Hymen — A Reader’s Guide

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H. D. (Hilda Doolittle), 1886-1961 Project Gutenberg 2009 Not confirmed
Poetry Readers of public-domain and historical texts
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Words 10,401
Reading time 46 min
Text sections 2

This digital edition of Hymen — A Reader’s Guide is described by source-level measurements including 10,401 words, 46 min estimated reading time, and 2 detected text sections.

The text analysis averages about 28.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Poetry,” connecting these edition facts with the source record’s subject description.

H.D.'s 1921 collection 'Hymen' reworks Greek myths through spare, imagist verse. Excerpts show dramatic choral arrangements, catalogues of sea-heroes, and erotic encounters with gods, but the full text is not available for review.
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Produced by Meredith Bach and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from scanned images of public domain material from the Google Print project.)

+------------------------------------------------------------+ | Transcriber's Note | | | | Obvious typographical errors have been corrected in | | this text. For a complete list, please see the bottom of | | this document. | +------------------------------------------------------------+

NEW YORK HENRY HOLT AND COMPANY 1921

FOR BRYHER AND PERDITA

_They said: she is high and far and blind in her high pride, but now that my head is bowed in sorrow, I find she is most kind._

_We have taken life, they said, blithely, not groped in a mist for things that are not-- are if you will, but bloodless-- why ask happiness of the dead? and my heart bled._

_Ah, could they know how violets throw strange fire, red and purple and gold, how they glow gold and purple and red where her feet tread._

Acknowledgements are due to the editors of the following periodicals in which certain of these poems have appeared: _Poetry_ (Chicago), _The Dial_, _Contact_ and _The Bookman_ (New York), _The Nation_, _The Sphere_, _The Anglo-French Review_ and _The Egoist_ (London).

HIPPOLYTUS TEMPORIZES 24

WHY HAVE YOU SOUGHT 36

THE WHOLE WHITE WORLD 37

SHE CONTRASTS WITH HERSELF HIPPOLYTA 40

SHE REBUKES HIPPOLYTA 42

_As from a temple service, tall and dignified, with slow pace, each a queen, the sixteen matrons from the temple of Hera pass before the curtain--a dark purple hung between Ionic columns--of the porch or open hall of a palace. Their hair is bound as the marble hair of the temple Hera. Each wears a crown or diadem of gold._

_They sing--the music is temple music, deep, simple, chanting notes:_

From the closed garden Where our feet pace Back and forth each day, This gladiolus white, This red, this purple spray-- Gladiolus tall with dignity As yours, lady--we lay Before your feet and pray:

Of all the blessings-- Youth, joy, ecstasy-- May one gift last (As the tall gladiolus may Outlast the wind-flower, Winter-rose or rose), One gift above, Encompassing all those;

For her, for him, For all within these palace walls, Beyond the feast, Beyond the cry of Hymen and the torch, Beyond the night and music Echoing through the porch till day.

_The music, with its deep chanting notes, dies away. The curtain hangs motionless in rich, full folds. Then from this background of darkness, dignity and solemn repose, a flute gradually detaches itself, becomes clearer and clearer, pipes alone one shrill, simple little melody._

_From the distance, four children's voices blend with the flute, and four very little girls pass singly before the curtain, small maids or attendants of the sixteen matrons. Their hair is short and curls at the back of their heads like the hair of the chryselephantine Hermes. They sing:_

Where the first crocus buds unfold We found these petals near the cold Swift river-bed.

Beneath the rocks where ivy-frond Puts forth new leaves to gleam beyond Those lately dead:

The very smallest two or three Of gold (gold pale as ivory) We gatherèd.

_When the little girls have passed before the curtain, a wood-wind weaves a richer note into the flute melody; then the two blend into one song. But as the wood-wind grows in mellowness and richness, the flute gradually dies away into a secondary theme and the wood-wind alone evolves the melody of a new song._

_Two by two--like two sets of medallions with twin profiles distinct, one head slightly higher, bent forward a little--the four figures of four slight, rather fragile taller children, are outlined with sharp white contour against the curtain._

_The hair is smooth against the heads, falling to the shoulders but slightly waved against the nape of the neck. They are looking down, each at a spray of winter-rose. The tunics fall to the knees in sharp marble folds. They sing:_

Never more will the wind Cherish you again, Never more will the rain.

Never more Shall we find you bright In the snow and wind.

The snow is melted, The snow is gone, And you are flown:

Like a bird out of our hand, Like a light out of our heart, You are gone.

_As the wistful notes of the wood-wind gradually die away, there comes a sudden, shrill, swift piping._

H.D.'s Hymen (1921) opens with a staged choral performance: sixteen matrons from the temple of Hera process before a dark purple curtain, singing in measured, temple-like music. The poem immediately establishes a ritualistic tone, with precise stage directions—'the curtain hangs motionless in rich, full folds'—that blend lyric poetry with dramatic framing. This hybrid form recurs throughout the excerpts, as mythological figures such as Demeter, Circe, and Leda speak in first-person monologues or are invoked through catalogues and prayers.

Ritual and Dramatic Structure

The excerpts reveal a work that is neither straightforward lyric nor conventional drama. The opening 'Hymen' presents a full choral scene with stage directions, including the entrance of four little girls who sing of crocus buds and river-beds. This theatricality is not sustained uniformly: later poems like 'Evadne' and 'Song' are intimate, first-person addresses. The catalog of sea-heroes in 'The Islands' shifts to a breathless, incantatory list of names—'Oknolos, Elatreus, helm-of-boat, loosener-of-helm'—that builds to a cry of 'heart-sick weariness.' The variety suggests a deliberate juxtaposition of public ritual and private emotion, though without the full text it is unclear how these modes interact across the collection.

Imagist Precision and Sensory Detail

H.D.'s imagist training is evident in the sharp, sensory images that anchor abstract emotion. In 'Not Honey,' the speaker rejects honey and flowers—'not the plunder of the bee'—in favor of 'heat, more passionate of bone and the white shell and fiery tempered steel.' The poem builds through negation, listing what is not desired before arriving at a tactile, almost violent physicality. Similarly, 'Evadne' describes the god's hair as 'crisp to my mouth as the flower of the crocus' and his touch as 'cool as the silver cress on Erotos bank.' These comparisons ground mythological encounter in natural, often botanical, detail. The recurring motifs of flowers—gladiolus, violets, crocus, iris—serve both as decorative elements and as precise carriers of meaning, linking human and divine realms.

Mythological Voice and Gender

The excerpts feature several female speakers from Greek myth: Evadne, Circe, Phaedra, and Hippolyta. Their voices are not uniformly passive or victimized. In 'Evadne,' the speaker claims agency: 'I first tasted under Apollo's lips / love and love sweetness, I Evadne.' The repetition of 'I' asserts identity and experience. Conversely, 'Circe' and 'Phaedra' (titles only, no text provided) may offer different perspectives. The catalogue of male sea-heroes in 'The Islands' is spoken by a voice that feels 'weak with pain and old loss,' suggesting a female or marginalized perspective overwhelmed by masculine heroism. Without the full poems, it is impossible to assess the range of these voices, but the excerpts indicate a nuanced engagement with gendered power dynamics within mythological frameworks.

Readers approaching Hymen should attend to its formal variety: the poems shift between choral spectacle, dramatic monologue, and imagist lyric. The catalog subjects—Poetry, fantasy-folklore—only partially capture the work's experimental structure and its grounding in classical source material. The excerpts suggest a collection that rewards close attention to sensory detail and mythological allusion, but the absence of complete poems limits any definitive reading.

I found myself thinking of Hymen’s sea-heroes, the way H.D. lets myth drift into private ache. Later, I remembered an old oddity called Nothing to Say A Slight Slap at Mobocratic Snobbery, Which Has 'Nothing to Do' with 'Nothing to Wear' — Story, Setting & Ideas—not for any grand style, but because both felt like quiet rebellions against what words are supposed to do. Strange, how different books hold the same hush.

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