Robert Graves
Robert Graves
Robert von Ranke Graves was an English poet, novelist, critic and classicist. During his long life he produced more than 140 works. Graves's poems—together with his translations and innovative analysis and interpretations of the Greek myths; his memoir of his early life, including his role in the First World War, Good-Bye to All That; and his speculative study of poetic inspiration, The White Goddess—have never been out of print...
NationalityIrish
ProfessionPoet
Date of Birth24 July 1895
CountryIreland
For words of rapture groping, they"Never such love," swore "ever before was!"
In love as in sport, the amateur status must be strictly maintained.
Never use the word 'audience.' The very idea of a public, unless the poet is writing for money, seems wrong to me. Poets don't have an 'audience'. They're talking to a single person all the time.
When the immense drugged universe explodes In a cascade of unendurable colour And leaves us gasping naked, This is no more than the ectasy of chaos: Hold fast, with both hands, to that royal love Which alone, as we know certainly, restores Fragmentation into true being. Ecstasy of Chaos
You mean that people who continue virtuous in an old-fashioned way must inevitably suffer in times like these?
Love at first sight'some say misnaming Discovery of twinned helplessness Against the huge tug of procreation. But friendship at first sight? This also Catches fiercely at the surprised heart So that the cheek blanches then blushes.
The function of poetry is religious invocation of the muse; its use is the experience of mixed exaltation and horror that her presence excites.
Love is universal migraine, A bright stain on the vision Blotting out reason. Symptoms of true love Are leanness, jealousy, Laggard dawns; Are omens and nightmares - Listening for a knock, Waiting for a sign: For a touch of her fingers In a darkened room, For a searching look. Take courage, lover! Could you endure such pain At any hand but hers?
Poetry began in the matriarchal age, and derives its magic from the moon, not from the sun. No poet can hope to understand the nature of poetry unless he has had a vision of the Naked King crucified to the lopped oak, and watched the dancers, red-eyed from the acrid smoke of the sacrificial fires, stamping out the measure of the dance, their bodies bent uncouthly forward, with a monotonous chant of "Kill! kill! kill!" and "Blood! blood! blood!
The difference between you and her (whom I to you did once prefer) Is clear enough to settle: She like a diamond shone, but you Shine like an early drop of dew Poised on a red rose petal. The dew-drop carries in its eye Mountain and forest, sea and sky, With every change of weather; Contrariwise, a diamond splits The prospect into idle bits That none can piece together.
Haunted Gulp down your wine, old friends of mine, Roar through the darkness, stamp and sing And lay ghost hands on everything, But leave the noonday's warm sunshine To living lads for mirth and wine. I met you suddenly down the street, Strangers assume your phantom faces, You grin at me from daylight places, Dead, long dead, I'm ashamed to greet Dead men down the morning street.
Love without hope, as when the young bird-catcher Swept off his tall hat to the Squire's own daughter, So let the imprisoned larks escape and fly Singing about her head, as she rode by.
Let all the poison that lurks in the mud, hatch out.
To recommend a monarchy on account of the prosperity it gives the provinces seems to me like recommending that a man should have liberty to treat his children as slaves, if at the same time he treats his slaves with reasonable consideration.