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A New Poetics of Robin Hyde

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A New Poetics of Robin Hyde Iris, ead and Written: A ew Poetics of Robin Hyde A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the University of Canterbury by Megan Claire Clayton University of Canterbury June 2001 2 Contents Title Page Abstract 5 AckLlowledgements 6 A note on the text 8 Introduction: 10 'Let us [ ... ] sink into our own speech' Notes 18 1 'How shall we construct her here?': 19 Robin Hyde and the critical tradition 'The whence our speech flows on in separate streams': 19 early Robin Hyde criticism 'Now I'm away, and done with ye all': 48 feminist retrieval and the 1980s 'Tomorrow 1'm nothing .... a mirror, faint-silvered by 69 breath': autobiography and biographical criticism '1 know thee, all thou art - / A dream has told me' : 78 Leggott's textual inferences 'All in one at the last'; recent readings of Robin Hyde 92 Notes 103 2 'What the Chaldean knew, this monarch knows': 108 Robin Hyde's heretical poetics 'Why has it gone amiss / Ask of thy heart': 109 Hyde and the community of Christ 'And yet without me, oh God, how will you find life?': 111 Hydc and God the Father 'r ... l Magdalen all bruised of grace / Or Judas with 116 a hangdog face': Hyde's biblical narratives 'Oh, I am half afraid, eyes overbright, / Of what is at 126 your Other End of sight': Hyde and Gnosticism '(... ] sapphire lettering, faded blot I Were fired in 137 Alexandria': Hyde's Byzantine Gnostics 3 Notes 146 3 'And the damosel would never go from him': 148 Robin Hyde and Le Marte Darthur 'My darling and my paladin!': Hyde and Malory 150 'I am a simpleton to love men so': Hyde and Malorian desire 154 'Take me, hold me for ever. Tear off all other chains': 168 the dynamics of Malorian transgression Notes 186 4 'That my thirst shall cry no more': 187 the late poetics of Robin Hyde '00, root for your pearl!': defining Robin Hyde's late poetics 188 'Soon, how soon her golden ghost was born, I Swiftly, as 196 though she had waited for us to come': reading the Chinese poets , ... all distilled, distilled, again distilled [ ... T : 199 Robin Hyde's Waleian poetics 'When this superintendence of trifling affairs is done': 212 'White Irises and 'Young Knowledge' Notes 223 5 ' Accepting Summer': 224 Robin Hyde in China 'A world-mind divided': the stranger's subjectivity 226 "'Will we really have to handicap ourselves by 230 taking this along?"': Hydc and thc China correspondcnts 'r ... 1 what about the rhythm? Nobody ever gets the 245 rhythm!': Hyde and how the west meets east 'Little Horse, Field, Plough, Spade, Miss Flower- 254 That-We-Eat, and Small Moon': families and communities in Dragon Rampant 'He is a harvester, accepting summer': 258 reading Hyde, reading China Notes 266 Conclusion: 268 'Can't you hear the harvest bird calling [ ...]?' 4 Notes 275 Appendix I: 276 poems by Robin Hyde cited in this thesis Appendix II: 278 translations by Arthur Waley cited in this thesis Works Cited 279 5 Abstract Iris, Read and Written: A New Poetics of Robin Hyde. This thesis is a textual analysis of Robin Hyde's poetics, drawn from her published and unpublished poetry, excluding the poetry manuscripts after 1938 which remain in the private Challis Collection, and with reference to her prose writings, particularly her final published volume Dragon Rampant, and her correspondence. It commences with an extended analysis of the Robin Hyde critical tradition, considering the relationships between the various orientations of the tradition, their strengths and limitations. My second chapter is concerned with the ways in which Hyde adopts the position of the heretic to question, in her early and middle poetry, the experiences of the gendered subject within the western Christian tradition. In Chapter 3 I analyse the ways in which Malory's Le Marte Darthur is an important text for Hyde: how it provides her with a means of accounting for her early experiences and gives rise to a complex presentation of her emotional life during her residence at the Lodge of the Auckland Mental Hospital at Avondale. In Chapter 4 I posit the influence on Hyde's poetics of Arthur Waley's translations from the Chinese as an alternative to readings which favour the idea of a conceptual and stylistic break in Hyde's later poetic subjectivity, and in the final chapter I am 'concerned with the consolidation and culmination of Hyde's poetics in her prose and verse writings from China. 6 Acknow ledgements Even so shall soul disdain the petty master, Idle, shall mock the vexings of the mind. ('Lease Out No Pity' , 15-16) My supervisor, Associate Professor Patrick Evans, accepted me as his student at the end of 1996 when I was twenty-one, a stranger with a research proposal and grand ambitions. Since then he has never let me down. My parents Gaynor and Michael Clayton and my brother John have supported me thoughout this project and have always been confident of its completion. My grandfather Arthur Foster left a legacy with which my grandmother Joyce chose to pay for my undergraduate education, enabling me to complete my studies debt-free. The University of Canterbury provided me with a Masters and later a Doctoral Scholarship, and the New Zealand Vice-Chancellors' Committee awarded me a William Georgetti Scholarship. The Department of English of the University of Canterbury assisted me with funding for travel to conferences in Melbourne and Dunedin, while the Riccarton-Waimairi Community Board gave me a Waimairi Study Award to contribute to the cost of my visits to archives in Wellington and Auckland. The staff of the Alexander Turnbull Library in Wellington, the Special Collections at the Auckland Central City Library, the New Zealand and Pacific Collection at the Library of the University of Auckland and the Hocken Library, Dunedin, were friendly and helpful during our 7 correspondence and my visits to them. Derek Challis gave me permission to view (and later quote from) manuscripts at the Auckland Central City Library and, together with his wife Lyn, made me welcome and graciously answered my many questions. Mary Paul of Massey University at Albany and Michele Leggott of the University of Auckland offered helpful comments on my project; Patrick Sandbrook of Massey University similarly encouraged me. Riemke Ensing, formerly of the University of Auckland, gave prompt and friendly replies to my inquiries about Gloria Rawlinson. Brenda Allen provided mentorship in the early days of my thesis and was a patient office mate and trusted friend. My other office mates, Ken Mizusawa, Daniel Bedggood and Mandy Hawkey, shared with me the daily burdens of thesis writing. Sarah Mayo kindly proofread this thesis and offered suggestions on its final form. My friends Martyn Hentschel, Emily Watt, Chanel Hughes, Andre Prichard, Caron Chan and Kevin Ross provided me with support and enthusiasm from at home and abroad. Lal Baker, Emily Allen, Norna and Hannah Collingridge-Scott and my aunt and uncle Annette and Mike Hone hosted me in England during June and July 2000 and provided respite during my time as a cultural tourist. And Betty Mackenzie bred for me my dog Arthur, whose company is my delight. 8 A note on the text All additions and omissions, including ellipses, that I have made to quoted texts are indicated in square brackets; thus' ... ' indicates the author's original ellipsis and' [ ... ]' indicates an addition. An ellipsis of four full-stops, '[.... ]', indicates an omission greater than two lines of poetly or one or two sentences of prose. Quotations from Robin Hyde's 'Autobiography' and 'Journal' are made with the kind permission of Derek Challis. All unpublished poems by Robin Hyde are cited with their Auckland University manuscript number. In many cases, several versions of a poem exist with only very minor variations between them; thus 'AU 142.2' indicates the second of several variant copies. Where the variations between manuscript copies are minor I have exercised my discretion and chosen the version I like the most; since this thesis is interpretative and not editorial, my choice of variant is not intended to indicate any preference other than the purely subjective and should not be construed as intrinsic to my argument. The Inventory of Poetry Manuscripts compiled by Michele Leggott and Lisa Docherty divides Hyde's manuscripts into six sections, as well as numbering them chronologically as in the example above. These sections provide a useful reference for the manuscripts' eventual destinations as well as their order of composition. Those relevant to this thesis are as follows: la 1 l-la 131.2 Poems pre-1930 not published in bookform. 9 2a / 73-2a /196 Poems 1930-March 1935 not published in bookform. 3a / 356-3a / 378 Poems 1935-1936 (approx.) not published in bookform. 4b / 446-4b / 477 Poems 1936 not published in bookform. 5b / 544.1-5b / 563 Poems 1937 not published in bookform. 5c / 564-5c / 608 Manuscripts 1937 (Leggott & Docherty, 7-9) Numbers in brackets after poetry quotations, whether published or unpublished, indicate line numbers, except where the quotation is taken from another author, in which case the number indicates the page of the cited volume. All prose quotations are cited by page. Where needed, quotations from Hyde's published writing include the initials of their volume, thus (AHmV, 23) indicates page twenty-three of A Home in this World. Where more than one volume of a critic is cited, I have included the year of publication, as in (Leggott 1999, xi). Endnotes follow each chapter; two appendices giving volume and page sources for all cited poems by Robin Hyde and translations by Arthur Waley are provided following the 'Conclusion' .
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