England Over Seas — Themes and Context

(0 User reviews)   628
Roberts, Lloyd, 1884-1966 Project Gutenberg 2005 Not confirmed
Canadian poetry -- 20th century Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 9,095
Reading time 40 min
Text sections 2

This digital edition of England Over Seas — Themes and Context is described by source-level measurements including 9,095 words, 40 min estimated reading time, and 2 detected text sections.

The text analysis averages about 29.2 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Canadian poetry -- 20th century,” connecting these edition facts with the source record’s subject description.

Lloyd Roberts's 1914 poetry collection moves through English and Canadian landscapes, using recurring images of wind, water, and seasonal change to explore restlessness and belonging. The poems shift between pastoral scenes and wilder terrains, with a strong sense of motion and the pull of distant places.
Share
Editorial Edition Score 4.4/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

London Elkin Mathews, Cork Street

ENGLAND'S FIELDS THE MADNESS OF WINDS YOUNG BLOOD THE HOMESTEADER HUSBANDS OVER SEAS THE COUNTRY GOES TO TOWN THE TRAIL FROM NAPOLI THE CHANGING YEAR RUNNERS OF THE RAIN SPRING MADNESS ONE MORNING WHEN THE RAIN-BIRDS CALL SPRING'S SINGING THE FLUTES OF THE FROGS MISS PIXIE A-FISHING THE BERRY PICKERS THE WOOD TRAIL THE FRUIT-RANCHER FROM EXILE THE WARM GREEN SEA THERE'S MUSIC IN MY HEART TO-DAY AUGUST ON THE RIVER THE WIND TONGUES MUSK-RATS THE KILL ON THE MARSHES THE SCARLET TRAILS AT THE YEAR'S END WINTER WINDS DEAD DAYS THE WINTER HARVEST FLOWERS OF THE SKY

England's cliffs are white like milk, But England's fields are green; The grey fogs creep across the moors, But warm suns stand between. And not so far from London town, beyond the brimming street, A thousand little summer winds are singing in the wheat.

Red-lipped poppies stand and burn, The hedges are aglow; The daisies climb the windy hills Till all grow white like snow. And when the slim, pale moon slides up, and dreamy night is near, There's a whisper in the beeches for lonely hearts to hear.

Poppies burn in Italy, And suns grow round and high; The black pines of Posilipo Are gaunt upon the sky-- And yet I know an English elm beside an English lane That calls me through the twilight and the miles of misty rain.

Tell me why the meadow-lands Become so warm in June; Why the tangled roses breathe So softly to the moon; And when the sunset bars come down to pass the feet of day, Why the singing thrushes slide between the sprigs of May?

Weary, we have wandered back-- And we have travelled far-- Above the storms and over seas Gleamed ever one bright star-- O England! when our feet grow cold and will no longer roam, We see beyond your milk-white cliffs the round, green fields of home.

On all the upland pastures the strong winds gallop free, Trampling down the flowered stalks sleepy in the sun, Whirl away in blue and gold all their finery, Till naked crouch the gentle hosts where the winds have run.

Along the rocking hillsides shaggy heads are bent; Out upon the tawny plains tortured dust leaps high; The red roof of the sunset is torn away and rent, And chaos lifts the heavy sea and bends the hollow sky.

The winds are drunk with freedom--the crowded valleys roar; The madness surges through their veins, and when they gallop out The black rain follows close behind, the pale sun flees before, And recklessly across the world goes all the broken rout.

I was striding on the uplands when the host was running mad, I saw them threshing through the leaves and daisy tops below, And as their feet came up the hill, my tired heart grew glad-- Till at the music of their throats I knew that I must go.

So the winds are now my brothers, they have joined me to their ranks, And when their rampant strength wells up and drives them singing forth, I am with them when they roll the fog across the oily banks, And tumble out the sleeping bergs that crowd beyond the north.

The woods are drenched with moonlight and every leafs awake; The little beads of dew sit white on every twig and blade; A thousand stars are scattered thick beneath the forest lake; We pass--with only laughter for the havoc we have made.

There's not a wind that brushes the long bright fields of corn, Or, shrieking, drives the broken wreck beneath a blackened sea, There's not a wind that draws the rain across the face of morn That does not rise when I arise and sink again with me.

They took me from the forests and they put me in the town; They bid me learn the wisdom the wise men have laid down, To put by my childish ways And forget my Golden Days, With my feet upon the ladder that runs up to high renown.

So I would not hear the voices that were calling day and night, And I would not see the visions that were ever in my sight; But I mingled with the throngs, Heard their curses and their songs, And raised the brimming glass on high to catch the yellow light.

But I was not meant to wander where the wild things never came, Where the night-time was like day-time and the seasons were the same; Where the city's sullen roar Ever surged against my door, And the only peace was battle and the only goal was fame.

Lloyd Roberts's England Over Seas (1914) is a collection of poems that moves restlessly between the cultivated fields of England and the raw landscapes of Canada. The opening poem, “England's Fields,” establishes a pattern of contrast: white cliffs and green meadows, the proximity of London and the singing wheat, the pull of home against the lure of travel. Throughout the volume, Roberts returns to images of wind—galloping, drunken, mad—as a force that both unsettles and liberates. The poems are short, often lyrical, and structured around seasonal cycles, but they resist simple nostalgia by insisting on the speaker's need to wander.

Wind as a Restless Force

Wind appears repeatedly as an agent of disruption and liberation. In “The Madness of Winds,” the winds are “drunk with freedom,” trampling flowers, tearing the sunset, and driving the speaker to join their ranks. The poem personifies wind as a galloping host, and the speaker’s heart grows glad at the prospect of being swept along. This is not a gentle breeze but a violent, chaotic energy that reshapes the landscape. Later, “The Wind Tongues” gives voice to the trees, where the wind carries a “poignant sorrow” and the sound of approaching winter. Wind here is both a physical force and a psychological one, linking the outer world to the speaker’s inner restlessness.

Movement Between Two Worlds

The collection is structured around a tension between England and the wider world. “England's Fields” evokes the comfort of home—the elm, the lane, the singing thrushes—but the speaker has “wandered back” after travelling far, and the poem ends with a vision of home seen from a distance. In “The Homesteader” and “Husbands Over Seas,” the focus shifts to those who have left England for new lands. The poem “The Country Goes to Town” and “The Trail from Napoli” suggest movement not only across oceans but also between rural and urban spaces. This constant motion is not merely physical; it reflects a psychological state of being pulled between attachment and the urge to depart.

Seasonal Cycles and Their Disruptions

Roberts organizes many poems around the turning of the year, but he emphasizes moments of transition and extremity. “August on the River” presents a landscape of oppressive heat, where the river shrinks and the sun glares “hot and red.” In contrast, “Winter Winds” and “Dead Days” depict a barren, frozen world. The seasonal poems are not merely descriptive; they often contain a note of threat or loss. “The Changing Year” and “At the Year's End” mark the passage of time with a sense of inevitability, while “The Winter Harvest” and “Flowers of the Sky” find beauty in the cold. The cycle is not a gentle progression but a series of violent shifts, mirroring the speaker's own emotional landscape.

Recurring Images of Water and Wildlife

Water appears in many forms: the sea, rivers, marshes, rain. “The Warm Green Sea” and “Runners of the Rain” treat water as a living, moving presence. In “Musk-Rats,” the creatures slip from the bank into a “stagnant stream” under moonlight, their black heads furrowing the water. The poem “On the Marshes” places the speaker hidden in reeds, watching wild geese and listening to the plover's piping. These poems are precise in their observation of animal behavior—the honking geese, the herons, the snipe—and they ground the collection's more abstract themes in concrete, sensory detail. The natural world is not a backdrop but an active participant in the drama of departure and return.

Readers approaching England Over Seas will find a collection that rewards attention to its recurring motifs: wind, water, seasonal change, and the tension between home and horizon. The poems are best read as a sequence, where individual pieces echo and complicate one another. Roberts's language is direct and image-driven, and his landscapes are both specific and emblematic. The volume offers a compact but resonant exploration of what it means to be pulled between places.

That Lloyd Roberts book stayed with me for how the wind never quite settles in his lines. It made me think of an old collection we once found, The Modern Scottish Minstrel, Volume 5. The Songs of Scotland of the Past Half Century — Reading Notes, where similar longing hums beneath quieter words. Both feel like weather, not scenery.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

How did this book work for you?

Your answers remain private and are stored only in this browser.

Your progress 0 / 10
1

What is your current status with this title?

2

Did this book hold your interest?

3

Is this a title you would suggest to others?

4

Did the language feel accessible?

Related eBooks