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The White Goddess: A Historical Grammar of Poetic Myth, by Robert Graves
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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.
- Sales Rank: #10552069 in Books
- Published on: 1983-06
- Original language: English
- Dimensions: 7.75" h x 5.50" w x 1.50" l, 1.35 pounds
- Binding: Hardcover
- 510 pages
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.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Culture, not fiction
By Lizzy
This is an academic work, a resurecting of ancient Bardic tales. It can be heavy sledding, and plenty of people decry Graves. The man was absolutely brilliant though! But if you want the truth about The Lord of The Rings? Tolkien would have read this, and it's influence is obvious. And it's a very beautiful piece of work. I love this and reread it periodicly.
3 of 3 people found the following review helpful.
Over My Head and Beautiful Poesy
By gooddog
This was very difficult and exotic reading for me, because I am out of my waters here; a physics major.
The best depiction of Graves' archetype of the White Goddess I can recall is the character "Alma" in the film "Ghost Story" .
She is timeless, beautiful, eerie , and everything else that Graves describes.
When I retire, one of my goals is to become more literate in the ancient works Graves writes about.
One trivial item I always remember is that Graves gives us Spanish speakers a definition for the word "carajo"
that I have not found elsewhere: the male member of a mule. None of my fellow Spanish speakers can put forth
any proper diction whatsoever for the word that is so commonplace in Spain and its former colonies.
4 of 4 people found the following review helpful.
" A prodigious, monstrous, stupefying, indescribable book ..."
By Jon Corelis
As the reviews indicate, this is a popular, influential, and controversial book. Let's put things in perspective by quoting the first and best review of it, the statement by T. S. Eliot, who was responsible for its publication, that this is a 'prodigious, monstrous, stupefying, indescribable book.' Eliot was not, to say the least, given to exaggeration, so his opinion is all the more suggestive that there must be something special here.
A second data point: this book is just what it says it is: 'A Historical Grammar of Poetic Myth.' It may be the only one ever written. But be that as it may, criticisms of the book's scholarship are quite beside the point, because it isn't and doesn't claim to be a work of scholarship. It's a work of visionary poetic intuition which uses Celtic mythology as a paradigm to explore the roots of poetic inspiration. To criticize its scholarship is like criticizing the Old Testament for employing invalid anthropological methods.
Admittedly, the book is not easy reading, and much of it may never be clear to many readers. Graves himself warns that 'this remains a very difficult book, as well as a very queer one, to be avoided by anyone with a distracted, tired, or rigidly scientific mind.' But he goes on to give a useful reference point to which his whole complex, and often convoluted, argument ultimately remains related: that 'the language of poetic myth anciently current in the Mediterranean and Northern Europe was a magical language bound up with popular religious ceremonies in honour of the Mood-goddess, or Muse, and that this remains the language of true poetry.' The argument for, or one might better call it the exploration of, this thesis takes the reader on something of a wild ride. But however much or little one is convinced of the thesis, there is barely a paragraph of it which is not intensely interesting and intensely suggestive, leading one to new insights of one's own in considering poetry, mythology, and religion.
This is not, perhaps, a book everyone will want to sit down and read straight through; many people may benefit more from keeping it around to dip into every once in a while, thinking about the paragraphs which seem most intriguing and saving the obscure or less convincing seeming ones for later. (I myself have done both: there is an AVP badge on this review because I had to buy a new copy after the old one I bought years ago started falling apart.)
Hence the five stars, meaning that this is a must have book for anyone interested in Robert Graves, poetry, mythology, Celtic culture, or religion. I don't think even those who aren't convinced by it could say it is ever a dull read.
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