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    The Ballad of the White Horse: An Epic Poem
    The Ballad of the White Horse: An Epic Poem
    The Ballad of the White Horse: An Epic Poem
    Ebook124 pages1 hour

    The Ballad of the White Horse: An Epic Poem

    By G.K Chesterton

    4.5/5

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    About this ebook

    A rousing ballad based on the true story of legendary Saxon king Alfred the Great

    In the dark times before a unified England, warring tribes roved and sparred for territory across the British Isles. The Ballad of the White Horse records the deeds and military accomplishments of Alfred the Great as he defeats the invading Danes at the Battle of Ethandun. Published in 1911, this poem follows the battle—from the gathering of the chiefs to the last war cry—with a care to rhythm, sound, and language that makes it a magnificent work of art as well as a vital piece of English history.
     
    A significant influence on the structure of Tolkien’s The Lord of the Rings, The Ballad of the White Horse transforms the thrilling exploits of a courageous leader into an inspirational Christian allegory.
     
    This ebook has been professionally proofread to ensure accuracy and readability on all devices.
    LanguageEnglish
    PublisherOpen Road Media
    Release dateSep 22, 2015
    ISBN9781504022484
    The Ballad of the White Horse: An Epic Poem
    Author

    G.K Chesterton

    G. K. Chesterton (1874–1936) was a prolific English journalist and author best known for his mystery series featuring the priest-detective Father Brown and for the metaphysical thriller The Man Who Was Thursday. Baptized into the Church of England, Chesterton underwent a crisis of faith as a young man and became fascinated with the occult. He eventually converted to Roman Catholicism and published some of Christianity’s most influential apologetics, including Heretics and Orthodoxy. 

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    • 4/5
      Epic poetry is hard, especially for those of us who don't come from a strong oral storytelling tradition. The opening and closing chapters were strong, but in the middle I kind of struggled to keep going with it. I read this on my kindle at night and was also intermittently listening to the Illiad as an audio book in the car. The Ballad of the White Horse didn't compare well -- the timing was just slightly off, and it didn't have the polish of so many, many centuries of re-telling. Still, it was a good effort, and I might try re-reading it in the future.

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    The Ballad of the White Horse - G.K Chesterton

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    The Ballad of the White Horse

    An Epic Poem

    G. K. Chesterton

    Publisher’s Note

    Long before they were ever written down, poems were organized in lines. Since the invention of the printing press, readers have become increasingly conscious of looking at poems, rather than hearing them, but the function of the poetic line remains primarily sonic. Whether a poem is written in meter or in free verse, the lines introduce some kind of pattern into the ongoing syntax of the poem’s sentences; the lines make us experience those sentences differently. Reading a prose poem, we feel the strategic absence of line.

    But precisely because we’ve become so used to looking at poems, the function of line can be hard to describe. As James Longenbach writes in The Art of the Poetic Line, Line has no identity except in relation to other elements in the poem, especially the syntax of the poem’s sentences. It is not an abstract concept, and its qualities cannot be described generally or schematically. It cannot be associated reliably with the way we speak or breathe. Nor can its function be understood merely from its visual appearance on the page. Printed books altered our relationship to poetry by allowing us to see the lines more readily. What new challenges do electronic reading devices pose?

    In a printed book, the width of the page and the size of the type are fixed. Usually, because the page is wide enough and the type small enough, a line of poetry fits comfortably on the page: What you see is what you’re supposed to hear as a unit of sound. Sometimes, however, a long line may exceed the width of the page; the line continues, indented just below the beginning of the line. Readers of printed books have become accustomed to this convention, even if it may on some occasions seem ambiguous—particularly when some of the lines of a poem are already indented from the left-hand margin of the page.

    But unlike a printed book, which is stable, an ebook is a shape-shifter. Electronic type may be reflowed across a galaxy of applications and interfaces, across a variety of screens, from phone to tablet to computer. And because the reader of an ebook is empowered to change the size of the type, a poem’s original lineation may seem to be altered in many different ways. As the size of the type increases, the likelihood of any given line running over increases.

    Our typesetting standard for poetry is designed to register that when a line of poetry exceeds the width of the screen, the resulting run-over line should be indented, as it might be in a printed book. Take a look at John Ashbery’s Disclaimer as it appears in two different type sizes.

         

    Each of these versions of the poem has the same number of lines: the number that Ashbery intended. But if you look at the second, third, and fifth lines of the second stanza in the right-hand version of Disclaimer, you’ll see the automatic indent; in the fifth line, for instance, the word ahead drops down and is indented. The automatic indent not only makes poems easier to read electronically; it also helps to retain the rhythmic shape of the line—the unit of sound—as the poet intended it. And to preserve the integrity of the line, words are never broken or hyphenated when the line must run over. Reading Disclaimer on the screen, you can be sure that the phrase you pause before the little bridge, sigh, and turn ahead is a complete line, while the phrase you pause before the little bridge, sigh, and turn is not.

    Open Road has adopted an electronic typesetting standard for poetry that ensures the clearest possible marking of both line breaks and stanza breaks, while at the same time handling the built-in function for resizing and reflowing text that all ereading devices possess. The first step is the appropriate semantic markup of the text, in which the formal elements distinguishing a poem, including lines, stanzas, and degrees of indentation, are tagged. Next, a style sheet that reads these tags must be designed, so that the formal elements of the poems are always displayed consistently. For instance, the style sheet reads the tags marking lines that the author himself has indented; should that indented line exceed the character capacity of a screen, the run-over part of the line will be indented further, and all such runovers will look the same. This combination of appropriate coding choices and style sheets makes it easy to display poems with complex indentations, no matter if the lines are metered or free, end-stopped or enjambed.

    Ultimately, there may be no way to account for every single variation in the way in which the lines of a poem are disposed visually on an electronic reading device, just as rare variations may challenge the conventions of

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