus, he is taken to the Sanhedrin. From a historical perspective, in the era in which the narrative is set, the Sanhedrin body was an ad hoc. Gathering, rather than a fixed court. The portrayal of the Sanhedrin body contradicts that of Jewish tradition and texts, which portray the Sanhedrin to be an established court based in Jerusalem with strict guidelines on how to function. To have been a delibrate contradiction by the Gospel authors, potentially accusing the Sanhedrin of severely violating the Torah. Explaining the Sanhedrin and its laws can be found in both the Mishna. In the four canonical gospels, Jesus is tried and condemned by the Sanhedrin, although not all members were present. According to Luke, Joseph of Arimathea. And beaten and condemned for various accusations, violating the Sabbath law (by healing on the Sabbath), threatening to destroy the Jewish Temple, sorcery, exorcising people by the power of demons and claiming to be both the Messiah. Although the Gospel accounts vary with respect to some of the details, they agree on the general character and overall structure of the trials of Jesus. States that Jesus was taken to the house of Caiaphas. The High Priest of Israel. Where the scribes and the elders were gathered together. Adds that, the next morning, the priests held another meeting. States that Jesus was taken that night "to the high priest" (without naming the priest), where all the chief priests and the elders gathered, and Mark 15:1.

Adds that another consultation was held among the priests the next morning. States that Jesus was taken to "the high priest's house" (without naming the priest), where he was mocked and beaten that night. It is added in 22:66.

That, "as soon as it was day", the chief priests and scribes gathered together and led Jesus away into their council. However, Jesus is first taken to Annas. The father-in-law of Caiaphas, who was the high priest. Annas was the former high priest.

And it appears that Caiaphas sought Annas' confirmation of Caiaphas' actions. Jesus is sent from Annas to Caiaphas the high priest, and 18:28.

States that, early in the morning, Jesus was led from Caiaphas to Pontius Pilate. In all four Gospel accounts, the trial of Jesus before the priests and scribes is interleaved with the Denial of Peter. Who has followed Jesus, denies knowing him three times. States that as Jesus was bound and standing at the priest's house Peter was in the courtyard.

Jesus "turned and looked straight at him", and Peter remembered the words Jesus had spoken to him: Before the rooster. Crows today, you will disown me three times. In the Gospel accounts, Jesus speaks very little, and gives very infrequent and indirect answers to the questions of the priests, according to John 18:22 prompting an officer to slap him.

The lack of response from Jesus prompts the high priest to ask him: Answerest thou nothing? In the Gospel accounts, the men that hold Jesus at the high priest's house mock, blindfold, insult and beat him, at times slapping him and asking him to guess who had hit him that time. States that the chief priests had sought witness against Jesus to put him to death but did not find any, so they arranged false witnesses against him, but their witnesses did not agree together. States that the high priest then asked Jesus: Art thou the Christ. The Son of the Blessed?

The high priest asks: tell us whether you are the Christ, the Son of God. " Jesus responds "You have said it, prompting the High Priest to tear his own robe.

Jesus is asked: If thou art the Christ, tell us. But he said unto them, If I tell you, ye will not believe.

When asked Are you then the Son of God? At that point, the priests say What further need have we of witness? For we ourselves have heard from his own mouth, and they decide to condemn Jesus.

Thereafter, in Pilate's Court. The Jewish elders ask Pontius Pilate to judge and condemn Jesus, accusing him of claiming to be the King of the Jews. Such a claim would be considered treasonous, being a direct challenge to the Roman authorities. S depiction of Jesus before Caiaphas.

S 1660 depiction of Peter's Denial. Jesus, in the upper right hand corner, is at the high priest's house, his hands bound behind him, and turns to look at Peter. The following comparison table is based on the New International Version.

(NIV) English translation of the New Testament. Jesus taken to Caiaphas' court. Sanhedrin brought forth false witnesses. Caiaphas:'Are you the Messiah, the Son of God?

Jesus:'You say so, but from now on you will see the Son of Man next to the Mighty One and coming on the clouds of heaven. Caiaphas tore his clothes and said:'Blasphemy!

Who needs more witnesses, now you have heard the blasphemy! The rest answered:'He is worthy of death!

Jesus spit on and beaten. Prophesy, who hit you, Messiah? Jesus taken to the high priest. High priest:'Are you the Messiah, the Son of the Blessed One?

High priest tore his clothes:'Who needs more witnesses, now you have heard the blasphemy! They all condemned him as worthy of death. Jesus spit on, blindfolded and beaten. Jesus taken to high priest's house. Sanhedrin asked Jesus if he was the Messiah. Jesus:'You won't believe me, but from now on the Son of Man will be next to the power of God. All:'Are you then the Son of God? All:'Who needs more testimony? We've heard him say it himself! Jesus taken to Annas' court. Annas questioned Jesus about his disciples and teaching. Jesus told Annas about his ministry. Officer of Annas slapped Jesus, who asked him why. Annas sent Jesus, bound, to Caiaphas. Denial of Peter (part 2). Jesus taken from Caiaphas to Pilate. The item "LeatherTRIAL OF JESUS!

GIFT" is in sale since Wednesday, July 10, 2019. This item is in the category "Books & Magazines\Antiquarian & Collectible". The seller is "merchants-rare-books" and is located in Moab, Utah. This item can be shipped worldwide.


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