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Durham E-Theses Durham E-Theses Imagism and after: a study of the poetry of Richard Aldington. Barlow, A. E. How to cite: Barlow, A. E. (1975) Imagism and after: a study of the poetry of Richard Aldington., Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9896/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk A. E. B A H L 0 W IMA&ISM AND AFTER : A STUDY OP THE POETRY OF RICHARD ALDINGTON M.A. Thesis. 1975 The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. •ABSTRACT Richard ALdingten is more often remembered to-day as a novelist and biographer than as a poet, but it was as a poet that he first made his reputation, and as a poet that he should figure most prominently in recent literary history. His career began under the ae gis of Ezra Pound and he quickly became part of the avant-garde literary circle from which the modernist movement was to evolve. He was a leading member of the Imagists, editing The Egoist and publishing articles and manifestos on Imagism, as well as contributing to the Imagist anthologies. He helped to publicise the poetic theories which Ezra Pound derived from T.E. Hulme and he was attracted also to the ideas of the French Symbolists and of Re^my de Gourmont. His own early verse, however, reveals more clearly his interest in classical models. The dominant theme of his pre-First World War poetzy was that of the conflict between tine ideal world of his imagination and the reality of life in the modern city. The real test of his art and ideas came in 1917 when he went to fight in Francej he was the only Imagist to write war poems from first-hand experience, and in general his war poetzy has been underestimated: he presented with great clarity the struggle to maintain a belief in the value of life in the face of overwhelming destruction. At the same time he wrote a series of love poems which were to reveal his weaknesses rather than his strengths as a poet: a lack of creative and imaginative control which resulted i^ weak technique. After the War, Aldington began to lose sympathy with modernist practices, and attacked the tendencies towards extreme compression and obscurity. Increasingly, he became isolated from the literary mainstream of the time, even though his major long poem, A Fool i' The Forest, had much in common with Eliot's poetry of the twenties. Aldington was disillusioned with tiie post-war world and there is a strong strain of bitterness in his poetry of this period. In 1929 he published his first novel. Death of a Hero, and thereafter his interest in writing poetiy began slowly to lapse, although some of his best writing is to be foiind in the poetry he wrote between 1930 and 1937• Gradually he overcame has bitterness and there was a note of slightly desperate optimism in his last long poems. Aldington's reputation as a poet has been overshadowed by his later notorieiy as a biographer; however, his contribution to the poetic renaissance in England between 1910 and 1918, his significance as a modernist who rejected modernism^and his close association at a crucial period with many major figures of twentieth-century literature, deserve greater recognition than they have so far received. ACKNOm,EDGEMENTS I am happy to acknowledge i^y debt to Miss D.R. Etehells, Senior Lecturer in English at the University of Durham, whose advice and encouragement at every stage in -the preparation of this thesis have been invaluable. I am also very grateful to Professor T.S. Dorsch, idio read -the manuscript and offered many helpful suggestions. My thanks are also due to the staff of the University Library, Palace Green, who searched for, and traced, numerous obscure magazines and books wi-t±i considerable patience and efficiency. A.E. Barlow. C 0 N T E N T S PART 1 Chapter 1. Introduction Page 1 Chapter 2. Aldington and the Theory of Imagism Page 32 PART 2 Chapter 3* Images (1910..191S) Page Chapter 4. Images of War Page 80 Chapter 5. Images of Desire: Exile and Other Poems Page 112 Chapter 6. A Fool i' The Forest Page 1^^7 Chapter ?• Poems of 1929 and 1930 Page 186 Chapter 8. Life Quest; New Poems and The Crystal World Page 218 Appendix: Aldington as translator Page 250 Bibliographij: Page 252 ABBBEVIAIIOMS The following abbreviations are used in the footnotes to the text: TLS.. The Times Literary Supplement. Life. Life for Life's Sake. English ed., I968. CP., The Complete Poems of Richard Aldington. 1948. A Fool. A Fool i' The Forest. 1924. A Dream. A Dream in the Luxembourg. 1930. PART 1. Chapter 1. Introduc tion Who now regards me or who twines fied wool and threaded lilies round the brows Of my neglected statues? 1 When Richard Alding-t»n's volume of memoirs, Life For Life's Sake. 2 was published posthumously in England in 1968, an anonymous reviewer was puzzled by the fact that so conscientious and prolific a writer as Aldington - "a journeyman of letters" is how he described him - should have faded so rapidly from -the public memory: it was only six years since Aldington's dea-tii, yet all but one of his books had gone out of print in England. The reviewer recalled -that Aldington had been first an Imagist poet, -t^en a novelist and, in his later career, a biographer who produced harsh and sour books on, among o-t^ers, D. H. Lawrence and Lawrence of Arabia which, said the reviewer, had led Bobert Graves -t^o describe him as "a bitter, bed-ridden, leering asthmatic, elderly hangman-of-letters". The reviewer himself thou^t that this was going too far but he admitted an element of truth in Graves's description. His own judgement on Aldington's life as a writer was more restrained: "Still, if it was not a great or even a successful career, it was not a dishonourable one, and there is no reason -tx) cast dust upon his unlaurelled head." There is, indeed, no reason -to cast dust, but is there, alternatively, any reason to try to cast some light on Aldington? 1. -The Faun Captive', CP., p.69. (For note on texts of Aldington's poetry, see Bibliography.) 2. 26 December 1968, p.l2t47. 2. He died in I962 and since then has rapidly faded into obscuriiy; out of a total of over one hundred titles listed under his name in the British Museum Catalogue, only one has remained consistently in print. Ironically, this is T.E. Lawrence: A Biographical Enquiry (1955), the book which (by its attempt to expose T.E. Lawrence as a charlatan and fraud) did most to destroy Aldington's reputation in his own countiy. As a poet he is to-day represented in only a very few anthologies: he finds no place in the new Oxford Book of Twentieth Century Verse (1973). His Complete Poems was published in 19^ and went out of print long ago. When Aldington is remembered to-day it is usually as a "between-the-wars" writer and certainly it was during the twenties and thirties that his reputation as' a poet and novelist was not unimpressive. However, his career as a writer spanned not twenty but fifty years and if, ultimately, it was neither great nor wholly successful, it had a certain value. In the history of twentieth century letters Aldington is not someone who can be overlooked completely and, as a poet particularly, his work remains of interest and of some significance. It is the primary aim of this study of his poetry to show why, and to what extent, this is so. It was as a poet ihat Aldington first came to public notice: he was a leading figure in the Imagist movement and therefore played his part in the remarkable rekindling of English poetry which occurred immediately before and during the First World War. • He was one of 3. the first practitioners of vers libre in England and one of -the first to insist that vers libre should not be an excuse for shoddy craftsmanship. His later disenchantment with the Modernist movement and with the direction that poetry was taking in the 1920s makes his own poetry a useful yardstick by which to measure some of the fundamental tendencies which have influenced poetiy over the last fifty years. He was closely connected with Ezra Pound, T.S. Eliot, Herbert Read and D.H. Lawrence and other major figures; he is an interesting link, therefore, in -the historical development of recent literature. While considering Aldington's poetiy, however, it is impor-tant always -to bear in mind -that even at the first, Imagist, phase of his career his interest was by ne means confined to poetiy: it was under his editorship -that The Eaoist published James Joyce's Portrait of -the Artist: in the twenties he was responsible for the first publication of -the wri-tings of Samuel Beckett.
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