Robert Graves

Graves was born into a middle-class family in Wimbledon, then part of Surrey, now part of south London. He was the third of five children born to Alfred Perceval Graves (1846–1931), who was the sixth child and second son of Charles Graves, Bishop of Limerick, Ardfert and Aghadoe.[5] His father was an Irish school inspector, Gaelic scholar and the author of the popular song "Father O'Flynn", and his mother was his father's second wife, Amalie Elisabeth Sophie von Ranke (1857–1951), the niece of the historian Leopold von Ranke.

At the age of seven, double pneumonia following measles almost took Graves's life, the first of three occasions when he was despaired of by his doctors as a result of afflictions of the lungs, the second being the result of a war wound and the third when he contracted Spanish influenza in late 1918, immediately before demobilisation.[6] At school, Graves was enrolled as Robert von Ranke Graves, and in Germany his books are published under that name, but before and during the First World War the name caused him difficulties.

In August 1916 an officer who disliked him spread the rumour that he was the brother of a captured German spy who had assumed the name "Karl Graves".[7] The problem resurfaced in a minor way in the Second World War, when a suspicious rural policeman blocked his appointment to the Special Constabulary.[8] Graves's eldest half-brother, Philip Perceval Graves, achieved success as a journalist and his younger brother, Charles Patrick Graves, was a writer and journalist.[1]

Graves received his early education at a series of six preparatory schools, including King's College School in Wimbledon, Penrallt in Wales, Hillbrow School in Rugby, Rokeby School in Kingston upon Thames and Copthorne in Sussex, from which last in 1909 he won a scholarship to Charterhouse.[9] There he began to write poetry, and took up boxing, in due course becoming school champion at both welter- and middleweight. He claimed that this was in response to persecution because of the German element in his name, his outspokenness, his scholarly and moral seriousness, and his poverty relative to the other boys.[10] He also sang in the choir, meeting there an aristocratic boy three years younger, G. H. "Peter" Johnstone, with whom he began an intense romantic friendship, the scandal of which led ultimately to an interview with the headmaster.[11] However, Graves himself called it "chaste and sentimental" and "proto-homosexual," and though he was clearly in love with "Peter" (disguised by the name "Dick" in Good-Bye to All That), he denied that their relationship was ever sexual.[12] He was warned about Peter's morals by other contemporaries.[13] Among the masters his chief influence was George Mallory, who introduced him to contemporary literature and took him mountaineering in the holidays.[14][15] In his final year at Charterhouse, he won a classical exhibition to St John's College, Oxford, but did not take his place there until after the war.[16]

At the outbreak of the First World War in August 1914, Graves enlisted almost immediately, taking a commission in the 3rd Battalion of the Royal Welch Fusiliers as a second lieutenant (on probation) on 12 August.[17] He was confirmed in his rank on 10 March 1915,[18] and received rapid promotion, being promoted to lieutenant on 5 May 1915 and to captain on 26 October.[19][20] He published his first volume of poems, Over the Brazier, in 1916. He developed an early reputation as a war poet and was one of the first to write realistic poems about the experience of frontline conflict. In later years, he omitted his war poems from his collections, on the grounds that they were too obviously "part of the war poetry boom." At the Battle of the Somme, he was so badly wounded by a shell-fragment through the lung that he was expected to die and was officially reported as having died of wounds.[21] He gradually recovered and, apart from a brief spell back in France, spent the remainder of the war in England.[22]

One of Graves's friends at this time was the poet Siegfried Sassoon, a fellow officer in his regiment. They both convalesced at Somerville College, Oxford, which was used as a hospital for officers. "How unlike you to crib my idea of going to the Ladies' College at Oxford," Sassoon wrote to him in 1917.

At Somerville College, Graves met and fell in love with Marjorie, a nurse and professional pianist, but stopped writing to her once he learned she was engaged. About his time at Somerville, he wrote: "I enjoyed my stay at Somerville. The sun shone, and the discipline was easy."[23]

In 1917, Sassoon rebelled against the conduct of the war by making a public anti-war statement. Graves feared Sassoon could face a court martial and intervened with the military authorities, persuading them that Sassoon was experiencing shell shock and that they should treat him accordingly.[24] As a result, Sassoon was sent to Craiglockhart, a military hospital in Edinburgh, where he was treated by Dr. W. H. R. Rivers and met fellow patient Wilfred Owen.[25] Graves was treated here as well. Graves also had shell shock, or neurasthenia as it was then called, but he was never hospitalised for it:

I thought of going back to France, but realized the absurdity of the notion. Since 1916, the fear of gas obsessed me: any unusual smell, even a sudden strong scent of flowers in a garden, was enough to send me trembling. And I couldn't face the sound of heavy shelling now; the noise of a car back-firing would send me flat on my face, or running for cover.[26]

The friendship between Graves and Sassoon is documented in Graves's letters and biographies; the story is fictionalised in Pat Barker's novel Regeneration. Barker also addresses Graves's experiences with homosexuality in his youth; at the end of the novel Graves asserts that his "affections have been running in more normal channels"[27] after a friend was accused of "soliciting" with another man. The intensity of their early relationship is demonstrated in Graves's collection Fairies and Fusiliers (1917), which contains many poems celebrating their friendship. Sassoon remarked upon a "heavy sexual element" within it, an observation supported by the sentimental nature of much of the surviving correspondence between the two men. Through Sassoon, Graves became a friend of Wilfred Owen, "who often used to send me poems from France."[28]

In September 1917, Graves was seconded for duty with a garrison battalion.[29] Graves's army career ended dramatically with an incident which could have led to a charge of desertion. Having been posted to Limerick in late 1918, he "woke up with a sudden chill, which I recognized as the first symptoms of Spanish influenza." "I decided to make a run for it," he wrote, "I should at least have my influenza in an English, and not an Irish, hospital." Arriving at Waterloo with a high fever but without the official papers that would secure his release from the army, he chanced to share a taxi with a demobilisation officer also returning from Ireland, who completed his papers for him with the necessary secret codes.[30]

The home of Robert Graves in Deià, Majorca

Immediately after the war, Graves with his wife, Nancy Nicholson had a growing family, but he was financially insecure and weakened physically and mentally:

Very thin, very nervous and with about four years' loss of sleep to make up, I was waiting until I got well enough to go to Oxford on the Government educational grant. I knew that it would be years before I could face anything but a quiet country life. My disabilities were many: I could not use a telephone, I felt sick every time I travelled by train, and to see more than two new people in a single day prevented me from sleeping. I felt ashamed of myself as a drag on Nancy, but had sworn on the very day of my demobilization never to be under anyone's orders for the rest of my life. Somehow I must live by writing.[31]

In October 1919, he took up his place at the University of Oxford, soon changing course to English Language and Literature, though managing to retain his Classics exhibition. In consideration of his health, he was permitted to live a little outside Oxford, on Boars Hill, where the residents included Robert Bridges, John Masefield (his landlord), Edmund Blunden, Gilbert Murray and Robert Nichols.[32] Later, the family moved to Worlds End Cottage on Collice Street, Islip, Oxfordshire.[33] His most notable Oxford companion was T. E. Lawrence, then a Fellow of All Souls', with whom he discussed contemporary poetry and shared in the planning of elaborate pranks.[34] By this time, he had become an atheist.[35] His work was part of the literature event in the art competition at the 1924 Summer Olympics.[36]

While still an undergraduate he established a grocers shop on the outskirts of Oxford but the business soon failed. He also failed his BA degree but was exceptionally permitted to take a B.Litt. by dissertation instead, allowing him to pursue a teaching career. In 1926, he took up a post as a Professor of English Literature at Cairo University, accompanied by his wife, their children and the poet Laura Riding. Graves later claimed that one of his pupils was a young Gamal Abdel Nasser.[37] He returned to London briefly, where he separated from his wife under highly emotional circumstances (at one point Riding attempted suicide) before leaving to live with Riding in Deià, Majorca. There they continued to publish letterpress books under the rubric of the Seizin Press, founded and edited the literary journal, Epilogue and wrote two successful academic books together: A Survey of Modernist Poetry (1927) and A Pamphlet Against Anthologies (1928); both had great influence on modern literary criticism, particularly New Criticism.[38]

In 1927, he published Lawrence and the Arabs, a commercially successful biography of T. E. Lawrence. The autobiographical Good-Bye to All That (1929, revised by him and republished in 1957) proved a success but cost him many of his friends, notably Siegfried Sassoon. In 1934, he published his most commercially successful work, I, Claudius. Using classical sources (under the advice of classics scholar Eirlys Roberts)[39] he constructed a complex and compelling tale of the life of the Roman emperor Claudius, a tale extended in the sequel Claudius the God (1935). The Claudius books were turned into the very popular television series I, Claudius shown in both Britain and United States in the 1970s. Another historical novel by Graves, Count Belisarius (1938), recounts the career of the Byzantine general Belisarius.

Graves and Riding left Majorca in 1936 at the outbreak of the Spanish Civil War and in 1939, they moved to the United States, taking lodging in New Hope, Pennsylvania. Their volatile relationship and eventual breakup was described by Robert's nephew Richard Perceval Graves in Robert Graves: 1927–1940: the Years with Laura, and T. S. Matthews's Jacks or Better (1977). It was also the basis for Miranda Seymour's novel The Summer of '39 (1998).

After returning to Britain, Graves began a relationship with Beryl Hodge, the wife of Alan Hodge, his collaborator on The Long Week-End (1940) and The Reader Over Your Shoulder (1943; republished in 1947 as The Use and Abuse of the English Language but subsequently republished several times under its original title). Graves and Beryl (they were not to marry until 1950) lived in Galmpton, Torbay until 1946, when they re-established a home with their three children, in Deià, Majorca. The house is now a museum. The year 1946 also saw the publication of his historical novel King Jesus. He published The White Goddess: A Historical Grammar of Poetic Myth in 1948; it is a study of the nature of poetic inspiration, interpreted in terms of the classical and Celtic mythology he knew so well.[40] He turned to science fiction with Seven Days in New Crete (1949) and in 1953 he published The Nazarene Gospel Restored with Joshua Podro. He also wrote Hercules, My Shipmate, published under that name in 1945 (but first published as The Golden Fleece in 1944).

In 1955, he published The Greek Myths, which retells a large body of Greek myths, each tale followed by extensive commentary drawn from the system of The White Goddess. His retellings are well respected; many of his unconventional interpretations and etymologies are dismissed by classicists.[41] Graves in turn dismissed the reactions of classical scholars, arguing that they are too specialised and "prose-minded" to interpret "ancient poetic meaning," and that "the few independent thinkers ... [are] the poets, who try to keep civilisation alive."[42]

He published a volume of short stories, ¡Catacrok! Mostly Stories, Mostly Funny, in 1956. In 1961, he became Professor of Poetry at Oxford, a post he held until 1966.

In 1967, Robert Graves published, together with Omar Ali-Shah, a new translation of the Rubaiyat of Omar Khayyam.[43][44] The translation quickly became controversial; Graves was attacked for trying to break the spell of famed passages in Edward FitzGerald's Victorian translation, and L. P. Elwell-Sutton, an orientalist at Edinburgh University, maintained that the manuscript used by Ali-Shah and Graves, which Ali-Shah and his brother Idries Shah claimed had been in their family for 800 years, was a forgery.[44] The translation was a critical disaster and Graves's reputation suffered severely due to what the public perceived as his gullibility in falling for the Shah brothers' deception.[44][45]

In 1968, Graves was awarded the Queen’s Gold Medal for Poetry by Queen Elizabeth II. His private audience with the Queen was shown in the BBC documentary film Royal Family, which aired in 1969.[46]

From the 1960s until his death, Robert Graves frequently exchanged letters with Spike Milligan. Many of their letters to each other are collected in the book Dear Robert, Dear Spike.[47]

On 11 November 1985, Graves was among sixteen Great War poets commemorated on a slate stone unveiled in Westminster Abbey's Poets' Corner.[48] The inscription on the stone was written by friend and fellow Great War poet Wilfred Owen. It reads: "My subject is War, and the pity of War. The Poetry is in the pity."[49] Of the 16 poets, Graves was the only one still living at the time of the commemoration ceremony.

UK government documents released in 2012 indicate that Graves turned down a CBE in 1957.[50] In 2012, the Nobel Records were opened after 50 years, and it was revealed that Graves was among a shortlist of authors considered for the 1962 Nobel Prize in Literature, along with John Steinbeck (who was that year's recipient of the prize), Lawrence Durrell, Jean Anouilh and Karen Blixen.[51] Graves was rejected because, even though he had written several historical novels, he was still primarily seen as a poet, and committee member Henry Olsson was reluctant to award any Anglo-Saxon poet the prize before the death of Ezra Pound, believing that other writers did not match his talent.[51]

In 2017, Seven Stories Press began its Robert Graves Project. Fourteen of Graves's out-of-print books were to be republished.[52]

His religious belief has been examined by Patrick Grant, "Belief in anarchy: Robert Graves as mythographer," in Six Modern Authors and Problems of Belief.[53]

Robert Graves was bisexual, having intense romantic relationships with both men and women, though the word he coined for it was "pseudo-homosexual."[54] Graves was raised to be "prudishly innocent, as my mother had planned I should be."[55] His mother, Amy, forbade speaking about sex, save in a "gruesome" context, and all skin "must be covered."[56] At his days in Penrallt, he had "innocent crushes" on boys; one in particular was a boy named Ronny, who "climbed trees, killed pigeons with a catapult and broke all the school rules while never seeming to get caught."[57][58] At Charterhouse, an all-boys school, it was common for boys to develop "amorous but seldom erotic" relationships, which the headmaster mostly ignored.[59] Graves described boxing with a friend, Raymond Rodakowski, as having a "a lot of sex feeling".[60] And although Graves admitted to loving Raymond, he would dismiss it as "more comradely than amorous."[61]

In his fourth year at Charterhouse, Graves would meet "Dick" (George "Peter" Harcourt Johnstone) with whom he would develop "an even stronger relationship".[61] Johnstone was an object of adoration in Graves's early poems. Graves's feelings for Johnstone were exploited by bullies, who led Graves to believe that Johnstone was seen kissing the choir-master. Graves, jealous, demanded the choir-master's resignation.[62] During the First World War, Johnstone remained a "solace" to Graves. Despite Graves's own "pure and innocent" view of Johnstone, Graves's cousin Gerald wrote in a letter that Johnstone was: "not at all the innocent fellow I took him for, but as bad as anyone could be".[63] Johnstone remained a subject for Graves's poems despite this. Communication between them ended when Johnstone's mother found their letters and forbade further contact with Graves.[64] Johnstone would later be arrested for attempting to seduce a Canadian soldier, which removed Graves's denial about Johnstone's infidelity, causing Graves to collapse.[65]

In 1917, Graves met Marjorie Machin, an auxiliary nurse from Kent. He admired her "direct manner and practical approach to life". Graves did not pursue the relationship when he realised Machin had a fiancé on the Front.[66] This began a period where Graves would begin to take interest in women with more masculine traits.[66] Nancy Nicholson, his future wife, was an ardent feminist: she kept her hair short, wore trousers, and had "boyish directness and youth."[67] Her feminism never conflicted with Graves's own ideas of female superiority.[68] Siegfried Sassoon, who felt as if Graves and he had a relationship of a fashion, felt betrayed by Graves's new relationship and declined to go to the wedding.[69] Graves apparently never loved Sassoon in the same fashion that Sassoon loved Graves.[70]

Graves's and Nicholson's marriage was strained, with Graves living with "shell shock", and having an insatiable need for sex, which Nicholson did not reciprocate.[71] Nancy forbade any mention of the war, which added to the conflict.[72] In 1926, he would meet Laura Riding, with whom he would run away in 1929 while still married to Nicholson. Prior to this, Graves, Riding and Nicholson would attempt a triadic relationship called "The Trinity." Despite the implications, Riding and Nicholson were most likely heterosexual.[73] This triangle became the "Holy Circle" with the addition of Irish poet Geoffrey Phibbs, who himself was still married to Irish artist Norah McGuinness.[74] This relationship revolved around the worship and reverence of Riding. Graves and Phibbs were both to sleep with Riding.[75] When Phibbs attempted to leave the relationship, Graves was sent to track him down, even threatening to kill Phibbs if he did not return to the circle.[76] When Phibbs resisted, Riding threw herself out of a window, with Graves following suit to reach her.[77] Graves's commitment to Riding was so strong that he entered, on her word, a period of enforced celibacy, "which he had not enjoyed".[78]

By 1938, no longer entranced by Riding, Graves fell in love with the then-married Beryl Hodge. In 1950, after much dispute with Nicholson (whom he had not divorced yet), he married Beryl.[79] Despite having a loving marriage with Beryl, Graves would take on a 17-year-old muse, Judith Bledsoe, in 1950.[80] Although the relationship would be described as "not overtly sexual", Graves would later in 1952 attack Judith's new fiancé, getting the police called on him in the process.[81] He would later have three successive female muses, who came to dominate his poetry.[82]

• English translations of Homer § Graves
• Joseph Campbell
• Mircea Eliade
• James Frazer
• Margaret Murray

• Graves, Robert (1960). Good-Bye to All That, London: Penguin.
• Seymour, Miranda (1995). Robert Graves: Life on the Edge, London: Doubleday. ISBN 0-385-40860-9.

Wikisource has original works by or about:
Robert Graves

Wikiquote has quotations related to Robert Graves.

Wikimedia Commons has media related to Robert Graves.

• Robert Graves Trust and Society Information Portal
• Robert Graves Foundation
• Profile at Poetry Foundation
• Profile, poems written and audio at poets.org
• Profile, poems written and audio at Poetry Archive
• Gallery of Graves's portraits, National Portrait Gallery, London
• Papers of Robert Graves: Correspondence, 1915–1996
• Robert Graves's blue plaque at Islip, Oxfordshire; Blue Plaques Scheme
• Translated Penguin Books – at Penguin First Editions reference site of early first edition Penguin Books.