By Anne Mounic

This is provided an existential view of Graves' poetic, ancient, and important paintings, whose coherence is being emphasised. Graves' poetic outlook is to start with moral and his aesthetics are subservient to his goal of remodeling the emotion into existential notion with a view to live to tell the tale, to probe the event, and to offer it its ontological resonance. The divine capability is to be discovered in the person soul. it really is immanent yet transcends the phenomenological global. Like Kierkegaard, the poet stories a sense of simple task whilst religion animates him. within the current second, he will get glimpses of paradise - the plenitude of being. No clipped wings, no good polished self-discipline or well-behaved advice. In Kierkegaard's phrases, the poet's sphere isn't the common, or common, however the non secular, or person, sphere - religion, now not the concept that; self-confidence, no longer conformity to any over-simplified good judgment. Graves' stance is paradoxical all through: he was once no longer politically concerned (except instantly after the conflict while he stated he was once a Socialist), yet evinced a few political rules in his essays. He was once now not non secular, yet poetry took where of faith for him. He evinced a really unique poetic outlook, yet saved in the limits of well-accepted prosody. He loved to impress his viewers, yet his poetry isn't provocative. In different phrases, it's not effortless to situate Graves in keeping with time-honoured different types. he's an excessive amount of of somebody poet to face basic type. but his poems have an instantaneous attract the examining public. he's a poet of unrest. This quantity is of curiosity for students and poetry readers who desire to renew their appreciation of poetry and transcend these days severe criteria via a cautious analyzing of the very strong considered an important poet.

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Additional resources for Counting the Beats: Robert Graves' Poetry of Unrest

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Confronted by the universal economic laws, the individual has to assert his rights to be more than the homo economicus shaped by the globalised market. Therefore poetry is highly subversive unless it remains aesthetic, or formalist. The media provide us with an abundance of exterior impersonal images. It is absolutely useful, although anti-utilitarian, to stick to the language of interiority, the language of the individual soul in the making. The approach, therefore, is existential. The aim is not static beauty, as in Joyce’s outlook.

3 Graves, The White Goddess, 325. , 327. , 321. ” 6 Yet Graves refuses to veil tragedy behind abstract concepts. He rejects Apollo for Dionysus and attacks philosophy and Socrates in the Foreword to The White Goddess. Throughout his poetry we find the same theme broached from “Mr. ”, “on science, ethics, metaphysics / On antonyms of sacred and profane” in Poems 1953. In this poem, the philosophy of love opposes love itself and the conclusion is: Come, walk with me, love, in a golden rain Past toppling colonnades of glory, The moon alive on each uptilted face: Proud remnants of a visionary race.

7 30 Counting the Beats giving Venus as “The thumb (as a phallic emblem)”. 12 Thus the goddess is an image of male desire, a point that has also been made by some psychoanalysts. There is no such thing as duality of subject and object in The White Goddess but echoes of images that mirror the soul and tend to provide a picture of the self, a double to the individual. The goddess is the poet’s desire, not only sexual desire, but also his desire for immortality, and his experience as well; she is partly himself, partly what escapes his control.

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