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177:, where he posits that Chrysaor's sin that angered Jove was not just his hubris before the gods, but more specifically his tolerance of and enrichment by the slave trade. CadĂz was, along with Seville, a key hub in the transatlantic slave trade during the development of the Iberian empire, and Landor likely had this geographical history in mind when devising the poem's mythic, topographic framework.
93:, 4.17.1-3) states that Chrysaor was "king over the whole of Iberia" and that he received his name (meaning "golden sword" in Latin) because of his wealth. The dramatic crux of the poem—the slaying of Chrysaor by Neptune in retaliation for angering Jove—is of Landor’s own invention, and not found in classical mythology.
190:. The relationship of Milton's God the Father to God the Son is mirrored in the relationship of Landor's Jove to Neptune, with Chrysaor occupying a rebellious role analogous to that of Satan in Milton's epic. The tritons and sea nymphs in Landor's poem would be analogous to the angels in
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to be “Landor's finest piece of narrative writing in blank verse”. Landor's biographer R. H. Super thought Colvin's estimate "hardly justifiable" and found only "the delightful picture of the sea gods and nymphs up to the best of Landor's poetry". Robert Pinsky deemed
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One important aspect of the poem is its topographical and geographical aspect. The slaying of
Chrysaor coincides with him being “sever'd from the fruitful main” (line 10) by the god of the sea. Landor probably had in mind the topographical situation of the
108:(1802). The volume had been printed in 1800, and withheld from publication for a time due to Landor's need to check a reference. Several critics, including William Bradley, believe that
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with its rugged approaches to sublimity is major poetry”, and that “probably no modern
English poem of comparable power is less known to the generality of readers”.
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has left Landor's critics and biographers divided as to whether the poem is one of Landor’s best or worst short poems. Douglas Bush, for instance, finds that “
357:
Knight, Franklin W. (1994). "Slavery and lagging capitalism in the
Spanish and Portuguese American empires, 1492–1713". In Solow, Barbara L. (ed.).
45:, or sea nymphs. In the poem, Chrysaor is described as the sole survivor of "the race of earth-born giants" and as sovereign over Gades (
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as “a piece of topographic aetiology”, presenting a mythic origin story for the separation of the Isla de Léon from the rest of Iberia.
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146:“a poorly written and foolishly conceived poem”, an “inadvertent parody” of Milton”, and “a wretched piece of juvenilia”.
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Poetry by the Author of Gebir: and A Postscript To that Poem, with
Remarks on Some Critics
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A key part of this interpretive framing is found in Landor's lengthy footnote to
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The story of
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was begun shortly after Landor had completed work on the first edition of
85:. Chrysaor is the son of Medusa and Poseidon, or Neptune. Another source (
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William
Bradley noted the presence of strong parallels between
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316:. New York City: Harper & Brothers Publishers. p. 37.
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O'Flanagan, Patrick (2008). "Cádiz and La BahĂa de Cádiz".
202:'s defiance and destruction by Neptune as related in the
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1813 map of the Isla de Léon in Cádiz, in southwest Spain
301:. Cambridge: Harvard University Press. pp. 238–239.
166:. Advancing this interpretation, Adam Roberts describes
118:(1798). The poem consists of 207 lines of blank verse.
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Mythology And The
Romantic Tradition In English Poetry
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Mythology And The
Romantic Tradition In English Poetry
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406:. London: Bradbury, Agnew, & Co, Ltd. p. 97.
391:. London: Bradbury, Agnew, & Co, Ltd. p. 98.
361:. Cambridge: Cambridge University Press. p. 69.
331:. Chicago: University of Chicago Press. p. 72.
286:. New York: New York University Press. p. 49.
271:. New York: New York University Press. p. 49.
29:) is a short epic poem composed in blank verse by
73:, 270-305, both of which relate how Chrysaor and
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221:. London: Bradbury, Agnew, & Co, Ltd, 1913.
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346:. Oxford: Oxford University Press. p. 71.
359:Slavery and the Rise of the Atlantic System
228:. Cambridge: Harvard UP, 1937. Pp. 236-240.
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312:Colvin, Sidney (1902).
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297:Bush, Douglas (1937).
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91:The Library of History
429:Epic poems in English
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282:Super, R.H. (1954).
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164:Caño de Sancti Petri
137:likewise considered
31:Walter Savage Landor
23:The Story of Crysaor
344:Landor’s Cleanness
247:Landor’s Cleanness
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424:1802 poems
418:Categories
254:References
81:beheaded
71:Theogony
41:and the
35:Chrysaor
27:Chrysaor
205:Odyssey
196:Crysaor
182:Crysaor
175:Crysaor
168:Crysaor
144:Crysaor
139:Crysaor
131:Crysaor
127:Crysaor
110:Crysaor
102:Crysaor
79:Perseus
75:Pegasus
43:Nereids
39:Neptune
18:Crysaor
314:Landor
83:Medusa
67:Hesiod
115:Gebir
47:Cádiz
25:, or
200:Ajax
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