The White Goddess: A Historical Grammar of Poetic Myth, Amended and Enlarged Edition [Paperback]

Robert Graves (Author)

Book Description

Publication Date: January 1, 1966

The White Goddess is perhaps the finest of Robert Graves's works on the psychological and mythological sources of poetry. In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.

Editorial Reviews

Amazon.com Review

Robert Graves, the late British poet and novelist, was also known for his studies of the mythological and psychological sources of poetry. With The White Goddess: A Historical Grammar of Poetic Myth, Graves was able to combine many of his passions into one work. While the book is so poetically written that many of the passages amount to prose poems, it is also frequently plot driven enough to feel like a novel, and it is rich with scholarly insight into the deep wells of poetry. Especially fascinating is the chapter in which Graves explores the ancient and ongoing practice of poets' invoking the muse. Graves details the practice in both the Eastern and Western literary traditions, and shows specific similarities and differences among Greek, British, and Irish tales and myths about the muse. Graves has much to offer students of history and myth, but poetry lovers will also be fascinated with The White Goddess.

About the Author

Robert Graves (1895-1985), born in London, was one of the most talented, colorful, and prolific men of letters in the twentieth century. He is best known for his historical novels, I, Claudius and Claudius the God. He spent much of his life on the island of Majorca.

Product Details

• Paperback: 512 pages
• Publisher: Farrar, Straus and Giroux (January 1, 1966)
• Language: English
• ISBN-10: 0374504938
• ISBN-13: 978-0374504939
• Product Dimensions: 7.8 x 5.3 x 1.3 inches
• Shipping Weight: 1.2 pounds (View shipping rates and policies)
• Average Customer Review: 3.9 out of 5 stars  See all reviews (40 customer reviews)
• Amazon Best Sellers Rank: #124,905 in Books (See Top 100 in Books)

More About the Author

ROBERT GRAVES (1895-1985) was an English poet, translator, and novelist, one of the leading English men of letters in the twentieth century. He fought in World War I and won international acclaim in 1929 with the publication of his memoir of the First World War, Good-bye to All That. After the war, he was granted a classical scholarship at Oxford and subsequently went to Egypt as the first professor of English at the University of Cairo. He is most noted for his series of novels about the Roman emperor Claudius and his works on mythology, such as The White Goddess.

Customer Reviews

Most Helpful Customer Reviews

108 of 115 people found the following review helpful:

4.0 out of 5 stars Flawed Masterpiece, December 17, 2001

By 

Thomas F. Ogara (Jacksonville, FL USA) - See all my reviews
(REAL NAME)   

This review is from: The White Goddess: A Historical Grammar of Poetic Myth, Amended and Enlarged Edition (Paperback)

I am a great fan of Robert Graves. I find him to be an outstanding poet, an excellent novelist, and a compelling writer of non-fiction. Probably the best known, if not the best, example of the last mentioned genre is "The White Goddess."

When "Goddess" first appeared in the late 1940's it was a groundbreaking work; for lack of a better definition it is a book on cultural anthropolgy written by a poet, who felt that as a a poet and a man who understood the inner motivation of the poet he would give his views on the Muse and her invocation. The book covers a lot of territory, sprawling across civilization from the Greeks to the Celts, and from the three forms of the Muse to the Fisher King to the Ogham alphabet. It wanders so far that it's hard to keep up with Mr. Graves as he gallops across centuries and over distances. For those of us used to Mr. Graves' usual tight control of his material and its presentation, it's difficult to deal with how he jumps from subject to subject with little or no notice.

I'm almost tempted to say that this is Mr. Graves' version of "Finnegan's Wake", only in a non-fictional form. It certainly is his encomium to the White Goddess, whom he identifies as the original Muse of all poets, including himself. There's enough to think about for years in this book, and neo-pagan movements may be described as having largely started based on the thoughts provoked by this book.

But Graves was a poet, not a social scientist, and in the last fifty years many of his observations have been proven to be wrong. This in itself is not so surprising, nor is it really such a bad thing; the real problem is the amount of emotional residue that those ideas left in their wake. Graves makes some observations that some would find offensive now, such as his allegation that women can't be real poets - they have no Muse to appeal to, the White Goddess only wants the worship of males. He makes a possible exception of Sappho, for what it's worth.

In short, "Goddess" still deserves to be read - it's a good, albeit exhausting read, and Graves is always worth reading - but it would be a mistake to pick up his ideas and run with them.

59 of 65 people found the following review helpful:

5.0 out of 5 stars visions and memory in myth, December 17, 1999

By 

karl b. (Fraser Valley, BC, Canada) - See all my reviews

This review is from: The White Goddess: A Historical Grammar of Poetic Myth, Amended and Enlarged Edition (Paperback)

I won't pretend I know exactly what this book is about. Graves presents his arguments with the reasoning of a poet, decidedly not the formal logic of a theologian or the empirical induction of a historian. I gave this book 5 stars because of its sheer ambition and audacity. Graves is attempting a synthesis of the entirety of mythology into a coherent grammatical code, a universal metaphysical language. That is a monumental undertaking, not only due to the breadth of knowledge of the Christian, Pagan and Classical canons it requires, but also because these traditions are commonly regarded as antithetical, their communities, such as they exist, hostile to each other. Graves proffers a common root under the ossified codices, if with an uneven case.

Poets, as a group, are known for their affinity to the mystical and mythological. The poetic temperament imbues and projects inner forms with aspects of corporeality, which the rest of us grasp only dimly as a spectre of consciousness, without significance or shape. The true poet is more likely to see them as a magical talisman, an object of necessary reality. Numbers, alphabets, calendars, zodiacs-- lunar and solar domains-- a primal order bubbles from the cauldron of Graves's conceptions. His spells are incarnate in trees, minerals, birds, planets-- metaphors of an underlying truth.

This analysis springs from two dense poems of spiritual mysticism, The Battle of the Trees (Welsh Druid) and Hanes Taliesen ( Early Christian). Presented as a vision, like Revelations, they pose a riddle and mix symbols. Graves's solution loosely ties his thesis together. Linguists have theorized about the existence of grammatical archetypes; mythic relics are visible in Christian sacraments; correspondence amongst various folklore is widely acknowledged. Graves is not proposing anything radically new. He has, though, developed a cryptic framework which is supernatural and aesthetic, an elixir of divination and contemplation. He sees the White Goddess, as muse, in every authentic poem since those of Homer. His construction puts history at the service of his grammatical architecture. The White Goddess is a work of introspection and selective interpretation, comparable to those of Jung or Spengler, not one of conventional scholarship. Many of its assertions are farfetched or arbitrary, some pure formulations. That is not to understate its value. This is the culmination of a life's reflections, investigations and musings. It represents the articulation of a powerful, syncretic imagination-- a concordance of speculation and intuition.

26 of 27 people found the following review helpful:

4.0 out of 5 stars An insightful read, November 9, 2005

By 

Kelley Heckart "Celtic historical romance/fan... (Lake Havasu, AZ) - See all my reviews
(REAL NAME)   

This review is from: The White Goddess: A Historical Grammar of Poetic Myth, Amended and Enlarged Edition (Paperback)

I think a lot of people have missed the point of this book. Robert Graves was a poet, not a historian or an expert on Celtic mythology. The subtitle for The White Goddess is "A Historical Grammar of Poetic Myth." He was attempting to interpret the ancient poems. While I did not always agree with his interpretations, I found them to be quite intriguing.

Ancient poets were like the rock stars of today. They kept the history of the people, and may have been trying to hide secret information in their poetry that these ancient people did not want falling into the wrong hands. Mr. Graves was trying to break these secret codes.

I didn't pay too much attention to what Mr. Graves was saying about the Celtic Ogham, but more about the different faces of the Goddess, the lesser known parts of Greek mythology, and the different properties of trees as they related to the ancient people. Ancient people lived their lives shrouded in superstition, harboring a great respect for the earth, something we in this modern age of self-destruction, would do well to learn from.

At times, Mr. Graves jumped around too much for my taste, but I still found this to be a very interesting book. Whether you believe the Celts originated in Greece or not, this is still a book filled with important poetic insight.