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
There is one story and one story only.
The difference between prose logic and poetic thought is simple. The logician uses words as a builder uses bricks, for the unemotional deadness of his academic prose; and is always coining newer, deader words with a natural preference for Greek formations. The poet avoids the entire vocabulary of logic unless for satiric purposes, and treats words as living creatures with a preference for those with long emotional histories dating from mediaeval times. Poetry at its purest is, indeed, a defiance of logic.
Prose books are the show dogs I breed and sell to support my cat.
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.