The Poetical Works of Robert Bridges, Excluding the Eight Dramas — Key Ideas to Explore
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The catalog record for The Poetical Works of Robert Bridges, Excluding the Eight Dramas — Key Ideas to Explore provides practical reading context through 101,749 words, 7 hr 23 min estimated reading time, and 13 detected text sections.
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was Rhea gone 250 Her child to bear and save.
Then danced the Dactyls and Curêtes wild, And drowned with yells the cries of mother and child; Big-armed Damnámeneus gan prance and shout: And burly Acmon struck the echoes out: And Kermis leaped and howled: and Titias pranced And broad Cyllenus tore the air and danced: While deep within the shadowed cave at rest Lay Rhea, with her babe upon her breast.
If any here there be whose impure hands 260 Among pure hands, or guilty heart among Our guiltless hearts be stained with blood or wrong, Let him depart! If there be any here in whom high Zeus Seeing impiety might turn away, Now from our sacrifice and from his sin Let him depart!
_Semichorus of maidens._
I have chosen to praise Hêra the wife, and bring A hymn for the feast on marriage days 270 To the wife of the gods' king. How on her festival The gods had loving strife, Which should give of them all The fairest gift to the wife. But Earth said, Fair to see Is mine and yields to none, I have grown for her joy a sacred tree, With apples of gold thereon.
Then Hêra, when she heard what Earth had given, 280 Smiled for her joy, and longed and came to see: On dovewings flying from the height of heaven, Down to the golden tree: As tired birds at even Come flying straight to house On their accustomed boughs. 'Twas where, on tortured hands Bearing the mighty pole. Devoted Atlas stands: And round his bowed head roll 290 Day-light and night, and stars unmingled dance, Nor can he raise his glance.
She saw the rocky coast Whereon the azured waves Are laced in foam, or lost In water-lighted caves; The olive island where, Amid the purple seas, Night unto Darkness bare The four Hesperides: 300 And came into the shade Of Atlas, where she found The garden Earth had made And fenced with groves around. And in the midst it grew Alone, the priceless stem, As careful, clear and true As graving on a gem. Nature had kissèd Art And borne a child to stir 310 With jealousy the heart Of heaven's Artificer. From crown to swelling root It mocked the goddess' praise, The green enamelled sprays, The emblazoned golden fruit.
And 'neath the tree, with hair and zone unbound, The fair Hesperides aye danced around, And Ægle danced and sang 'O welcome, Queen!' And Erytheia sang 'The tree is green!' 320 And Hestia danced and sang 'The fruit is gold!' And Arethusa sang 'Fair Queen, behold!' And all joined hands and danced about the tree, And sang 'O Queen, we dance and sing for thee!'
IN. If there be any here who has complaint Against our rule or claim or supplication, Now in the name of Zeus let it appear, Now let him speak!
_Prometheus re-enters._
PR. All hail, most worthy king, such claim have I.
IN. May grace be with thee, stranger; speak thy mind.
PR. To Argos, king of Argos, at thy house 331 I bring long journeying to an end this hour, Bearing no idle message for thine ears. For know that far thy fame has reached, and men That ne'er have seen thee tell that thou art set Upon the throne of virtue, that goodwill And love thy servants are, that in thy land Joy, honour, trust and modesty abide And drink the air of peace, that kings must see Thy city, would they know their peoples' good 340 And stablish them therein by wholesome laws. But one thing mars the tale, for o'er thy lands Travelling I have not seen from morn till eve, Either from house or farm or labourer's cot, In any village, nor this town of Argos A blue-wreathed smoke arise: the hearths are cold, This altar cold: I see the wood and cakes Unbaken--O king, where is the fire?
IN. If hither, stranger, thou wert come to find That which thou findest wanting, join with us 350 Now in our sacrifice, take food within, And having learnt our simple way of life Return unto thy country whence thou camest. But hast thou skill or knowledge of this thing, How best it may be sought, or by what means Hope to be reached, O speak! I wait to hear.
PR. There is, O king, fire on the earth this day.
IN. On earth there is fire thou sayest!
IN. On earth this day!
PR. There is fire on earth this day.
Robert Bridges' Poetical Works, Excluding the Eight Dramas opens with a mask in the Greek manner, Prometheus the Firegiver, set in Argos at a festival of Zeus. The argument printed before the poem summarizes the action: Prometheus interrupts a ceremony, persuades Inachus to accept fire, and foretells the fate of Io. This structure—a classical mask with a prose argument—immediately signals Bridges' scholarly approach to poetic form. The volume collects poems from multiple earlier editions, and the editor's note acknowledges that spelling is not uniform, reflecting Bridges' own justifications for peculiarities. Readers encounter a poet deeply engaged with prosodic experimentation, from classical meters to intricate rhyme schemes.
Classical Masks and Mythological Frames
The volume begins with two masks: Prometheus the Firegiver and Demeter. Both are described as "in the Greek manner," and the argument for Prometheus details a plot involving divine gift and prophecy. The chorus sings hymns to Zeus, including stories of his birth and marriage, with dances of the Curetes and Hesperides. Bridges uses these mythological frames not as mere decoration but as structural devices: the mask form allows for choral odes that comment on the action. In Prometheus, the chorus anticipates fire with an "Ode on Wonder" and later sings a "Tragic Hymn on the lot of man." These sections show Bridges' interest in blending narrative with lyric meditation, a technique that recurs throughout the collection.
Lyric Precision in Shorter Poems
The Shorter Poems section reveals Bridges' skill with compact forms. In poem 12, he describes a calm after a storm: "The horses of the strong south-west / Are pastured round his tropic tent." The imagery is precise and naturalistic, yet the meter is carefully controlled. Poem 13, "I made another song," uses a repeated refrain structure to explore love and jealousy, with lines like "Her floating hair is free, / Free are her feet to dance." The Elegy on a Lady Whom Grief for the Death of Her Betrothed Killed (poem 14) is a striking example of Bridges' ability to sustain a mournful tone through formal ritual: "Assemble, all ye maidens, at the door, / And all ye loves, assemble." The elegy unfolds as a bridal procession, blending wedding imagery with funeral rites.
Prosodic Experimentation and Editorial Peculiarities
The volume includes a section of Poems in Classical Prosody, indicating Bridges' sustained interest in quantitative meter. The editor's note explains that spelling inconsistencies result from "observance of the text of the earlier editions of different dates," and that Bridges provided justification for these peculiarities in notes. This attention to textual history is characteristic of the edition: it is a scholarly collection that preserves the author's evolving practice. The Growth of Love sonnet sequence and Later Poems further demonstrate Bridges' range, from Petrarchan forms to freer experiments. Readers should note that the volume excludes the eight dramas, focusing instead on the lyrical and mask works that showcase Bridges' technical ambition.
This edition offers a comprehensive view of Bridges' non-dramatic poetry, from his early masks to later prosodic experiments. Readers interested in the relationship between form and content will find ample material: the classical masks use myth to explore human limits, while the shorter poems display a craftsman's attention to sound and image. The editorial apparatus—arguments, notes, and variant spellings—invites a careful reading that attends to both the poems and their textual history.
I found myself thinking about Bridges the other night, how he bends old forms until they feel almost new again. That tension stayed with me, the way quiet craft can hold so much feeling. Then I came across this other collection, Songs of Sea and Sail — Context and Discussion, and it had that same gentle pull, like a tide you don’t notice until it’s already moved you. Some books just linger. This one does.
John Hall
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