William Morris Quotes

Love is Enough (1872), Song VI: Cherish Life that Abideth
Context: Love is enough: cherish life that abideth,
Lest ye die ere ye know him, and curse and misname him;
For who knows in what ruin of all hope he hideth,
On what wings of the terror of darkness he rideth?
And what is the joy of man's life that ye blame him
For his bliss grown a sword, and his rest grown a fire?

Love is Enough (1872), Song IV: Draw Near and Behold Me
Variant: Pass by me, I hearken, and think of you not!
Context: Love is enough: draw near and behold me
Ye who pass by the way to your rest and your laughter,
And are full of the hope of the dawn coming after;
For the strong of the world have bought me and sold me
And my house is all wasted from threshold to rafter.
— Pass by me, and hearken, and think of me not!

"The Beauty of Life," a lecture before the Birmingham Society of Arts and School of Design (19 February 1880), later published in Hopes and Fears for Art: Five Lectures Delivered in Birmingham, London, and Nottingham, 1878 - 1881 (1882).

Life and Death of Jason, Book ix, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

As quoted in William Morris & Red House (2005) by Jan Marsh, p. 65.

The Earthly Paradise (1868-70), The Lady of the Land

Love is Enough (1872), Song IV: Draw Near and Behold Me
Context: Love is enough: draw near and behold me
Ye who pass by the way to your rest and your laughter,
And are full of the hope of the dawn coming after;
For the strong of the world have bought me and sold me
And my house is all wasted from threshold to rafter.
— Pass by me, and hearken, and think of me not!

Love is Enough (1872), Song VII: Dawn Talks to Day
Context: Dawn talks to Day
Over dew-gleaming flowers,
Night flies away
Till the resting of hours:
Fresh are thy feet
And with dreams thine eyes glistening,
Thy still lips are sweet
Though the world is a-listening.
O Love, set a word in my mouth for our meeting,
Cast thine arms round about me to stay my heart's beating!
O fresh day, O fair day, O long day made ours!

Signs of Change (1888), The Aims of Art

Source: A Dream of John Ball (1886), Ch. 4: The Voice of John Ball
Context: Forsooth, ye have heard it said that ye shall do well in this world that in the world to come ye may live happily for ever; do ye well then, and have your reward both on earth and in heaven; for I say to you that earth and heaven are not two but one; and this one is that which ye know, and are each one of you a part of, to wit, the Holy Church, and in each one of you dwelleth the life of the Church, unless ye slay it.

Love is Enough (1872), Song IX: Ho Ye Who Seek Saving
Context: Come — pain ye shall have, and be blind to the ending!
Come — fear ye shall have, mid the sky's overcasting!
Come — change ye shall have, for far are ye wending!
Come — no crown ye shall have for your thirst and your fasting,
But the kissed lips of Love and fair life everlasting!
Cry out, for one heedeth, who leadeth you home!

Speech, London (10 March 1880).
Context: Simplicity of life, even the barest, is not a misery, but the very foundation of refinement: a sanded floor and whitewashed walls, and the green trees, and flowery meads, and living waters outside; or a grimy palace amid the smoke with a regiment of housemaids always working to smear the dirt together so that it may be unnoticed; which, think you, is the most refined, the most fit for a gentleman of those two dwellings?
So I say, if you cannot learn to love real art; at least learn to hate sham art and reject it. It is not because the wretched thing is so ugly and silly and useless that I ask you to cast it from you; it is much more because these are but the outward symbols of the poison that lies within them; look through them and see all that has gone to their fashioning, and you will see how vain labour, and sorrow, and disgrace have been their companions from the first — and all this for trifles that no man really needs!

"March".
The Earthly Paradise (1868-70)
Context: Rejoice, lest pleasureless ye die.
Within a little time must ye go by.
Stretch forth your open hands, and while ye live
Take all] the [[gifts that Death and Life may give!

"Art Under Plutocracy" (1883).
Context: So long as the system of competition in the production and exchange of the means of life goes on, the degradation of the arts will go on; and if that system is to last for ever, then art is doomed, and will surely die; that is to say, civilization will die.

Introductory verse.
The Earthly Paradise (1868-70)
Context: Masters, I have to tell a tale of woe,
A tale of folly and of wasted life,
Hope against hope, the bitter dregs of strife,
Ending, where all things end, in death at last.

Love is Enough (1872), Song IX: Ho Ye Who Seek Saving
Context: Love is enough: ho ye who seek saving,
Go no further; come hither; there have been who have found it,
And these know the House of Fulfilment of Craving;
These know the Cup with the roses around it;
These know the World's Wound and the balm that hath bound it:
Cry out, the World heedeth not, "Love, lead us home!"

Love is Enough (1872), Song II: Have No Thought for Tomorrow

Source: A Dream of John Ball (1886), Ch. 4: The Voice of John Ball
Context: Forsooth, brothers, fellowship is heaven, and lack of fellowship is hell: fellowship is life, and lack of fellowship is death: and the deeds that ye do upon the earth, it is for fellowship's sake that ye do them, and the life that is in it, that shall live on and on for ever, and each one of you part of it, while many a man's life upon the earth from the earth shall wane.
Therefore, I bid you not dwell in hell but in heaven, or while ye must, upon earth, which is a part of heaven, and forsooth no foul part.

The Earthly Paradise (1868-70), Apology
Context: Dreamer of dreams, born out of my due time,
Why should I strive to set the crooked straight?
Let it suffice me that my murmuring rhyme
Beats with light wing against the ivory gate,
Telling a tale not too importunate
To those who in the sleepy region stay,
Lulled by the singer of an empty day.

Love is Enough (1872), Song VII: Dawn Talks to Day
Context: Let us speak, love, together some words of our story,
That our lips as they part may remember the glory!
O soft day, O calm day, made clear for our sake!

The Earthly Paradise (1868-70), The Lady of the Land
Context: "Alas, alas! another day gone by,
Another day and no soul come," she said;
"Another year, and still I am not dead!"
And with that word once more her head she raised,
And on the trembling man with great eyes gazed.

Love is Enough (1872), Song II: Have No Thought for Tomorrow
Context: Lo, the lovers unloved that draw nigh for your blessing!
For your tale makes the dreaming whereby yet they live
The dreams of the day with their hopes of redressing,
The dreams of the night with the kisses they give,
The dreams of the dawn wherein death and hope strive.

Source: A Dream of John Ball (1886), Ch. 4: The Voice of John Ball
Context: Forsooth, brothers, fellowship is heaven, and lack of fellowship is hell: fellowship is life, and lack of fellowship is death: and the deeds that ye do upon the earth, it is for fellowship's sake that ye do them, and the life that is in it, that shall live on and on for ever, and each one of you part of it, while many a man's life upon the earth from the earth shall wane.
Therefore, I bid you not dwell in hell but in heaven, or while ye must, upon earth, which is a part of heaven, and forsooth no foul part.

Love is Enough (1872), Song I : Though the World Be A-Waning
Context: Love is enough: though the World be a-waning
And the woods have no voice but the voice of complaining,
Though the sky be too dark for dim eyes to discover
The gold-cups and daisies fair blooming thereunder,
Though the hills be held shadows, and the sea a dark wonder,
And this day draw a veil over all deeds passed over,
Yet their hands shall not tremble, their feet shall not falter;
The void shall not weary, the fear shall not alter
These lips and these eyes of the loved and the lover.

Why I Am A Socialist (1884).
Context: What shall I say concerning its mastery of and its waste of mechanical power, its commonwealth so poor, its enemies of the commonwealth so rich, its stupendous organization — for the misery of life! Its contempt of simple pleasures which everyone could enjoy but for its folly? Its eyeless vulgarity which has destroyed art, the one certain solace of labour? All this I felt then as now, but I did not know why it was so. The hope of the past times was gone, the struggles of mankind for many ages had produced nothing but this sordid, aimless, ugly confusion.

Love is Enough (1872), Song IV: Draw Near and Behold Me
Context: Ye know not how void is your hope and your living:
Depart with your helping lest yet ye undo me!
Ye know not that at nightfall she draweth near to me,
There is soft speech between us and words of forgiving
Till in dead of the midnight her kisses thrill through me.
— Pass by me and harken, and waken me not!

Source: A Dream of John Ball (1886), Ch. 1: The Men of Kent
Context: When I was journeying (in a dream of the night) down the well-remembered reaches of the Thames betwixt Streatley and Wallingford, where the foothills of the White Horse fall back from the broad stream, I came upon a clear-seen mediæval town standing up with roof and tower and spire within its walls, grey and ancient, but untouched from the days of its builders of old. All this I have seen in the dreams of the night clearer than I can force myself to see them in dreams of the day. So that it would have been nothing new to me the other night to fall into an architectural dream if that were all, and yet I have to tell of things strange and new that befell me after I had fallen asleep.

Love is Enough (1872), Song II: Have No Thought for Tomorrow
Context: Till again shall the change come, and words your lips say not
Your hearts make all plain in the best wise they would
And the world ye thought waning is glorious and good...

"The History of Pattern-Designing" lecture (1882) The Collected Works of William Morris (1910 - 1915) Vol. 22.
Context: I love art, and I love history, but it is living art and living history that I love... It is in the interest of living art and living history that I oppose so-called restoration. What history can there be in a building bedaubed with ornament, which cannot at the best be anything but a hopeless and lifeless imitation of the hope and vigour of the earlier world?

Why I Am A Socialist (1884).
Context: What shall I say concerning its mastery of and its waste of mechanical power, its commonwealth so poor, its enemies of the commonwealth so rich, its stupendous organization — for the misery of life! Its contempt of simple pleasures which everyone could enjoy but for its folly? Its eyeless vulgarity which has destroyed art, the one certain solace of labour? All this I felt then as now, but I did not know why it was so. The hope of the past times was gone, the struggles of mankind for many ages had produced nothing but this sordid, aimless, ugly confusion.

The Earthly Paradise (1868-70), The Lady of the Land
Context: And there he saw a door within the wall,
Well-hinged, close shut; nor was there in that place
Another on its hinges, therefore he
Stood there and pondered for a little space
And thought: "Perchance some marvel I shall see,
For surely here some dweller there must be,
Because this door seems whole and new and sound,
While nought but ruin I can see around".

Love is Enough (1872), Song IX: Ho Ye Who Seek Saving
Context: Come — pain ye shall have, and be blind to the ending!
Come — fear ye shall have, mid the sky's overcasting!
Come — change ye shall have, for far are ye wending!
Come — no crown ye shall have for your thirst and your fasting,
But the kissed lips of Love and fair life everlasting!
Cry out, for one heedeth, who leadeth you home!

The Earthly Paradise (1868-70), Apology
Context: Folk say, a wizard to a northern king
At Christmas-tide such wondrous things did show,
That through one window men beheld the spring,
And through another saw the summer glow,
And through a third the fruited vines a-row,
While still, unheard, but in its wonted way,
Piped the drear wind of that December day.
So with this Earthly Paradise it is,
If ye will read aright, and pardon me,
Who strive to build a shadowy isle of bliss
Midmost the beating of the steely sea,
Where tossed about all hearts of men must be;
Whose ravening monsters mighty men shall slay,
Not the poor singer of an empty day.

News from Nowhere (1890)
Context: Go back again, now you have seen us, and your outward eyes have learned that in spite of all the infallible maxims of your day there is yet a time of rest in store for the world, when mastery has changed into fellowship — but not before. Go back again, then, and while you live you will see all round you people engaged in making others live lives which are not their own, while they themselves care nothing for their own real lives — men who hate life though they fear death. Go back and be the happier for having seen us, for having added a little hope to your struggle. Go on living while you may, striving, with whatsoever pain and labour needs must be, to build up little by little the new day of fellowship, and rest, and happiness.

Love is Enough (1872), Song VIII: While Ye Deemed Him A-Sleeping
Context: Love is enough: while ye deemed him a-sleeping,
There were signs of his coming and sounds of his feet;
His touch it was that would bring you to weeping,
When the summer was deepest and music most sweet...

Signs of Change (1888), How We Live And How We Might Live
Context: Fear and Hope — those are the names of the two great passions which rule the race of man, and with which revolutionists have to deal; to give hope to the many oppressed and fear to the few oppressors, that is our business; if we do the first and give hope to the many, the few must be frightened by their hope; otherwise we do not want to frighten them; it is not revenge we want for poor people, but happiness; indeed, what revenge can be taken for all the thousands of years of the sufferings of the poor?

Love is Enough (1872), Song VII: Dawn Talks to Day
Context: Morn shall meet noon
While the flower-stems yet move,
Though the wind dieth soon
And the clouds fade above.
Loved lips are thine
As I tremble and hearken;
Bright thine eyes shine,
Though the leaves thy brow darken.
O Love, kiss me into silence, lest no word avail me,
Stay my head with thy bosom lest breath and life fail me!
O sweet day, O rich day, made long for our love!

The Earthly Paradise (1868-70), The Lady of the Land
Context: From those thy words, I deem from some distress
By deeds of mine thy dear life I might save;
O then, delay not! if one ever gave
His life to any, mine I give to thee;
Come, tell me what the price of love must be?
Swift death, to be with thee a day and night
And with the earliest dawning to be slain?
Or better, a long year of great delight,
And many years of misery and pain?
Or worse, and this poor hour for all my gain?
A sorry merchant am I on this day,
E'en as thou willest so must I obey.

Signs of Change (1888), How We Live And How We Might Live
Context: The word Revolution, which we Socialists are so often forced to use, has a terrible sound in most people's ears, even when we have explained to them that it does not necessarily mean a change accompanied by riot and all kinds of violence, and cannot mean a change made mechanically and in the teeth of opinion by a group of men who have somehow managed to seize on the executive power for the moment. Even when we explain that we use the word revolution in its etymological sense, and mean by it a change in the basis of society, people are scared at the idea of such a vast change, and beg that you will speak of reform and not revolution. As, however, we Socialists do not at all mean by our word revolution what these worthy people mean by their word reform, I can't help thinking that it would be a mistake to use it, whatever projects we might conceal beneath its harmless envelope. So we will stick to our word, which means a change of the basis of society; it may frighten people, but it will at least warn them that there is something to be frightened about, which will be no less dangerous for being ignored; and also it may encourage some people, and will mean to them at least not a fear, but a hope.

Source: A Dream of John Ball (1886), Ch. 12: Ill Would Change Be At Whiles Were It Not For The Change Beyond The Change.
Context: To thee, when thou didst try to conceive of them, the ways of the days to come seemed follies scarce to be thought of; yet shall they come to be familiar things, and an order by which every man liveth, ill as he liveth, so that men shall deem of them, that thus it hath been since the beginning of the world, and that thus it shall be while the world endureth... Yet in time shall this also grow old, and doubt shall creep in, because men shall scarce be able to live by that order, and the complaint of the poor shall be hearkened, no longer as a tale not utterly grievous, but as a threat of ruin, and a fear. Then shall these things, which to thee seem follies, and to the men between thee and me mere wisdom and the bond of stability, seem follies once again; yet, whereas men have so long lived by them, they shall cling to them yet from blindness and from fear; and those that see, and that have thus much conquered fear that they are furthering the real time that cometh and not the dream that faileth, these men shall the blind and the fearful mock and missay, and torment and murder: and great and grievous shall be the strife in those days, and many the failures of the wise, and too oft sore shall be the despair of the valiant; and back-sliding, and doubt, and contest between friends and fellows lacking time in the hubbub to understand each other, shall grieve many hearts and hinder the Host of the Fellowship: yet shall all bring about the end, till thy deeming of folly and ours shall be one, and thy hope and our hope; and then — the Day will have come.

Love is Enough (1872), Song VII: Dawn Talks to Day
Context: Dawn talks to Day
Over dew-gleaming flowers,
Night flies away
Till the resting of hours:
Fresh are thy feet
And with dreams thine eyes glistening,
Thy still lips are sweet
Though the world is a-listening.
O Love, set a word in my mouth for our meeting,
Cast thine arms round about me to stay my heart's beating!
O fresh day, O fair day, O long day made ours!

The Earthly Paradise (1868-70), The Lady of the Land
Context: What man art thou that thus hast wandered here,
And found this lonely chamber where I dwell?
Beware, beware! for I have many a spell;
If greed of power and gold have led thee on,
Not lightly shall this untold wealth be won.
But if thou com'st here knowing of my tale,
In hope to bear away my body fair,
Stout must thine heart be, nor shall that avail
If thou a wicked soul in thee dost bear;
So once again I bid thee to beware,
Because no base man things like this may see,
And live thereafter long and happily.

The Decorative Arts (1877)
Context: To give people pleasure in the things they must perforce use, that is one great office of decoration; to give people pleasure in the things they must perforce make, that is the other use of it.
Does not our subject look important enough now? I say that without these arts, our rest would be vacant and uninteresting, our labour mere endurance, mere wearing away of body and mind.

The Earthly Paradise (1868-70), The Lady of the Land
Context: What man art thou that thus hast wandered here,
And found this lonely chamber where I dwell?
Beware, beware! for I have many a spell;
If greed of power and gold have led thee on,
Not lightly shall this untold wealth be won.
But if thou com'st here knowing of my tale,
In hope to bear away my body fair,
Stout must thine heart be, nor shall that avail
If thou a wicked soul in thee dost bear;
So once again I bid thee to beware,
Because no base man things like this may see,
And live thereafter long and happily.

"March".
The Earthly Paradise (1868-70)

Love is Enough (1872), Song V: Through the Trouble and Tangle

Love is Enough (1872), Song VII: Dawn Talks to Day
Context: Eve shall kiss night,
And the leaves stir like rain
As the wind stealeth light
O'er the grass of the plain.
Unseen are thine eyes
Mid the dreamy night's sleeping,
And on my mouth there lies
The dear rain of thy weeping.

Source: A Dream of John Ball (1886), Ch. 12: Ill Would Change Be At Whiles Were It Not For The Change Beyond The Change.
Context: Mastership hath many shifts whereby it striveth to keep itself alive in the world. And now hear a marvel: whereas thou sayest these two times that out of one man ye may get but one man's work, in days to come one man shall do the work of a hundred men — yea, of a thousand or more: and this is the shift of mastership that shall make many masters and many rich men.

The Earthly Paradise (1868-70), The Lady of the Land
Context: Upon the floor uncounted medals lay
Like things of little value; here and there
Stood golden caldrons, that might well outweigh
The biggest midst an emperor's copper-ware,
And golden cups were set on tables fair,
Themselves of gold; and in all hollow things
Were stored great gems, worthy the crowns of kings.

Introductory verse.
The Earthly Paradise (1868-70)

Love is Enough (1872), Song VIII: While Ye Deemed Him A-Sleeping
Context: All wonder of pleasure, all doubt of desire,
All blindness, are ended, and no more ye feel
If your feet treat his flowers or the flames of his fire,
If your breast meet his balms or the edge of his steel.
Change is come, and past over, no more strife, no more learning:
Now your lips and your forehead are sealed with his seal,
Look backward and smile at the thorns and the burning.
— Sweet rest, O my soul, and no fear of returning!

Love is Enough (1872), Song VIII: While Ye Deemed Him A-Sleeping
Context: All wonder of pleasure, all doubt of desire,
All blindness, are ended, and no more ye feel
If your feet treat his flowers or the flames of his fire,
If your breast meet his balms or the edge of his steel.
Change is come, and past over, no more strife, no more learning:
Now your lips and your forehead are sealed with his seal,
Look backward and smile at the thorns and the burning.
— Sweet rest, O my soul, and no fear of returning!

Signs of Change (1888), Useful Work versus Useless Toil
Context: Worthy work carries with it the hope of pleasure in rest, the hope of the pleasure in our using what it makes, and the hope of pleasure in our daily creative skill.
All other work but this is worthless; it is slaves' work — mere toiling to live, that we may live to toil.

Source: A Dream of John Ball (1886), Ch. 1: The Men of Kent
Context: When I was journeying (in a dream of the night) down the well-remembered reaches of the Thames betwixt Streatley and Wallingford, where the foothills of the White Horse fall back from the broad stream, I came upon a clear-seen mediæval town standing up with roof and tower and spire within its walls, grey and ancient, but untouched from the days of its builders of old. All this I have seen in the dreams of the night clearer than I can force myself to see them in dreams of the day. So that it would have been nothing new to me the other night to fall into an architectural dream if that were all, and yet I have to tell of things strange and new that befell me after I had fallen asleep.

Speech, London (10 March 1880).
Context: Simplicity of life, even the barest, is not a misery, but the very foundation of refinement: a sanded floor and whitewashed walls, and the green trees, and flowery meads, and living waters outside; or a grimy palace amid the smoke with a regiment of housemaids always working to smear the dirt together so that it may be unnoticed; which, think you, is the most refined, the most fit for a gentleman of those two dwellings?
So I say, if you cannot learn to love real art; at least learn to hate sham art and reject it. It is not because the wretched thing is so ugly and silly and useless that I ask you to cast it from you; it is much more because these are but the outward symbols of the poison that lies within them; look through them and see all that has gone to their fashioning, and you will see how vain labour, and sorrow, and disgrace have been their companions from the first — and all this for trifles that no man really needs!

The Earthly Paradise (1868-70), The Lady of the Land
Context: Noble the house was, nor seemed built for war,
But rather like the work of other days,
When men, in better peace than now they are,
Had leisure on the world around to gaze,
And noted well the past times' changing ways;
And fair with sculptured stories it was wrought,
By lapse of time unto dim ruin brought.

Signs of Change (1888), How We Live And How We Might Live
Context: The word Revolution, which we Socialists are so often forced to use, has a terrible sound in most people's ears, even when we have explained to them that it does not necessarily mean a change accompanied by riot and all kinds of violence, and cannot mean a change made mechanically and in the teeth of opinion by a group of men who have somehow managed to seize on the executive power for the moment. Even when we explain that we use the word revolution in its etymological sense, and mean by it a change in the basis of society, people are scared at the idea of such a vast change, and beg that you will speak of reform and not revolution. As, however, we Socialists do not at all mean by our word revolution what these worthy people mean by their word reform, I can't help thinking that it would be a mistake to use it, whatever projects we might conceal beneath its harmless envelope. So we will stick to our word, which means a change of the basis of society; it may frighten people, but it will at least warn them that there is something to be frightened about, which will be no less dangerous for being ignored; and also it may encourage some people, and will mean to them at least not a fear, but a hope.

Source: A Dream of John Ball (1886), Ch. 4: The Voice of John Ball
Context: Forsooth, he that waketh in hell and feeleth his heart fail him, shall have memory of the merry days of earth, and how that when his heart failed him there, he cried on his fellow, were it his wife or his son or his brother or his gossip or his brother sworn in arms, and how that his fellow heard him and came and they mourned together under the sun, till again they laughed together and were but half sorry between them. This shall he think on in hell, and cry on his fellow to help him, and shall find that therein is no help because there is no fellowship, but every man for himself.

The Earthly Paradise (1868-70), The Lady of the Land
Context: So on he went, and on the way he thought
Of all the glorious things of yesterday,
Nought of the price whereat they must be bought,
But ever to himself did softly say
"No roaming now, my wars are passed away,
No long dull days devoid of happiness,
When such a love my yearning heart shall bless."

The Earthly Paradise (1868-70), The Lady of the Land
Context: Ah! wilt thou leave me then without one kiss,
To slay the very seeds of fear and doubt,
That glad to-morrow may bring certain bliss?
Hast thou forgotten how love lives by this,
The memory of some hopeful close embrace,
Low whispered words within some lonely place?

"The Death of Paris".
The Earthly Paradise (1868-70)
Context: Forgetfulness of grief I yet may gain;
In some wise may come ending to my pain;
It may be yet the Gods will have me glad!
Yet, Love, I would that thee and pain I had!

Love is Enough (1872), Song V: Through the Trouble and Tangle
Context: Love is enough: through the trouble and tangle
From yesterday's dawning to yesterday's night
I sought through the vales where the prisoned winds wrangle,
Till, wearied and bleeding, at end of the light
I met him, and we wrestled, and great was my might.

Love is Enough (1872), Song VI: Cherish Life that Abideth
Context: Live on, for Love liveth, and earth shall be shaken
By the wind of his wings on the triumphing morning,
When the dead, and their deeds that die not shall awaken,
And the world's tale shall sound in your trumpet of warning,
And the sun smite the banner called Scorn of the Scorning,
And dead pain ye shall trample, dead fruitless desire,
As ye wend to pluck out the new world from the fire.

The Earthly Paradise (1868-70), The Lady of the Land
Context: A queen I was, what Gods I knew I loved,
And nothing evil was there in my thought,
And yet by love my wretched heart was moved
Until to utter ruin I was brought!
Alas! thou sayest our gods were vain and nought,
Wait, wait, till thou hast heard this tale of mine,
Then shalt thou think them devilish or divine.