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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. -
10 Brearton Vol 131 1350
CHATTERTON LECTURE ON POETRY Robert Graves and The White Goddess FRAN BREARTON Queen’s University, Belfast I IN THE SPRING OF 1944, Robert Graves was seized by ‘a sudden overwhelm- ing obsession’. ‘I began’, he explains, ‘speculating on a mysterious “Battle of the Trees”, fought in pre-historic Britain, and my mind ran at such a furious rate all night, as well as all the next day, that it was difficult for my pen to keep pace with it. Three weeks later, I had written a seventy- thousand-word book, called The Roebuck in the Thicket.’1 The Battle of the Trees, Graves claims, was fought ‘between the White Goddess (“the woman”) for whose love the god of the waxing year and of the waning year were rivals, and “the man”, Immortal Apollo, or Beli, who challenged her power’.2 The Roebuck’s poetic meaning is, he tells us, ‘Hide the Secret’,3 and as the book was expanded between 1944 and 1946 into The White Goddess, Graves’s chase of ‘the roebuck in the thicket’ became a quest both to uncover the ‘central secret of neolithic and Bronze Age religious faith’—namely ‘the cult of the White Goddess’—and to explore the Read at the Academy on 11 November 2004. 1 Robert Graves, ‘Postscript 1960’, The White Goddess (3rd edn., London: Faber, 1960), p. 488. First published in 1948, The White Goddess was amended and enlarged by Graves in 1952, and again in 1960. Grevel Lindop’s fourth edition (published by Faber in 1999) also incorporates revisions made by Graves after 1960. -
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. -
21L.430F15 Robert Graves, the White Goddess--A Historical Grammar of Poetic Myth
Robert Graves, The White Goddess--a Historical Grammar of Poetic Myth (London: 1961, first publ. 1948) There are many folkloristic echoes in Liz Lochhead’s poems, and we know that in particular she was strongly influenced by the famous English poet and novelist Robert Graves’s (1895-1985) book The White Goddess, whose argument was that much of the imagery of Western poetry descends from a lost pre-Christian matriarchal cult of the moon goddess. The book went through several editions, becoming one of the key texts in the feminist revival of the 1970s. What concerns us here, is the idea of the sacrificial male, centering on the Hercules legend in its numerous forms. See if you can find echoes of this in any of the poems in Liz Lochhead’s “Grimm Sisters”: “Hercules first appears in legend as a pastoral sacred king […] male leader of all orgiastic rites and has twelve archer companions, including his spear-armed twin who is his tanist or deputy. Her performs an annual green-wood marriage with the queen of the woods […] The manner of his death can be reconstructed from a variety of legends, folk customs and other religious survivals. At mid-summer, at the end of a half-year reign, he is made drunk with mead and led into the middle of a circle of twelve stones arranged around an oak, in front of which stands an altar-stone; the oak has been lopped until it is T-shaped. He is bound to it with willow thongs in the ‘five-fold bond’ which joins wrists, neck, and ankles together, beaten by his comrades until he faints, then flayed, blinded, castrated, impaled with a mistletoe stake, and finally hacked into joints on the altar stone. -
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. -
Lady Oracle" : the Politics of the Body
(( Lady Oracle" : The Politics of the Body MARILYN PATTON I search instead for the others the ones left over, the ones who have escaped from these mythologies with barely their lives MARGARET ATWOOD, You Are Happy X. VJLARGARET ATWOOD wrote these words as if they were spoken by the Circe persona in the "Circe/Mud Poems" section of her book of poetry called You Are Happy. Atwood's career as poet, storyteller, and critic has been a coming to terms with "these myth• ologies," a general term for myths about women and myths about gender relations which have been inscribed in our literature. Her career has been also a search for an escape from "these myth• ologies." Although numerous critics have analyzed Atwood's work with myths about women, their readings have been limited to primarily psychological interpretations. For the many women who have escaped "with barely their lives," however, cultural myths about women are very much a form of "power politics." To do justice to Atwood's work, we must look beyond psychology to the politics of her work with — and against — myth. By far the most potent myth in Atwood's imagination has been the White Goddess, a multi-faceted myth which reflects socially constructed images of women's roles. Ever since Atwood's first reading of Robert Graves's book, The White Goddess, when she was of college age, this Goddess has shadowed her thinking. One could easily argue that even her most recent novel, Cat's Eye ( 1988), is a reworking of goddess images. In fact, while she was working on Cat's Eye, which is a novel of retrospectives, Atwood wrote a retrospective on her own career for Ms. -
Robert Graves the White Goddess
ROBERT GRAVES THE WHITE GODDESS IN DEDICATION All saints revile her, and all sober men Ruled by the God Apollo's golden mean— In scorn of which I sailed to find her In distant regions likeliest to hold her Whom I desired above all things to know, Sister of the mirage and echo. It was a virtue not to stay, To go my headstrong and heroic way Seeking her out at the volcano's head, Among pack ice, or where the track had faded Beyond the cavern of the seven sleepers: Whose broad high brow was white as any leper's, Whose eyes were blue, with rowan-berry lips, With hair curled honey-coloured to white hips. Green sap of Spring in the young wood a-stir Will celebrate the Mountain Mother, And every song-bird shout awhile for her; But I am gifted, even in November Rawest of seasons, with so huge a sense Of her nakedly worn magnificence I forget cruelty and past betrayal, Careless of where the next bright bolt may fall. FOREWORD am grateful to Philip and Sally Graves, Christopher Hawkes, John Knittel, Valentin Iremonger, Max Mallowan, E. M. Parr, Joshua IPodro, Lynette Roberts, Martin Seymour-Smith, John Heath-Stubbs and numerous correspondents, who have supplied me with source- material for this book: and to Kenneth Gay who has helped me to arrange it. Yet since the first edition appeared in 1946, no expert in ancient Irish or Welsh has offered me the least help in refining my argument, or pointed out any of the errors which are bound to have crept into the text, or even acknowledged my letters. -
List 35: Robert Graves & Laura Riding
List 35: Robert Graves & Laura Riding McNaughtan’s Bookshop & Gallery 3a & 4a Haddington Place Edinburgh EH7 4AE +44(0)131 556 5897 [email protected] http://www.mcnaughtans.co.uk a b x @mcnbooks McNaughtan’s Bookshop & Gallery List 35: Robert Graves & Laura Riding items 1-2: Laura Riding 5. Graves, Robert. Poems 1929. London: Printed and published at the Seizin Press, 1929. 1. Riding, Laura. Twenty Poems Less. Paris: Hours Press, 1930. FIRST EDITION, NO. 17 OF 225 COPIES SIGNED BY THE AUTHOR, 8vo, pp. [iv], 33, [3]. Original green cloth, spine lettered in FIRST EDITION, NO. 105 OF 200 COPIES SIGNED BY THE AUTHOR, gilt. Spine slightly faded, front flyleaf toned. £250 folio, pp. [iv], 33, [3]. Original quarter black morocco, photo- graphically-decorated paper boards, spine lettered in gilt. One or two spots to page edges. Spine ends slightly rubbed. £350 Higginson & Williams A33. 2. Riding, Laura. Four 6. Lye, Len. No Unposted Letters to Cath- Trouble. Deya, Ma- erina. Paris: Hours Press, jorca: The Seizin Press, [1930]. 1930. FIRST EDITION, NO. 120 OF 200 FIRST EDITION, NO. 99 COPIES SIGNED BY THE AUTHOR, OF 200 COPIES SIGNED BY small 4to, pp. [vi], 50, [4]. THE AUTHOR, folio, [vi], Original quarter black moroc- 27, [1]. Original quarter co, decorated paper boards (by white buckram, boards Len Lye), spine lettered in gilt. decorated in red, brown Spine just a touch rubbed at and textured gilt by Len head and tail. £300 Lye, spine lettered in gilt. Spine very slightly The second issue, with the tipped-in introductory note which was omit- soiled. -
The Wielders of the Three and Other Trees
Volume 2 Number 4 Article 1 Winter 1-15-1972 The Wielders of The Three and Other Trees Paula Marmor Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Marmor, Paula (1972) "The Wielders of The Three and Other Trees," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 2 : No. 4 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol2/iss4/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Traces roots and characteristics of several of Tolkien’s characters in religious systems and symbols. Argues that “the bearers of the three Elven rings—Galadriel, Elrond, and Gandalf [...] as well as the older bearers Gil-galad and Círdan—[are] archetypal figures of a Moon-Water Goddess, a Sky-Air-Thunder God, and a Sun-Fire God.” Additional Keywords Archetypes in J.R.R. -
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. -
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.