Sarah Stickney Ellis

Sarah Stickney Ellis

Summary

Portrait of Sarah Stickney Ellis Sarah Stickney Ellis The Mothers of England (1844)

The maintenance of authority is like the preservation of a siring of beads—break but the "silken cord on which they hang," and the pearls are scattered in disorder, if not irretrievably lost. By suffering the rule of obedience to be set aside, an endless catalogue of evil tempers, vexations, disappointments, artifices, mean subterfuges, and even the worst of all, bribery—the bribery of self-interested endearments—are allowed to take the place of that steady, calm, and undeviating submission, which costs no pain, and requires no sacrifice, simply because it is habitual.
Source: Wikisource

Portrait of Sarah Stickney Ellis Sarah Stickney Ellis The Mothers of England (1844)

As the glow of the winter's hearth, all bright and cheering as it is, has an influence more felt than seen; so there is a life-giving warmth to those who form the charmed circle, in these simple but yet touching scenes, of which nothing in after-life can destroy the vitality, and still less efface the remembrance. It is from such fountains as these, gushing forth in the secret of domestic life, that those streams of affection are supplied, from which we have to draw, in our intercourse with society, and with the world.
Source: Wikisource

Portrait of Sarah Stickney Ellis Sarah Stickney Ellis The Mothers of England (1844)

Already it may be said that poetry is banished from our world; and if painting still lingers on the stage of public observation, it is too much regarded as a scene—a show—a pageant of the moment, and no more. It is true that music has burst forth among the million, to assert its rights as a natural and almost necessary gratification; but it is to be feared that the machinery by which it is got up, the noise, and the exhibition, have more to do with this means of enjoyment, than the voice and the language which it offers to the music of the soul.
Source: Wikisource

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