...which it can give a local habitation and a name in the essay, consider the conclusion of the reverie: "We are nothing; less than nothing and dreams. We...have been, and must wait upon the tedious shores of the millions of ages before we have existence and a name." And then if you wish to anticipate these...

...speech: "We are not of Alice, nor of thee, nor are we children at all. The children of Alice call Bartrum father. We are nothing; less than nothing, and dreams....Lethe millions of ages before we have existence, and a name"—and immediately awaking, I found myself quietly seated in my bachelor arm-chair, where I had...

...Dissertatlon upon Roast Pig' Presents, I often say, endear Absents. 5935 Essays ofElia 'Dream Children' ݀ d h milllons of ages before we have existence, and a name. 5936 Essays ofElia 'Imperfect Sympathies' I...

...upon me the effects of speech: 'We are not of Alice , nor of thee , nor are we children at all ... We are nothing ; less than nothing, and dreams. We are only what might have been.' The dreams were brought close to home by the name ot Alice. In London for Henry Wood's rehearsal of...

...they were but dreamchildren who might have been, but never were. 'We are nothing,' they say to him; 'less than nothing, and dreams. We are only what might have been, and we must wait upon the tedious shore of Lethe, millions of ages, before we have existence and a name.'...

...all of a sudden, WHAM!!! I read a line near the end about the socalled dream children where they say "we are nothing, less than nothing, and dreams. We are only what might have been..." That was so incredible. It's just what I feel sometimes too, that I'm nothing, only a dream, less than...

...'what might have been' echoes the quotation from Charles Lamb in the score of Dream Children, Op. 43: 'We are nothing; less than nothing, and dreams. We are only what might have been'. Allis uses this observation to tie Falstaff in with what he calls 'Elgar's retrospective aesthetic'....

...Charles Lamb in which an old bachelor beholds two children who gradually fade from his view, whispering 'we are nothing, less than nothing, and dreams. We are only what might have been! Elgar's later part-songs, such as Death on the Hills (1914), The Wanderer (1923) and The Herald (1925),...

...the natural process of development by their early death and thus become symbols of eternal childhood: »We are nothing; less than nothing, and dreams. We...millions of ages before we have existence and a name« (Lamb, 299). The motif of the »strange child« is repeatedly taken up and varied in Romantic children's...