This handbook is designed to be used alongside Philip Gross's book Manifold Manor, Faber, 1989. Its first section presents ideas for using the poems as stimuli within individual lessons;secondly it also treats the whole anthology as a core text for a longer scheme of work. Alongside these lists of suggested approaches is a compendium of related resources which will help pupils develop the themes and ideas.

I have always suspected that a course Philip Gross ran at Prema in, I think, 1988 or 1989, brought him to visit the mansion at Woodchester, which at the time was very secret and difficult - if not impossible - to visit. Things have changed.

Trespassers Will ...

1. It is often a good idea to read a poem to a class and ask them to jot down quickly and immediately their reactions to it;some practice is required to develop this to a fully useful skill,but Trespassers Will... is a particularly good poem for such expressivewriting.

2. In order that pupils should get some understanding of the structure of the poem, they can be asked to present readings of the poem,perhaps in small groups, with the aim of distinguishing in performancethe 'descriptive' and the 'magical' sections of the poem.

3. To prepare for any creative writing exercises, pupils canbe asked to note their initial responses to the poem: What isthe house's secret? what is the house like? who lived there? whyit is deserted? and so on.

4. Pupils can be invited to compare their imagined houses withthe houses described in a short selection of extracts from otherworks of literature where individual houses are particularly important,eg Wuthering Heights, Jamaica Inn.

This idea can be complemented with a series of illustrations of old, grand houses, etc, which can be used to stimulate theimaginations of the pupils.

The Twenty-Sixers

1. Obviously the poem cries out for work on alliteration. Theteacher may wish to introduce pupils to some short extracts ofAnglo Saxon verse where the form was dictated by the use of alliteration.(It might be worth mentioning that, strictly speaking, alliterationonly occurs when words begin with consonants; in Anglo Saxon poems,when in the occasional line the stressed words began with vowels,they begin, in fact, with any vowel.)

2. Of course, the alliteration within lines is complementedby rhyme between lines.

3. Many advertising jingles and slogans use alliteration (andoccasionally rhyme) for the same reason that the Anglo Saxon bardsemployed it: it makes lines easier to remember. Pupils could collectand display slogans, drawing attention to the techniques of languagethey employ to achieve memorability.

4. As Philip Gross himself suggests at the back of the book,the possibilities of this form are endless, and pupils can achieveamusing and interesting imitation poems of their own. The qualityof such pieces can be improved by spending some time on rhythmand stress. It should be the stressed words which alliterate forthe best effect, as in Anglo Saxon verse.

5. Grammar: the form of this poem lends itself to an introductionto a grasp of the basic parts of speech. Line one is a good modelto follow for this as the stressed words (Angel, Arguing, Ancient,Ape) follow the sequence: noun, verb (the gerund), adjective,noun. This sequence can be copied in an imitation poem to reinforcefamiliarity with the terms for these parts of speech.

Jack, Jack's Nature Study and Jack's Elementary Riddles

1. It seems appropriate here to work on jokes and riddles.This might be related to Anglo Saxon poetry mentioned above, wherethe riddle was an important form.

Jack's Nature Study is a particularly good link with older,Anglo Saxon riddles, combining as it does an exact descriptionwith misleading ones. It might be nice too to compare Sylvia Plath'spoem, Mushrooms, (although giving it its title answers the riddle!).

2. The format of the piece Jack invites some revision of thepunctuation of direct speech. When relevant, pupils might be askedto convert the direct speech of the piece to indirect, or reported,speech, and to compare the different effects. (This would involvesome grammar work on the sequence of tenses.)

3. The nature of Jack's Elementary Riddles suggests the relevanceof some work on crosswords,which in itself is essentially a cross-curricularactivity, crosswords working usually on a mathematical, logicallevel, which treats words as combinations of letters as well asvehicles of meaning.

The Wind Fugue

1. The presentation of the poem in fragments, and in two halveslends itself to some sort of dramatic presentation; small groupscould present readings of the piece to begin study of it.

2. The pupils might be introduced to the notion of found poemsand the use of collage in creating poetry. Perhaps newspaperscould be cut up and the fragments of text used to create meaning;perhaps pupils could 'cut up' some of their own prose to achievea similar effect to the one created by Philip Gross himself here.

3. Finally, small groups could present readings of pupils'original work.

In the Formal Garden

1. In many ways this seems a very suitable poem for drama work.The characters are suggested very clearly, the story is slight;therefore it seems feasible to invent other scenes involving thecharacters and even work up to a scripted play in which this sceneis just a part.

Certainly, an approach to some practical, dramatic explorationof the characters in this poem could lead on to rewriting thepiece as a playscript.

Peter Poulter

1. Firstly, this is a marvellous poem for choral speaking andoral performance, which can be prepared in small groups and presentedto the class. It may be unfashionable to ask pupils to learn poemsby heart, but this skill has a place in the English lesson andhere might be a good opportunity to practise it.

2. Secondly, this is not the only poem in the collection whichowes something in its conceits and title to puns. Some work mightbe done, using dictionaries perhaps, to elucidate these puns andperhaps to invent some more.

3. Pupils can be asked to imitate the poem by thinking (politely!)of someone they know; they write down descriptive words and phrasesabout the person and develop the description gradually into amore outlandish and monstrous figure! They might too, for example,be asked to introduce onomatopia in a chorus. What happens whenyour monster becomes active?

Jack's Black Day and Doors

1. Firstly, Philip Gross makes the implicit suggestion thatthe poem says something about racial prejudice, in the equationof the colour black with the unpleasant and the evil sides oflife. This theme could be developed.

2. Secondly, pupils can be asked to produce poems of theirown which develop ideas linked thematically to one chosen colour.A good place to start might be for pupils to collect well knownphrases and proverbs which refer to colour. These might then beadapted and assembled to produce a poem.

3. Colours are used also in Doors to represent mood and atmosphere,imagery. White, for example, suggests purity, green envy, andso on. Pupils can pick a colour and write their own poem describingwhat is behind the door.

4. A drama lesson can ask groups to present images of whatthey find behind doors of a chosen colour in the form of tableaux.

Mrs Stoker

1. Again, a good poem for drama. Pupils can be asked to developthe character of Mrs Stoker, beginning with a mime of the actionsin the first, third and fifth sections of the poem, as the teacherreads. They might then go on to invent and develop other characterswithin the household, perhaps culminating in the presentationof a series of tableaux (in costume?). Photographs of such tableauxcould happily complement display work on the book.

The Oubliette

1. Philip Gross explains much of the theme to this poem inhis own note; some development of the theme of political imprisonmentmight be very valuable. Peter Gabriel's song Wallflower, developsthis theme admirably, while the symbol of Amnesty International,the candle encircled in barbed wire, is a provocative introductionto the power of symbols.

It might be interesting and relevant to ask pupils to compose"Amnesty International" letters, to empathize with thelot of political prisoners, or to discuss the issue. This is clearlya cross curricular theme in its own right, and transcends muchof the other work on Manifold Manor.

Madame Mirador

1. Some extraordinary images lead to a very dreamlike poem.This might be an approach which can be extended and developed.Some of the words, eg triptych, need to be explained or lookedup in dictionaries.

2. The images in the poem echo in some ways Tennyson's TheLady of Shalott where similar dreamlike imagery is effectivelyused. It might be useful to look at the pre-Raphaelite paintingswhich illustrate the poem.

The Poet's Prayer

1. A number of forms are mentioned here, but the final haiku,despite its uncharacteristic irony, is a welcome point of departure.

A haiku is, of course, a Japanese form where a pithy and oftenmeditative observation is executed in 17 syllables. For classeswhere the notion of syllabic count is an unnecessary diversion,teachers might follow W H Auden's notion that, since many Japanesewords are in fact monosyllabic, a haiku can be made with 17 words.Classically, haiku should suggest a season of the year throughsubtle nature imagery, and should be structured around a significantpause, often signalled by a semi-colon or a dash.

It's difficult to find perfect translations of Japanese poems,but the works of Bashó is regarded as the most classicallyrefined work in this field. The spirit of the haiku in Bashó'shands is beautifully evoked in the poem here, The Captain's Pearls.

Using haiku helps concentrate pupils' work on imagery and expression,and can lead to very effective poetry. Certainly, the focus inthe book on a run-down manor house offers a wealth of imagerywhich can be employed in the haiku form.

2. Other forms, of course, are mentioned in the poem and couldequally well be examined and developed.

The Ballad of Bill Beale

1. Philip Gross offers a particularly useful device for workingup an imitation of this poem.

2. The poem might be used as a jumping off point for studyof ballads in their stricter form. Pupils might read some traditionalborder ballads, listen to ballads being sung or recited, and writetheir own ballads recounting stories which may have featured inthe news, etc. Richard Thompson's use of the ballad form in songslike 1952 Vincent Black Lightning and Beeswing integrates traditionaldevices with modern concerns, language and imagery.

What to Call a Jackdaw

1. Another poem crying out for imitation. The poem on whichPhilip Gross has based What to Call a Jackdaw appears in SeamusHeaney's and Ted Hughes' anthology Rattlebag, called The Namesof the Hare.

2. The use of kennings like this is a characteristic of AngloSaxon and Old Norse verse. Corvus monedula is, of course, theLatin name for the Jackdaw.

Africa and The Sage of Kitchnapur

1. Africa is voiced for a swallow, of course, and in part evokesa land far from us and at the same time articulates some sortof wonder in the annual migration of birds. Pupils could usefullyimitate this poem by developing research work into verse. Pupilscould first find out something about migratory birds they mightsee in Britain, and then evoke the lands these birds also visitin similar poems. This would seem to involve some kind of librarywork and wider reading.

2. The Sage of Kitchnapur offers a similar evocation of India,based on a pun on the novel by J G Farrell.

Similarly, pupils could be asked to work on some research onIndia, particularly, perhaps, to illuminate the poem.

Spirit of the Place

1. This poem is a key piece in developing images and pupilscan be invited to fine other images, from newspapers or magazines,which evoke similar feelings to the images here.

2. The poem can be illustrated in as literal way as possibleto emphasise the width and originality of its images.

Many of these images may be familiar to pupils from films,and perhaps the could be asked to devise and present a film scriptfor the poem, listing audio script on one side of the page, andvideo script on the opposite side, so that the whole film, itssound track and its visual images is planned out. This is quitea lengthy process, so the relative brevity of this poem is usefulhere.

It would be wonderful if teachers could compile a short collectionof clips from films which use images like these.

3. The poem certainly suggests a ghost story which pupils canwrite, wither on their own or in small groups, each contributinga section of a plan agreed as a committee.

Song of the Empty Dove

1. The Biblical rhythm and imagery of this poem can be explored.certainly pupils need to be familiar with the story of Noah inGenesis to understand the depth of the imagery, and a familiaritywith a section like the Beatitudes might help grasp the effectof the rhythm.

2. Discussions on the key words can be a useful developmentfrom the poem: homelessness, war, violence etc.

3. Discuss how the form helps understanding; try this out byasking small groups to present readings of the poem.

1. Pupils could be asked to present a radio programme basedon a selection of the poems. The poems could be read out, andpupils take the rôles of author, critic, layman and presenterto devise a discussion of the texts.

Pupils would have been encouraged to develop specific linesof approach through as convincingly realistic a way as possible.

2. Pupils might compose an auctioneer's brochure to advertisethe sale of the Manor; they'll do this a lot better if they'veseen a real one.

3. Perhaps pupils could devise a dramatic performance whichpresents readings of the poems alongside dramatic interludes devisedas developments of the themes of the poems. A hand-bill and programmemight accompany the work.

4. Pupils can compile their own anthology of imitation andoriginal poems. Perhaps the class can produce from these a professionalstandard class anthology.

5. Teachers can organise the writing of an extended narrativeset in a similar manor house, to be developed alongside the workon the poems and finally revised and presented as a final piece.

6. Teachers and pupils can work towards a gallery of displaywork, combining original writing, illustrations, photographs,prints and so on.

Literary Houses

from The Secret Garden by Frances Hodgson Burnett

The entrance door was a huge one made of massive, curiouslyshaped panels of oak studded with big iron nails and bound withgreat iron bars. It opened into an enormous hall, which was sodimly lighted that the faces in the portraits on the walls andthe figures in the suits of armour made Mary feel that she didnot want to look at them. As she stood on the stone floor shelooked a very small, odd little black figure, and she felt assmall and lost and odd as she looked.

A neat, thin old man stood near the manservant who opened thedoor for them.

'You are to take her to her room,' he said in a husky voice.'He doesn't want to see her. He's going to London in the morning.'

'Very well, Mr Pitcher,' Mrs Medlock answered. 'So long asI know what's expected of me, I can manage.'

'What's expected of you, Mrs Medlock,' Mr Pitcher said, 'isthat you make sure that he's not disturbed and that he doesn'tsee what he doesn't want to see.'

And then Mary Lennox was led up a broad staircase and downa long corridor and up a short flight of steps and through anothercorridor and another, until a door opened in a wall and she foundherself in a room with a fire in it and a supper on a table.

Mrs Medlock said unceremoniously:

'Well, here you are! This room and the next are where you'lllive - and you must keep to them. Don't you forget that!'

Literary Houses

from A Valley in Italy by Lisa St Aubin de Terán

Beyond the window, bats began to swoop, circling through thestreams of early evening air. The temperature dropped suddenlyand the cool breeze brought in eddies of woodland scents: thelast of the blackthorn and the first of the hawthorn and broom,all filtered through cypress resin. The child and I went backout into the scrubland around the villa and gathered bundles ofbroom twigs as light as straw. Then we rooted around among thepoppies and dandelions for larger twigs, making up bundles toadd to the long sticks from a mossy woodpile we had found stackedconveniently behind the house. These oak sticks, each as thickas my arm, were carefully sawn into five-foot lengths, which renderedthem singularly unwieldy. We made our first blaze from them (withoutfirelighters) in the fireplace in the big kitchen, with its highceiling, its eight metres square of stone floor, its old stonesink in one corner, its long windows on two sides, and its door.This chestnut door was one of the five doors in the house. Thiskitchen, together with two adjoining rooms on the first floor,had been used as a caretaker's flat over the last hundred years.The ceiling and walls were steeped in smoke, but the beautifulcarved white marble fireplace that we had seen (and bought), withits grimy crests and pillars, had been stolen some months earlier.A stone placebo had been erected in its place by the penitentvendors. I subsequently discovered that ripping historical fireplacesout of their masonry as almost as popular a sport here as shootingsongbirds.

As the sunny afternoon turned into an increasingly chilly evening,I climbed under the new stone mantel and tried to forget my rancourat this theft. There was so little in the villa that it seemeddoubly sad to lose this one treasure, gutted in its turn froma Savoyard palace somewhere, as its crests had testified.

Literary Houses

from Mrs de Winter by Susan Hill

There was a rough, short path leading to a great gateway, withdelicate, high, wrought iron gates between two stone pillars.We approached them almost holding our breath. And stopped andstood in silence, looking, looking down.

Below us, at the end of a drive, set in a bowl surrounded bygrassy slopes that rose all around it, was the most beautifulhouse I had ever seen - more beautiful at once, to me, than Manderley,because it was not so imposing, not so frighteningly large andgrand, but a house that went straight to my heart. I closed myeyes, opened them again, half expecting it to have vanished, tohave been an illusion, born of my own wishes, but it was there,still, resting in the sun, a house of enchantments and of fairystories; yet not some towered and turreted fantasy castle, buta rose red, many chimneyed Elizabethan manor house. It was setamong lawns and rose-beds and pergolas and fountains and smallornamental ponds, but they were neglected and overgrown, not runback to nature, not quite unkempt, but as though someone who livedthere could no longer cope, and had tried and failed to managewithout sufficient help. The tree-dotted basin of green rose gentlyup around it, the barley sugar chimneys and the bricks of thewalls were tinted soft ochre and geranium and shell pink, buffand apricot, and all merging and blending together like the wallsand roofs of some sunlit Italian hilltop town.

There was no sign of life at all, no sound of voices or dogs,no smoke from the chimneys. Cobbett's Brake was empty now, butI did not think that it was abandoned, or unloved; it was nota lost house, nor beyond recall.

Anglo Saxon Verse

Modde word fræt. Me pæt puhte
wrætlicu wyrd, pa ic pæt wundor gefrægn,
pæt se wyrm forswealg wera gied sumes,
peof in pystro prymfæstne cwide
and pæs strangan stapol. Stælgiest ne wæs
wihte py gleawra, pe he pam wordum swealg.

A moth ate words; That seemed to me an extraordinary thingwhen I heard about that wonder: a worm had swallowed someone'spoem, with its firm foundation. A thief in darkness had consumedthe mighty saying. The thief was not one whit the wiser for havingswallowed words.

When it is earth I tread, make tracks upon water
or keep the houses, hushed is my clothing,
clothing that can hoist me above house-ridges
at times toss me into the tall heaven
where the strong cloud-wind carries me on
over cities and countries ; accoutrements that
throb out sound, thrilling strokes
deep-soughing song, as I sail alone
over field and flood, faring on,
resting nowhere. My name is - .

Abandoned unborn by my begetters
I was still dead a few spring days ago:
no beat in the breast, no breath in me.

A kinswoman covered me in the clothes she wore,
no kind but kind indeed. I was coddled & swaddled
as close as I had been a baby of her own,
until, as had been shaped, so shielded, though no king,
the unguessed guest grew great with life.

She fended for me, fostered me, she fed me up,
till I was of a size to set me bounds
further afield. She had fewer dear
sons and daughters because she did so.

Overnight, very
Whitely, discreetly,
Very quietly

Our toes, our noses
Take hold on the loam,
Acquire the air.

Nobody sees us,
Stops us, betrays us;
The small grains make room.

Soft fists insist on
Heaving the needles,
The leafy bedding,

Even the paving.
Our hammers, our rams,
Earless and eyeless,

Perfectly voiceless,
Widen the crannies,
Shoulder through holes. We

Diet on water,
On crumbs of shadow,
Bland-mannered, asking

Little or nothing.
So many of us!
So many of us!

We are shelves, we are
Tables, we are meek,
We are edible,

Nudgers and shovers
In spite of ourselves.
Our kind multiplies:

We shall by morning
Inherit the earth.
Our foot's in the door.

6 x 6 from wall to wall
Shutters on the window, no light at all
Damp on the floor you got damp in your bed
They're trying to get you crazy - get you out of your head
They feed you scraps and they feed you lies
To lower your defences, no compromise
Nothing you can do, the day can be long
Your mind is working overtime, your body's not too strong

Hold on, hold on
They put you in a box so you can't get heard
Let your spirit stay unbroken, may you not be deterred

Hold on; you have gambled with your own life
And you face the night alone
While the builders of the cages
Sleep with bullets, bars and stone
They do not see your road to freedom
That you build with flesh and bone

They take you out - the light burns your eyes
To the talking room - it's no surprise
Loaded questions from clean white coats
Their eyes are all as hidden as their Hippocratic oaths
They tell you - how to behave, behave as their guest
You want to resist them, you do your best
They take you to your limits, they take you beyond
For all that they are doing there's no way to respond

Though you may disappear, you're not forgotten here
And I will say to you
I will do what I can do

You may disappear, you're not forgotten here
And I will say to you, I will do what I can do
And I will do what I can do
And I will do what I can do

A holiday, a holiday, and the first one of the year
Lord Darnell's wife came into the church, the gospel for to hear
And when the meeting it was done, she cast her eyes about
And there she saw little Matty Groves, walking in the crowd
``Come home with me, little Matty Groves, come home with me tonight
Come home with me, little Matty Groves, and sleep with me tilllight''
``Oh, I can't come home, I won't come home and sleep with youtonight
By the rings on your fingers I can tell you are Lord Darnell'swife''
``What if I am Lord Darnell's wife, Lord Darnell's not at home
For he is out in the far cornfields bringing the yearlings home''
And a servant who was standing by and hearing what was said
He swore Lord Darnell he would know before the sun would set
And in his hurry to carry the news, he bent his breast and ran
And when he came to the broad mill stream, he took off his shoesand he swam
Little Matty Groves, he lay down and took a little sleep
When he awoke, Lord Darnell was standing at his feet
Saying ``How do you like my feather bed and how do you like mysheets?
How do you like my lady who lies in your arms asleep?''
``Oh, well I like your feather bed and well I like your sheets
But better I like your lady gay who lies in my arms asleep.''
``Well, get up, get up,'' Lord Darnell cried, ``get up as quickas you can!
It'll never be said in fair England that I slew a naked man.''
``Oh, I can't get up, I won't get up, I can't get up for my life
For you have two long beaten swords and I not a pocket knife.''
``Well it's true I have two beaten swords and they cost me deepin the purse
But you will have the better of them and I will have the worse.''
``And you will strike the very first blow and strike it like aman
I will strike the very next blow and I'll kill you if I can.''
So Matty struck the very first blow and he hurt Lord Darnell sore.
Lord Darnell struck the very next blow and Matty struck no more.
And then Lord Darnell took his wife and he sat her on his knee
Saying ``Who do you like the best of us, Matty Groves or me?''
And then up spoke his own dear wife, never heard to speak so free,
``I'd rather a kiss from dead Matty's lips than you or your finery.''
Lord Darnell he jumped up and loudly he did bawl,
He struck his wife right through the heart and pinned her againstthe wall.
``A grave, a grave,'' Lord Darnell cried, ``to put these loversin
But bury my lady at the top for she was of noble kin.''

Said Red Molly to James, That's a fine motorbike,
a girl could feel special on any such like.
Said James to Red Molly, well my hat's off to you -
it's a Vincent Black Lightning 1952
and I've seen you at the corners and cafes, it seems,
red hair and black leather, my favourite colour scheme,
and he pulled her on behind
and down to Box Hill they did ride.

Said James to Red Molly, Here's a ring for your right hand,
but I'll tell you in earnest I'm a dangerous man;
I've fought with the law since I was seventeen;
I robbed many a man to get my Vincent machine.
Now I'm twenty-one years, I might make twenty-two,
and I don't mind dying but for the love of you
and if fate should break my stride,
I'll give you my Vincent to ride.

Come down, come down, Red Molly, called Sergeant McRae,
for they've taken young James Adie for armed robbery.
Shotgun blast hit his chest, left nothing inside;
come down, Red Molly, to his dying bedside.
When she came to the hospital there wasn't much left;
he was running out of road, he was running out of breath -
but he smiled to see her cry,
said I'll give you my Vincent to ride.

Said young James, In my opinion, there's nothing in this world
like a 52 Vincent and a red-headed girl.
Now Nortons and Indians and Greeves won't do,
they don't have a soul like a Vincent 52.
He reached for her hand and he gave her the keys,
said I don't have any further use for these,
I see angels on Ariels in leather and chrome
swooping down from heaven to carry me home.
He gave her one last kiss and died
and he gave her his Vincent to ride.

The hare, call him scotart,
big-fellow, bouchart,
the O'Hare, the jumper,
the rascal, the racer.

The wimount, the messer,
the skidaddler, the nibbler,
the ill-met, the slabber.

The quick-scut, the dew-flirt,
the grass-biter, the goibert,
the home-late, the do-the-dirt.

The starer, the wood-cat,
the purblind, the furze cat,
the skulker, the bleary-eyed,
the wall-eyed, the glance-aside
and also the hedge-springer.

The stubble-stag, the long lugs,
the stook-deer, the frisky legs,
the wild one, the skipper,
the hug-the-ground, the lurker,
the race-the-wind, the skiver,
the shadow-shifter, the hedge-squatter,
the dew-hammer, the dew-hoppper,
the sit-tight, the grass-bounder,
the jig-foot, the earth-sitter,
the light-foot, the fern-sitter,
the kail-stag, the herb-cropper.

The creep-along, the sitter-still,
the pintail, the ring-the-hill,
the sudden start, the shake-the-heart,
the belly-white, the lambs-in-flight.

The snuff-the-ground, the baldy skull,
(his chief name is scoundrel!)

??

Noah
from the Book of Genesis

At the end of forty days Noah opened the porthole he had madein the ark and he sent out the raven. This went off, and flewback and forth until the waters dried up from the earth. Thenhe sent out the dove, to see whether the waters were recedingfrom the surface of the earth. The dove, finding nowhere to perch,returned to him in the ark, for there was water over the wholesurface of the earth; putting out his hand he took hold of itand brought it back into the ark with him. After waiting sevenmore days, again he sent out the dove from the ark. In the evening,the dove came back to him and there it was with a new olive-branchin its beak. So Noah realised that the waters were receding fromthe earth.

and The Beatitudes
from the Gospel of St Matthew

Seeing the crowds, Jesus went up the hill. There he sat downand was joined by his disciples. Then he began to speak. Thisis what he taught them:

How happy are the poor in spirit; theirs is the kingdom ofheaven.
Happy the gentle; they shall have the earth for their heritage.
Happy those who mourn; they shall be comforted.
Happy those who hunger and thirst for what is right; they shallbe satisfied.
Happy the merciful; they shall have mercy shown them.
Happy the pure in heart; they shall see God.
Happy the peacemakers; they shall be called sons of God.
Happy those who are persecuted in the cause of right; theirs isthe kingdom of heaven.
Happy are you when people abuse you and persecute you and speakall kinds of calumny against you on my account. Rejoice and beglad, for your reward will be great in heaven; this is how theypersecuted the prophets before you.