Marpessa : (1) daughter of Euenus, son of Ares. Idas, who was an Argonaut, won Marpessa as his bride, but she was carried off by Apollo. Zeus intervened & offered her a choice between the two. She chose Idas. (2) Narrative poem by Stephen Phillips.
... — let us look at the original line in the company of those preceding and succeeding it: Wounded with beauty in the summer night Young Idas tossed upon his couch and cried, "Marpessa, O Marpessa!" From the dark The floating smell of flowers invisible, The mystic yearning of the garden wet, The moonless-passing night — into his brain Wandered, until he rose and outward... how Marpesa opens. Idas is a youth who has fallen in love with the wonderful beauty of the girl Marpessa. She is wooed also by the God Apollo and has to choose between a mortal lover and an immortal. Idas has been restless through the night of summer with his own yearning for the perfection of Marpessa, a perfection Page 103 worthy of even a god's love. But he has kept to his couch... range and we may in our context understand it as a use of poetic-sounding language to cover up mere fancifulness. One of the worst lines of poetry, to Murry's mind, is this from Stephen Phillips's Marpessa: Page 101 The mystic yearning of the garden wet... Let us reflect on the verse. Is Phillips indeed pretentious? The feeling that he records seems to have nothing false in it ...
... blank verse. Both Love and Death and Urvasie bear traces of the influence of Stephen Phillips's Christ in Hades and Marpessa. During his Cambridge days Sri Aurobindo had seen Christ in Hades in manuscript — a memorable and fecundating event. Marpessa got even more under his skin. Stephen Phillips is at present a forgotten name because he could not keep up his early inspiration and ...
... met Achilles once more after the death of Patroclus, by the river Xanthus, and this time, although unarmed and begging for his death, is killed by him. Marpessa: Daughter of Euenus, son of Ares. Idas, an Argonaut, had won Marpessa as his bride, but she was carried off by Apollo. Zeus intervened in the fight which ensued and offered her a choice between the two. She chose Idas. Menelaus: ...
... early blank verse which assimilates several influences into a varied vigorous originality mingles Paradise Lost most with the chief immediate influence - Stephen Phillips's Christ in Hades and Marpessa - and the principal background influence - Kalidasa's Vicramorvasie. And this blank verse is of particular interest because of a certain question raised by Sri Aurobindo in connection with Milton: ...
... Arnold may triumph in a certain vein in a piece like Sohrab and Rustum, a Stephen Phillips (unfortunately a forgotten voice now) may draw forth an exquisite in-toned somewhat novel music in his Marpessa, but no poet with an authentic and sustained blank-verse soul has come after the writer of Hyperion. Just as the form gloriously exploited by him remains viable at all times, so also the hexameter ...
... or Shakespeare writing of Troilus and Cressida or Keats choosing to write of the fall of Hyperion or, on a smaller though not poetically inferior scale, Stephen Phillips conjuring up the story of Marpessa, Idas and Apollo? In our own day, Kazantzakis has written at a gigantic length (33,333 lines) a sequel to the Odyssey and in a form loosely reminiscent of Homer's. The only pertinent questions are: ...
... great deal and took an intense pleasure in some of Coleridge's poetry." Keats too, specially his Hyperion. Among the Victorian poets, Stephen Phillips made a considerable impression on him. "I read Marpessa and Christ in Hades, before they were published and as I was just in the stage of formation then — at the age of seventeen — they made a powerful impression which lasted until it was worked out ...
... greatness of passions supernal, Grasping the earthly virgin and forcing heaven on this death-dust. Glorifying human beauty Apollo roamed in our regions Clymene when he pursued or yearned in vain for Marpessa; Glorifying earth with a human-seeming face of the beauty Brought from her heavenly climes Aphrodite mixed with Anchises. Glimpsed in the wilds were the Satyrs, seen in the woodlands the Graces ...
... poetical thinking, but all the more remarkable is the power with which this new influence comes out in what he can give us. We note a new treatment of life and human emotion. The love of Idas for Marpessa is not satisfied with the old forms of passion and feeling and imaginative idealism, there are here other notes which carry the individual emotion out of itself and strive to cast it into unity with ...
... along with something of Shelley and Coleridge. I cannot tell you much about it from that point of view; I did not draw consciously from any of the poets you mention except from Phillips. I read Marpessa and Christ in Hades before they were published and as I was just in the stage of formation then—at the age of 17—they made a powerful impression which lasted until it was worked out in Love and ...
... respect since the reviewer in The Times Literary Supplement grants deep thought and technical excellence as the only merits of my uninspired poetry. It is otherwise with Stephen Phillips: I read Marpessa and Christ in Hades , the latter Page 348 in typescript, shortly before I left England and they aroused my admiration and made a considerable impression on me. I read recently a reference ...
... respect since the reviewer in the Times Literary Supplement grants deep thought and technical excellence as the only merits of my uninspired poetry. It is otherwise with Stephen Phillips: I read Marpessa and Christ in Hades, the latter in typescript, shortly before I left England and they aroused my admiration and made a considerable impression on me. I read recently a reference to Phillips as ...
... Page 76 Grasping the earthly virgin and forcing heaven on this death-dust. Glorifying human beauty Apollo roamed in our regions Clymene when he pursued or yearned in vain for Marpessa; Glorifying earth with a human-seeming face of the beauty Brought from her heavenly climes Aphrodite mixed with Anchises. Glimpsed in the wilds were the Satyrs, seen in the woodlands ...
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