English poet and novelist (1895-1985)
Robert Ranke Graves (24 July 1895 – 7 December 1985) was a prolific English poet, scholar and novelist. He is most famous for his autobiographical work Goodbye to All That, and works on classical themes and mythology, such as I, Claudius, The Greek Myths and The White Goddess. His father was Alfred Perceval Graves.
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Another War soon gets begun, A dirtier, a more glorious one; Then, boys, you'll have to play, all in; It's the cruellest team will win. So hold your nose against the stink And never stop too long to think. Wars don't change except in name; The next one must go just the same, And new foul tricks unguessed before Will win and justify this War.
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Ancient Europe had no gods. The Great Goddess was regarded as immortal, changeless, and omnipotent; and the concept of fatherhood had not been introduced into religious thought. She took lovers, but for pleasure, not to provide her children with a father. Men feared, adored, and obeyed the matriarch; the hearth which she tended in a cave or hut being their earliest social centre, and motherhood their prime mystery.
"From husks and rags and waste and excrement
He forms the pavement-feet and the lift-faces;
He steers the sick words into parliament
To rule a dust-bin world with deep-sleep phrases.
When healthy words or people chance to dine
Together in this rarely actual scene,
There is a love-taste in the bread and wine,
Nor is it asked: "Do you mean what you mean?"
But to their table-converse boldly comes
The same great-devil with his brush and tray,
To conjure plump loaves from the scattered crumbs,
And feed his false five thousands day by day.
- Hell"
…A story that was the subject of every variety of misrepresentation, not only by those who then lived but likewise in succeeding times: so true is it that all transactions of preeminent importance are wrapt in doubt and obscurity; while some hold for certain facts the most precarious hearsays, others turn facts into falsehood; and both are exaggerated by posterity. TACITUS
The moon’s three phases of new, full, and old recalled the matriarch’s three phases of maiden, nymph (nubile woman), and crone. Then, since the sun’s annual course similarly recalled the rise and decline of her physical powers – spring a maiden, summer a nymph, winter a crone – the goddess became identified with seasonal changes in animal and plant life; and thus with Mother Earth who, at the beginning of the vegetative year, produces only leaves and buds, then flowers and fruits, and at last ceases to bear. She could later be conceived as yet another triad: the maiden of the upper air, the nymph of the earth or sea, the crone of the underworld – typified respectively by Selene, Aphrodite, and Hecate. These mystical analogues fostered the sacredness of the number three, and the Moon-goddess became enlarged to nine when each of the three persons – maiden, nymph, and crone – appeared in triad to demonstrate her divinity. Her devotees never quite forgot that there were not three goddesses, but one goddess; though, by Classical times, Arcadian Stymphalus was one of the few remaining shrines where they all bore the same name: Hera.