ΛΟΓΟΣ ΚΑΙ ΤΕΧΝΗ: ΡΙΤΣΑΡΝΤ ΑΛΝΤΙΝΓΚΤΟΝ (Richard Aldington)

Παρασκευή 25 Μαΐου 2012

ΡΙΤΣΑΡΝΤ ΑΛΝΤΙΝΓΚΤΟΝ (Richard Aldington) - ΠΟΙΗΜΑΤΑ

Lemures

In Nineveh

And beyond Nineveh

In the dusk

They were afraid.

In Thebes of Egypt

In the dust

They chanted of them to the dead.

In my Lesbos and Achaia

Where the God dwelt

We knew them.

Now men say "They are not":

But in the dusk

Ere the white sun comes -

A gay child that bears a white candle -

I am afraid of their rustling,

Of their terrible silence,

The menace of their secrecy.

πηγή: http://www.inspirationalstories.com

Richard Aldington

Ορισμένοι εικονιστές ποιητές

μτφρ.: Γιώργος Μπλάνας

Prelude

How could I love you more?

I would give up

Even that beauty I have loved too well

That I might love you better.

Alas, how poor the gifts that lovers give

I can but give you of my flesh and strength,

I can but give you these few passing days

And passionate words that, since our speech began,

All lovers whisper in all ladies' ears.

I try to think of some one lovely gift

No lover yet in all the world has found;

I think: If the cold sombre gods

Were hot with love as I am

Could they not endow you with a star

And fix bright youth for ever in your limbs?

Could they not give you all things that I lack?

You should have loved a god; I am but dust.

Yet no god loves as loves this poor frail dust.

πηγή: http://www.inspirationalstories.com

Τον Μάρτιο του 1914 εμφανίστηκε ένας τόμος με τον τίτλο Des Imagistes,1 με επίλεκτα έργα νέων ποιητών,2 οι οποίοι συμπαρουσιάζονταν ως σχολή. Η σχολή αυτή έγινε αντικείμενο ευρύτατων συζητήσεων μεταξύ των ενδιαφερομένων για τα νέα καλλιτεχνικά κινήματα, το δε όνομά της απέκτησε κοινόχρηστο χαρακτήρα. Μολαταύτα, οι πνευματικές και υφολογικές διαφορές που προέκυψαν ανάμεσα στους συμμετέχοντες σ' εκείνο το βιβλίο, δημιούργησαν ροπές, οι οποίες τους ώθησαν προς διαφορετικές κατευθύνσεις. Γι' αυτό οι συμμετέχοντες στο καινούργιο αυτό βιβλίο, αποφασίσαμε να του δώσουμε διαφορετικό τίτλο. Το γεγονός πως έχουμε ανάμεσά μας και ορισμένους ποιητές, οι οποίοι δεν συμμετείχαν στην πρώτη έκδοση, δίνει ευρύτερη διάσταση στην πρόθεσή μας.

Στη σύνθεση του καινούργιου βιβλίου ακολουθήσαμε μια κάπως διαφορετική τακτική από αυτήν της προηγούμενης ανθολογίας. Δεν επαναπαυθήκαμε στην αυθαιρετώ επιλογή ενός μόνο επιμελητή, αλλά οι ίδιοι οι συμμετέχοντες είχαν το ελεύθερο να παρουσιάσουν τους εαυτούς τους, επιλέγοντας εκείνα τα έργα τους που θεωρούν σημαντικότερα, με μόνη προϋπόθεση πως θα ήσαν ανέκδοτα. Ενα είδος ανεπίσημης επιτροπής, η οποία περιλάμβανε περισσότερους από τους μισούς συμμετέχοντες, ανέλαβε να παράγει το βιβλίο και να κρίνει τι εν τέλει θα τυπωθεί και τι θα μείνει στην άκρη. Ωστόσο, σε γενικές γραμμές, οι ποιητές είχαν απόλυτη ελευθερία, υποκείμενη μόνον στο περιορισμένο του χώρου. Επίσης, προκειμένου να αποφευχθεί και η παραμικρή υπόνοια διάκρισης, οι συμμετέχοντες παρουσιάστηκαν με αλφαβητική σειρά.

Δεδομένης της επισήμανσης πως η σύγχυση που προκάλεσε ο προηγούμενος τόμος οφειλόταν κυρίως στην απουσία ενός επεξηγηματικού προλόγου, σκεφτήκαμε πως θα ήταν σοφό να μιλήσουμε στο κοινό για τους σκοπούς μας, και για τον λόγο που μας έκανε να συμπαρουσιαστούμε.

Οι ποιητές του παρόντος τόμου δεν εκπροσωπούν κάποιον κλειστό κύκλο. Ορισμένοι καν δεν γνωρίζονται προσωπικά, μα τους ενώνουν κάποιες κοινές αρχές, στις οποίες ωστόσο οδηγήθηκαν ανεξάρτητα ο ένας από τον άλλον. Οι αρχές αυτές δεν είναι καινούργιες. Αλλά είχαν ήδη περιπέσει σε αχρηστία. Αποτελούν θεμέλια κάθε σπουδαίας ποίησης - άρα όλης της λογοτεχνίας- και είναι οι εξής:

1. Να χρησιμοποιούμε την κοινή ομιλούμενη γλώσσα, αλλά να βρίσκουμε πάντα την ακριβή λέξη, όχι την περίπου ακριβή, ούτε την απλά διακοσμητική.

2. Να δημιουργούμε καινούργιους ρυθμούς, προκειμένου να εκφράσουμε καινούργιες συναισθηματικές διαθέσεις, και όχι να αναπαράγουμε παλαιούς ρυθμούς, που απηχούν κυρίως παλαιές διαθέσεις. Δεν επιμένουμε πως ο «ελεύθερος στίχος» είναι η μόνη μέθοδος συγγραφής ποιημάτων. Αγωνιζόμαστε για την υπεράσπισή του, αλλά και για την υπεράσπιση της ελευθερίας. Πιστεύουμε πως η εσωτερικότητα κάθε ποιητή μπορεί να εκφραστεί καλύτερα με τον ελεύθερο στίχο παρά με συμβατικές μορφές. Στην ποίηση, μια καινούργια μελωδική καμπύλη σημαίνει μια καινούργια ιδέα.

3. Να απολαμβάνουμε πλήρη ελευθερία στην επιλογή του θέματος. Δεν είναι καλή τέχνη το να γράφεις άσχημα για αεροπλάνα και αυτοκίνητα. Ούτε είναι απαραίτητα άσχημη τέχνη το να γράφεις καλά για το παρελθόν. Πιστεύουμε με πάθος στην καλλιτεχνική αξία της μοντέρνας ζωής, αλλά θα επιθυμούσαμε να καταδείξουμε πως δεν υπάρχει τίποτε πιο κοινότοπο ή πεπαλαιωμένο από ένα αεροπλάνο του 1911.

4. Να εκθέτουμε μιαν εικόνα (εξ ου και η ονομασία Εικονισμός). Δεν αποτελούμε σχολή ζωγράφων, αλλά πιστεύουμε πως η ποίηση μπορεί να επεξεργαστεί τέλεια τις λεπτομέρειες, διακόπτοντας τις σχέσεις της με τις απέραντες γενικότητες, όσο γοητευτικές και ηχηρές και αν είναι. Γι' αυτό αντιστρατευόμαστε τον «συμπαντικό» ποιητή, που μας δίνει την εντύπωση πως αποφεύγει τις πραγματικές δυσκολίες της τέχνης.

5. Να παράγουμε ποίηση πραγματική και διαυγή˙ ποτέ θολή, ποτέ απροσδιόριστη.

6. Τέλος, οι περισσότεροι από εμάς πιστεύουν πως o αυτοέλεγχος είναι θεμελιακό στοιχείο της ποίησης.

Το ζήτημα του ελεύθερου στίχου παραείναι σύνθετο ώστε να συζητηθεί εδώ. Εν συντομία, θα μπορούσαμε να πούμε πως εφαρμόζουμε τον όρο στο όλο και αυξανόμενο σύνολο των κειμένων, των οποίων η μελωδική καμπύλη είναι πιο ευκρινής, πιο έντονη, και σφικτότερα πλεγμένη από κάθε πεζό κείμενο. Ωστόσο, ποτέ δεν είναι τόσο βίαια ή προφανέστατα τονισμένη όσο στον επιλεγόμενο «κανονικό στίχο». Οι αναφορές μας εκτείνονται από εκείνους που ασχολήθηκαν με το ζήτημα της ελληνικής μελικής ποίησης, μέχρι το πλήθος των εξαιρετικών γαλλικών μελετών που εκπονήθηκαν από διακεκριμένους και τέλεια κατηρτισμένους συγγραφείς, όπως ο Remy de Gourmont [1858-1915], ο Gustav Hahn [1866-1962], ο Georges Duhamel [1884-1966], ο Charles Vildrac [1882-1971], ο Henri Ghéon [1875-1944], ο André Spire [1868-1966] κ.ά.

Θα επιθυμούσαμε να καταστήσουμε σαφές πως δεν εκπροσωπούμε οποιαδήποτε καλλιτεχνική αίρεση. Συνεκδίδουμε τα έργα μας επειδή μας συνδέει η καλλιτεχνική αλληλοκατανόηση, και προτείνουμε να ανανεώνεται ο συλλογικός αυτός τόμος ετησίως -τουλάχιστον για τα αμέσως επόμενα χρόνια- ώσπου να καταφέρουμε να εξασφαλίσουμε στους εαυτούς μας και στις αρχές μας τον ζωτικό χώρο τον οποίο επιθυμούμε.

ΣΗΜΕΙΩΣΕΙΣ

1. Η ανθολογία με τον γαλλικό τίτλο Des Imagistes ήταν η πρώτη εκδοτική κατάθεση του κινήματος των εικονιστών. Εκδόθηκε στη Νέα Υόρκη, το 1914, από τον εκδοτικό Albert and Charles Boni. Παράλληλα δημοσιεύτηκε στο λογοτεχνικό περιοδικό The Glebe [Φεβρουάριος 1914, τχ. 5] και τυπώθηκε στο Λονδίνο, από το Ποιητικό Βιβλιοπωλείο, που ανήκε στον εκδότη του περιοδικού Poetry, Harold Edward Monro [1879-1932]. Ανθολογούνταν ποιήματα των Richard Aldington, Hilda Doolittle, Frank Stewart Flint, Amy Lowell, Skipwith Cannell [1887-1957], William Carlos Williams [1883-1963], James Joyce [1882-1941], Ezra Pound [1885-1972], Ford Madox Ford [1873-1939], Allen Upward [1863-1926], John Cournos [1881-1966]. Η ανθολογία του Aldington περιέλαβε μόνο εκείνους τους ποιητές που παρέμειναν εικονιστές μετά από έναν χρόνο. Η κινητικότητα εκείνη την εποχή ήταν μεγάλη. Ο ίδιος ο Pound, που είχε επινοήσει τον όρο «εικονισμός», μετακινήθηκε στο κίνημα του Vorticism, στο οποίο επίσης έδωσε το όνομά του.

2. Ο τίτλος του κειμένου είναι Prologue, αφού αποτελεί το πρόλογο της ανθολογίας Some imagist poets: an anthology [Boston, HOUGHTON MIFFLIN COMPANY - The Riverside Press Cambridge, 1915] που εξέδωσε ο Αγγλος ποιητής, πεζογράφος και κριτικός Richard Aldington [1892-1962]. Στο βιβλίο ανθολογούνταν ποιήματα των Hilda Doolittle [1886-1961] John Gould Fletcher [1886-1950], Frank Stewart Flint [1885-1960], David Herbert Lawrence [1885-1930] και Amy Lowell [1874-1925]

πηγή: http://www.poema.gr

Round-Pond

Water ruffled and speckled by galloping wind

Which puffs and spurts it into tiny pashing breaks

Dashed with lemon-yellow afternoon sunlight.

The shining of the sun upon the water

Is like a scattering of gold crocus-petals

In a long wavering irregular flight.

The water is cold to the eye

As the wind to the cheek.

In the budding chestnuts

Whose sticky buds glimmer and are half-burst open

The starlings make their clitter-clatter;

And the blackbirds in the grass

Are getting as fat as the pigeons.

Too-hoo, this is brave;

Even the cold wind is seeking a new mistress.

πηγή: http://www.inspirationalstories.com

Richard Aldington

From Wikipedia, the free encyclopedia

Richard Aldington (8 July 1892 – 27 July 1962), born Edward Godfree Aldington, was an English writer and poet.

Aldington was best known for his World War I poetry, the 1929 novel, Death of a Hero, and the controversy arising from his 1955 Lawrence of Arabia: A Biographical Inquiry. His 1946 biography, Wellington, was awarded the James Tait Black Memorial Prize.

Early life

Aldington was born in Portsmouth, the son of a solicitor, and educated at Dover College, and for a year at the University of London.[1] He was unable to complete his degree because of the financial circumstances of his family. He met the poet H.D. in 1911 and they married two years later.

Man of letters

His poetry was associated with the Imagist group, and his poetry, (then unrimed free verse,beautifully cadenced, whereas in later verse the cadences are long and voluptuous, the Imagery weighted with ornament )[2] forms almost one third of the Imagists' inaugural anthology Des Imagistes (1914). Ezra Pound had in fact coined the term imagistes for H.D. and Aldington, in 1912.[3]

At this time, he was one of the poets around the proto-Imagist T. E. Hulme; Robert Ferguson in his life of Hulme portrays Aldington as too squeamish to approve of Hulme's robust approach, particularly to women.[4] However, Aldington shared Hulme's conviction that experimentation with traditional Japanese verse forms could provide a way forward for avant-garde literature in English, and went often to the British Museum to examine Nishiki-e prints illustrating such poetry.[5][6]

He knew Wyndham Lewis well, also, reviewing his work in The Egoist at this time, hanging a Lewis portfolio around the room and on a similar note of tension between the domestic and the small circle of London modernists regretting having lent Lewis his razor when the latter announced with hindsight a venereal infection.[7] Going out without a hat, and an interest in Fabian socialism, were perhaps unconventional enough for him.[8]

At this time he was also an associate of Ford Madox Ford, helping him with a hack propaganda volume for a government commission in 1914 [9] and taking dictation for The Good Soldier when H.D. found it too harrowing.

In 1915, Aldington and H.D. moved within London, away from Holland Park very near Ezra Pound and Dorothy, to Hampstead, close to D. H. Lawrence and Frieda. Their relationship became strained by external romantic interests and the stillborn birth of their child. Between 1914 and 1916 he was literary editor of The Egoist, and columnist there.[10] He was assistant editor with Leonard Compton-Rickett under Dora Marsden.[11] The gap between the Imagist and Futurist groups was defined partly by Aldington's critical disapproval of the poetry of Filippo Marinetti.[12]

World War I and aftermath

He joined the army in 1916, was commissioned in the Royal Sussexs in 1917 and was wounded on the Western Front.[13] Aldington never completely recovered from his war experiences, and may have continued to suffer from the then-unrecognised phenomenon of Post Traumatic Stress Disorder.

Aldington and H. D. attempted to mend their marriage in 1919, after the birth of her daughter by a friend of writer D. H. Lawrence, named Cecil Gray, with whom she had become involved and lived with while Aldington was at war. However, she was by this time deeply involved in a lesbian relationship with the wealthy writer Bryher, and she and Aldington formally separated, both becoming romantically involved with other people, but they did not divorce until 1938. They remained friends, however, for the rest of their lives.

Relationship with T. S. Eliot

He helped T. S. Eliot in a practical way, by persuading Harriet Shaw Weaver to appoint Eliot as his successor at The Egoist (helped by Pound), and later in 1919 with an introduction to the editor Bruce Richmond of the Times Literary Supplement, for which he reviewed French literature.[14][15] He was on the editorial board, with Conrad Aiken, Eliot, Lewis and Aldous Huxley, of Chaman Lall's London literary quarterly Coterie published 1919–1921.[16] With Lady Ottoline Morrell, Leonard Woolf and Harry Norton he took part in Ezra Pound's scheme to 'get Eliot out of the bank' (Eliot had a job in the international department of Lloyd's, a London bank, and well-meaning friends wanted him full-time writing poetry).[17] This manoeuvre towards Bloomsbury came to little, with Eliot getting £50 and unwelcome publicity in theLiverpool Post, but gave Lytton Strachey an opening for mockery.

Aldington made an effort with A Fool I' the Forest (1924) to reply to the new style of poetry launched by The Waste Land. He was being published at the time, for example in The Chapbook, but clearly took on too much hack work just to live. He suffered some sort of breakdown in 1925.[18] His interest in poetry waned, and he was straighforwardly jealous of Eliot's celebrity.[19]

His attitude towards Eliot shifted, from someone who would mind the Eliots' cat in his cottage (near Reading, Berkshire, in 1921), and to whom Eliot could confide his self-diagnosis of abulia.[20] Aldington became a supporter of Vivienne Eliot in the troubled marriage, and savagely satirized her husband as "Jeremy Cibber" in Stepping Heavenward (Florence 1931).[21] He was at this time living with Arabella Yorke (real given name Dorothy), a lover since Mecklenburgh Square days.[22] It was a lengthy and passionate relationship, coming to an end when he went abroad.[18][23]

Later life

He went into self-imposed 'exile' from England in 1928.[24] He lived in Paris for years, living with Brigit Patmore, and being fascinated by Nancy Cunard whom he met in 1928. After his divorce in 1938 he married Netta, née McCullough, previously Brigit's daughter-in-law as Mrs. Michael Patmore.

Death of a Hero, published in 1929, was his literary response to the war, commended by Lawrence Durrell as 'the best war novel of the epoch'. It was written while he was living on the island of Port-Cros inProvence as a development of a manuscript from a decade before. Opening with a letter to the playwright Halcott Glover, the book takes a variable but generally satirical, cynical and critical posture, and belabours Victorian and Edwardian cant.[25] He went on to publish several works of fiction.

In 1930, he published a bawdy translation of The Decameron. In 1933, his novel titled All Men are Enemies appeared; it was a romance, as the author chose to call it, and a brighter book than Death of a Hero, even though Aldington took an anti-war stance again. In 1942, having moved to the United States with his new wife Netta Patmore, he began to write biographies. The first was one of Wellington (The Duke: Being an Account of the Life & Achievements of Arthur Wellesley, 1st Duke of Wellington, 1943). It was followed by works on D. H. Lawrence (Portrait of a Genius, But..., 1950), Robert Louis Stevenson(Portrait of a Rebel, 1957), and T. E. Lawrence (Lawrence of Arabia: A Biographical Inquiry, 1955).

Aldington's biography of T. E. Lawrence caused a scandal on its publication, and an immediate backlash.[26] It made many controversial assertions. He was the first to bring to public notice the fact of Lawrence's illegitimacy. He also asserted that Lawrence was homosexual. Lawrence lived a celibate life, and none of his close friends (of whom several were homosexual) had believed him to be gay. He attacked Lawrence as a liar and a charlatan, claims which have colored Lawrence's reputation ever since. Only later were confidential government files concerning Lawrence's career released, allowing the accuracy of Lawrence's own account to be gauged. Aldington's own reputation has never fully recovered from what came to be seen as a venomous attack upon Lawrence's reputation. Many believed that Aldington's suffering in the bloodbath of Europe during World War I caused him to resent Lawrence's reputation, gained in the Middle Eastern arena.

Aldington died in Lere, France on 27 July 1962, shortly after being honoured and feted in Moscow on the occasion of his seventieth birthday and the publication of some of his novels in Russian translation. He didn't approve of the Communist "party line", though, and the Russians didn't succeed in making him endorse it.[27] His politics had in fact moved far towards the right — opinions he shared with Lawrence Durrell, a close friend since the 1950s — but he had felt shut out by the British establishment after his T. E. Lawrence book. He lived in Provence, at Montpellier and Aix-en-Provence.

On 11 November 1985, Aldington was among 16 Great War poets commemorated on a slate stone unveiled in Westminster Abbey's Poet's Corner.[28] The inscription on the stone is a quotation from the work of a fellow Great War poet, Wilfred Owen. It reads: "My subject is War, and the pity of War. The Poetry is in the pity."[29]

A savage style and embitterment

Aldington could write with an acid pen. The Georgian poets, who (Pound had decided) were the Imagists' sworn enemies, he devastated with the accusation of "'The Georgians were regional in their outlook and in love with littleness. They took a little trip for a little weekend to a little cottage where they wrote a little poem on a little theme." He took swipes at Harold Monro, whose Poetry Review had published him and given him reviewing work. On the other side of the balance sheet, he spent time supporting literary folk: the alcoholic Monro, and others such as F. S. Flint and Frederic Manning who needed friendship.[14][30]

Alec Waugh, who met him through Harold Monro, described him as embittered by the war, and offered Douglas Goldring as comparison; but took it that he worked off his spleen in novels like The Colonel's Daughter (1931), rather than letting it poison his life.[31] His novels in fact contained thinly-veiled, disconcerting (at least to the subjects) portraits of some of his friends (Eliot, D. H. Lawrence, Pound in particular), the friendship not always surviving. Lyndall Gordon characterises the sketch of Eliot in the memoirs Life for Life's Sake (1941) as 'snide'.[32] As a young man he enjoyed being cutting about William Butler Yeats, but remained on good enough terms to visit him in later years at Rapallo.

The London Times obituary in 1962 described him as an "an angry young man of the generation before they became fashionable", and who '" remained something of an angry old man to the end".[33]

Works

Images (1910–1915) The Poetry Bookshop, London (1915)&(historical reproduction by Bibliobazaar) ISBN 978-1-113-27518-9) 2009

Images – Old and New Four Seas Co, Boston (1916)& (historical reproduction by Bibliobazaar ISBN 978-1-110-47889-5 ) 2009

The Poems of Anyte of Tegea (1916) translator

Images of Desire (Elkin Mathews, 1919)& (historical reproduction by Bibliobazaar) ISBN 978-1-115-45071-3) 2009

Images of War Beaumont Press , London (1919) &(historical reproduction by Bibliobazaar) ISBN 978-1-171-58428-5) 2009

War and Love: Poems 1915–1918 (1919)

Greek Songs in the Manner of Anacreon (1919) translator

A Book of 'Characters' from Theophrastus, Joseph Hall, Sir Thomas Overbury, Nicolas Breton, John Earle

Hymen (Egoist Press, 1921) with H. D.

Medallions in Clay (1921)

The Good-Humoured Ladies: A Comedy by Carlo Goldoni (1922) translator, with Arthur Symons

Exile and other poems (1923)

Literary Studies and Reviews (1924) essays

Sturly by Pierre Custot (1924) translator

The Mystery of the Nativity: Translated from the Liegeois of the XVth Century (Medici Society, 1924) translator

A Fool I' the Forest: A Phantasmagoria (1924) poem

Voltaire (1925)

French Studies and Reviews (1926)

The Love of Myrrhine and Konallis: and other prose poems (1926)

Cyrano De Bergerac, Voyages to the Moon and the Sun (1927)

D. H. Lawrence: An Indiscretion (1927)

Letters of Madame De Sevigné (1927) translator

Letters Of Voltaire And Frederick The Great (1927) translator

Candide and Other Romances by Voltaire (1928) translator with Norman Tealby

Collected Poems (1928)

Fifty Romance Lyric Poems (1928) translator

Hark the Herald (Hours Press, 1928)

Rémy De Gourmont: Selections. (1928) translator

Death of a Hero: A Novel (1929)

The Eaten Heart (Hours Press, 1929) poems

A Dream in the Luxembourg: A Poem (1930)

The Memoirs and Correspondence of Mme. D'Epinay (1930) translator

Euripedes' Alcestis (1930) translator

At All Costs (1930)

D. H. Lawrence: A Brief and Inevitably Fragmentary Impression (1930)

Last Straws (Hours Press, 1930)

Medallions from Anyte of Tegea, Meleager of Gadara, the Anacreontea, Latin Poets of the Renaissance (1930) translator

The Memoirs of Marmontel (1930) editor, with Brigit Patmore

Roads to Glory (1930) stories

Tales from the Decameron (1930) translator

Two Stories (Elkin Mathews, 1930)

Letters to the Amazon by Rémy de Gourmont (1931) translator

Balls and Another Book for Suppression (1931)

The Colonel's Daughter: A Novel (1931)

Stepping Heavenward: A Record (1931) satire aimed at T. S. Eliot

Aurelia by Gérard de Nerval (1932) translator

Soft Answers (1932) five short novels

All Men Are Enemies: A Romance (1933)

Last Poems of D. H. Lawrence (1933) edited with Giuseppe Orioli

Poems of Richard Aldington (1934)

Women Must Work: A Novel (1934)

Artifex: Sketches And Ideas (1935) essays

D. H. Lawrence (1935)

The Spirit of Place (1935), editor, D. H. Lawrence prose anthology

Life Quest (1935) poem

Life of a Lady: A Play in Three Acts (1936) with Derek Patmore

The Crystal World (1937)

Very Heaven (1937)

Seven Against Reeves: A Comedy-Farce (1938) novel

Rejected Guest (1939) novel

W. Somerset Maugham; An Appreciation (1939)

Life for Life's Sake: Memories Of A Vanished England & A Changing World, By One Who Was Bohemian, Poet, Soldier, Novelist & Wanderer (1941) memoir

Poetry of the English-Speaking World (1941) anthology, editor

A Wreath For San Gemignano (1945) sonnets of Folgore da San Gemignano

A Life of Wellington: The Duke (1946)

Great French Romances (1946) novels by Madame De Lafayette, Choderlos De Laclos, the Abbe Prévost, Honoré de Balzac

Oscar Wilde Selected Works (1946) editor

The Romance of Casanova: A Novel (1946)

Complete Poems (1948)

Four English Portraits 1801–1851 (1948)

Selected Works of Walter Pater (1948)

Jane Austen (1948)

Decameron of Giovanni Boccaccio (two volumes) (1949) translator

The Strange Life of Charles Waterton 1782–1865 (1949)

A Bibliography of the Works of Richard Aldington from 1915 to 1948 (1950) with Alister Kershaw

Selected Letters of D. H. Lawrence (1950) editor

An Appreciation: D. H. Lawrence 1885–1930 (1950) also as D. H. Lawrence Portrait of a Genius But...

The Religion of Beauty: Selections From The Aesthetes (1950) anthology, editor

Ezra Pound and T. S. Eliot, A Lecture (Peacocks Press, 1954)

Lawrence L'Imposteur: T.E. Lawrence, The Legend and the Man (1954) Paris edition, later title Lawrence of Arabia, A Biographical Enquiry (1955)

Pinorman: Personal Recollections of Norman Douglas, Pino Orioli & Charles Prentice (1954)

A. E. Housman & W. B. Yeats: Two Lectures (Hurst Press, 1955)

Introduction to Mistral (1956)

Frauds (1957)

Portrait of a Rebel: The Life and Work of Robert Louis Stevenson (1957)

The Viking Book of Poetry of the English-Speaking World Volume II (1958) editor

Larousse Encyclopedia of Mythology (1960) translator with Delano Ames

Switzerland (1960)

Famous Cities of the World: Rome (1960)

A Tourist's Rome

Richard Aldington: Selected Critical Writing, 1928–1960 (1970) edited by Alister Kershaw

A Passionate Prodigality: Letters to Alan Bird from Richard Aldington, 1949–1962 (1975) edited by Miriam J. Benkovitz

Literary Lifelines: The Richard Aldington and Lawrence Durrell Correspondence (1981)

In Winter: A Poem (Typographeum Press, 1987)

Austria

France

Italy

References

^ Peter Jones (editor), Imagist Poetry (1972), p. 163.

^ Hughes, Glenn, Imagism and the Imagists Stanford University Press, 1931 (reprinted)Biblo and Tannen, New York, 1972 ISBN 08196002825

^ Michael H. Levenson, A Genealogy of Modernism (1984), p. 69.

^ Robert Ferguson, The Short Sharp Life of T. E. Hulme (2002), p. 85.

^ Arrowsmith, Rupert Richard. Modernism and the Museum: Asian, African and Pacific Art and the London Avant Garde. Oxford University Press, 2011, pp.103–164. ISBN 978-0-19-959369-9

Also see Arrowsmith, Rupert Richard. "The Transcultural Roots of Modernism: Imagist Poetry, Japanese Visual Culture, and the Western Museum System",Modernism/modernity Volume 18, Number 1, January 2011, pp. 27-42. ISSN: 1071-6068.

^ Video of a Lecture discussing Aldington's use of Japanese Art, School of Advanced Study, July 2011.

^ Paul O'Keefe, Some Sort of Genius (2000), p. 164..

^ John Paterson, Edwardians.

^ When Blood is Their Argument: An Analysis of Prussian Culture

^ Hugh Kenner, The Pound Era (1971), p. 279.

^ Robert H. Ross, The Georgian Revolt (1967), p. 69.

^ Robert H. Ross, The Georgian Revolt (1967), p. 71.

^ [1]

^ a b Carole Seymour-Jones, Painted Shadow (2001), p. 173.

^ Lyndall Gordon, Eliot's New Life (1988), p. 231.

^ Nicholas Murray, Aldous Huxley: An English Intellectual (2002), p. 103

^ Carole Seymour-Jones, Painted Shadow (2001), pp. 342–6.

^ a b Caroline Zilboorg (editor), Richard Aldington and H.D.: Their lives in letters 1918–61, p. 185.

^ Carole Seymour-Jones, Painted Shadow (2001), p. 229.

^ Stanley Sultan, Eliot, Joyce, and Company (1987), p. 32.

^ Carole Seymour-Jones, Painted Shadow (2001), pp. 471–2.

^ http://www.londongardenstrust.org/guides/bloomsbury.htm

^ http://findarticles.com/p/articles/mi_hb3362/is_/ai_n28632908

^ Jonathan Bate, Chris Baldick, The Oxford English Literary History: Volume 10: The Modern Movement (1910–1940) (2002), p. 43.

^ Michael Copp (editor), An Imagist at War: The Complete War Poems of Richard Aldington (2002), p. 18.

^ http://www.independent.co.uk/arts-entertainment/books/features/te-lawrence-action-man-510021.html

^ Thomas MacGreevy. In: Richard Aldington: An Intimate Portrait. 1965. p. 52

^ http://net.lib.byu.edu/english/wwi/poets/poets.html

^ http://net.lib.byu.edu/english/wwi/poets/Preface.html

^ Lyndall Gordon, Eliot's New Life (1988), p. 278.

^ Alec Waugh, The Early Years (1962), p. 182 and p. 193.

^ Lyndall Gordon, Eliot's Early Years (1977), p. 167.

^ Jones, Peter, Imagist Poetry , Penguin Books, London 1972 ISBN 0 140.42.147 5

[edit]Sources

Richard Aldington: An Englishman (1931) Thomas McGreevy

Richard Aldington by C. P. Snow

Richard Aldington. An Intimate Portrait (1965) by Alister Kershaw, and Frederic-Jacques Temple

Richard Aldington 1892–1962: A Catalogue of The Frank G. Harrington Collection of Richard Aldington and Hilda H.D. Doolittle (1973)

The Poetry of Richard Aldington (1974) Norman T. Gates

A Checklist of the Letters of Richard Aldington (1977) edited by Norman T. Gates

Richard Aldington, Papers from the Reading Conference. (1987) edited by Lionel Kelly

Richard Aldington, a biography (1989) Charles Doyle ISBN 0-8093-1566-1

Richard Aldington: Reappraisals (1990) edited by Charles Doyle

Richard Aldington: An Autobiography in Letters (1992) edited by Norman T. Gates

The Religion of Beauty

The Religion of Beauty (subtitle Selections From the Aesthetes) was a prose and poetry anthology edited by Aldington and published in 1950. Listed below are the authors Aldington included, providing insight into Aldingtons generation and tastes:

Prose