Most Helpful Customer Reviews
|
|
81 of 87 people found the following review helpful:
4.0 out of 5 stars
Flawed Masterpiece, December 17, 2001
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.
|
|
|
50 of 54 people found the following review helpful:
5.0 out of 5 stars
visions and memory in myth, December 17, 1999
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.
|
|
|
33 of 36 people found the following review helpful:
4.0 out of 5 stars
This is clearly required reading for modern poets & pagans., January 12, 1998
By A Customer
Robert Graves never truly expected "White Goddess" to become the classic it has. However, along with "I, Claudius" & "Goodbye To All That" it may well be the only book the general public remembers him for. It is certainly unique in the field of poetry &
caused much controversy that still rages on today in poetic, historic & religious circles.
Graves called it "a historical grammar of poetic myth" & while that may sound a little
vague there may be no better way to define it. "White Goddess" is based on the theory that
true poetry isn't the free & interpretive verse that most people believe, but is instead
spiritual in function & governed by ancient pagan religious ideas. It seeks to express, in a
language of traditional mythic symbols, the five-fold stages of a never ending life & death
cycle. Graves attempts to trace the origins of this mythic language back to ancient Europe
& suggests that it may have even originated before the building of stonehenge. In the
process of researching this mythic language he explains history in mythic terms & myth in
historical terms, throwing new light on both by use of his "analeptic" method, which he
argues is a valid form of research.
Graves argues that true poetry, by it's very nature, is pagan & that the druids were
it's undisputed masters. With the coming of Greek philosophers & later Christian
missionaries, the true function of poetry & myth were lost. He uses countless references
to support his claims & the reader should be familiar with Greek & Celtic history &
mythology to get the most from this book. A familiarity with Frazer's "Golden Bough" is
also recommended.
Some of his history is flawed & his ideas of an early universal calendar-alphabet is
highly suspect. However, he still succeeded in his goal. He created, or recreated, a valid
& functional mythology for modern poets to apply to their work. In doing so he
unknowingly also set the standard for the modern neo-pagan movement. The book has
become accepted as one of the founding texts in the pagan community for it's insight into
the meaning & function of mythology. Not to mention it's call for a more liberal & less
dogmatic belief system.
|
|
|
Most Recent Customer Reviews
|
by James George Frazer
by Charles Godfrey Leland
by Sir James George Frazer
by Robert Graves
by James L. Weston
See all 48 books this book cites
