De la Mare, Walter : (1873-1956), English poet & novelist whose writings show a delight in imaginative excursions & the purely fantastic. Much of his poetry is for or about children.
... and delicate. The sound-suggestions are perfect. I suppose it comes from some plane of intuitive inspiration." A Comparison between "Pharphar" and Walter De la Mare's "Arabia" 1 "It is indeed charming—De la Mare seems to have an unfailing beauty of language and rhythm and an inspired loveliness of fancy that is captivating. But still it is fancy, the mind playing with its... wideness of his spiritualised mind can at once recognise as the embodiment in word of his experience. "I do not mean for a moment to deny the value of the exquisite texture of dream in De la Mare's representation, but still this completer embodiment achieves more." Page 115 ...
... III, “Les thèses de Fritz Fischer”. Iyengar, K.R. Srinivasan: Sri Aurobindo Jäckel, Eberhard: Hitlers Weltanschauung Joachimsthaler, Anton: Hitlers Weg begann in München 1913-1923 Johnson, Paul: A History of the Jews Junge, Traudl: Bis zur letzten Stunde Kaufmann, Walter: Nietzsche – Philosopher, Psychologist, Antichrist Kempowski, Walter: Haben Sie Hitler gesehen... Infamy on Trial Pichot, André: La société pure – de Darwin à Hitler Picker, Henry: Hitlers Tischgespräche im Führerhauptquartier Pletsch, Carl: Young Nietzsche – Becoming a Genius Plewnia, Margarete: Auf dem Weg zu Hitler – Der ‘völkische’ Publizist Dietrich Eckart. Poliakov, Léon: Histoire de l’antisémitisme I Poliakov, Léon: Histoire de l’antisémitisme II Poliakov,... Biography of Walter H. Thompson , (Headline Book Publishing Ltd, 2006) Hipler, Bruno: Hitlers Lehrmeister Hitler, Adolf: Mein Kampf Hobsbawm, Eric: The Age of Empire 1875-1914 Höhne, Heinz: The Order of the Death’s Head Holzapfel, Otto: Die Germanen – Mythos und Wirklichkeit Höss, Rudolf: Kommandant in Auschwitz Husson, Edouard: Comprendre Hitler et la Shoah, ch. III ...
... expressive possibilities as one can scarcely do with the help of any other contemporary poet except Walter de la Mare in some of his finest lines. AE at his highest is as great as Yeats but he hasn't Yeats's Page 10 subtly rich incantation-effect. AH is a much greater poet than Walter de la Mare - yet there is at times a certain depth of magical sound in the latter which is usually absent... to a special quality of incantation which, without being at all complex and purple in language, is packed with shade upon shade, tone behind tone, of beauty. Take this simple-worded stanza from de la Mare's All that's past: Very old are the woods; And the buds that break Out of the brier's boughs, When March winds wake, So old with their beauty are - Oh, no man knows Through what ...
... "inscape" and making vagueness itself a positive quality of vision. Only one contemporary poet can challenge comparison with Yeats in the art of indefinite suggestion by word and rhythm: Walter de la Mare. Their techniques overlap in several respects, mainly in a use of spondees to produce mournful and remote reverberations; but Yeats is a greater musician and his management of broad vowels and... most artistic effects: A sweet, miraculous, terrifying sound, or, No, not angelical but of the old gods, Who wander about the world to waken the heart. Walter de la Mare is not only noted for spondaic rhythms and for assonances, like Oh, no man knows Through what wild centuries Roves back the rose; but he practises too a queer magic... how dark it is, Beneath its vast-boughed trees. Here also is a haunted language, but mostly de la Mare is the singer of a romantic strangeness and of the superstitious instinct. It is a domain different from Yeats's: even in the faery element their treatments are unlike, for de la Mare is a poet of the imaginative child, while Yeats goes beyond to a Page 17 supernatural ...
... felt in a certain selective-ness of phrase and structure: that is all. Intonation more art-laden Page 139 than Shelley's, yet still simple in attitude and motion, meets us in Walter de la Mare's lyric, All that's Past, opening: Very old are the woods; And the buds that break Out of the briar's boughs When March winds wake, So old with their beauty are — Oh... years but a secret continuity ageless with an eternal beauty — and the sense of this beauty takes on vividness through the mention of the rose, the time-honoured symbol of the ideally beautiful. De la Mare is not quite mystical here: he is only mysterious, and the natural rose is just dimly touched by the supernatural, but the exquisite intonation creates the spell as of a sacred chant; and the music... composite English being is on top. My fellow-poet in the Ashram, Norman Dowsett, is not so inhibited in this matter — maybe because the element on top in Dowsett is really Norman! More even than de la Mare, W. B. Yeats in his early phase calls for a bit of chanting tone. There are two phases of Yeats. The later shows him a poet of the athletic intelligence and will, he is taut and powerful and deals ...
... p. 93. See also Edouard Husson: Comprendre Hitler et la Shoah, ch. III, “ Les thèses de Fritz Fischer ”. 267 Fritz Fischer, op. cit., p. 82. 268 Klaus von See: Barbar, Germane, Arier – Die Suche nach der Identität der Deutschen , pp. 191, 193. 269 Adolf Hitler, op. cit., pp. 505, 542, 548-49. 270 André Pichot: La société pure – de Darwin à Hitler, p. 15. 271 Adolf Hitler, op. cit... Sebottendorff’s, as both have the same title. 68 Nicholas Goodrick-Clarke, op. cit., p. 143. 69 Walter Schellenberg: The Labyrinth , p. 95. 70 Nicholas Goodrick-Clarke, op. cit., p. 132. 71 Moritz Bassler and Hildegard Châtelier (ed.): Mystique, mysticisme et modernité en Allemagne autour de 1900 , pp. 115 ff. 72 Rudolf von Sebottendorff, op. cit., pp. 16, 24, 25 and 47. 73 Id., p.... mysticisme et modernité en Allemagne autour de 1900, p. 95. 664 Id., p. 96. 665 Ulrich Linse, op. cit., p. 62. 666 Moritz Bassler and Hildegard Châtellier (ed.), op. cit., p. 104. 667 Ulrich Linse, op. cit., p. 15. 668 Moritz Bassler and Hildegard Châtellier (ed.), op. cit., p. 106. 669 Arthur Rimbaud: Oeuvres complètes, p. 272. 670 Marion Ackermann: “Ueberlegungen zum Einfluss ...
... gleaming and delicate. The sound-suggestions are perfect. I suppose it comes from some plane of intuitive inspiration." A Comparison between "Pharphar" and Walter De la Mac's "Arabia" 1 "It is indeed charming—De la Mare seems to have an unfailing beauty of language and rhythm and an inspired loveliness of fancy that is captivating. But still it is fancy, the mind playing with its delicate... silent wideness of his spiritualised mind can at once recognise as the embodiment in word of his experience. T do not mean for a moment to deny the value of the exquisite texture of dream in De la Mare's representation, but still this completer embodiment achieves more." *** SPHERE-MUSIC Bring not your stars the very same Magic as mine? I give that name Unto ...
... 306 considered it as, among other things, strikingly original. On learning this, Sethna invited his comment on it drawing his attention to Walter de la Mare's poem, The Listeners, to which it seemed to bear some affinity: "De la Mare's poem has a delicate beauty throughout and a sort of daintily fanciful suggestion of the& occult world. I do not know if there is anything more. The weakness... economy of phrase and image and brevity of movement but revelatory in each touch as Opposed to the dim moonlight suggestions supported by a profusion of detail and long elaborating development in De la Mare— of course that has its value also — make us entirely feel ourselves there. I therefore maintain my description 'original' not only for the latter part of the poem but for the opening also. It is... haunted house (on earth which has got possessed by some (occult presences. Arjava must no doubt have taken his starting point from a reminiscence of this poem, but there is nothing else common with De 1a Mare — his poem is an extraordinarily (energetic and powerful vision of an occult world and every phrase is intimately evocative of the beyond as a thing vividly seem and strongly lived it is not on earth ...
... style: Aeschylus and Dante: Dante and Shakespeare: Shakespeare and Blake: the poetry of the school of Dryden and Pope: Shelley's Skylark: Baudelaire's "vulgarity": Anatole France's "ironising": Walter de la Mare's Listeners: five kinds of poetic style: austerity in poetry: architectonics in poetic composition: "great" poetry and merely beautiful poetry: limits of personal vagaries in criticism: relation ...
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