Historical Novelists

"Children born of fairy stock Never need for shirt or frock, Never want for food or fire, Always get their heart's desire..."

"So when I'm killed, don't wait for me, Walking the dim corridor; In Heaven or Hell, don't wait for me, Or you must wait for evermore. You'll find me buried, living-dead In these verses that you've read."

"When I'm killed, don't think of me Buried there in Cambrin Wood, Nor as in Zion think of me With the Intolerable Good. And there's one thing that I know well, I'm damned if I'll be damned to Hell!"

"Through the window I can see Rooks above the cherry-tree, Sparrows in the violet bed, Bramble-bush and bumble-bee, And old red bracken smoulders still Among boulders on the hill, Far too bright to seem quite dead. But old Death, who can't forget, Waits his time and watches yet, Waits and watches by the door."

"Poet, never chase the dream. Laugh yourself and turn away. Mask your hunger, let it seem Small matter if he come or stay; But when he nestles in your hand at last, Close up your fingers tight and hold him fast."

"When a dream is born in you With a sudden clamorous pain, When you know the dream is true And lovely, with no flaw nor stain, O then, be careful, or with sudden clutch You'll hurt the delicate thing you prize so much."

"Robin, and Red Riding Hood Take together to the wood, And Sir Galahad lies hid In a cave with Captain Kidd. None of all the magic hosts, None remain but a few ghosts Of timorous heart, to linger on Weeping for lost Babylon."

"Wisdom made him old and wary Banishing the Lords of Faery. Wisdom made a breach and battered Babylon to bits: she scattered To the hedges and ditches All our nursery gnomes and witches."

"The child alone a poet is: Spring and Fairyland are his. Truth and Reason show but dim, And all's poetry with him."

"Let statesmen bluster, bark and bray, And so decide who started This bloody war, and who's to pay, But he must be stout-hearted, Must sit and stake with quiet breath, Playing at cards with Death. Don't plume yourself he fights for you; It is no courage, love, or hate, But let us do the things we do; It's pride that makes the heart be great; It is not anger, no, nor fear — Lucasta he's a Fusilier, And his pride keeps him here."

"It doesn't matter what's the cause, What wrong they say we're righting, A curse for treaties, bonds and laws, When we're to do the fighting!"

"The holiest, cruellest pains I feel, Die stillborn, because old men squeal For something new: "Write something new: We've read this poem — that one too, And twelve more like 'em yesterday"?"

"Take courage, lover! Could you endure such pain At any hand but hers?"

"Love is a universal migraine. A bright stain on the vision Blotting out reason."

"But we are gifted, even in November, Rawest of seasons, with so huge a sense Of her nakedly worn magnificence We forget cruelty and past betrayal, Heedless of where the next bright bolt may fall."

"All saints revile her, and all sober men Ruled by the God Apollo's golden mean — In scorn of which we sailed to find her In distant regions likeliest to hold her Whom we desired above all things to know, Sister of the mirage and echo."

"Dwell on her graciousness, dwell on her smiling, Do not forget what flowers The great boar trampled down in ivy time. Her brow was creamy as the crested wave, Her sea-blue eyes were wild But nothing promised that is not performed."

"Fear in your heart cries to the loving-cup: Sorrow to sorrow as the sparks fly upward. The log groans and confesses There is one story and one story only."

"She in left hand bears a leafy quince; When with her right she crooks a finger, smiling, How may the King hold back? Royally then he barters life for love."

"Water to water, ark again to ark, From woman back to woman: So each new victim treads unfalteringly The never altered circuit of his fate, Bringing twelve peers as witness Both to this starry rise and starry fall."

"There is one story and one story only That will prove worth your telling, Whether as learned bard or gifted child; To it all lines or lesser guards belong That startle with their shining Such common stories as they stray into."

"Truth-loving Persians do not dwell upon The trivial skirmish fought near Marathon."

"War was return of earth to ugly earth, War was foundering of sublimities, Extinction of each happy art and faith By which the world had still kept head in air."

"What, then, was war? No mere discord of flags But an infection of the common sky That sagged ominously upon the earth."

"Entrance and exit wounds are silvered clean, The track aches only when the rain reminds. The one-legged man forgets his leg of wood, The one-armed man his jointed wooden arm. The blinded man sees with his ears and hands As much or more than once with both his eyes."

"Sigh then, or frown, but leave (as in despair) Motive and end and moral in the air; Nice contradiction between fact and fact Will make the whole read human and exact."

"His wiles were witty and his fame far known, Every king's daughter sought him for her own, Yet he was nothing to be won or lost. All lands to him were Ithaca: love-tossed He loathed the fraud, yet would not bed alone."

"One, two and many: flesh had made him blind, Flesh had one pleasure only in the act, Flesh set one purpose only in the mind — Triumph of flesh and afterwards to find Still those same terrors wherewith flesh was racked."

"They multiplied into the Sirens' throng, Forewarned by fear of whom he stood bound fast Hand and foot helpless to the vessel's mast, Yet would not stop his ears: daring their song He groaned and sweated till that shore was past."

"To the much-tossed Ulysses, never done With woman whether gowned as wife or whore, Penelope and Circe seemed as one: She like a whore made his lewd fancies run, And wifely she a hero to him bore."

"Down, wanton, down! Have you no shame That at the whisper of Love’s name, Or Beauty’s, presto! up you raise Your angry head and stand at gaze?"

"Children, if you dare to think Of the greatness, rareness, muchness, Fewness of this precious only Endless world in which you say You live, you think of things like this: Blocks of slate enclosing dappled Red and green, enclosing tawny Yellow nets, enclosing white And black acres of dominoes, Where a neat brown paper parcel Tempts you to untie the string."

"Be warm, enjoy the season, lift your head, Exquisite in the pulse of tainted blood, That shivering glory not to be despised. Take your delight in momentariness, Walk between dark and dark — a shining space With the grave’s narrowness, though not its peace."

"As you are woman, so be lovely: As you are lovely, so be various, Merciful as constant, constant as various, So be mine, as I yours for ever."

"There’s a cool web of language winds us in, Retreat from too much joy or too much fear: We grow sea-green at last and coldly die In brininess and volubility."

"His eyes are quickened so with grief, He can watch a grass or leaf Every instant grow; he can Clearly through a flint wall see, Or watch the startled spirit flee From the throat of a dead man."

"Christ of His gentleness Thirsting and hungering, Walked in the wilderness; Soft words of grace He spoke Unto lost desert-folk That listened wondering."

"Trench stinks of shallow buried dead Where Tom stands at the periscope, Tired out. After nine months he’s shed All fear, all faith, all hate, all hope."

"If I were a girl, I'd despair. The supply of good women far exceeds that of a man who desrves them."

"Even nowadays an archaic sense of love-innocence recurs, however briefly, among most young men and women. Some few of these, who become poets, remain in love for the rest of their lives, watching the world with a detachment unknown to lawyers, politicians, financiers, and all other ministers of that blind and irresponsible successor to matriarchy and patriarchy — the mechanarchy."

"Abstract reason, formerly the servant of practical human reasons, has everywhere become its master, and denies poetry any excuse for existence. Though philosophers like to define poetry as irrational fancy, for us it is practical, humorous, reasonable way of being ourselves. Of never acquiescing in a fraud; of never accepting the secondary-rate in poetry, painting, music, love, friends. Of safeguarding our poetic institutions against the encroachments of mechanized, insensate, inhumane, abstract rationality."

"Philosophy is antipoetic. Philosophize about mankind and you brush aside individual uniqueness, which a poet cannot do without self-damage. Unless, for a start, he has a strong personal rhythm to vary his metrics, he is nothing. Poets mistrust philosophy. They know that once the heads are counted, each owner of a head loses his personal identity and becomes a number in some government scheme: if not as a slave or serf, at least as a party to the device of majority voting, which smothers personal views."

"A perfect poem is impossible. Once it had been written, the world would end."

"The remarkable thing about Shakespeare is that he is really very good — in spite of all the people who say he is very good."

"Anthropologists are a connecting link between poets and scientists; though their field-work among primitive peoples has often made them forget the language of science."

"I believe that every English poet should read the English classics, master the rules of grammar before he attempts to bend or break them, travel abroad, experience the horror of sordid passion and — if he is lucky enough — know the love of an honest woman."

"The dead may speak the truth only, even when it discredits themselves."

"To be a poet is a condition rather than a profession."

"Graves is such a professional surpriser that only a conventional opinion from him could still shock us. It has been a unique privilege of our time to watch the building of Graves, from shell-shocked schoolboy in World War I to Mediterranean warlock, encanting at the Moon. As an expatriate in Majorca, Graves remains a bit of an Edwardian tease, as willful and unflaggingly facetious as a Sitwell; yet in another sense, he has grown more fully and richly than is given to most. His literary opinions are so quirky that they seem designed solely to start lengthy feuds in the London Times; yet in terms of his own art they are not quirky at all."

"Robert Graves stands impressively, cantankerously, comically, nobly apart from his contemporaries. You can't even classify him as the leader of his own school. He hasn't one. Indeed, it may be said that he draws his greatest strength from wrestling single-handed with the brutish mob."