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Confession and Autobiography in the Poetry of Robert Lowell, Sylvia Plath, and Ted Hughes

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Confession and Autobiography in the Poetry of Robert Lowell, Sylvia Plath, and Ted Hughes Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2000 "A Secret! a Secret!": Confession and Autobiography in the Poetry of Robert Lowell, Sylvia Plath, and Ted Hughes. Helen Lynne Sugarman Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Sugarman, Helen Lynne, ""A Secret! a Secret!": Confession and Autobiography in the Poetry of Robert Lowell, Sylvia Plath, and Ted Hughes." (2000). LSU Historical Dissertations and Theses. 7302. https://digitalcommons.lsu.edu/gradschool_disstheses/7302 This Dissertation 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 Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographicaliy in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. "A SECRET! A SECRET!": CONFESSION AND AUTOBIOGRAPHY IN THE POETRY OF ROBERT LOWELL, SYLVIA PLATH, AND TED HUGHES A Dissertation 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 Doctor of Philosophy in The Department of English by Helen Lynne Sugarman B.A., Colby College, 1989 M .A. , The Catholic University of America, 1993 August 2 000 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number 9984370 UMI__ _<gi UMI Microform9984370 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Acknowledgments First and foremost, I want to thank my family for their ongoing support and love, as well as their belief that I would finish some day. I want to thank my father, Dr. Edward Sugarman, for his never-faltering faith in me and for all his help (emotional, intellectual, and financial); I want to thank my mother. Dr. Lois Loucks Sugarman, for being my academic ideal and for continually pushing me to get it done. Many thanks go to my sister, Diane Sugarman Hall, for showing me every day of her life that there is no excuse for refusing to fight for what you believe in. My brother Jack continually amazes me with his vocabulary and his quiet but steadfast faith in me. My brother-in-law Christopher Hall and my sister-in law Erin Sugarman both joined our family while I was working on this degree, and I can only say to them both, thank you so much for your belief in me too—especially because it wasn't genetically required! I need to thank Dr. Lisa Abney, Dr. Suzanne Green, Dr. Helaine Rasovsky, and Ms Shelisa Theus for reading much more of this project than they probably ever thought they would when they invited me to join their writing group. Without them it would have been a much poorer proj ect. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Many, many thanks to Elisa Koff-Ginsbourg, Tricia Wheeler, and Tahirih Sadrieh—you are my oldest friends in the world and I couldn't imagine finishing such a major project without you and your wisdom. I need to thank Leslie Petty and Sharon Colley for putting up with me through this process, and for staying my friends anyway! Dr. Robert Dryden and I started this process together in the fall of 1994—thanks so much for rescuing that last, terrible summer for me! I also need to thank the members of my committee: Dr. David J. Smith, who directed the project—and without whose wide knowledge and insightful reading this project would not have gotten off the ground, much less finished-- Dr. Joseph Kronick, Dr. Peggy Prenshaw, Dr. Jim Borck, and Dr. Kenneth Zagacki—not only did you push me intellectually, but without you I would not have finished in my lifetime. I also need to thank Dr. Ernest Suarez of Catholic University; it was in his class that the original seed of this project was sown. Last, but in no sense least— I did not meet Dr. Frank Schicketanz until near the end of this process, but he has nonetheless left his mark on the entire project. Thank you for pushing me to work when I would rather have been with you-and thank you for adding so much to my life. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Table of Contents ACKNOWLEDGEMENTS........................................ ii ABSTRACT ............................................... V INTRODUCTION ........................................... 1 CHAPTER ONE DEFINITIONS AND CONFESSIONAL TRADITIONS . 8 TWO ROBERT LOWELL'S LIFE STUDIES: CONFESSIONAL POETRY'S MISMOTIVATED CANONIZATION .... 42 THREE SYLVIA PLATH'S MISINTERPRETED "CONFESSION".94 FOUR TED HUGHES'S UNEASY PROGRESS TOWARDS CONFESSION ................................ 149 FIVE SHEDDING NEW LIGHT ON THE "CENTRAL MEANINGS": CONFESSION, TRANSFORMATIVE REMEMBERING, AND THE POETRY OF SHARON OL D S ..................2 04 WORKS C I T E D ........................................... 242 VITA ...................................................251 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Abstract This study explores the impact of changing definitions of confession on the critical reception and interpretation of the poetry of Robert Lowell, Sylvia Plath, and Ted Hughes. In light of the ongoing criticism concerning "confessional poetry" in the forty-one years since Robert Lowell's Life Studies (195 9) was published, it may seem difficult to justify yet another study of confessional poetry. However, the term has been so thoroughly assimilated into our critical vocabulary that we have lost an authentic sense of its meaning. "Confessional poetry" is in some ways an arbitrary term that has a very tenuous connection with the poetry it purports to describe. Even though the original sense of the term "confession" was a religious one, the term "confessional poetry" was coined in response to specific (and secular) poetic techniques employed by Robert Lowell in Life Studies. Over the past forty-one years, the connotations of the term have become increasingly wide- ranging. Poets as diverse as Lowell, Anne Sexton, Sylvia Plath, Ted Hughes, and Sharon Olds have been called "confessional" poets—as have John Berryman,. Theodore Roethke, Frank Bidart, Jack Gilbert, and Louise Gluck. Despite great variation in the extent to which details of these poets' lives appear in their work, even the hint of v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. an autobiographical element to their work often ensures that they will be labeled as "confessional" poets. Consequently, formulating any sort of standard criteria by which to evaluate "confessional poetry" has become very difficult. Further, in the cases of the poets in this study—Robert Lowell, Sylvia Plath, and Ted Hughes—we have often neglected to ask where, specifically, the "confessional" label originates. Since the appearance of W.D. Snodgrass's Heart's Needle and Robert Lowell's Life Studies in 1959, the body of criticism surrounding confessional poetry has functioned as Hepworth and Turner's "external control" of its definition (albeit from many different perspectives). Ultimately, although the central requirements of confessional poetry remain the same— intimacy, a sense of guilt, and a difference in status between the confessor and the confessant--it is still impossible for critics to irrevocably determine what poetry is "confessional" and what is not. vi Reproduced with permission of the copyright owner. Further reproduction prohibited without
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