DOCSLIB.ORG

Durham E-Theses

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Durham E-Theses Durham E-Theses Great War, White Goddess, and Translation as Catharsis: A Study of Robert Graves and Ted Hughes MCKENZIE, LAURA,ELIZABETH How to cite: MCKENZIE, LAURA,ELIZABETH (2018) Great War, White Goddess, and Translation as Catharsis: A Study of Robert Graves and Ted Hughes , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/12503/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Great War, White Goddess, and Translation as Catharsis: A Study of Robert Graves and Ted Hughes Laura Elizabeth McKenzie A thesis presented for the degree of Doctor of Philosophy Department of English Studies Durham University, Durham, UK September 2017 1 ABSTRACT Great War, White Goddess, and Translation as Catharsis: A Study of Robert Graves and Ted Hughes The First World War played a critical role in shaping the poetic consciousness of both Robert Graves and Ted Hughes. The combat trauma from which Graves suffered following his front line service confronted him with ‘baffling emotional problems’ on which the ‘pathology of poetic composition relied’, a mental conflict that–following the advice of W. H. R. Rivers–he repeatedly attempted to ‘write out’. For Hughes, whose father returned from Gallipoli profoundly shell shocked, the war was Britain’s ‘number one national ghost’, a phantom that he tried desperately to exorcise through his poetry. Yet although critics including D. N. G. Carter and Keith Sagar have utilised trauma theory to produce psychological readings of Graves’s and Hughes’s poetry that locate them as sites of catharsis, the field of modern literary studies has yet to scrutinise the theoretical relationships articulated in the poets’ interpretations of classical texts, such as Graves’s rendering of Homer’s Iliad and Hughes’s translation of Seneca’s Oedipus. Does the medium of classical translation offer, in any unique way, an opportunity for catharsis? How do the poets’ experiences of combat-related trauma affect the transmission of these classical texts? Profoundly interdisciplinary, this project attempts to answer these questions while remaining centrally cognisant of Graves’s mythopoetical influence on Hughes’s oeuvre. Throughout this thesis, I examine the extent to which the mythopoetical framework proposed by Graves in The White Goddess, a text shaped by the freight of Graves’s war experience, was embraced by Hughes, whose own formative years were dominated by the narrative of the First World War. The relationship between traumatic experience and the poets’ shamanic approach to translation is delineated and tested within this discourse: their idolatrous adherence to–and in Hughes’s case, fear of–the primacy of an archetypal matriarchal force, and their attempts to access the primitive nature of myth by stripping it of its patriarchal palimpsests of scholarship, are revealed as literary manifestations of a struggle to apprehend the meaning of their respective combat-related traumas, both direct and secondary, which remain ineluctably disrupted. 2 Contents Page Acknowledgements…………………………………………………………………………….......5 Abbreviations…………………………………………………………………………………….7 Introduction……………………………………………………………………………….......8 Part I: Robert Graves....................................................................................................................27 Chapter One: Great War, White Goddess……………………………………………….28 Chapter Two: The Golden Ass………………………………………………………….......69 Chapter Three: The Anger of Achilles………………………………………………………126 Part II: Ted Hughes…………………………………………………………………….......173 Chapter Four: Ted Hughes, After Graves………………………………………………174 Chapter Five: Seneca’s Oedipus………………………………………………………........216 Conclusion…………………………………………………………………………………..281 Bibliography…………………………………………………………………………….......289 3 The copyright of this thesis rests with the author. No quotation from it should be published without the author's prior written consent and information derived from it should be acknowledged. 4 ACKNOWLEDGEMENTS This thesis would not have come to fruition without the wisdom, guidance, support, and patience of my supervisor, Prof. Stephen Regan, for which I thank him. If I become only half the thinker that he is, I will count myself lucky. Vital, too, was the input of Dr. Robert Carver, whose formidable knowledge of Apuleius was a great asset. My profound thanks also goes to the Arts and Humanities Research Council who recognised the potential in this project and provided the funding to make it possible; to all the staff at the Harry Ransom Center, University of Texas at Austin; to the Department of English Studies for funding numerous research trips and conference attendances; and to Harvard University’s Graduate School of Arts and Sciences, for supporting my Visiting Fellowship as part of the Harvard- Durham Doctoral Research Student Exchange Programme. I am especially grateful to the many individuals who have helped me along the way: Carl Hahn, whose erudition and infinite resources on all things Graves have been indispensible; Helen Melody, for guiding me through the Hughes archive at the British Library; Prof. Michael Joseph, for his enthusiasm and insight; William Graves and the Robert Graves Society, for welcoming me into the fold; and Dr. Eve Smith and Dr. Alison Stone, who met me half way and then spurred me to the finish line. Finally, my heartfelt thanks goes to my family–in all its permutations–without whose continued support this undertaking would not have been possible. Your kindness and generosity have sustained me. 5 For Joseph ‘Inside the wolf’s eye, the North star’ –Ted Hughes, ‘Amulet’ 6 ABBREVIATIONS AA Robert Graves, The Anger of Achilles CP Ted Hughes, Collected Poems GTAT Robert Graves, Goodbye to All That Il. Homer, Iliad O Seneca, Oedipus SGCB Ted Hughes, Shakespeare and the Goddess of Complete Being SO Ted Hughes, Seneca’s Oedipus TCP Robert Graves, The Complete Poems TGA Robert Graves, The Golden Ass TGM Robert Graves, The Greek Myths TWG Robert Graves, The White Goddess 7 INTRODUCTION I This thesis represents a new reading of the classical translations of the twentieth-century British poets Robert Graves and Ted Hughes. Throughout the following chapters, these translations will be located as potential sites of traumatic catharsis that combine, as their mode of functionality, two of the poets’ leading preoccupations: the traumatic aftermath of war; and the matriarchal myth of the White Goddess.1 In doing so, this thesis offers original insight into the interrelation between trauma and translation, identifying correlations that allow us to approach translation as a potentially healing process. Additionally, it builds on the current critical work that evaluates Hughes’s appropriation of the mythopoetics of Graves’s Goddess, re-assessing the influence of the earlier poet’s poetry, prose, and translation on his oeuvre. Discussing The White Goddess, his soon-to-be-published ‘grammar of poetic myth’, in 1946, Graves concludes that, although ‘a very capacious & fantastic mare’s nest’, the book ‘holds water nicely.’2 The same, I hope, can be said of the following. Profoundly interdisciplinary, like the Goddess Graves takes as his subject this thesis is triple in aspect. It attempts to scrutinise three mutually inclusive relationships: the relationship between traumatic experience (a catch-all term I use, for the sake of consistency, to represent the essential mechanisms of a disorder that is mutably defined as combat-related stress, shell- 1 For the purpose of this study, catharsis denotes not simply the discharge, and thus relief from, intense and/or repressed emotions, but–as it is commonly deployed in relation to war neuroses–the recovery and synthesis of the ‘forgotten memory’, or traumatic origin. Also, on an unrelated note, as the two individuals this thesis discusses are male, I have chosen to use male gendered pronouns throughout. 2 Robert Graves to James Reeves, 30 March 1946. Folder 4.6, Robert Graves Collection, Harry Ransom Humanities Research Center, The University of Texas at Austin. Hereafter abbreviated to HRC. 8 shock, Post Traumatic Stress Disorder [PTSD], and neurasthenia) and classical translation; between the discourse of the First World War and the Gravesian myth of the White Goddess; and between the work of Robert Graves and Ted Hughes. Each of these relationships influences the others, to varying degrees. As poets and individuals, both Graves and Hughes struggled to come to terms with the traumatic after effects of the First World War. Both turned to the Goddess myth to contextualise that struggle, and, later on in their careers, both turned their hand from poetry to classical translation. These translations, in turn, evoke the experience of war, the experience of trauma, and the conditions of man’s relationship with the White Goddess, invariably using the latter
Load more

Recommended publications
  • University of Florida Thesis Or Dissertation Formatting
    IRISH MUSIC AND HOME-RULE POLITICS, 1800-1922 By AARON C. KEEBAUGH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Aaron C. Keebaugh 2 ―I received a letter from the American Quarter Horse Association saying that I was the only member on their list who actually doesn‘t own a horse.‖—Jim Logg to Ernest the Sincere from Love Never Dies in Punxsutawney To James E. Schoenfelder 3 ACKNOWLEDGMENTS A project such as this one could easily go on forever. That said, I wish to thank many people for their assistance and support during the four years it took to complete this dissertation. First, I thank the members of my committee—Dr. Larry Crook, Dr. Paul Richards, Dr. Joyce Davis, and Dr. Jessica Harland-Jacobs—for their comments and pointers on the written draft of this work. I especially thank my committee chair, Dr. David Z. Kushner, for his guidance and friendship during my graduate studies at the University of Florida the past decade. I have learned much from the fine example he embodies as a scholar and teacher for his students in the musicology program. I also thank the University of Florida Center for European Studies and Office of Research, both of which provided funding for my travel to London to conduct research at the British Library. I owe gratitude to the staff at the Library of Congress in Washington, D.C. for their assistance in locating some of the materials in the Victor Herbert Collection.
    [Show full text]
  • Das Neue Dc-Universum Der Thron Von Atlantis
    DAS NEUE DC-UNIVERSUM ™ GEOFF JOHNS IVAN REIS PAUL PELLETIER TONY S. DANIEL DER THRON VON ATLANTIS ™ Band 3 DER THRON VON ATLANTIS JUSTICE LEAGUE DER THRON VON ATLANTIS GEOFF JOHNS OCLAIR ALBERT IVAN REIS JEFF LEMIRE MARLO ALQUIZA JOE PRADO Autoren MATT BANNING ROD REIS SANDU FLOREA Original-Cover IVAN REIS RICHARD FRIEND PAUL PELLETIER DREW HENNESSY BRIAN CUNNINGHAM TONY S. DANIEL RUY JOSE PAT McCALLUM PERE PEREZ KARL KESEL KATIE KUBERT BRAD WALKER SEAN PARSONS PETER HAMBOUSSI PETE WOODS PERE PEREZ CHRIS CONROY Zeichner JOE PRADO KATE STEWART IVAN REIS Redaktion USA CAM SMITH ART THIBERT CHRISTIAN HEISS Tusche Übersetzung TONY AVIÑA WALPROJECT ROD REIS Lettering TOMEU MOREY JAY DAVID RAMOS Farben DAS GEHEIMNIS VON DER THRON DER THRON CHEETAH – TEIL 1 VON ATLANTIS – VON ATLANTIS – The Secret of the Cheetah – Part 1 KAPITEL EINS KAPITEL VIER Justice League 13 (I) Throne of Atlantis– Chapter One Throne of Atlantis – Chapter Four Dezember 2012 Justice League 15 Aquaman 16 Februar 2013 März 2013 DAS GEHEIMNIS VON CHEETAH – TEIL 2 DER THRON DER THRON The Secret of the Cheetah – Part 2 VON ATLANTIS – VON ATLANTIS – Justice League 14 KAPITEL ZWEI KAPITEL FÜNF Januar 2013 Throne of Atlantis – Chapter Two Throne of Atlantis – Chapter Five Aquaman 15 Justice League 17 DER THRON Februar 2013 April 2013 VON ATLANTIS – PROLOG DER THRON AUSSEN VOR Throne of Atlantis - Prologue VON ATLANTIS – On the Outs Aquaman 14 KAPITEL DREI: Justice League 13 (II) Dezember 2012 Januar 2013 FREUND UND FEIND Throne of Atlantis– Chapter Three: Friends and Enemies Justice League 16 März 2013 LANG LEBE DER KÖNIG Die Justice League besteht aus den größten Helden der Erde – Superman, Batman, Wonder Woman, Green Lantern, Flash, Aquaman und Cyborg.
    [Show full text]
  • 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.
    [Show full text]
  • The Great War in Irish Poetry
    Durham E-Theses Creation from conict: The Great War in Irish poetry Brearton, Frances Elizabeth How to cite: Brearton, Frances Elizabeth (1998) Creation from conict: The Great War in Irish poetry, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/5042/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Creation from Conflict: The Great War in Irish Poetry The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and information derived from it should be acknowledged. Frances Elizabeth Brearton Thesis submitted for the degree of Ph.D Department of English Studies University of Durham January 1998 12 HAY 1998 ABSTRACT This thesis explores the impact of the First World War on the imaginations of six poets - W.B.
    [Show full text]
  • 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.
    [Show full text]
  • Castletown List 55
    National Library of Ireland Collection List No. 55 Lord Castletown Papers (Mss 35,295-332) (Accession 2503) Compiled by Mary Colley, 2000 The papers of Bernard Edward Barnaby FitzPatrick (1848-1937), 2nd Baron Castletown of Upper Ossory, consisting of correspondence and papers mainly relating to his literary and cultural activities and his political involvements. There is also a relatively small amount of material relating to the management of his estates. Introduction The Lord Castletown Papers were mainly generated by Bernard Edward Barnaby FitzPatrick (1848-1937), 2nd Baron Castletown of Upper Ossory, who was descended from a branch of the illustrious family of Mac Giolla Phádraig. In Gaelic times this branch of the FitzPatricks ruled the area of the present counties Laois and Kilkenny, successive heads of the family being styled chiefs or lords of Upper Ossory. The chiefs were generally politically adroit, and managed to retain their extensive estates even in the most adverse circumstances. For instance, in the reign of Henry VIII, Barnaby (or Bryan) FitzPatrick made a timely submission, whereupon he had his estates re-granted and was subsequently created Baron of Upper Ossory, a title that remained in the family for a century and a half. In the eighteenth and early nineteenth centuries, heads of the family were again ennobled and held the titles Baron Gowran and Earl of Upper Ossory. Following a break in the succession, in 1869 John Wilson FitzPatrick was created 1st Baron Castletown of Upper Ossory. On his death in 1883, his only son, Bernard, succeeded to the title as 2nd Lord Castletown, and inherited the extensive family estate based on Granston Manor in Queen's County, the present Co.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • A Celtic Psaltery
    A Celtic Psaltery Alfred Perceval Graves A Celtic Psaltery Table of Contents A Celtic Psaltery..................................................................................................................................................1 Alfred Perceval Graves............................................................................................................................1 PREFACE................................................................................................................................................4 I. IRISH POEMS.....................................................................................................................................7 THE ISLE OF THE HAPPY...................................................................................................................7 THE WISDOM OF KING CORMAC.....................................................................................................9 IRISH TRIADS.....................................................................................................................................11 Lays of the Irish Saints.........................................................................................................................14 ST. PATRICK'S BLESSING ON MUNSTER......................................................................................14 THE BREASTPLATE OF ST. PATRICK...........................................................................................14 ST. PATRICK'S EVENSONG.............................................................................................................17
    [Show full text]
  • 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.
    [Show full text]