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FT Prince Bibliography University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] UNIVERSITY OF SOUTHAMPTON Faculty of Humanities English THE FROWARD MASTER; OR, F.T. PRINCE AND THE POETRY OF TIME by Bevil Luck Thesis for the degree of Doctor of Philosophy September 2018 UNIVERSITY OF SOUTHAMPTON ABSTRACT Faculty of Humanities Department of English Thesis for the degree of Doctor of Philosophy THE FROWARD MASTER; OR, F.T. PRINCE AND THE POETRY OF TIME The thesis is on the poems of F.T. Prince and is about time, and being out of time, or misplaced in time. It aims to build a way of reading that can help us to unlock or understand some of the peculiarities of Prince’s poetry and thought. It is helped in this regard by the recent opening of the extraordinary Prince archive in the Hartley Library at Southampton. I make extensive use of new and unseen archival material in the hope of tracing the transformation or persistence of certain subterranean themes in Prince’s work. My first chapter isolates two images that recur in Prince’s early work: the double and the desert. Exploring these, it discovers a strange and hidden identityless world at the heart of Prince’s thought. My second chapter finds that absence is not so unpeopled as it first seems, and discovers a hidden character, a simultaneous attraction and profound distrust towards ‘pure poetry’, and an unfinished ars poetica, all built into the structure of one poem. Chapters three, four, and five serve as the tripartite core of the thesis. They show how Prince developed a highly unusual approach to tradition and the poetry of the past, working to weave together strands that are discrete but sympathetic. They themselves then weave together to finish the unfinished ars poetica found in the second chapter, now with the missing element: the wound of meaning. In doing so they reveal a latent and powerful critique of certain trends in 20th- century poetry, using Igor Stravinsky and Pierre Menard as co-conspirators. The last two chapters demonstrate the threefold relationship between the wound in Prince’s thought, his Catholicism, and time itself. The first shows how the images and paintings that populate Prince’s poems (and they populate more poems than it might at first seem) must be understood in terms of iconoduly. The final chapter returns to the identityless world found in the first only to name it, and reveal that all time exists within its vast empire. It shows that Prince understood the power of poetry and meaning as descending from this world, and how he began to see himself, his reception and career, in these terms too, being a vindication of his work. Finally it reveals how his misplacement in time—and his interest in objects misplaced in time—was, in fact, emblematic of Time himself. TABLE OF CONTENTS Acknowledgements ............................................................................................................................................... iii Abbreviations and Transcriptions ....................................................................................................................... iv List of Figures ......................................................................................................................................................... v Declaration of Authorship .................................................................................................................................. vii Introduction: Footprints ........................................................................................................................................ 1 The Canon ........................................................................................................................................................... 1 The Reviewers .................................................................................................................................................. 10 The Archive ...................................................................................................................................................... 13 Critical Patterns ................................................................................................................................................ 15 1 The Double and the Desert ............................................................................................................................. 21 The Double ....................................................................................................................................................... 24 The Desert ......................................................................................................................................................... 31 The Sea-Wall and the Sea ................................................................................................................................ 36 2 A Sibyl’s Word ................................................................................................................................................... 40 Mythistorema and Maria ................................................................................................................................. 42 A Ballet of Fruits and Flowers ....................................................................................................................... 49 Empedocles ....................................................................................................................................................... 53 ‘Pure’ Poetry ...................................................................................................................................................... 56 The Honeycoloured God ................................................................................................................................ 57 3 Old Hat ............................................................................................................................................................... 64 Stravinsky and Prince ...................................................................................................................................... 69 Strambotti ..................................................................................................... Error! Bookmark not defined. An Interesting Dream ..................................................................................................................................... 80 Menard and Prince ........................................................................................................................................... 83 4 Old Ships ............................................................................................................................................................ 89 Marble Doors .................................................................................................................................................... 91 i Fragment Poetry ............................................................................................................................................... 98 A Note on Metre ............................................................................................................................................ 102 5 Old Dog ............................................................................................................................................................ 109 Laughing Dog.................................................................................................................................................. 110 Singing Dog ..................................................................................................................................................... 113 Sleeping Dog ................................................................................................................................................... 124 The Wound of Meaning ................................................................................................................................ 127 6 Eikons and Shadows ....................................................................................................................................... 134 Images of the Virgin ....................................................................................................................................... 140 Resurgent Ἐικονες ......................................................................................................................................... 153 7 The Sign of Saturn ..........................................................................................................................................
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