List 35: Robert Graves & Laura Riding
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There Is No “Unless” for Poets’:* Robert Graves and Postmodern Thought Nancy Rosenfeld
‘There is no “unless” for poets’:* Robert Graves and Postmodern Thought Nancy Rosenfeld Robert Graves’s place in twentieth century literature and thought is much more central than the relatively marginal status accorded him in standard critical accounts. Graves is best known as the author of historical novels. His I, Claudius, produced as a BBC television series in the 1970s, and its sequel Claudius the God and his Wife Messalina made his name a household word. Yet Graves was a twentieth century Renaissance man: his body of work includes poetry – Graves viewed himself as a poet first and foremost – more than a dozen historical novels, autobiography, studies of mythology and ethnography, writing guides, translation, social commentary, literary criticism. Graves’s autobiography Good-bye to All That is one of the most influential memoirs to come out of the First World War. His Greek Myths remains a basic text in comparative literature studies. Generations of aspiring poets have sought guidance in The White Goddess: A Historical Grammar of Poetic Myth. Poetry, Graves argued in Lecture One of the Oxford Chair of Poetry series delivered in 1964, ‘is a way of life, a vocation or a profession’, even though it is not ‘operationally organized’ as are the professions of medicine, law, architecture, pedagogy.1 This and more: the imperative of questioning ‘every word and sound and implication in a poem either read or written’ stands in direct opposition to ‘present trends in politics, economics and ethics which are wholly inimical to the appearance of new poets, or the honourable survival of those who may have already appeared.’ The true poets are always/already tempered by poetic principle, which is ‘a simple, obstinate belief in miracle: an asseveration of * Robert Graves, Poetic Craft and Principle (London: Cassell, 1967), p. -
Title Page of Her First Collection of Poems, the Close Chaplet (1926), Following Their Divorce in 1925
! 1! “Hospitality to Words”: Laura Riding’s American Inheritance and Inheritors Philip John Lansdell Rowland Royal Holloway, University of London Submitted for the Degree of PhD ! 3! Abstract This thesis situates the work of Laura Riding in an American tradition of “hospitality to words” extending from Emerson and Emily Dickinson through Gertrude Stein to John Ashbery and contemporary language-oriented writing. The theme is introduced in terms of her linguistic and spiritual ideal of home as a place of truthful speaking, related in turn to her identity as an American writer who renounced the craft of poetry in mid-career. First, Riding’s poetry is “hospitable” in ways akin to Dickinson’s, broadly characterized by Riding’s term, “linguistic intimateness.” There are similarities in their word-conjunctions and styles of poetic argument, as well as their ideas of poetry as “house of possibility” and spiritual home. Riding’s work is then compared with that of her older friend of the late 1920s, Gertrude Stein. The chapter details the shift in Riding’s critical view of Stein; then focuses on the similarly “homely” characteristics of their prose writing and poetics, with particular reference made to Riding’s “Steinian” poems. The central chapters clarify Riding’s conception of truth and related questions of authority, history and responsibility. Chapter 4 explains her poetic vision of “the end of the world” as the introduction to a new world and potentially a new home, and chapter 5 extends the account to include her post-poetic work, The Telling compared to her earlier, collaborative The World and Ourselves. -
By Robert Graves Клавдий by Robert Graves
Read Ebook {PDF EPUB} Клавдий by Robert Graves Клавдий by Robert Graves. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Cloudflare Ray ID: 65ff9b905a00d6cd • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Biography. Robert Graves was born in 1895 in Wimbledon, a suburb of London. Graves was known as a poet, lecturer and novelist. He was also known as a classicist and a mythographer. Perhaps his first known and revered poems were the poems Groves wrote behind the lines in World War One. He later became known as one of the most superb English language 'Love' poets. He then became recognised as one of the finest love poets writing in the English language. Members of the poetry, novel writing, historian, and classical scholarly community often feel indebted to the man and his works. Robert Graves was born into an interesting time in history. He actually saw Queen Victoria’s Diamond Jubilee procession at the age of two or three. His family was quite patriotic, educated, strict and upper middle class.He saw his father as an authoritarian. He was not liked by his peers in school, nor did he care much for them. -
Works by Robert Graves in Special Collections, University of Otago Library 2012
Robert Graves Poeta 1895-1985 Works by Robert Graves in Special Collections, University of Otago Library 2012 1 There is no now for us but always, Nor any I but we – Who have loved only and love only From the hilltops to the sea In our long turbulence of nights and days: A calendar from which no lover strays In proud perversity. Envoi. (Collected Poems, 1975) On the headstone that marks his grave at Deyá, Marjorca, there is the simple: ‘Robert Graves Poeta 1895-1985’. And it was this aspect that attracted Charles Brasch, editor, patron and poet, to the works of Graves, calling him ‘among the finest English poets of our time, one of the few who is likely to be remembered as a poet.’ Indeed, not only did Brasch collect his own first editions volumes written by Graves, but he encouraged the University of Otago Library to buy more. Thanks to Brasch, Special Collections at the University of Otago now has an extensive collection of works (poetry, novels, essays, children’s books) by him. Born at Wimbledon in 1895, Graves had an Irish father, a German mother, an English upbringing, and a classical education. Enlisting in the Royal Welch Fusiliers, Graves faced the horrors of World War I. He was wounded by shrapnel, left for dead and later able to read his own obituary in The London Times. In 1929, he penned Goodbye To All That, his war-time autobiography which gave him success and fame. And aside from his regular output of poetry books, he wrote historical novels such as I Claudius (1934) and Claudius the God (1934), The White Goddess (1948), the heady study on matriarchal worship and poetry that in the sixties became a source book for readers of the Whole Earth Catalog, and the very successful The Greek Myths (1955). -
Robert Graves
Robert Graves Robert Graves The University of San Francisco aims “to cultivate the heart that it may love worthwhile things.” First editions with inscriptions and corrected galley proofs of such a writer as Robert Graves, Professor of Poetry at Oxford, have the magic to thrill the student, to give him a love of learning sufficient for a lifetime. Therefore, the University and the Gleeson Library Associates thank Mr. Walter Bartmann for adding to the cultivation of our students by the donation of his collection of first editions of Robert Graves. All titles of this collection are contained in the checklist except ephemera. Titles with asterisk are not in the collection but will be added. ANNUAL MEETING Gleeson Library Associates APRIL 29, 1962 A Checklist Robert Graves Section I Poetry, Novels and Essays 1916 Over the Brazier. David and Goliath. With author's book-plate. 1917 Fairies and Fusiliers. 1919 The White Cloud.* 1920 Treasure Box. Privately printed and signed. 1921 The Pier-Glass. 1922 On English Poetry. Robert Graves http://www.loc.gov/resource/rbpe.0020390s 1923 The Feather Bed. No. 82 of 250 signed. Whipperginny. 1924 Mock Beggar Hall. The Meaning of Dreams. 1925 Welchman's Hose. 525 copies. John Kemp's Wager: A Ballad Opera. My Head! My Head! Contemporary Techniques in Poetry: a Political Analogy. Poetical Unreason and Other Studies. 1926 Another Future of Poetry.* Impenetrability. 1927 Poems 1914–1926. No. 18 of 115 signed. The English Ballad. Lars Porsena or The Future of Swearing. Lawrence and the Arabs. 1928 Mrs. Fisher or The Future of Humour. -
Laura Riding Pointed to the Fact That, Looking at the Canon Of
UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM LETRAS/INGLÊS E LITERATURA CORRESPONDENTE MINDSCAPES: LAURA RIDING’S POETRY AND POETICS por RODRIGO GARCIA LOPES Tese submetida à Universidade Federal de Santa Catarina em cumprimento parcial dos requisitos para obtenção do grau de DOUTOR EM LETRAS FLORI.\NOPOLIS Dezembro de 2000 Esta Tese de Rodrigo Garcia Lopes, intitulada MINDSCAPES: LAURA RIDING’S POETRY AND POETICS, foi julgada adequada e aprovada em sua forma final, pelo Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, da Universidade Federal de Santa Catarina, para fms de obtenção do grau de DOUTOR EM LETRAS Área de concentração; Inglês e Literatura Correspondente Opção: Literaturas de Língua Inglesa Anelise Reich Corseuil Coordenadora BANCA EXAMINADORA; é Roberto O ’Shea ientador e Presidente 'h/y Maria Lúcia MiUéo Martins Examinadora Susana Bornéo Funck Examinadora J^iz Angé^o da Costa Examinador ífid Renaux Examinadora Florianópolis, 11 de dezembro de 2000 In the memory of Laura (Riding Jackson (1901-1991) To my parents, Antonio Ubirajara Lopes and Maria do Carmo Garcia Lopes IV ACKNOWLEDGEMENTS I would like to thank the several people and institutions that helped me, in inestimable ways, to succeed in accomplishing the present thesis. To my advisor, José Roberto O’Shea, for his infinite patience, collaboration, and understanding. To CAPES, for conceding me the scholarship that provided the necessary means to carry out original research on Laura Riding collections in the United States. To The Board of Literary Management of tiie late Laura (Riding Jackson: Dr. James Tyler, Dr. William Harmon, Robert Nye, Theodore Wilentz, Joan Wilentz, and especially to Alan J. -
Rewriting History, Literally: Laura Riding's the Close
Rewriting History, Literally: Laura Riding’s The Close Chaplet Mark Jacobs The Close Chaplet was published on 9 October 1926, by the Woolfs’ Hogarth Press. According to Elizabeth Friedmann, ‘many of the poems for The Close Chaplet were brought in typescript from New York, a few were added in Egypt, and the entire text was carefully edited by Robert’.1 And further: ‘A creative symbiosis was developing between Laura and Robert that allowed them to collaborate for years to come. As one wrote, the other was continually looking over the writer’s shoulder with suggestions, comments, criticism.’2 The book’s title is taken from a stanza of Robert Graves’s poem, ‘The Nape of the Neck’, acting as an epigraph to the book:3 To speak of the hollow nape where the close chaplet Of thought is bound, the loose ends lying neat In two strands downward, where the shoulders open Casual and strong beneath, waiting their burden, And the long spine begins its easy journey: The hair curtains this postern silkily, This secret stairway by which thought will come More personally, with a closer welcome Than through the latticed eyes or portalled ears […]. It is dedicated to ‘My Sister Isabel and to Nancy Nicholson’ and was published under her then married name ‘Laura Riding Gottschalk’. Several of the poems which appear in The Close Chaplet were first published in The Fugitive magazine in 1924 and 1925, as did a number of others, and her name is listed as one of the editors.4 Seven decades after they appeared in her Collected Poems in 1938, Laura Riding’s poems are still, generally speaking, a Critical Studies 536 mystery for their readers.5 Several critics have now written on her work, some focusing on the poems themselves to give clues and directions, but none seems quite adequate, and she herself was to say harsh words on critical works which appeared in her lifetime up to 1991, judging them wrong in the main, or wholly wrong. -
Laura Riding's the Life of the Dead
“A FAIRER HOUSE THAN PROSE”: VERSE AND ITS OTHERS IN AMERICAN POETRY, 1850–1950 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by John Andrew Hicks May 2012 © 2012 JOHN ANDREW HICKS “A FAIRER HOUSE THAN PROSE”: VERSE AND ITS OTHERS IN AMERICAN POETRY, 1850–1950 John Andrew Hicks, Ph. D. Cornell University 2012 A Fairer House than Prose: Verse and Its Others in American Poetry, 1850– 1950 traces the shifting meanings of the seemingly self-evident terms verse and prose, and argues that nineteenth- and twentieth-century American poetry marks a peculiarly rich and active moment, during which the boundaries between verse and prose were repeatedly renegotiated, elided, and exploited. The verse-prose distinction is seen as both a formal concern, with the rise of free verse and the prose poem threatening to unsettle each side of the divide, and a philosophical distinction with broader rhetorical stakes, as modernity comes to be seen as essentially prosaic. The poets most deeply involved in these renegotiations—Laura Riding, William Carlos Williams, and Gertrude Stein among others—had widely divergent aims and poetic principles; nevertheless, their shared interest in the margins between verse and prose can be read as a critical response to the philosophical truism that modernity is “prosaic,” and its corollary that prose, not verse, is the mode of language most adequate to giving an account of the modern world. The chapters examine how three genres at work in the margins of the verse- prose distinction— the prose poem, prosimetrum, and the genre I call the prosed poem—offer important insights into aesthetic developments of the time. -
Two Chinese Domestic Murders by H. J. Lethbridge
TWO CHINESE DOMESTIC MURDERS H. J. LETHBRIDGE* 'Johnson called the East-Indians barbarians. Boswell. "You will except the Chinese, Sir?" Johnson. "No, Sir". Boswell. "Have they not arts?" Johnson. "They have pottery". Boswell. "What do you say to the written characters of their language?". Johnson. "Sir, they have not an alphabet. They have not been able to form what all other nations have formed".' Boswell's Life of Johnson George Orwell wrote a celebrated short essay on murder in which he argued that the great classic English murders were mostly domestic and concerned ordinary people.1 He went on to argue that the violence of external events, such as World War II, had made conventional murder seem unimportant.2 Orwell's essay was published in 1946. A latter-day criminologist is likely to argue that the abolition of the death penalty in 1965 has 'demeaned' murder as a fine art. Before 1965, a murder trial was often an awesome contest — the issue was a matter of life and death. Today a convicted murderer in Britain, or Hong Kong, is likely to experience, on the average, between 7 to 10 years of incarceration. The two cases discussed below, in which both principals were Chinese, raise a number of interesting legal and sociological questions, together with problems of cultural 'confusion'. In each case, the judge and jury had great difficulties in interpreting Chinese behaviour and in understanding the motivation for the crime. Lock Ah Tarn: the man who ran 'amok'? Lock Ah Tam was born in 1872 in Canton, the capital city of Kwangtung province. -
Synthesis: an Anglophone Journal of Comparative Literary Studies
Synthesis: an Anglophone Journal of Comparative Literary Studies Vol. 0, 2019 “The ever-dissolving image of deceptively tranquil antiquity”: Classical Myth and Literature in the Prose and Poetry of Laura Riding Theodorakopoulos Elena Senior Lecturer in Classics at the University of Birmingham https://doi.org/10.12681/syn.25256 Copyright © 2020 Elena Theodorakopoulos To cite this article: Theodorakopoulos, E. (2020). “The ever-dissolving image of deceptively tranquil antiquity”: Classical Myth and Literature in the Prose and Poetry of Laura Riding. Synthesis: an Anglophone Journal of Comparative Literary Studies, 0(12), 21-41. doi:https://doi.org/10.12681/syn.25256 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 27/09/2021 13:41:13 | “The ever-dissolving image of deceptively tranquil antiquity”: Classical Myth and Literature in the Prose and Poetry of Laura Riding Elena Theodorakopoulos Abstract This essay discusses the poet, critic and novelist Laura (Riding) Jackson (1901-1991), and her engagement with classical myth and literature. The focus is on her poetry and on the novel A Trojan Ending. The aim of the essay is to establish Riding as a significant voice in the reception and interpretation of classical myth and literature during the 1920s and 30s. This essay considers the poet, critic, and novelist Laura Riding, known later as Laura (Riding) Jackson, and her engagement with classical literature and culture. 1 It should be seen within the context of recent scholarship re-establishing the role of women writers within classical -
Noël Coward, Rebecca West, and the Modernist Scene
Noël Coward, Rebecca West, and the Modernist Scene Faye Hammill Abstract: Coward and West shared a long friendship, and often met each other at theatrical openings, on transatlantic liners, and at parties hosted by the 'international set'. Their wary negotiation with one another's celebrity and cultural value played out not only at these social events but also in print, through reviews, gossip columns, and memoirs. Using the relationship between Coward and West as a case study, this essay explores the social scene of modernism, with attention to the suggestion of theatricality in the word 'scene'. It takes up the notion of the 'modernist party' as, on the one hand, a kind of stage on which celebrities from different spheres performed together, and, on the other, a happening which, through reports in print, contributed to the forming of literary reputations and to the public fascination with modern style. Keywords: modernist party, performance, print culture, ocean liner, hostess I knew him for over 50 years, not always easily. Our paths had followed different lines and though we often pleased each other we often irritated each other. I am so glad, in spite of this, that this interesting, amusing upright man never excluded me from his world. Last year he asked me to go with him to the première of 'Dear Winston'. I could not go; but when I recall the invitation it is as if I felt again the grasp of his hand, which was always just the right temperature, cool enough, warm enough, and expressed a unique kind of affection; dry but not dry like a desert, dry like a very good dry sherry. -
Robert Graves Poeta 1895-1985
Robert Graves Poeta 1895-1985 Works by Robert Graves in Special Collections, University of Otago Library 2012 There is no now for us but always, Nor any I but we – Who have loved only and love only From the hilltops to the sea In our long turbulence of nights and days: A calendar from which no lover strays In proud perversity. Envoi. (Collected Poems, 1975) On the headstone that marks his grave at Deyá, Marjorca, there is the simple: ‘Robert Graves Poeta 1895-1985’. And it was this aspect that attracted Charles Brasch, editor, patron and poet, to the works of Graves, calling him ‘among the finest English poets of our time, one of the few who is likely to be remembered as a poet.’ Indeed, not only did Brasch collect his own first editions volumes written by Graves, but he encouraged the University of Otago Library to buy more. Thanks to Brasch, Special Collections at the University of Otago now has an extensive collection of works (poetry, novels, essays, children’s books) by him. Born at Wimbledon in 1895, Graves had an Irish father, a German mother, an English upbringing, and a classical education. Enlisting in the Royal Welch Fusiliers, Graves faced the horrors of World War I. He was wounded by shrapnel, left for dead and later able to read his own obituary in The London Times. In 1929, he penned Goodbye To All That, his war-time autobiography which gave him success and fame. And aside from his regular output of poetry books, he wrote historical novels such as I Claudius (1934) and Claudius the God (1934), The White Goddess (1948), the heady study on matriarchal worship and poetry that in the sixties became a source book for readers of the Whole Earth Catalog, and the very successful The Greek Myths (1955).