Оглавление
Robert Graves. On English Poetry
On English Poetry
Table of Contents
I. DEFINITIONS
II. THE NINE MUSES
III. POETRY AND PRIMITIVE MAGIC
IV. CONFLICT OF EMOTIONS
V. THE PATTERN UNDERNEATH
VI “INSPIRATION”
VII. THE PARABLE OF MR. POETA AND MR. LECTOR
VIII. THE CARPENTER’S SON
IX. THE GADDING VINE
X. THE DEAD END AND THE MAN OF ONE POEM
XI. SPENSER’S CUFFS
XII. CONNECTION OF POETRY AND HUMOUR
XIII. DICTION
XIV. THE DAFFODILS
XV. VERS LIBRE
XVI. MOVING MOUNTAINS
XVII. LA BELLE DAME SANS MERCI
XVIII. THE GENERAL ELLIOTT
XIX. THE GOD CALLED POETRY
XX. LOGICALIZATION
XXI. LIMITATIONS
XXII. THE NAUGHTY BOY
XXIII. THE CLASSIC AND ROMANTIC IDEAS
XXIV. COLOUR
XXV. PUTTY
XXVI. READING ALOUD
XXVII. L’ARTE DELLA PITTURA
XXVIII. ON WRITING MUSICALLY
XXIX. THE USE OF POETRY
XXX. HISTORIES OF POETRY
XXXI. THE BOWL MARKED DOG
XXXII. THE ANALYTIC SPIRIT
XXXIII. RHYMES AND ALLITERATION
XXXIV. AN AWKWARD FELLOW CALLED ARIPHRADES
XXXV. IMPROVISING NEW CONVENTIONS
XXXVI. WHEN IN DOUBT
XXXVII. THE EDITOR WITH THE MUCKRAKE
XXXVIII. THE MORAL QUESTION
XXXIX. THE POET AS OUTSIDER
XL. A POLITE ACKNOWLEDGMENT
XLI. FAKE POETRY, BAD POETRY AND MERE VERSE
XLII. A DIALOGUE ON FAKE-POETRY
XLIII. ASKING ADVICE
XLIV. SURFACE FAULTS, AN ILLUSTRATION
XLV. LINKED SWEETNESS LONG DRAWN OUT
XLVI. THE FABLE OF THE IDEAL GADGET
XLVII. SEQUELS ARE BARRED
XLVIII. TOM FOOL
XLIX. CROSS RHYTHM AND RESOLUTION
L. MY NAME IS LEGION, FOR WE ARE MANY
LI. THE PIG BABY
LII. APOLOGY FOR DEFINITIONS
LIII. TIMES AND SEASONS
LIV. TWO HERESIES
LV. THE ART OF EXPRESSION
LVI. GHOSTS IN THE SHELDONIAN
LVII. THE LAYING ON OF HANDS
LVIII. WAYS AND MEANS
LIX. POETRY AS LABOUR
LX. THE NECESSITY OF ARROGANCE
LXI. IN PROCESSION
APPENDIX:—THE DANGERS OF DEFINITION
