For the Union Dead”: the Chronicle of the Public and the Private
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Open Shalkey Honors Thesis.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGLISH THE CONFESSIONAL POETS: REMOVING THE MASK OF IMPERSONALITY WITH ALL THE SKILLS OF THE MODERNISTS VANESSA SHALKEY Spring 2012 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in English and International Politics with honors in English Reviewed and approved* by the following: John Marsh Assistant Professor of English Thesis Supervisor Lisa Sternlieb English Honors Advisor Honors Advisor Christopher Castiglia Liberal Arts Research Professor of English CALS Senior Scholar in Residence Second Reader *Signatures are on file in the Schreyer Honors College. !! ABSTRACT The pioneers of the frontier of new art forms have always made themselves vulnerable to the criticism of the previous generation; however, this criticism often overshadows and undermines the true success of these bold artists. The confessional poets were some of these trailblazers who took American poetry into areas untouched by previous generations and were criticized for breaking with the traditional methods of past poets--especially the modernists. Poets like Robert Lowell and John Berryman used their life events as subject matter for their poetry, which the New Critics thought was bad form. This controversial shift in style won these poets the name “confessional,” a title that many of the poets to whom it refers found disparaging. The label “confessional” gives the impression that these poets did little more than use their poems as diary entries, when in fact they wrote magnificent poetry with the same talent and technical skills that the modernist poets displayed. This thesis is an examination of the confessional poets’ use of effective poetic devices favored by the modernist poets to analyze whether or not the act of removing the mask of impersonality negatively impacted the ability of the confessional poets to develop complex themes and transmute feelings to the reader. -
The Confessional Purgation of the Soul in the Poetry of Robert Lowell
Department of English The Flamekeeper: The Confessional Purgation of the Soul in the Poetry of Robert Lowell Ryan Jurison Degree of Bachelor, 15 points Literature Spring Term, 2020 Supervisor: Claudia Egerer Abstract This essay is a critical textual analysis of the poetry of Robert Lowell with focus on religious symbolism used in his work, and the Catholic theology which informed it. This results in a new, contrasting interpretation to the conventional view that he had abandoned his religious focus by mid-career, while accounting for his own assessment that he had not. Insights gained through this analysis, combined with those relating to Lowell’s personal history, reframe his confessional poetry while bolstering this claim. Through this study, poems selected from Lord Weary’s Castle, The Mills of the Kavanaughs, Life Studies and For the Union Dead are reinterpreted in order to explore the consequences of what Lowell could have intended with this stylistic modification, and discover the religiosity that he claimed was hidden. Lowell’s confessional poetry up until 1964 is examined and recast as the anguished wails of a Catholic soul in Purgatory. This fresh approach to one of America’s finest twentieth-century poets provides a novel foundation for the reinterpretation of the entirety of Lowell’s professional oeuvre. Keywords: Robert Lowell; American poetry; Catholic Theology; Religious Symbolism; Purgation; Purgatory; Land of Unlikeness; Lord Weary’s Castle; The Mills of the Kavanaughs; Life Studies; For the Union Dead Jurison 1 What soul is lost that does not think itself irrevocably so? When examining the poetry of Robert Lowell, and more specifically the equally lauded but outwardly contrasting work done from the beginning of his career to the middle, one cannot help but consider this question. -
A Study .Of Robert Lowell's Life Studies
The Mode of Private Vision: A Study . of Robert Lowell's Life Studies Kim, Kil-Joong 1. Earlier Lowell: Lord Weary's Castle Life Studies (1959), coming after Land of Unlikeness (1944), Lord Weary's Castle(l946) , and Mills ofthe Kavanaughs(1951), marks a significant development or change in the poetry. of Robert Lowell. So before we discuss Life Studies, which is the main subject of this paper, it would be proper to attempt to define what was the characteristic concern of earlier Lowell. For this purpose, we will start, for the span of a few pages, by con centrating on Lord Weary's Castle. It seems to embody the greater and surer power of vision and language than the other two. The general impression of his earlier .poems was that of agonized violence and visionary energy directed against the darker aspects of the socio-historical milieu of modern times. Lowell had been a Roman Catholic convert since his graduation from Kenyon College, and its influence had visibly worked into his poetry. He made use of many Biblical themes and images, which added to the texture of his poetry. Lowell's poetry was dra matic and colloquial, ambiguous and paradoxical, but compared with the new poems, his figures and allusions were much denser and his tone more heightened. His rather rigorous iambic pentameters were questioning in grand Apocalyptic terms the contingencies of the moment and the meanings of the particular heritage in which he lived. On the one hand, the poet just survived the great world war with his memory of serving a six-month prison term as a conscientious objector. -
The Outlooks on Confessional Poetry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Croatian Digital Thesis Repository UNIVERSITY OF RIJEKA FACULTY OF HUMANITIES AND SOCIAL SCIENCES DEPARTMENT OF ENGLISH Karla-Tea Komar THE OUTLOOKS ON CONFESSIONAL POETRY Submitted in partial fulfilment of the requirements for the B.A. in English Language and Literature and Croatian Language and Literature at the University of Rijeka Supervisor: Sintija Čuljat PhD Rijeka, September 2017 ABSTRACT The main aim of this thesis is to present the Confessional school of poetry starting by introducing its historical and social background of the late 1950s and 1960s Cold-War America and continuing with the development of the Confessional mode in the literary history. Hence, it will be necessary to define the term and point out its central features. Apart from the theoretical part I will examine the four most prominent poets – Robert Lowell, Jon Berryman, Anne Sexton and Sylvia Plath. What is more, their best-known collections will be used to demonstrate and analyze the outlooks on Confessional poetry discussed in the first section. TABLE OF CONTENTS Introduction 1. The outlooks on Confessional poetry…………………………………….……..2 1.1. The sociopolitical context……………………………………....……….……...2 1.2. Development of Confessional poetry…………………………….………….….4 1.3. Definition of Confessional poetry……………………………….……………...6 1.4. Features of Confessional poetry………………………………….……………..8 2. Confessional poets and collections……………………………………………..11 2.1.Robert Lowell: Life Studies……………………………………………………..13 2.2. John Berryman: 77 Dream Songs………………………………………......…..16 2.3. Anne Sexton: To Bedlam and Part Way Back and All My Pretty Ones………..18 2.4. Sylvia Plath: Ariel………………………………………………………………21 Conclusion Bibliography INTRODUCTION This thesis will cover the development and features of Confessional poetry as a distinguished poetic movement of postmodernist literature. -
Robert Lowell and the Religious Sublime
HenryHart RobertLowell and the ReligiousSublime A J^JLs a student in his last year at St. Mark's, Robert Lowell published an interpre- tation of an allegorical drawing by his friend, Francis Parker, which reveals an early enchantment with religious sublimity. Although the piece in Vindex is characterized more by youthful idealism than hermeneutic skill, it is prophetic of the sort of poetry he would soon be writing. Lowell's explication begins with a grand moral pronounce- ment intended to separate the saints from the fools: 'The idea that we wish to make clear is that tremendous labor and great intelligence, if applied toward the advance- ment of evil or petty ends, are of no avail." He then proceeds to excoriate fourteen types of misguided intellectuals who surround the central figure of "St. Simon, the Stylite, a symbol of true knowledge." The fools are generally pedants and scientists, "men of authority who misuse their power" (129), and no doubt modelled with in- subordinate glee after Lowell's teachers. The young Lowell, full of sanctimonious ambitions, has his eye on the sublime "St. Simon [who] is elevated high above everyone else by comprehension of the true light. The book and the pen symbolize real intellectual attainment, while the plumb line signifies a quite natural feeling of superiority; but more important, his insecurity. From the sublime to the ridiculous is but a step." The sublime from Longinus and Burke to Kant and Harold Bloom has always been a measure of power and has always involved ranking that power according to a hierarchy of values. -
Robert Lowell's Life-Writing and Memory Gye-Yu Kang Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2003 Robert Lowell's life-writing and memory Gye-Yu Kang Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the English Language and Literature Commons Recommended Citation Kang, Gye-Yu, "Robert Lowell's life-writing and memory" (2003). LSU Master's Theses. 1420. https://digitalcommons.lsu.edu/gradschool_theses/1420 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. ROBERT LOWELL’S LIFE-WRITING AND MEMORY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of English by Gye-Yu Kang B.A., Cheju National University, 1986 M.A., Korea University, 1995 August 2003 Table of Contents Abstract ………………………………………………………………………………….. iii Introduction …………………………………………………………………………….... 1 Chapter One Memory as an Imaginative Reconstruction: 91 Revere Street …... 4 Chapter Two Life Changed to Landscape: Life Studies ………………………... 17 Chapter Three The Past Changes More Than the Present: Day by Day ………. 39 Conclusion ……………………………………………………………………………... 52 Works Cited ……………………………………………………………………………. 55 Vita ……………………………………………………………………………………… 58 ii Abstract This thesis examines Robert Lowell’s use of memory in such autobiographical works as Life Studies and Day by Day. In those volumes, Lowell returns to recollect his private past; his act of remembering becomes the poetic process by which Lowell is able to create the retrospective truth of his life. -
Personal Experiences in Robert Lowell's Poetry
RESEARCH ARTICLE “IF I STOP WRITING, I STOP BREATHING”:PERSONAL EXPERIENCES IN ROBERT LOWELL’S POETRY Lovleen Kaur Baidwan (Ph.D Research Scholar, Department of English and Cultural Studies, Panjab University,Chandigarh.) ABSTRACT Confessional poetry started in the late 1950s and early 1960s in America, with notable poets as Robert Lowell, Anne Sexton, Sylvia Plath and W.D. Snodgrass. It was personal poetry, a confession made of one’s personal and closed details of one’s life, his relations, his family etc. The focus was on personal experiences of illness, deaths, broken relations etc, the topics that remained untouched before. Robert Lowell was an important confessional poet, and his most noted collection of poems, Life Studies left a deep impact on other confessional poets. This paper focuses on the individual experiences of the poet and its link with his poetry. His personal struggles became themes of his poems. His battle with mental illness, his failed marriage becomes basis for his poetry. The paper aims to study his Life Studies, and highlight his personal experiences and emotions in his collection of poems. The study would highlight the private sphere of Robert Lowell in his poems, and study Lowell as one of the greatest confessional poets. The ideas of Robert Lowell as expressed in his poetry, gives details about his personal life. Not only his life but also the reflection of the modern man and society, his ancestory, and how the poet opposes Eliot’s concept of impersonality. Keywords: Personal poetry, Confessional poetry, Impersonality. Citation: APA Baidwan,L.K. (2018) If I Stop Writing, I Stop Breathing : Personal Experiences in Robert Lowell’s Poetry.Veda’s Journal of English Language and Literature-JOELL, 5(2), 120- 124. -
Lowell's Tropes of Falling, Rising, Standing: a Response to Frank J
Connotations Vol. 19.1-3 (2009/2010) Lowell’s Tropes of Falling, Rising, Standing: A Response to Frank J. Kearful* HENRY HART Frank Kearful has written an insightful essay on some of Lowell’s fundamental preoccupations in Lord Weary’s Castle. I was impressed by the critic’s investigation of Lowell’s poetics—of his tropes, metrical patterns, rhymes, and allusions. I was also impressed by the way he explained Lowell’s idiosyncratic Christianity. Lowell’s religious be- liefs were always eccentric (he once called himself a “Christian athe- ist” [Mariani 359]), and Kearful helps us understand how he ex- pressed those beliefs in one of his most overtly religious books. Since the critical consensus has been that Lowell’s dense, forbidding style in Lord Weary’s Castle was a mistake, and that the freer, more accessible, more overtly autobiographical style of Life Studies was a correction, it’s noble of Kearful to pay tribute to the book that launched Lowell’s career. In my opinion, Lord Weary’s Castle is Lowell’s most consistently accomplished book. All his other books, including Land of Unlikeness, which was published in a limited edition shortly before Lord Weary’s Castle, contain masterful poems, but no book is as consistently brilliant as Lord Weary’s Castle. As a response to Kearful’s essay, I’d like to make a number of com- ments that point to ways his discussions might be expanded. Since Lowell studied under and was deeply influenced by the Southern Agrarians John Crowe Ransom and Allen Tate, it would be interesting to explore how Lowell’s obsession with ‘standing’ and taking ideo- *Reference: Frank J. -
Poetry Recordings in the Classroom
APPENDIX A LEARNING TO LISTEN: POETRY RECORDINGS IN THE CLASSROOM his study has been dedicated to the premise that listening to poetry, espe- Tcially in the poet’s voice, should be integral to scholarship in modern poet- ics and reception. Audio recordings and other traces of the aural/oral life of a poem belong among the “texts” that scholars research, analyze, edit, and dis- seminate. By that same token, they belong in the classroom as more than ancil- lary materials or adjuncts to the anthology. In this appendix, I provide the syllabus for a course on poetic sound and voice in which audio plays a central role. In effect, this course is a seminar on the questions raised when we approach poetry as a speech act, when we listen to it as crafted sound, and when we par- ticipate in it as a situated performance. Roughly, the course mirrors the design of Recorded Poetry and Poetic Reception, insofar as it begins with varieties of poetry “in first person” and “in another’s voice,” then modulates to considerations of studio and stage performances as they are captured on record and in a poet’s reception. While “Poetic Voices” is a specialized seminar, the course’s guiding principles and sample lessons are readily transferable to the general modernist survey. All of the recordings I include are available commercially or from libraries, except when the lesson involves students in archival research. As a context for the syl- labus, I want to describe in detail an essential pedagogical principle of the course and two of the course assignments that involve research in the audio archive. -
Robert Lowell's “Skunk Hour” and the Predicament of the Age لروبرت
جملة كلية املأمون اجلامعة العدد الثاني والعشرون 2013 Robert Lowell’s “Skunk Hour” and the Predicament of the Age Fatima Falih Ahmed Al-Badrani, Assistant Professor, M. A., Ph. D. Department of English-Jerash University Jordan Abstract: As a poet, Robert Lowell believes that he has the responsibility of the artist to preserve culture from decline. He believes that the poet is a person who embodies the issues of cultural crisis in the crisis of his own life, and that the political theme is subordinate to the personal because the personal is symbolic of the national and cultural. In his ―confessional‖ poems, included in Life Studies (1959), he creates the myth of an American whose history and the predicament of the age are embodied in his family's history and predicament, as epitomised in his own psychological experience. The research paper views Lowell‘s concern for the predicament of the modern age through his poem ―Skunk Hour,‖ the last poem of Life Studies, which shows the world totally broken up in all cultural levels – religious, moral, intellectual, and aesthetic. Key Words: Robert Lowell, ―Skunk Hour ― , confessional poetry Life Studies قصيدة "ساعة الظربان" لروبرت لويل ومأزق العصر احلديث أ.ً.د. فاطَت فاىح احَذ اىبذساّٜ قسٌ اىيغت اﻻُكىٞضٝت- جاٍعت جشش اىََينت اﻷسدّٞت اىٖاشَٞت اىَستخيص : ٝعتقذ سٗبشث ىٝ٘و مشاعش أُ عيٞٔ ٍسؤٗىٞت اﻷدٝب فٜ اىحفاظ عيٚ اىثقافت ٍِ اﻻّحط اط ٗاىتذٕ٘س، ٕٗ٘ ٝشٙ أُ اىشاعش اﻹّساُ ٝجسذ قضاٝا أصٍت اىثقافت ٗأصٍت حٞاتٔ اىخاصت، ٗ أُ اىقضٞت اىسٞاسٞت تخضع ىيقضٞت اىشخصٞت ﻷُ اىقضٞت اىشخصٞت ٜٕ سٍض ىيقضٞت اى٘طْٞت ٗاىثقافٞت. ٗقذ اٗجذ ىٝ٘و فٜ قصائذٓ اﻻعتشافٞت اىتٜ ضَْٖا فٜ ٍجَ٘عتٔ اىشعشٝت "دساساث فٜ اىحٞاة" ) 1959( أسط٘سة رىل اىفشد اﻷٍٞشمٜ اىزٝ ٛتجسذ تاسٝخ عصشٓ ٍٗأصقٔ فٜ تاسٝخ عائيتٔ ٍٗأصقٖا ٝٗتَثو فٜ تجشبتٔ اىعاطفٞت اىخاصت بٔ. -
English 3 Unit Including: • Marking Criteria • Sample Responses • Examiners’ Comments © Board of Studies 1999
1998 HSCEXAMINATION REPORT English 3 Unit Including: • Marking criteria • Sample responses • Examiners’ comments © Board of Studies 1999 Published by Board of Studies NSW GPO Box 5300 Sydney NSW 2001 Australia Tel: (02) 9367 8111 Fax: (02) 9367 8484 Internet: http://www.boardofstudies.nsw.edu.au April 1999 Schools, colleges or tertiary institutions may reproduce this document, either in part or full, for bona fide study purposes within the school or college. ISBN 0 7313 4194 5 99009 1998 Higher School Certificate Enhanced Examination Report 3 Unit English Candidature In 1998 1552 students sat for the 3 Unit English Examination. They attempted two questions, one for each elective. The examination was two hours in length. Breakdown of Electives Q1 Shakespearean Comedy 890 Q2 Special Study of Milton 77 Q3 Utopias and Anti-Utopias 844 Q4 Special Study of Yeats 771 Q5 The Poem Sequence 66 Q6 Modern Prose 112 Q7 The Novel of Awakening 332 Q8 Australian English 12 3 1998 HSC English 3 Unit Enhanced Examination Report Syllabus Objectives and Assessable Outcomes Objective 1 To improve the ability to understand and appreciate spoken and written English, and to speak and write English well; Outcomes • a high standard of written English • clarity and sophistication of writing style • ability to make close reference to text and language to support argument. Objective 2 To develop and refine an individual response to literature in English, both past and present; Outcomes • ability to develop a coherent and logical argument • evidence of original and individual response to text. Objective 3 To provide for deeper and more extensive study of particular authors and topics; Outcomes • high level of understanding of text • relevance of answer to question • detailed knowledge of content. -
Postwar Poetry in the AP Classroom
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 2003 Volume III: Teaching Poetry in the Primary and Secondary Schools Postwar Poetry in the AP Classroom Curriculum Unit 03.03.09 by Dina Secchiaroli Poetry. What exactly is poetry? Actually, there are no comprehensive definitions of poetry. A good definition for the classroom is words in an enclosed form that call attention to themselves. The difference between poetry and regular speech is that most poetry has more meaning per word than prose. Words of a poem have an extra consciousness about themselves. Because a poem is more concise than prose and measured, every word counts. The words a poet uses are specifically chosen and “on purpose.” Poetry changes the way in which words normally refer to things in order to make us see things in a new way. “Poetry is concerned with the massiveness, the multidimensional quality , of experience” (Brooks and Warren 6). Poetry is not simply verse. I teach at the Sound School in New Haven, Connecticut. Our school is an aquaculture regional center where the students focus on marine life and boating. Students build boats, sail, breed fish and study them, and study environmental effects on the water, among other things. Our students come from about twenty surrounding towns; in fact, some of them take the train for an hour to get here. Most students come because they love the water, and many of them are hands-on learners. Sometimes this makes learning in a traditional class like English a challenge for them. While we make accommodations, we still do try to also focus on traditional literature and composition.