A review of robert seymour bridges poem the chivalry of the sea

If therefore, there be any kindness I can show, or any good thing I can do to any fellow being, let me do it now, and not defer or neglect it, as I shall not pass this way again. Sunflowers aren't better than violets. The amount of people I have seen pass by this wonderful tree, look up and smile.

A review of robert seymour bridges poem the chivalry of the sea

We respond to him on a preconscious level — between the lines — almost as if we were co-creators, for the dynamic field in which his unconscious mind intersects with ours is intensely alive, making his work strongly akin to music.

Such a prodigious intelligence will not give up its mysteries to weekend stargazers.

1865 - 1945

Like Dante, Shakespeare dared to write his autobiography in colossal cipher. I think he has one vital part of it.

A review of robert seymour bridges poem the chivalry of the sea

Their fabulousness is their reality. The truth of fables is not a literal truth, that we can prove or disprove with historical documents, but a psychic one, transferred from the poet to the heart and mind of the true listener.

The fabulous subconscious story that Charles Beauclerk hears is in some ways the same story that Edward de Vere seems to be whispering in my ear, each time I go back and read The Collected Works of William Shakespeare cover to cover. This tragic tale has five essential components: He thought of himself as a Prince, but along the way he lost his kingdom.

His poetic gift compelled him to transform the dross and agony of life into a surrogate kingdom of the mind. His dramatic portrayals of Elizabeth suggest a privileged but volatile relationship. One bucket — for supporting facts in the historical record, cautiously interpreted — is often the emptier, and dances in the air, but the other sinks deep, and fills with water.

In another extraordinary resurfacing of the Actaeon myth, Tamora is compared to Diana, the moon goddess. In the end, it is Lavinia who is fated to drink from this bitter cup, for like Actaeon transformed into a stag she loses the power of speech, and her delicate hands are turned into hooflike stumps.

Thus Adonis becomes both the flower and the serpent under it. The flower that the goddess presses to her bosom is beautiful but deadly, rather like the asp that Cleopatra nurses at her breast. Thus the Shakespearean hero-archetype embodies within himself both the redeemer Adonis and the destroyer Tarquin … p.

I had suspected as much, but have never had the courage to raise this topic for discussion in the usual Oxfordian chat-rooms and other venues. Ultimately, Falstaff is imprisoned in his own kingdom of language, where wit takes precedence over feeling. When he says that his womb undoes him, it is his womb of wit — his invention — rather than his great belly.

Though wondrously humorous, the fat knight seems to have almost no feeling toward others; he is too wrapped up in the great adventure on which his great wit is willy-nilly leading him. Now for our differences. They are many, but only one really matters: Continuing his deconstruction of the Tudor Myth, Beauclerk writes: In truth, the Tudor dynasty was founded upon conquest and the killing of a king.

Yet all this show masked a deep insecurity, which became more conspicuous as his reign ripened. In my reading of the evidence, both historical and literary, the earl of Oxford drew his sustaining identity from his claim to the ancient Vere line and their affinity.

Their historical triumphs and quarrels were part of his legacy; their family traits were in his genetic makeup.

When he gazed upon the faces of the effigies that once graced Colne Prioryhe was seeing his grandsires and grandams, and the faces of his own future heirs.

These were his people. He loved his honor as a Vere; he owned his shame as a Vere; he wreaked his vengeance as a Vere: Edgar, the outcast son, is the worm worm in French being ver.

When Cleopatra arranges to die in her monument, a clown enters with an asp — or worm, as he calls it — hidden in a basket of figs. Say, is my kingdom lost?

On his own, Edward de Vere had three earthly kingdoms somewhat within his grasp, all of them lost by The first was a Plantagenet alliance through marriage to one of the Hastings girls, which Beauclerk mentions on p. The third lost kingdom, as Beauclerk notes, was the ancient seat of the Oxford earldom: It was an abdication with rich consequences for literature, if King Lear is anything to judge by.

Why would he be so foolish as to desire all the mundane distractions and obligations that turn a golden crown into a dull and heavy lump of lead?

The true kingdom that Oxford strove mightily to maintain in his own sovereign control was that of the mind:Robert Seymour Bridges () Poems / by Robert Bridges It contains 22 poems by Robert Bridges, some written in pencil in the poet's own hand, and others written in red and black ink by a calligrapher.

Works (45)

Provenance. Presented to Queen Mary by Robert Bridges, c Robert Seymour Bridges was a British poet, and poet laureate from to He was born on the 23rd of October , was educated at Eton and at Corpus Christi College, Oxford, and studied medicine in London at St Bartholomew's hospital.

Tales of Superstition and Chivalry. London: Printed for Vernor and Hood, Poultry by James Swan, London: Printed for Vernor and Hood, Poultry by James Swan, Bound in red morocco with gilt-raised bands on spine by Sangorski & Sutcliffe, London; a.e.g.

The German text was first published in Sebastian Portner’s Katholisches Gesangbuch (). The words were reworked by Robert Seymour Bridges (—), England’s poet laureate () and friend of Gerald Manley Hopkins, whose works he arranged to have published posthumously.

poet laureate (lô`rēĭt), title conferred in Britain by the monarch on a poet whose duty it is to write commemorative odes and leslutinsduphoenix.com is an outgrowth of the medieval English custom of having versifiers and minstrels in the king's retinue, and of the later royal patronage of poets, such as Chaucer Chaucer, Geoffrey, c–, English poet, one of the most important figures in English.

This is a synthetic collection consisting of manuscripts, typescripts, correspondence, financial documents, portraits, and pictorial works. The manuscripts include holograph poems, notes for work.

The New Oxford Book of Christian Verse (豆瓣)