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A Comparison of H. D. and Marianne Moore's Poetry in the 1910S and 1920S

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A Comparison of H. D. and Marianne Moore's Poetry in the 1910S and 1920S University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2012 A Comparison of H. D. and Marianne Moore’s poetry in the 1910s and 1920s Yoko Ueno [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Ueno, Yoko, "A Comparison of H. D. and Marianne Moore’s poetry in the 1910s and 1920s. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1217 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Yoko Ueno entitled "A Comparison of H. D. and Marianne Moore’s poetry in the 1910s and 1920s." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a major in English. Allen Dunn, Major Professor We have read this thesis and recommend its acceptance: Amy Billone, Ben Lee Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Comparison of H. D. and Marianne Moore’s poetry in the 1910s and 1920s A Thesis Presented for The Master of Arts Degree The University of Tennessee, Knoxville Yoko Ueno May 2012 ii Abstract Although both H. D. and Marianne Moore created distinctive voices, we cannot ignore their close relationship with poetic modernism. These two poets had common characteristics which were fit for the ideas of modernism, such as exact descriptions, clear images, concision, objectivity, and repression of personal emotions. H. D.’s poems were regarded as an ideal model of Imagism, and Moore generally tried to follow the style although her poems contained her own unique features. Their choice of the modernistic hard style caused them to face complicated situations because of their gender. Both poets had affinities with Romantic aesthetics such as excessive effusion of emotions and indulgence in soft beauty, but they discarded these qualities which tended to be despised as feminine by many male modernists. From the end of the period of Imagism these two female began to write less condensed poems and to express tremendous energy which breaks from the confines of compact poetry of Imagism. Their adoption of more effusive and loose style was related to the restoration of the elements which had been discarded as feminine. H. D. frequently employed female characters’ voice to express women’s emotion, and foregrounded the decadent beauty which many male modernist poets decided to discard because it appeared feminine. Moore presented women’s point of view of patriarchy in her longest poem, “Marriage.” She also presented decadent beauty, and described beauty of flowers which are commonly assumed to be feminine. These two poets’ images of literally hard objects like crystal and ice reflect their belief in the modernistic tight and condensed style. Even after the period of Imagism, these poets emphasized “crystalline” images. The “crystalline” objects in H. D.’s poems suggest that her claim that her poems contain fiery passion under the cold and hard surface. Moore’s “crystalline” image of “an octopus of ice” is different from H. D.’s images in that Moore’s volcano like an octopus is pliable and slippery as well as hard and static. This quality of the octopus suggests that Moore apparently accepts the modernistic hard style but at the same time she explores her own style flexibly. iii A List of Keywords H. D., Marianne Moore, modernism, Imagism, femininity, “crystalline” poetry iv Table of Contents I. Introduction..............................................................................................................................1 II. The Renouncement of Femininity in H. D.’s Sea Garden .....................................................14 III. The Restoration of Femininity after Sea Garden..................................................................36 IV. Marianne Moore and the Poetics of Modernism...................................................................70 V. Marianne Moore’s Changes of Style After the Period of Imagism ..................................108 VI. Conclusion ........................................................................................................................150 Works Cited ...............................................................................................................................159 v A List of Keywords H. D., Marianne Moore, modernism, Imagism, femininity, “crystalline” poetry 1 I. Introduction H. D. and Marianne Moore create two of the most distinctive voices in modern poetry. Indeed it is not easy to confuse them with their contemporaries. Yet it is impossible to come to full understanding of their work without awareness of its origins in the turbulent years of the early twentieth century. Like other writers of the period, they struggled to depart from late Romanticism and attempted to find alternative to that poetic idiom. H. D.’s autobiographical fiction, such as “Asphodel,” suggests that she was absorbed in the late Romantics during her apprenticeship in poetry. Cassandra Laity writes that H. D. and Pound “read Swinburne almost obsessively in the early years of their brief engagement” (“H. D.’s Romantic Landscape” 10). As for Moore, Charles Molesworth mentions that she described herself as under Swinburne’s influence when she was at Bryn Mawr College (82). Her early short stories with “isolated artistic characters” (69) and picturesque beauty of details, which she wrote when she was at college, borrow their themes and subjects from late Romantic literary styles and one of her teachers remarked of her published stories that “they reminded her of Rossetti” (Molesworth 38). Although both H. D. and Moore were influenced by late Romantics in this way, when they emerged in the public literary scene in the 1910s, their poems showed qualities quite distinct from those of late Romantic poetry. The aesthetes in the late nineteenth century “placed art outside all moral and even social considerations: art was the product of subjective experience and made for the artist’s delight alone” (Beasley 22). Modernists tried to displace the aesthetes by distancing themselves from their self-indulgent subjectivity and rejecting this quality as emotional excess. For example, in 1912 Ezra Pound characterized the nineteenth century “a rather blurry, messy sort of a period, a rather sentimentalistic, mannerish sort of a period” (11) and predicted that twentieth-century poetry would “move against poppy-cock, it will be harder and saner…austere, direct, free from emotional slither” (“A Retrospect” 12). H. D. and 2 Moore’s attitudes toward poetry in the 1910s basically agreed with Pound’s characterizations. H. D. was more intimately involved with the movement of new poetry. After H. D. went to London in 1911, she frequently met with Pound, Richard Aldington, and F. S. Flint to talk about modern poetry. They studied the work of contemporary French poets, and H. D., Pound and Aldington went to Paris, which was “ablaze with groups of poets issuing manifestoes and promulgating ‘rules’ for the revitalization of modern poetry” (Pondrom 86). H. D. and Pound also attended the lectures by T. E. Hulme, who thought the new poetry should be “dry,” “hard” and “classical” (“Romanticism and Classicism” 66). Pound invented the word “Imagiste,” when H. D. presented her poems to Pound in 1912 in the British Museum tea room and he said “this is poetry” (End to Torment 18), and found that she had composed an ideal example of new poetry which he had aimed at and had not succeeded in composing himself. Indeed, one could argue that H. D. was the poet who fulfilled the Imagist doctrines more satisfactorily than any other poet. Marianne Moore was not a central member of the Imagist movement, and her early life in Carlisle, Pennsylvania was somewhat isolated from other modernists. In this environment she had a definite will to become a professional poet and eagerly studied what was happening in the literary world. In the early 1910s Moore borrowed avant-garde little magazines such as The Egoist and Blast from her friends and libraries and exposed herself to the world of modernist aesthetics. She was reading Pound by 1911 and T. S. Eliot by 1914. When Moore managed to see a copy of Blast in 1915, she was “excited about its brash energy” (Molesworth 109) and wrote a poem titled “Ezra Pound” which concludes with the phrase “Bless Blast!” Molesworth explains that “[d]uring the middle 1910s, poetry for the average American reader was still a matter of lovely descriptions of ‘soft’ moods and a recital of approved moral axioms” (99). Moore knew her friend Laura Benét’s poems, and found them full of “moral smugness” and “sentimentality” (Molesworth 101) were accepted by magazines that rejected Moore’s poems, but Moore did not write poetry which the “average American reader” was willing to accept. 3 Moore first appeared in a literary magazine other than the magazine at her college in 1915 when three of her poems were accepted by The Egoist, in which
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