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Here Be Monsters: Body Imagery in the Poetry of Sylvia Plath

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Here Be Monsters: Body Imagery in the Poetry of Sylvia Plath A thesis presented by David M. A. Francis (Student number 198820395) (ORCID iD 0000-0003-3916-1920) for the Degree of Doctor of Philosophy February 2018 The School of Culture and Communication Faculty of Arts The University of Melbourne The thesis is submitted in total fulfilment of the degree and has not been completed under a jointly awarded degree. 2 The reflection of life in poetry and in art of all kinds gave me joy and I enjoyed watching life through the mirror of art. –––from A Confession and Other Religious Writings, Leo Tolstoy (1879) 3 ABSTRACT My thesis, entitled Here be Monsters: Body Imagery in the Poetry of Sylvia Plath, is 50% Dissertation and 50% Creative Writing. Poetry is a bridge between the experience of individual realities and a world of representation, making possible expression of what otherwise would be articulated mundanely or with difficulty. Sylvia Plath (1932-1963) was a poet of the Confessional school, and her poetry contains many references, both literal and metaphoric, to the human body. My hypothesis is that symbolic sublimation, through imagery and metaphors of the body, provided Plath with a distinctively personal and emotional poetic mode of expressing her desire for self-transformation. The literature review considers: Plath's psychological disorder and its possible impact on her writing; the Confessional school of poetry and Plath's place as a Confessional poet; theories of metaphor and how Plath used metaphor and imagery in her poetry; and the factors that may have influenced her to use the body as a major trope. The hypothesis is addressed by firstly quantitative studies of Plath's anatomical terminology, comparison of Plath's references to the body with those of other contemporaneous Confessional poets, and assessment of changes in the amount and nature of body imagery throughout her poetry. Secondly, the thesis examines how Plath used metaphors of the body to explore her feminine and sexual identity, her vulnerability and capacity to wound herself and others, to attempt restoration and healing, and as representations of abjection and negation. The creative component consists of a personal essay and original poetry. The essay, which introduces the Dissertation, is a memoir about my hands and the role they have played in my life, particularly in my career as a surgeon. The essay explores the education, emotions and evolution of my hands within an autobiographical context. My poetry responds to the Dissertation and is informed by the themes of Plath' poetry, namely the physical self and its parts, personal relationships, love, loss, and death. My poetry borrows from the Confessional mode of poetry and is largely free-form. My creative writing is informed by forty-five years of surgical practice and operative and anatomical dissection. 4 DECLARATION I declare that this thesis comprises my own original work towards the degree of Doctor of Philosophy, except where indicated. Due acknowledgement has been made in the text to all other material used and quoted. The Dissertation of this thesis is 42,349 words in length, including headings, epigraphs and footnotes, but excluding the fourteen quoted poems of Sylvia Plath in Chapter 5, tables, figures, bibliography and appendices. The Creative Writing component consists of 10,552 words of prose, and ninety pages of poetry (sixty-three poems), the equivalent of 30,000 words of prose. David M. A. Francis 2 March 2018 5 ACKNOWLEDGEMENTS This thesis is a record of pupillage, in that it has been for me a period of tuition and of gaining vision. It owes much to many, and my gratitude to my teachers who have travelled this journey with me is very deep. Firstly, I am greatly indebted to Professor Kevin Brophy, my principal supervisor. Kevin has supported and encouraged me over several years: he was my tutor for the "Extreme Poetry" course at the University of Melbourne in 2010, and kindly wrote the back-cover notes for my first poetry collection Promises Made at Night, published in 2013 by the Melbourne Poets Union. In addition to his teaching, guidance, constructive criticism and advice, he confirmed that my desire to know and write poetry later in life was worth pursuing. It has been my privilege and pleasure to be his student. I am also grateful to Dr Amanda Johnson, my co-supervisor, for her guidance and teaching while Kevin was on sabbatical leave. I am very grateful for the generous teaching, advice and encouragement received over several years from my teachers of literature, creative writing and poetry. I am indebted to many people for their instruction in the art of writing and discussions about poetry. I thank my teachers who, in addition to Kevin Brophy, include Claire Gaskin, Jessica Wilkinson, Paul Mitchell, Elizabeth Macfarlane, Tony Birch, Amy Brown, Peter Rose, Jordie Albiston, April Jacobson and Sian Prior. I am indebted to members of two poetry groups – the late Anton Mischewski, Susan Wein, Leigh Mackay, Yael Hirschhorn, Debi Hamilton, Mary Jones, Barbara Kamler and Rod Marsh. I am also indebted to Richard Matovich, author of A Concordance to the Collected Poems of Sylvia Plath. A print run in 1986 of only four hundred copies of his book was taken up largely by University and College libraries. The book has long been out of print. In his generosity, Mr Matovich graciously gave me his last copy of the publication. My gratitude to Richard for allowing me the privilege of owning this volume is immense. Lastly, I thank my partner, the poet and writer Debi Hamilton, for the unfailing love and unending support she has so freely given to me while the thesis was undertaken. I thank her for the many hours of conversation about the work, Sylvia Plath's poetry and poetry in general; for her helpful comments, criticisms and corrections of the manuscript; for numerous cups of tea and coffee; and for the poetry we have shared. 6 TABLE OF CONTENTS Abstract 3 Declaration 4 Acknowledgements 5 List of Tables and Figures 9 Abbreviations and Notes 11 Chapter 1. Introduction 12 1.1. Context of the Study 13 1.2. Statement of the Research Problems 15 1.3. Research Hypotheses 16 1.4. Scope of the Thesis 17 1.4.1. The Dissertation 1.4.2. The Creative Component 1.5. Significance of the Study 19 1.6. Methodology 19 1.7. Structure of the Thesis and Chapter Outlines 20 Chapter 2. Personal Essay – Between Joy and Sorrow: A Journey of the Hands 23 2.1. Bridging Statement 24 2.2. Between Joy and Sorrow: A Journey of the Hands 26 2.3. Notes on the Personal Essay 47 Chapter 3. Literature Review 49 3.1. The Influence of Illness on Plath's Poetry 3.1.1. Introduction 50 3.1.2. Plath's Psychological Illness 50 3.1.3. Bipolar II Disorder 53 3.1.4. Creativity and Bipolar Disorder 55 3.1.5. Positive Effects of Hypomania on Creativity and Writing 57 3.1.6. Plath as a "Wounded Writer" 59 7 3.1.7. The Van Gogh Effect 61 3.1.8. Conclusion 62 3.2. Plath and the Confessional Mode of Poetry 3.2.1. Introduction 63 3.2.2. The Confessional Mode of Poetry 63 3.2.3. Autobiographical and Confessional Writing, and the Confessional Mode of Poetry 65 3.2.4. The Confessional Poets 66 3.2.5. Plath as a Confessional Poet 66 3.2.6. "This is the stuff of my life" 69 3.2.7. Conclusion 71 3.3. Imagery and Metaphor 3.3.1. Introduction 73 3.3.2. Imagery 73 3.3.3. Theories of Metaphor 74 3.3.4. Distinguishing Metaphoric from Literal Writing 78 3.3.5. Interpreting Metaphors 79 3.3.6. The Contributions of Metaphor to Plath's Poetry 80 3.3.7. Critical Responses to Plath's Metaphors 84 3.3.8. Metaphors of the Body 86 3.3.9. Conclusion 87 3.4. Factors of Influence in Plath's Use of the Body as a Trope 3.4.1 Introduction 89 3.4.2. Cultural Influences 89 3.4.3. Plath's Interest in the Medical Body 90 3.4.4. Plath's Interest in Her Own Body 92 3.4.5. Plath's Sexuality and the Effect of Hypomania 93 3.4.6. Feminist Thought 95 3.4.7. Feminist Poetry and Poetry of the Body 97 3.4.8. Conclusion 100 8 Chapter 4. Counting Plath: Three Studies of Body Imagery in Plath's Poetry 101 4.1. Introduction 102 4.2. Corporeal References in Plath's Poetry 103 4.3. A Comparative, Quantitative Study of Body Imagery in the Poetry of Plath and Contemporaneous Confessional Poets 106 4.4. A Quantitative, Longitudinal Study of Body Imagery in Plath's Poetry 116 4.5. Conclusion 122 Chapter 5. Reading Plath: The Body as Metaphor in Plath's Poetry 123 5.1. Introduction 124 5.2. The Body in Plath's Exploration of Female Identity 124 5.3. Vulnerability and Wounding of the Body 130 5.4. The Body as Metaphors for Restoration and Healing 143 5.5. Abjection and Negation of the Body 157 5.6. Conclusion 172 Chapter 6. Discussion and Conclusion 174 6.1. Discussion 175 6.2. Conclusion 183 Bibliography 185 Appendices 213 Chapter 7. Poetry – Wiping the Glass a Little Clearer 235 7.1. Bridging Statement 236 7.2 The Poems 238 7.3. Notes on the Poems 328 7.4. Acknowledgements 330 9 LIST OF TABLES AND FIGURES Tables Table 1. Poets, their year of birth, the year of publication of their collection examined in this study, and their age at the time of publication of the collection.
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