OUT OF LINE

1) ‘The players wear masks and found their movements upon those of puppets:
the most famous of all Japanese dramatists composed entirely for puppets. A
swift or a slow movement and a long or a short stillness, and then another
movement… They move from the hip, keeping constantly the upper part of their
body still, and seem to associate with every gesture or pose some definite
thought. They cross the stage with a sliding movement, and one gets the
impression not of undulation but of continuous straight lines.’
Yeats, Certain Noble Plays of Japan, Part V

2) …education that befits

A bastard that a pedlar got
Upon a tinker’s daughter in a ditch.

Yeats, Purgatory, (88-90)

3) ‘It was the first exquisite blonde thing that had come into the family, a little
mite with the white, slim, beautiful limbs of its father, and as it grew up the
dancing, dainty movement of a wild little daisy-spirit... She was like a little poem
in herself.’
Lawrence, ‘England, my England’

4) ‘The sunlight blazed down upon the earth, there was a vividness of flamy
vegetation, of fierce seclusion amid the savage peace of the commons. Strange
how the savage England lingers in patches: as here, amid these shaggy gorse
commons, and marshy, snake-infested places near the foot of the south downs.
The spirit of place lingering on primeval, as when the Saxons came, so long ago.’
Lawrence, ‘England, my England’

5) ‘The language of culture and community is poised on the fissures of the

present, becoming the rhetorical figures of a national past.’
Homi Bhabha, The Location of Culture (Routledge, London, 1994), p142

6) ‘turned into the archaic, atavistic temporality of Traditionalism.’

Homi Bhabha, The Location of Culture (Routledge, London, 1994), p149

7) ‘Bit by bit every establishment collapses, unless it is renewed or restored by

living hands.’
‘England, my England’

8) ‘What was that? A light! A terrible light! Was it figures? Was it legs of a horse
colossal—colossal above him: huge, huge?’
‘England, my England’