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Amid competing claims about who first developed the theories and practices that became known as New Criticism - the critical method that rose alongside Modernism - literary historians have generally given the lion's share of credit to William Empson and I.A. Richards. In The Birth of New Criticism Donald Childs challenges this consensus and provides a new and authoritative narrative of the movement's origins. At the centre stand Robert Graves and Laura Riding, two poet-critics who have been written out of the history of New Criticism. Childs brings to light the long-forgotten early criticism of Graves to detail the ways in which his interpretive methods and ideas evolved into the practice of \"close reading,\" demonstrating that Graves played such a fundamental part in forming both Empson's and Richards's critical thinking that the story of twentieth-century literary criticism must be re-evaluated and re-told. Childs also examines the important influence that Riding's work had on Graves, Empson, and Richards, establishing the importance of this long-neglected thinker and critic. A provocative and cogently argued work, The Birth of New Criticism is both an important intellectual history of the movement and a sharply observed account of the cultural politics of its beginnings and legacy.

The eponym “Graves’ disease” is usually applied to the condition of immunogenic hyperthyroidism, in no small part due to the promotion and influence of the French physician Armand Trousseau who wrote in 1862, “Du Goître Exophthalmique, ou Maladie de Graves.” However, the distinguished Bath physician Caleb Hillier Parry, a friend of both Edward Jenner and John Hunter, first described the clinical picture of thyrotoxicosis associated with exophthalmos and cardiac dysfunction in a paper published posthumously in 1825, some 10 years before Robert Graves’ initial report. Graves was unaware of Parry’s earlier description and considered that the thyroid condition in the four female cases that he studied might be secondary to functional cardiac disorders and palpitations. The many outstanding contributions to medicine and science of Parry and Graves, two truly remarkable nineteenth century Celtic physicians, are compared and discussed. A case is made for considering the renaming of immunogenic hyperthyroidism as Parry’s disease, a proposal made by Sir William Osler, who was the first to recognise Parry’s claim for priority for the recognition of exophthalmic goitre.

Like many men of his generation, poet Robert Graves was indelibly marked by his experience of trench warfare in World War I. The horrific battles in which he fought and his guilt over surviving when so many perished left Graves shell-shocked and disoriented, desperately seeking a way to bridge the rupture between his conventional upbringing and the uncertainties of postwar British society. In this study of Graves’s early poetry, Frank Kersnowski explores how his war neurosis opened a door into the unconscious for Graves and led him to reject the essential components of the Western idea of reality—reason and predictability. In particular, Kersnowski traces the emergence in Graves’s early poems of a figure he later called The White Goddess, a being at once terrifying and glorious, who sustains life and inspires poetry. Drawing on interviews with Graves’s family, as well as unpublished correspondence and drafts of poems, Kersnowski argues that Graves actually experienced the White Goddess as a real being and that his life as a poet was driven by the purpose of celebrating and explaining this deity and her matriarchy.

Amid competing claims about who first developed the theories and practices that became known as New Criticism - the critical method that rose alongside Modernism - literary historians have generally given the lion's share of credit to William Empson and I.A. Richards. In The Birth of New Criticism Donald Childs challenges this consensus and provides a new and authoritative narrative of the movement's origins. At the centre stand Robert Graves and Laura Riding, two poet-critics who have been written out of the history of New Criticism. Childs brings to light the long-forgotten early criticism of Graves to detail the ways in which his interpretive methods and ideas evolved into the practice of \"close reading,\" demonstrating that Graves played such a fundamental part in forming both Empson's and Richards's critical thinking that the story of twentieth-century literary criticism must be re-evaluated and re-told. Childs also examines the important influence that Riding's work had on Graves, Empson, and Richards, establishing the importance of this long-neglected thinker and critic. A provocative and cogently argued work, The Birth of New Criticism is both an important intellectual history of the movement and a sharply observed account of the cultural politics of its beginnings and legacy.

Some World War I poems show an enemy soldier up close. This choice usually proves very effective for expressing the general irony of war, to be sure. However, I submit that showing interaction with the enemy also allows the speaker space to wrestle with internal conflict, guilt, or cognitive dissonance, and that it allows—or even forces—readers to participate in that struggle along with the speaker. While the poets’ writings no doubt had therapeutic effects for the poets themselves, I focus more on the literary effects, specifically arguing that the poems are powerful to us readers since they heighten the personal exposure of the poets’ psyches and since they make us share the dissonance as readers. I consider poems by Siegfried Sassoon, Wilfred Owen, Robert Graves, Ford Madox Ford, Herbert Read, and Robert Service.

Dr. Robert Graves and Dr. Henry Plummer are immortalized by the thyroid diseases bearing their names. Dr. Graves’ clinical lectures and Dr. Plummer’s “goiter lunches” were considered medical masterpieces; they introduced novel concepts in physical diagnosis that helped surgeons determine when to operate on patients with thyrotoxicosis. Dr. Plummer’s observations with perioperative iodine administration helped lower the mortality associated with thyroidectomy—at that time a treacherous operation—to make it one of the safest operations in history. Their fascinating discoveries laid foundations for thyroid surgery today. They truly are among medicine’s greatest gifts to surgery.

Although the word \"myth\" is used in everyday speech to denote a fictional narrative, and as such may on occasion bear pejorative connotations, for Robert Graves and Raphael Patai myths are dramatic stories that form a sacred charter either authorizing the continuance of ancient constitutions, customs, rites and beliefs in the area where they are current, or approving alterations. Here, Rosenfeld comments on Graves's interpretation of \"The Battle of the Trees\" and Jotham's The Parable of the Trees.

This text discusses how W. B. Yeats, Aleister Crowley, Ezra Pound and Robert Graves had access to the forbidden knowledge of the Goddess. These four poets experienced a confrontation with their unconscious and let the grace of the Goddess touch their heart strings. Consequently, through this surrendering, they created avant-garde poetry and were inspired to write seditious manifestos that would teach humanity an esoteric creed. This creed, based on humans' eternal divine essence, aspires to liberate the eternal feminine. These poets became the instruments of the Goddess. As defenders of the Light, they took arms against the forces of inertia and proclaimed the eleusis of a new faith. This creed pledges to overthrow the anachronistic religious and social institutions and initiate a new world order and a new divinity based on the ancient rites of the Great Goddess. No matter how disparate these four were in character, they shared the vision of transmitting esoteric knowledge to profane humanity. They were specifically chosen by the Goddess as Her troubadours and they pave Her way to the religious consciousness of the people.