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"HOW DO YOU SPELL CRITICAL ELOQUENCE"T INVESTIGATIONS of POETRY and PROSE in the THEORETICAL WRITINGS of GERTRUDE STEIN

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"HOW DO YOU SPELL CRITICAL ELOQUENCE"t INVESTIGATIONS OF POETRY AND PROSE IN THE THEORETICAL WRITINGS OF GERTRUDE STEIN by CRISPIN DENNIS NICOLAS ELSTED B.A., University of British Columbia, 1973 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA May, 1975 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date June 23. 1975 ii. ABSTRACT Gertrude Stein's writing has not received an accurate critical reading. Critics have contented themselves with biographical studies, with attacks on her obscurity, and with philosophical or psychological theorizing which treats the writings as phenomena rather than as literature. A central preoccupation of Stein's writing is the dif• ference between poetry and prose. Critics and readers have looked to Lectures in America, particularly to "Poetry and Grammar," for the clarification of her theories, but the complete answer to the problems of reading Stein cannot be found in the popular theoretical writings. In these she writes about her difficult work; Stein soon saw that she could only explain her most difficult writing in its own terms. In contrast to the "exegetical" Lectures in America and Narration, Stein created a remarkable body of "exemplary" writings, works which themselves exemplified the writing style they set out to explore. These "exemplary" works are concerned with the essential natures of poetry and prose. These works were written from 1923 to 1932, beginning with An Elucidation and ending with Stanzas in Meditation. The pieces collected in How To Write (1931) are concerned with prose. Through vocabulary, grammar, sentences and paragraphs, Stein explored the structural elements which make up prose. Her discovery that prose was inherently linear led her to suppose that the primary difference between prose and poetry might be that prose was progressive, and poetry, static. Her first attempt to "stop" poetry, in "Winning His Way," was mechanical and unsuccessful. It was only when she realized the use to which prepositions could be put that she was enabled to write Stanzas in Meditation, her greatest poem. In this, through her use of the relational elements of language, the sense of the writing moves between and among groups of objects, rather than from a beginning through a middle to an end, which is the basic movement of prose because of the linear quality of sentences and paragraphs. The poem's form, in closed stanzas, contributes to its non-linear effect. In Stanzas in Meditation, Stein unequivocally states her belief that the essence of the artistic object -- in this case, the poem itself -- can be realized by writing it "as a thing in itself without at all necessarily using its name." The struggles with language and form which make up the "exemplary" writings of Gertrude Stein enabled her to create a perfect marriage of technique and intention. Through this, she came to realize the importance of seeing that her subject x^as always in control"* of its form, that her writing was "organic." Her final position on the subject was that "poetry and prose is not interesting. What is necessary now is not form but content." TABLE OF CONTENTS INTRODUCTION PART Ii The American Lectures (i) A Preliminary Survey (ii) Theories of Prose (iii) Theories of Poetry (iv) Summary PART II» The Exemplary Prose Works (i) Introduction (ii) Approaches to How To Writ (iii) "Arthur a Grammar" (iv) "Sentences and Paragraphs (v) "Forensics" PART IIIi The Exemplary Poems (i) "Winning His Way" (ii) Stanzas in Meditation V. CONCLUSION 171 FOOTNOTES 176 BIBLIOGRAPHY 198 APPENDIX 202 vi. And here was the question if in poetry one could lose the noun as I had really and truly lost it in prose would there be any difference between poetry and prose. 1 A stanza should be thought And if which can they do Very well for very well And very well for you.2 What is a sentence for if I am I then my little dog knows me. Even if it is all tenderness, What is tenderness. First there must be a way of going without waiting. There are two things a dictionary and the country.3 In the past present future and arranged to come I • say it with the same descent. I say it with the same good nature that characterizes men of the great waters. Waters art gallery. Dismiss all thought of eloquence. Critical eloquence. How do you spell critical eloquence.4 Nobody knows what I im trying to do but I do and I know when I succeed. 1. INTRODUCTION No one has examined Gertrude Stein's work from a technical point of view. She spent the first part of her writing life attempting to perfect a style, or a variety of styles, which would suit her artistic intentions; yet critical writing has focused on the intentions themselves rather than on the methods used to carry those intentions forward, failing to realize that the method of Stein's writing carries much of the weight of her contribution as an artist. Critics of Gertrude Stein have always had an uphill struggle. Those who wrote during her lifetime, especially those who had met her or who knew her personally, had to avoid the temptation to write about her rather than about her work and few succeededi hers was a personality which overpowered the critical faculties of all but the most acerbic philistines. Some of the most perceptive of her friends, notably Thornton Wilder and Sherwood Anderson, rationalized this tendency until it seemed that they viewed Stein's presence as an essential part of her work, an error which weakened their defence of her as a writer by apparently suggesting that her writing could not stand without her character to support it. 2. Anderson's only criticism was the introduction to Geography and Plays and this was largely an appreciation; at the time it was written it served as a valuable testimonial for Gertrude Stein at the beginning of her maturity as an artist. Wilder's criticism was both more perceptive and more direct, taking the form of introductions to three of her books, Four in America^. The Geographical History of America or the Relation of Human Nature to the Human Mind 8 , and Narration 9. Wilder makes many valuable points in his comments upon the three books he introduces, and in his essay introducing Four in America he produces one of the most persuasive introductions to Miss Stein that anyone could want. It is, however, just that* an introduction to Miss Stein; although he does deal perceptively with the work, one comes away with a sense of knowing more about Gertrude Stein than about Four in America . I have no wish to deplore this fact about Wilder's writing, only to cite it as a tendency he shares with many others. It makes for pleasurable reading, and for a warmth and humanity rarely found in critical writing, but having read it, one can never quite approach the book on its own terms. 3. There is another critical fashion which has persisted throughout Stein criticism, and which one still encounters today. Both Wilder and Anderson are guilty of it, but it is perhaps most amusingly represented in Bennet Cerf's note for the dust wrapper of the first edition of The Geographical History of America» This space is usually reserved for a brief description of the book's contents. In this case, however, I must admit frankly that I do not know what Miss Stein is talking about, I do not even understand the title. I do admire Miss Stein tremendously, and I like to publish her books, although most of the time I do not know what she is driving at. That, Miss Stein tells me, is because I am dumb. I note that one of my partners and I are characters in this latest work of Miss Stein's. Both of us wish that we knew what she was saying about us. Both of us hope, too, that her faithful followers will make more of this book than we are able tojlO This attitude is charmingly candid, and it remains charmingly candid in the many other instances in which it appearsi (These sections) have, with a number of other passages, so far exceeded the delighted but inadequate powers of this commentator.il The effect of such a passage perhaps defies analysis, but it is characteristic of Gertrude Stein's writing at its best.12 4. I shall admit frankly that I did not at once understand these articles, but I was deeply impressed by them.13 The second paragraph of "Patriarchal Poetry" has also its solidity, a specific gravity rare in literature, though I have not the slightest idea what it means.14 It is not my purpose, even if I could, to enumerate or account for her many changes of style and intention...15 The list could go on indefinitely. Again, this attitude can be well understood by anyone who has read extensively in Gertrude Stein's writing; it is only another symptom of the difficulty --a fairly basic one! which criticism has had with Miss Stein's work.
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