Laura Riding's poetry is revered not just for its literary prowess but also for her philosophical explorations and uncompromising integrity. Her works delve deeply into the purpose of poetry, which she believed should convey the philosophical truth of the human condition. Her cessation from writing poetry stems from her stringent adherence to this ideal, finding it unattainable under the constraints of poetic form.

Philosophical Foundations

Riding's ambitious attempt to infuse poetry with the function of truth-telling aligns her with the metaphysical poets of the seventeenth century, notably John Donne, whose dialectic style sought to explore profound philosophical themes. Her prose, especially in A Survey of Modernist Poetry, echoes the sentiments of these poets, asserting that poetry should reveal universal truths. During the 1920s, when metaphysical poetry was resurging in popularity, Riding emerged as a modernist voice with a philosophical bent.

In tandem with these influences, Riding’s work reflects the views of Matthew Arnold, a Victorian critic who positioned poetry as a form of spiritual practice akin to religion. Riding also revered poetry as a spiritual endeavor, one that bore the weight of sacred truth. Poetry, for her, was not merely art but an essential means of spiritual communication and understanding.

The Journey to Silence

It is paradoxical, then, that Riding chose to silence her poetic voice. Her decision, elucidated decades later in the prefaces to her collections Selected Poems and Collected Poems, was rooted in her dissatisfaction with the medium’s limitations. She demanded an honesty from her art that she felt could not be achieved when form and expression clashed with her pursuit of exactness in meaning.

Riding's unique stance is evident in her refusal to compromise; while many poets adapt to the constraints of poetic form by accepting an approximation of their ideal, she chose a path of radical honesty. Her dissatisfaction was not merely with her output but also with the reception of her work, which many found challenging to interpret. Riding maintained that comprehension depended on the reader’s approach, echoing Gertrude Stein’s notion that the meaning of her work was inherent and needed no further explication.

A Comparison to Contemporaries

While often aligned with Gertrude Stein, a more fitting comparison could be made to Emily Dickinson. Riding’s poetry shares Dickinson’s themes of mortality and brevity of expression. Yet, Riding’s position as a sexually liberated woman and her complex relationship with feminism distinguishes her.

Riding’s poetry often navigates the tension between autonomy and societal expectations. Despite not identifying with contemporary feminist movements, she pursued a form of poetic expression that recognized gender distinctiveness. Her contemporaries often regarded her as nearly infallible, a belief that might alienate modern readers who find her authoritative tone overbearing.

The Close Chaplet

Her first major collection, The Close Chaplet, showcases her originality. In the poem “As Well as Any Other,” Riding addresses Robert Graves, highlighting her reluctance to embrace traditional poetic themes. Instead, she sought to "construe" rarely found words, reflecting her commitment to precision and exactness in her work.

“Lucrece and Nara” stands out as Riding provided a rare commentary on it, discussing the failure of poetry to transcend love’s ultimate experience. This theme of transcendence—and the impossibility of fully capturing it—echoes through her poetry, reminiscent of John Keats’ exploration of similar themes in works like “Ode on a Grecian Urn.”

Love as Love, Death as Death

In Love as Love, Death as Death , Riding continues to explore dark themes, including suicide, which loomed large in her personal life. Poems such as “The Wind Suffers” and “The Rugged Black of Anger” delve into the symbolic territory of sexual...