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- Herausgeber: iOnlineShopping.com
- Kategorie: Poesie und Drama
- Sprache: Englisch
- Veröffentlichungsjahr: 2019
The poems in this volume cover a period of three years, beginning at the New Year of 1920, except for the rhymes “Henry and Mary,” “What did I dream?” and “Mirror, Mirror!” with parts of “An English Wood,” “The Bed Post” and of “Unicorn and the White Doe,” which are bankrupt stock of 1918, the year in which I was writing Country Sentiment. The Pier Glass, a volume which followed Country Sentiment, similarly contains a few pieces continuing the mood of this year, the desire to escape from a painful war neurosis into an Arcadia of amatory fancy, but the prevailing mood of The Pier Glass is aggressive and disciplinary, under the stress of the same neurosis, rather than escapist. Whipperginny for a while continues so, but in most of the later pieces will be found evidences of greater detachment in the poet and the appearance of a new series of problems in religion, psychology and philosophy, no less exacting than their predecessors, but, it may be said, of less emotional intensity. The “Interlude” in the middle of the book was written before the appearance of these less lyrical pieces, but must be read as an apology for the book being now even less homogeneous than before. To those who demand unceasing emotional stress in poetry at whatever cost to the poet—I was one of these myself until recently—I have no apology to offer; but only this proverb from the Chinese, that the petulant protests of all the lords and ladies of the Imperial Court will weigh little with the whale when, recovering from his painful excretory condition, he need no longer supply the Guild of Honourable Perfumers with their accustomed weight of ambergris.
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Table of contents
WHIPPERGINNY
AUTHOR’S NOTE
CONTENTS
WHIPPERGINNY (“A card game, obsolete.”—Standard Dictionary.)
THE BEDPOST
A LOVER SINCE CHILDHOOD
SONG OF CONTRARIETY
THE RIDGE-TOP
SONG IN WINTER
UNICORN AND THE WHITE DOE
SULLEN MOODS
A FALSE REPORT
CHILDREN OF DARKNESS (“In their generation wiser than the children of Light.”)
RICHARD ROE AND JOHN DOE
THE DIALECTICIANS
THE LANDS OF WHIPPERGINNY (“Heaven or Hell or the Lands of Whipperginny.”—Nashe’s Jack Wilton.)
“THE GENERAL ELLIOTT”
A FIGHT TO THE DEATH
OLD WIVES’ TALES
CHRISTMAS EVE
THE SNAKE AND THE BULL
THE RED RIBBON DREAM
IN PROCESSION
HENRY AND MARY
AN ENGLISH WOOD
MIRROR, MIRROR!
WHAT DID I DREAM?
(II)
A HISTORY OF PEACE (Solitudinem faciunt, pacem appellant)
THE ROCK BELOW
AN IDYLL OF OLD AGE
THE LORD CHAMBERLAIN TELLS OF A FAMOUS MEETING
THE SEWING BASKET (Accompanying a wedding present from Jenny Nicholson to Winifred Roberts)
AGAINST CLOCK AND COMPASSES
THE AVENGERS
ON THE POET’S BIRTH
THE TECHNIQUE OF PERFECTION
THE SIBYL
A CRUSADER
A NEW PORTRAIT OF JUDITH OF BETHULIA
A REVERSAL
THE MARTYRED DECADENTS: A SYMPATHETIC SATIRE
MOTTO TO A BOOK OF EMBLEMS
THE BOWL AND RIM
A FORCED MUSIC
THE TURN OF A PAGE
THE MANIFESTATION IN THE TEMPLE
TO ANY SAINT
A DEWDROP
A VALENTINE
WHIPPERGINNY
WHIPPERGINNY
BY ROBERT GRAVES NEW YORK ALFRED A. KNOPF : MCMXXIII TO EDWARD MARSH Printed in Great Britain
AUTHOR’S NOTE
The poems in this volume cover a period of three years, beginning at the New Year of 1920, except for the rhymes “Henry and Mary,” “What did I dream?” and “Mirror, Mirror!” with parts of “An English Wood,” “The Bed Post” and of “Unicorn and the White Doe,” which are bankrupt stock of 1918, the year in which I was writing Country Sentiment. The Pier Glass, a volume which followed Country Sentiment, similarly contains a few pieces continuing the mood of this year, the desire to escape from a painful war neurosis into an Arcadia of amatory fancy, but the prevailing mood of The Pier Glass is aggressive and disciplinary, under the stress of the same neurosis, rather than escapist. Whipperginny for a while continues so, but in most of the later pieces will be found evidences of greater detachment in the poet and the appearance of a new series of problems in religion, psychology and philosophy, no less exacting than their predecessors, but, it may be said, of less emotional intensity. The “Interlude” in the middle of the book was written before the appearance of these less lyrical pieces, but must be read as an apology for the book being now even less homogeneous than before. To those who demand unceasing emotional stress in poetry at whatever cost to the poet—I was one of these myself until recently—I have no apology to offer; but only this proverb from the Chinese, that the petulant protests of all the lords and ladies of the Imperial Court will weigh little with the whale when, recovering from his painful excretory condition, he need no longer supply the Guild of Honourable Perfumers with their accustomed weight of ambergris.
ROBERT GRAVES.
The World’s End, Islip.
