If modern scholars overlook the entertainment motive, dominant in the Iliad, and treat Homer as a Virgil, Dante, or Milton, rather than as a Shakespeare or Cervantes, they are doing him a great disservice. The Iliad, Don Quixote and Shakespeare’s later plays are life — tragedy salted with humour; the Aeneid, the Inferno and Paradise Lost are literary works of almost superhuman eloquence, written for fame not profit, and seldom read except as a solemn intellectual task. The Iliad, and its later companion-piece, the Odyssey, deserve to be rescued from the classroom curse which has lain heavily on them throughout the past twenty-six centuries, and become entertainment once more; which is what I have attempted here. How this curse fell on them can be simply explained.
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.
From: Wikiquote (CC BY-SA 4.0)
Birth Name:
Robert von Ranke Graves
Native Name:
Robert Ranke Graves
Alternative Names:
Robert von Ranke-Graves
•
Robert Von Ranke-Graves
From Wikidata (CC0)
In Dedication.
All saints revile her, and all sober men
Ruled by the God Apollo's golden mean -
In scorn of which I sailed to find her
In distant regions likeliest to hold her
Whom I desired above all things to know,
Sister of the mirage and echo.
It was a virtue not to stay,
To go my headstrong and heroic way
Seeking her out at the volcano's head,
Among pack ice, or where the track had faded
Beyond the cavern of the seven sleepers:
Whose broad high brow was white as any leper's,
Whose eyes were blue, with rowan-berry lips,
With hair curled honey-coloured to white hips.
Green sap of Spring in the young wood a-stir
Will celebrate the Mountain Mother,
And every song-bird shout awhile for her;
But I am gifted, even in November
Rawest of seasons, with so huge a sense
Of her nakedly worn magnificence
I forget cruelty and past betrayal,
Careless of where the next bright bolt may fall.
To jest dzika ziemia, kraj, który sam wybrałem,
W nim szorstka, skalna góra, wielkie wrzosowisko.
Rzadko na pustych polach tych głos jakiś słychać,
Chyba głos zimnej wody, co gdzieniegdzie płynie
Przez skały i wrzos wiotki rosnący w pustkowiu.
Mysz tędy przebiegnie ni ptak nie przeleci,
Bojąc się myszołowa, co po niebie płynie.
Szybuje tam i krąży, kołysząc skrzydłami,
Królestwo swe szerokie bystrym mierzy okiem,
Łowi drżenie niewielkich ukrytych żyjątek,
Rozdziera na kawałki i zrzuca je z nieba;
Tkliwości i litości serce nie dopuszcza,
Tam gdzie woda i skała tylko są pokarmem -
Życie niełatwe, strachu jest pełne i wstrząsów.
Czas nigdy nie wędrował do tego odludzia,
Wrzos i czarne bażyny kwitną po terminie,
Skały sterczą, strumyki spływają śpiewając,
O to, czy pora wczesna, czy późna, nie dbają;
Niebo płynie nad głową, błękitne lub szare;
Zimę poznałbyś po tym, że śniegiem zacina,
Gdyby nie to, że czerwiec jej zbroi się ima.
Jednak to moja ziemia, najbardziej ją kocham,
Pierwszy kraj, jaki powstał z Potopu, Chaosu;
Nie ma w nim żadnych dolin miłych dla popasu,
Nie ma podkutych koni, krwią nie był kupiony.
Kraj odwieczny - pagórki są w nim fortecami
Dla półbogów, gdy kroczą po ziemi, strach siejąc
Wśród tłumu tłustych mieszczan w odległych dolinach.
"The Blue Fly"
Five summer days, five summer nights,
The ignorant, loutish, giddy blue-fly
Hung without motion on the cling peach
Humming occasionally ‘O my love, my fair one!’
As in the canticles.
Magnified one thousand times, the insect
Looks farcically human; laugh if you will!
Bald head, stage fairy wings, blear eyes,
A caved-in chest, hairy black mandibles,
Long spindly thighs.
The crime was detected on the sixth day.
What then could be said or done? By anyone?
It would have been vindictive, mean, and what-not,
To swat that fly for being a blue-fly,
For debauch of a peach.
Is it fair either, to bring a microscope
To bear on the case, even in search of truth?
Nature, doubtless, has some compelling cause
To glut the carriers of her epidemics -
Nor did the peach complain.
The bad poet is likely to have suffered and felt joy as deeply as the poet reckoned first class, but he has not somehow been given the power of translating experience into images and emblems, or of melting words in the furnace of his mind and making them flow into the channels prepared to take them.
The king deputized for the Queen at many sacred functions, dressed in her robes, wore false breasts, borrowed her lunar axe as a symbol of power, and even took over from her the magical art of rain-making. His ritual death varied greatly in circumstance; he might be torn in pieces by wild women, transfixed with a sting-ray spear, felled with an axe, pricked in the heel with a poisoned arrow, flung over a cliff, burned to death on a pyre, drowned in a pool, or killed in a pre-arranged chariot crash. But die he must.
Children born of fairy stock
Never need for shirt or frock
Never want for food or fire
Always get their heart's desire
Jingle pockets full of gold
Marry when they're seven years old
Every fairy child may keep
Two strong ponies and ten sheep
All have houses, each his own
Built of brick or granite stone
They live on cherries, they run wild
I'd love to be a fairy's child
Once two clever Athenian policemen were pursuing a Theban thief towards the city boundaries when they came upon a sign: ‘The Sign of the Grape. Thebans made welcome.’ One said: ‘He will have taken refuge here.’
‘No,’ cried the other, ‘this is just the place where he will expect us to look for him.’ ‘Exactly,’ rejoined the first, ‘so he will have decided to outwit us by entering.’ They therefore searched the place thoroughly. Meanwhile the Theban thief, who could not read, had run on to safety across the boundary.