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The White Goddess

January 01, 1970

For the Greek sea goddess, see Leucothea. For the film, see Ramar of the Jungle.

The White Goddess: a Historical Grammar of Poetic Myth is a book-length essay on the nature of poetic myth-making by the English writer Robert Graves. First published in 1948, the book is based on earlier articles published in Wales magazine; corrected, revised and enlarged editions appeared in 1948, 1952 and 1961. The White Goddess represents an approach to the study of mythology from a decidedly creative and idiosyncratic perspective. Graves proposes the existence of a European deity, the "White Goddess of Birth, Love and Death", much similar to the Mother Goddess, inspired and represented by the phases of the Moon, who lies behind the faces of the diverse goddesses of various European and pagan mythologies.[1]

The White Goddess
First US edition
AuthorRobert Graves
CountryUnited Kingdom
LanguageEnglish
GenreMythology, poetry
PublisherFaber & Faber (UK)
Creative Age Press (US)
Publication date
1948

Graves argues that "true" or "pure" poetry is inextricably linked with the ancient cult-ritual of his proposed White Goddess and of her son.

History edit

Graves first wrote the book under the title of The Roebuck in the Thicket in a three-week period during January 1944, only a month after he had finished The Golden Fleece. He then left the book to focus on King Jesus, a historical novel about the life of Jesus. Returning to The Roebuck in the Thicket, he renamed it The Three-Fold Muse, before finishing it and retitling it as The White Goddess. In January 1946 he sent it to the publishers, and in May 1948 it was published in the UK, and in June 1948 in the US, as The White Goddess: a Historical Grammar of Poetic Myth.[2]

Graves believed that one could be in the true presence of the White Goddess when reading a poem, but in his view, this could be achieved only by a true poet of the wild, and not a classical poet, or even a Romantic poet, of whom he spoke critically: "The typical poet of the 19th-century was physically degenerate, or ailing, addicted to drugs and melancholia, critically unbalanced and a true poet only in his fatalistic regard for the Goddess as the mistress who commanded his destiny".[3]

Poetry and myth edit

Graves described The White Goddess as "a historical grammar of the language of poetic myth". The book draws from the mythology and poetry of Wales and Ireland especially, as well as that of most of Western Europe and the ancient Middle East. Relying on arguments from etymology and the use of forensic techniques to uncover what he calls 'iconotropic' redaction of original myths, Graves argues for the worship of a single goddess under many names, an idea that came to be known as "Matriarchal religion" in feminist theology of the 1970s.

The Golden Bough (1922, but first edition published 1890), an early anthropological study by Sir James George Frazer, is the starting point for much of Graves's argument, and Graves thought in part that his book made explicit what Frazer only hinted at. Graves wrote:

Sir James Frazer was able to keep his beautiful rooms at Trinity College, Cambridge until his death by carefully and methodically sailing all around his dangerous subject, as if charting the coastline of a forbidden island without actually committing himself to a declaration that it existed. What he was saying-not-saying was that Christian legend, dogma and ritual are the refinement of a great body of primitive and even barbarous beliefs, and that almost the only original element in Christianity is the personality of Jesus.

Graves's The White Goddess deals with goddess worship as the prototypical religion, analysing it largely from literary evidence, in myth and poetry.

Graves admitted he was not a medieval historian, but a poet, and thus based his work on the premise 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 Moon-goddess, or Muse, some of them dating from the Old Stone Age, and that this remains the language of true poetry...

Graves concluded, in the second and expanded edition, that the male-dominant monotheistic god of Judaism and its successors were the cause of the White Goddess's downfall, and thus the source of much of the modern world's woe. He describes Woman as occupying a higher echelon than mere poet, that of the Muse Herself. He adds "This is not to say that a woman should refrain from writing poems; only, that she should write as a woman, not as an honorary man." He seems particularly bothered by the spectre of women's writing reflecting male-dominated poetic conventions.[4]

Graves derived some of his ideas from poetic inspiration and a process of "analeptic thought", which is a term he used for throwing one's mind back in time and receiving impressions.

Visual iconography was also important to Graves's conception. Graves created a methodology for reading images he called "iconotropy". To practice this methodology one is required to reduce "speech into its original images and rhythms" and then to combine these "on several simultaneous levels of thought". By applying this methodology Graves decoded a woodcut of The Judgement of Paris as depicting a singular Triple Goddess[5] rather than the traditional Hera, Athena and Aphrodite of the narrative the image illustrates.

Celtic Tree Calendar edit

Graves also argues that the names of the Ogham letters in the alphabet used in parts of Gaelic Ireland and Britain contained a calendar that contained the key to an ancient liturgy involving the human sacrifice of a sacred king, and, further, that these letter names concealed lines of Ancient Greek hexameter describing the goddess.

Graves' "Tree Calendar" has no relation to any historical Celtic calendar.[6] His interpretations rather rely on the book Ogygia by the 17th-century bard Roderick O'Flaherty.

Druantia edit

In The White Goddess, Graves proposed a hypothetical Gallic tree goddess, Druantia, who has become somewhat popular with contemporary Neopagans. Druantia is an archetype of the eternal mother as seen in the evergreen boughs. Her name is believed to be derived from the Celtic word for oak trees, *drus or *deru.[7] She is known as "Queen of the Druids". She is a goddess of fertility for both plants & humans, ruling over sexual activities & passion. She also rules protection of trees, knowledge, creativity.[8]

Scholarship and critical reception edit

The White Goddess has been seen as a poetic work where Graves gives his notion of man's subjection to women in love an "anthropological grandeur" and further mythologises all women in general (and several of Graves's lovers in particular) into a three-faced moon goddess model.[9]

Graves's value as a poet aside, flaws in his scholarship such as poor philology, use of inadequate texts and outdated archaeology have been criticised.[10][11] Some scholars, particularly archaeologists, historians and folklorists have rejected the work[12] – which T. S. Eliot called "A prodigious, monstrous, stupefying, indescribable book"[13] – and Graves himself was disappointed that his work was "loudly ignored" by many Celtic scholars.[14]

However, The White Goddess was accepted as history by many non-scholarly readers. According to Ronald Hutton, the book "remains a major source of confusion about the ancient Celts and influences many un-scholarly views of Celtic paganism".[15] Hilda Ellis Davidson criticised Graves as having "misled many innocent readers with his eloquent but deceptive statements about a nebulous goddess in early Celtic literature", and stated that he was "no authority" on the subject matter he presented.[16] While Graves made the association between Goddesses and the moon appear "natural", it was not so to the Celts or some other ancient peoples.[15] In response to critics, Graves accused literary scholars of being psychologically incapable of interpreting myth[17] or too concerned with maintaining their perquisites to go against the majority view.

Some Neopagans have been bemused and upset by the scholarly criticism that The White Goddess has received in recent years,[18] while others have appreciated its poetic insight but never accepted it as a work of historical veracity.[19] Likewise, a few scholars find some value in Graves's ideas; Michael W. Pharand, though quoting earlier criticisms, states that "Graves's theories and conclusions, outlandish as they seemed to his contemporaries (or may appear to us), were the result of careful observation."[20]

According to Graves's biographer Richard Perceval Graves, Laura Riding played a crucial role in the development of Graves's thoughts when writing The White Goddess, despite the fact the two were estranged at that point. On reviewing the book, Riding was furious, saying "Where once I reigned, now a whorish abomination has sprung to life, a Frankenstein pieced together from the shards of my life and thoughts."[21]

Literary influences edit

The book was a major influence on the thinking of the poets Ted Hughes and Sylvia Plath,[22] with the latter identifying to some extent with the goddess figure herself.[23] Arguably, however, what Jacqueline Rose called "the cliché behind the myth – woman as inspiration, woman as drudge" – ultimately had a negative impact on Plath's life and work.[24]

See also edit

References edit

  1. ^ Graves, Robert (2013). The White Goddess (2 ed.). New York: Faber & Faber. ISBN 978-0374289331.
  2. ^ Hutton, Ronald (1999). The Triumph of the Moon: A History of Modern Pagan Witchcraft. Oxford University Press. pp. 188–189. ISBN 978-0-19-820744-3.
  3. ^ de Lima, Marcel (2014). The Ethnopoetics of Shamanism. New york: Palgrave Macmillan. p. 83. ISBN 9781349684564.
  4. ^ Graves, The White Goddess, pp. 446–447
  5. ^ Von Hendy, Andrew. The Modern Construction of Myth. p. 196.
  6. ^ Ellis, Peter Berresford (1997). "The Fabrication of 'Celtic' Astrology". The Astrological Journal. Vol. 39, no. 4 – via Centre Universitaire de Recherche en Astrologie.
  7. ^ Jane Gifford (2006). The Wisdom of Trees. Springer. p. 146. ISBN 1-397-81402-0.
  8. ^ Deanna J. Conway (2006). Celtic Magic. Llewellyn Publications. p. 109. ISBN 0-87542-136-9.
  9. ^ Hunter, Jefferson (1983). "The Servant of Three Mistresses" (review of: Seymour-Smith, Martin, Robert Graves: His Life and Work), in The Hudson Review, Vol. 36, No. 4 (Winter, 1983–1984), pp. 733–736.
  10. ^ Wood, Juliette (1999). "Chapter 1, The Concept of the Goddess". In Sandra Billington, Miranda Green (ed.). The Concept of the Goddess. Routledge. p. 12. ISBN 9780415197892. Retrieved 23 December 2008.
  11. ^ Hutton, Ronald (1993). The Pagan Religions of the Ancient British Isles: Their Nature and Legacy. John Wiley & Sons. p. 320. ISBN 9780631189466.
  12. ^ The Paganism Reader. p. 128.
  13. ^ Quoted in J. Kroll, Chapters in a Mythology (2007) p. 52
  14. ^ White, Donna R. A Century of Welsh Myth in Children's Literature. p. 75.
  15. ^ a b Hutton, Ronald (1993). The Pagan Religions of the Ancient British Isles: Their Nature and Legacy. John Wiley & Sons. p. 145. ISBN 9780631189466.
  16. ^ Davidson, Hilda Ellis (1998). Roles of the Northern Goddess[permanent dead link], page 11. Routledge. ISBN 0-415-13611-3
  17. ^ Inter alia – The White Goddess, Farrar Straus Giroux, p. 224. ISBN 0-374-50493-8
  18. ^ The Pomegranate 7.1, Equinox press, (Review of) "Jacob Rabinowitz, The Rotting Goddess: The Origin of the Witch in Classical Antiquity’s Demonization of Fertility Religion."
  19. ^ Lewis, James R. Magical Religion and Modern Witchcraft. p. 172.
  20. ^ Pharand, Michael W. "Greek Myths, White Goddess: Robert Graves Cleans up a 'Dreadful Mess'", in Ian Ferla and Grevel Lindop (ed), Graves and the Goddess: Essays on Robert Graves's The White Goddess. Associated University Presses, 2003. p. 188.
  21. ^ Lindop, Grevel, editor (1997) Robert Graves: The White Goddess: A Historical Grammar of Poetic Myth, Carcanet Press
  22. ^ J. Rose, The Haunting of Sylvia Plath (1991) p. 150
  23. ^ J. Kroll, Chapters in a Mythology (2007) pp. 42–6 and p. 81
  24. ^ J. Rose, The Haunting of Sylvia Plath (1991) pp. 153–4 and p. 163

Bibliography edit

Editions edit

  • 1948 – The White Goddess : a Historical Grammar of Poetic Myth (London: Faber & Faber) [Corr. 2nd ed. also issued by Faber in 1948] [US ed.= New York, Creative Age Press, 1948]
  • 1952 – The White Goddess : a Historical Grammar of Poetic Myth, Amended & enl. ed.[i.e. 3rd ed.] (London: Faber & Faber) [US ed.= New York: Alfred A.Knopf, 1958]
  • 1961 – The White Goddess : a Historical Grammar of Poetic Myth, Amended & enl. ed.[i.e. 4th ed.] (London: Faber & Faber) [US ed.= New York, Farrar, Straus and Giroux, 1966]
  • 1997 – The White Goddess : a Historical Grammar of Poetic Myth; edited by Grevel Lindop (Manchester: Carcanet) ISBN 1-85754-248-7

Critical studies edit

  • Bennett, Joseph, [review of Robert Graves' The White Goddess: a Historical Grammar of Poetic Myth], Hudson Review, vol.2 (1949), 133–138
  • Davis, Robert A., 'The Origin, Evolution, and Function of the Myth of the White Goddess in the Writings of Robert Graves' (unpublished PhD, University of Stirling, 1987) [ British Library copy: BLDSC DX212513]
  • Donoghue, Denis, 'The Myths of Robert Graves', New York Review of Books, 43, no.6 (4 April 1996), 27–31
  • Graves and the Goddess  : Essays on Robert Graves's The White Goddess, ed. by Ian Firla and Grevel Lindop (Selinsgrove, Pa.: Susquehanna University Press, 2003) ISBN 1-57591-055-1
  • Graves, Richard Perceval, Robert Graves and The White Goddess, 1940–85 (London: Weidenfeld and Nicolson, 1995) ISBN 0-297-81534-2
  • Kirkham, M.C., 'Incertitude and The White Goddess', Essays in Criticism, 16 (1966), 57–72
  • Lindop, Grevel, 'A Crazy Book: Robert Graves and The White Goddess', PN Review, 24, no. 1 [117] (1997 Sept–Oct), 27–29
  • Musgrove, Sydney, The Ancestry of 'The White Goddess, (Bulletin No. 62, English Series, no. 11) (Auckland: Univ. of Auckland Press, 1962)
  • Smeds, John. Statement and story : Robert Graves's myth-making (Åbo : Åbo Akademis Förlag, 1997)
  • Vickery, John B., Robert Graves and The White Goddess (Lincoln: Univ. of Nebraska Press, 1972)
  • Vogel, Amber, 'Not Elizabeth to his Raleigh: Laura Riding, Robert Graves, and origins of The White Goddess', in Literary Couplings: Writing Couples, Collaborators, and the Construction of Authorship, ed. by Marjorie Stone and Judith Thompson (University of Wisconsin Press, 2006), pp. 229–239, ISBN 978-0-299-21760-0

External links edit

  • The Robert Graves Trust
  • Home of Robert Graves in Deià, Mallorca 23 August 2013 at the Wayback Machine maintained by Robert Graves Foundation.

January 01, 1970
white, goddess, greek, goddess, leucothea, film, ramar, jungle, historical, grammar, poetic, myth, book, length, essay, nature, poetic, myth, making, english, writer, robert, graves, first, published, 1948, book, based, earlier, articles, published, wales, mag. For the Greek sea goddess see Leucothea For the film see Ramar of the Jungle The White Goddess a Historical Grammar of Poetic Myth is a book length essay on the nature of poetic myth making by the English writer Robert Graves First published in 1948 the book is based on earlier articles published in Wales magazine corrected revised and enlarged editions appeared in 1948 1952 and 1961 The White Goddess represents an approach to the study of mythology from a decidedly creative and idiosyncratic perspective Graves proposes the existence of a European deity the White Goddess of Birth Love and Death much similar to the Mother Goddess inspired and represented by the phases of the Moon who lies behind the faces of the diverse goddesses of various European and pagan mythologies 1 The White GoddessFirst US editionAuthorRobert GravesCountryUnited KingdomLanguageEnglishGenreMythology poetryPublisherFaber amp Faber UK Creative Age Press US Publication date1948 Graves argues that true or pure poetry is inextricably linked with the ancient cult ritual of his proposed White Goddess and of her son Contents 1 History 2 Poetry and myth 3 Celtic Tree Calendar 4 Druantia 5 Scholarship and critical reception 6 Literary influences 7 See also 8 References 9 Bibliography 9 1 Editions 9 2 Critical studies 10 External linksHistory editGraves first wrote the book under the title of The Roebuck in the Thicket in a three week period during January 1944 only a month after he had finished The Golden Fleece He then left the book to focus on King Jesus a historical novel about the life of Jesus Returning to The Roebuck in the Thicket he renamed it The Three Fold Muse before finishing it and retitling it as The White Goddess In January 1946 he sent it to the publishers and in May 1948 it was published in the UK and in June 1948 in the US as The White Goddess a Historical Grammar of Poetic Myth 2 Graves believed that one could be in the true presence of the White Goddess when reading a poem but in his view this could be achieved only by a true poet of the wild and not a classical poet or even a Romantic poet of whom he spoke critically The typical poet of the 19th century was physically degenerate or ailing addicted to drugs and melancholia critically unbalanced and a true poet only in his fatalistic regard for the Goddess as the mistress who commanded his destiny 3 Poetry and myth editGraves described The White Goddess as a historical grammar of the language of poetic myth The book draws from the mythology and poetry of Wales and Ireland especially as well as that of most of Western Europe and the ancient Middle East Relying on arguments from etymology and the use of forensic techniques to uncover what he calls iconotropic redaction of original myths Graves argues for the worship of a single goddess under many names an idea that came to be known as Matriarchal religion in feminist theology of the 1970s The Golden Bough 1922 but first edition published 1890 an early anthropological study by Sir James George Frazer is the starting point for much of Graves s argument and Graves thought in part that his book made explicit what Frazer only hinted at Graves wrote Sir James Frazer was able to keep his beautiful rooms at Trinity College Cambridge until his death by carefully and methodically sailing all around his dangerous subject as if charting the coastline of a forbidden island without actually committing himself to a declaration that it existed What he was saying not saying was that Christian legend dogma and ritual are the refinement of a great body of primitive and even barbarous beliefs and that almost the only original element in Christianity is the personality of Jesus Graves s The White Goddess deals with goddess worship as the prototypical religion analysing it largely from literary evidence in myth and poetry Graves admitted he was not a medieval historian but a poet and thus based his work on the premise 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 Moon goddess or Muse some of them dating from the Old Stone Age and that this remains the language of true poetry Graves concluded in the second and expanded edition that the male dominant monotheistic god of Judaism and its successors were the cause of the White Goddess s downfall and thus the source of much of the modern world s woe He describes Woman as occupying a higher echelon than mere poet that of the Muse Herself He adds This is not to say that a woman should refrain from writing poems only that she should write as a woman not as an honorary man He seems particularly bothered by the spectre of women s writing reflecting male dominated poetic conventions 4 Graves derived some of his ideas from poetic inspiration and a process of analeptic thought which is a term he used for throwing one s mind back in time and receiving impressions Visual iconography was also important to Graves s conception Graves created a methodology for reading images he called iconotropy To practice this methodology one is required to reduce speech into its original images and rhythms and then to combine these on several simultaneous levels of thought By applying this methodology Graves decoded a woodcut of The Judgement of Paris as depicting a singular Triple Goddess 5 rather than the traditional Hera Athena and Aphrodite of the narrative the image illustrates Celtic Tree Calendar editGraves also argues that the names of the Ogham letters in the alphabet used in parts of Gaelic Ireland and Britain contained a calendar that contained the key to an ancient liturgy involving the human sacrifice of a sacred king and further that these letter names concealed lines of Ancient Greek hexameter describing the goddess Graves Tree Calendar has no relation to any historical Celtic calendar 6 His interpretations rather rely on the book Ogygia by the 17th century bard Roderick O Flaherty Druantia editIn The White Goddess Graves proposed a hypothetical Gallic tree goddess Druantia who has become somewhat popular with contemporary Neopagans Druantia is an archetype of the eternal mother as seen in the evergreen boughs Her name is believed to be derived from the Celtic word for oak trees drus or deru 7 She is known as Queen of the Druids She is a goddess of fertility for both plants amp humans ruling over sexual activities amp passion She also rules protection of trees knowledge creativity 8 Scholarship and critical reception editThe White Goddess has been seen as a poetic work where Graves gives his notion of man s subjection to women in love an anthropological grandeur and further mythologises all women in general and several of Graves s lovers in particular into a three faced moon goddess model 9 Graves s value as a poet aside flaws in his scholarship such as poor philology use of inadequate texts and outdated archaeology have been criticised 10 11 Some scholars particularly archaeologists historians and folklorists have rejected the work 12 which T S Eliot called A prodigious monstrous stupefying indescribable book 13 and Graves himself was disappointed that his work was loudly ignored by many Celtic scholars 14 However The White Goddess was accepted as history by many non scholarly readers According to Ronald Hutton the book remains a major source of confusion about the ancient Celts and influences many un scholarly views of Celtic paganism 15 Hilda Ellis Davidson criticised Graves as having misled many innocent readers with his eloquent but deceptive statements about a nebulous goddess in early Celtic literature and stated that he was no authority on the subject matter he presented 16 While Graves made the association between Goddesses and the moon appear natural it was not so to the Celts or some other ancient peoples 15 In response to critics Graves accused literary scholars of being psychologically incapable of interpreting myth 17 or too concerned with maintaining their perquisites to go against the majority view Some Neopagans have been bemused and upset by the scholarly criticism that The White Goddess has received in recent years 18 while others have appreciated its poetic insight but never accepted it as a work of historical veracity 19 Likewise a few scholars find some value in Graves s ideas Michael W Pharand though quoting earlier criticisms states that Graves s theories and conclusions outlandish as they seemed to his contemporaries or may appear to us were the result of careful observation 20 According to Graves s biographer Richard Perceval Graves Laura Riding played a crucial role in the development of Graves s thoughts when writing The White Goddess despite the fact the two were estranged at that point On reviewing the book Riding was furious saying Where once I reigned now a whorish abomination has sprung to life a Frankenstein pieced together from the shards of my life and thoughts 21 Literary influences editThe book was a major influence on the thinking of the poets Ted Hughes and Sylvia Plath 22 with the latter identifying to some extent with the goddess figure herself 23 Arguably however what Jacqueline Rose called the cliche behind the myth woman as inspiration woman as drudge ultimately had a negative impact on Plath s life and work 24 See also editThe Alphabet Versus the Goddess The Conflict Between Word and Image The Hebrew Goddess Matriarchal religion Triple Goddess Neopaganism Triple goddesses When God Was a WomanReferences edit Graves Robert 2013 The White Goddess 2 ed New York Faber amp Faber ISBN 978 0374289331 Hutton Ronald 1999 The Triumph of the Moon A History of Modern Pagan Witchcraft Oxford University Press pp 188 189 ISBN 978 0 19 820744 3 de Lima Marcel 2014 The Ethnopoetics of Shamanism New york Palgrave Macmillan p 83 ISBN 9781349684564 Graves The White Goddess pp 446 447 Von Hendy Andrew The Modern Construction of Myth p 196 Ellis Peter Berresford 1997 The Fabrication of Celtic Astrology The Astrological Journal Vol 39 no 4 via Centre Universitaire de Recherche en Astrologie Jane Gifford 2006 The Wisdom of Trees Springer p 146 ISBN 1 397 81402 0 Deanna J Conway 2006 Celtic Magic Llewellyn Publications p 109 ISBN 0 87542 136 9 Hunter Jefferson 1983 The Servant of Three Mistresses review of Seymour Smith Martin Robert Graves His Life and Work in The Hudson Review Vol 36 No 4 Winter 1983 1984 pp 733 736 Wood Juliette 1999 Chapter 1 The Concept of the Goddess In Sandra Billington Miranda Green ed The Concept of the Goddess Routledge p 12 ISBN 9780415197892 Retrieved 23 December 2008 Hutton Ronald 1993 The Pagan Religions of the Ancient British Isles Their Nature and Legacy John Wiley amp Sons p 320 ISBN 9780631189466 The Paganism Reader p 128 Quoted in J Kroll Chapters in a Mythology 2007 p 52 White Donna R A Century of Welsh Myth in Children s Literature p 75 a b Hutton Ronald 1993 The Pagan Religions of the Ancient British Isles Their Nature and Legacy John Wiley amp Sons p 145 ISBN 9780631189466 Davidson Hilda Ellis 1998 Roles of the Northern Goddess permanent dead link page 11 Routledge ISBN 0 415 13611 3 Inter alia The White Goddess Farrar Straus Giroux p 224 ISBN 0 374 50493 8 The Pomegranate 7 1 Equinox press Review of Jacob Rabinowitz The Rotting Goddess The Origin of the Witch in Classical Antiquity s Demonization of Fertility Religion Lewis James R Magical Religion and Modern Witchcraft p 172 Pharand Michael W Greek Myths White Goddess Robert Graves Cleans up a Dreadful Mess in Ian Ferla and Grevel Lindop ed Graves and the Goddess Essays on Robert Graves s The White Goddess Associated University Presses 2003 p 188 Lindop Grevel editor 1997 Robert Graves The White Goddess A Historical Grammar of Poetic Myth Carcanet Press J Rose The Haunting of Sylvia Plath 1991 p 150 J Kroll Chapters in a Mythology 2007 pp 42 6 and p 81 J Rose The Haunting of Sylvia Plath 1991 pp 153 4 and p 163Bibliography editEditions edit 1948 The White Goddess a Historical Grammar of Poetic Myth London Faber amp Faber Corr 2nd ed also issued by Faber in 1948 US ed New York Creative Age Press 1948 1952 The White Goddess a Historical Grammar of Poetic Myth Amended amp enl ed i e 3rd ed London Faber amp Faber US ed New York Alfred A Knopf 1958 1961 The White Goddess a Historical Grammar of Poetic Myth Amended amp enl ed i e 4th ed London Faber amp Faber US ed New York Farrar Straus and Giroux 1966 1997 The White Goddess a Historical Grammar of Poetic Myth edited by Grevel Lindop Manchester Carcanet ISBN 1 85754 248 7 Critical studies edit Bennett Joseph review of Robert Graves The White Goddess a Historical Grammar of Poetic Myth Hudson Review vol 2 1949 133 138 Davis Robert A The Origin Evolution and Function of the Myth of the White Goddess in the Writings of Robert Graves unpublished PhD University of Stirling 1987 British Library copy BLDSC DX212513 Donoghue Denis The Myths of Robert Graves New York Review of Books 43 no 6 4 April 1996 27 31 Graves and the Goddess Essays on Robert Graves s The White Goddess ed by Ian Firla and Grevel Lindop Selinsgrove Pa Susquehanna University Press 2003 ISBN 1 57591 055 1 Graves Richard Perceval Robert Graves and The White Goddess 1940 85 London Weidenfeld and Nicolson 1995 ISBN 0 297 81534 2 Kirkham M C Incertitude and The White Goddess Essays in Criticism 16 1966 57 72 Lindop Grevel A Crazy Book Robert Graves and The White Goddess PN Review 24 no 1 117 1997 Sept Oct 27 29 Musgrove Sydney The Ancestry of The White Goddess Bulletin No 62 English Series no 11 Auckland Univ of Auckland Press 1962 Smeds John Statement and story Robert Graves s myth making Abo Abo Akademis Forlag 1997 Vickery John B Robert Graves and The White Goddess Lincoln Univ of Nebraska Press 1972 Vogel Amber Not Elizabeth to his Raleigh Laura Riding Robert Graves and origins of The White Goddess in Literary Couplings Writing Couples Collaborators and the Construction of Authorship ed by Marjorie Stone and Judith Thompson University of Wisconsin Press 2006 pp 229 239 ISBN 978 0 299 21760 0External links editThe Robert Graves Trust Home of Robert Graves in Deia Mallorca Archived 23 August 2013 at the Wayback Machine maintained by Robert Graves Foundation Retrieved from https en wikipedia org w index php title The White Goddess amp oldid 1185633852, wikipedia, wiki, book, books, library,

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