George Stubbs: 50 Chapters of an Imagined Biography
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Other Specifications. George Stubbs. The images represent actual product though color of the image and product may slightly differ. Was this information helpful to you? Yes No. Thank You for submitting your response. Customer Product Selfies. Seller Details View Store. New Seller. Expand your business to millions of customers Sell this item on Snapdeal. Sold by. Sell on Snapdeal. In Same Price. Easy Return Policy. Help Center Got a question? Look no further. Browse our FAQs or submit your query here. But this has not been my fate. With the aid of a stick I can find my way happily round the streets where I live.
Deafness, he felt, must be a far worse disability. It is the twin horrors of pain and imbecility that guard its gates which one should fear. His Collected Poems, published on his 70th birthday, surprised many by their range; more than original pieces, from delightful vignettes on birds and insects to his brilliant page retelling of the Arthurian legend, Artorius, and more than 50 translations from poets as diverse as Sappho, Anacreon, Horace, Catullus, Dante, Leopardi and Verlaine. A witty and rewarding companion, he was one of those towering solitaries like Charles Doughty and Charles Williams, and among novelists George Gissing, who go their way contemptuous of fashion and never find a wide public, but whose influence and reputation slowly expand and who survive when smarter names are forgotten.
In later life, he was large and shambolic, even tramp-like, his hair wild, his teeth appalling and his sweater as often as not stained with the residue of several meals and drinks. Unlike many blind people, he never learnt the knack of fixing his interlocutor with an unseeing gaze, but would instead often have his head tilted up towards the ceiling. He could be terrifyingly didactic. On at least one occasion, this prompted Stephen Spender to run away.
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But one did not have to talk with John for long to realise what a great intellect he had, as well as a prodigious memory for the literature of many cultures. In the late s, he collaborated with the distinguished Persian scholar, Peter Avery, in translating the Rubaiyat of Omar Khayyam.
This did not mean that he held Edward Fitzgerald's classic but very free translation in contempt.
George Stubbs: 50 Chapters of an Imagined Biography
On the contrary, he was a keen member of the Omar Khayyam Club, which meets for boisterous dinners and copious amounts of wine in the chichi ballroom of the Savile Club in London's West End, to toast the life and work of the master, Fitzgerald. It is the custom of this gathering to lampoon guests, a procedure which John much savoured. He could be caustic in his comments about other people, including other poets, not least those who he felt had unduly received more popular acclaim than himself.
WH Auden he slated as being "too psychoanalytical", while Sylvia Plath was dismissed as "very interesting in the history of mental aberration". Public figures were also not safe from his barbs. A self-confessed - and at times self-parodying - reactionary and arch-royalist, he was apoplectic about the way he felt Edward Heath had undermined the Tory party.
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Though curious to discover new ideas, he was not a good listener and could be unbridled when his hackles were raised. He sometimes lost his temper even with close friends, though he would usually ring them the following morning to apologise. John could be found in many of Soho's notorious drinking-holes in the s and s, and his own little basement flat in west London was a model of bohemian squalor.
Fiercely independent, he lived on his own and insisted on cooking for his guests - surprisingly well, though both the floor and the ceiling showed evidence of mishaps. Although John was open about his sexual orientation with close friends, he did retain a certain feeling of Christian guilt about it. It was not something one should discuss in public, he believed, and in his autobiography, Hindsights, he avoided almost all mention of the subject.
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One of the leading poets of his generation, he believed his progressive blindness stimulated his imagination. Like Keyes, who was killed in the war at the age of 20, Heath-Stubbs excelled in the dramatic monologue, as in his Heroic Epistle from William Congreve, now old and blind, to his love, the actress Anne Bracegirdle: Now it has all gone black, you are more than ever The cadence of a voice to me, the turn of a prose phrase: For my words in your mouth were a movement in time, Like your hand's movement suddenly spreading the white Fan, your turned wrist twisting the air; Or the curve of your white neck,caught in a slant-light, The tilt of your chin, and your smile mocking, mocking - And then your laughter - and so your - voice again.
Again like Keyes, he was a precise and evocative observer of nature, as in The Swift: There is no creature except, perhaps, The angel so wholly native to The upper air. Topics Poetry.
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