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FRANCIS THOMPSON: the POET REVEALED in HIS IMAGES by Joseph J

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FRANCIS THOMPSON: the POET REVEALED in HIS IMAGES by Joseph J FRANCIS THOMPSON: THE POET REVEALED IN HIS IMAGES by Joseph J. George Thesis presented to the Faculty of Arts of the University of Ottawa in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Ottawa, Canada, 1952 UMI Number: DC53682 INFORMATION TO USERS 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 bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send 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. UMI® UMI Microform DC53682 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ACKNOWLEDGMENT I am sincerely grateful to all my academic professors and especially to the following: William J. Leonard S. J. and John A. McCarthy S. J., of the Boston College Graduate School; to Dr. Maurice Roy Ridley, of Harvard University, and to Dr. Antanas Paplauskas-Ramunas, of the University of Ottawa. I acknowledge continued indebt­ edness to Terence L. Connolly S. J. for introducing me to Francis Thompson, and to Dr. E. Emmett 0'Grady who encouraged and guided the preparation of this study. CURRICULUM STUDIORUM Full Name: Joseph John George Date of Birth: June 26, 1922 Birthplace: Boston, Massachusetts, U. S. A. Education: English High School - Diploma, 1940 Boston College - A.B., 1944 Boston College Graduate School - A. M., 1949 Harvard University - 1950 TABLE OF CONTENTS Chapter page INTRODUCTION v I.-DOMINANT IMAGERY OF PATMORE AND KEATS 1 1. Patmore's Dominant Image 1 2. Keats's Hidden Thoughts 4 II.-IMAGERY BASED ON HUMAN LOVE 8 1. Thompson's Love of Children 8 2. Love Imagery 10 III.-ANIMAL IMAGERY 14 IV.-IMAGERY FROM TIME AND ITS DIVISIONS 31 V.-THOMPSON'S SENSES 26 VI.-IMAGERY FROM NATURE 35 1. Nature Imagery Ornamental and Descriptive 36 2. Nature and the Poet's Emotions 40 3. Thompson's Philospphy of Nature Compared 45 With William Wordsworth VII.-RELIGIOUS IMAGERY 58 1. Sacred Scriptures 58 2. The Liturgfc 67 VI11.-DERIVATIVE IMAGERY 75 IX.-INFLUENCE OF CLASSICAL MYTHOLOGY ON THOMPSON'S 185 IMAGERY X.-THE FINE ARTS 131 XI.-A—CLASSES OF PEOPLE 138 B—THE HUMAN BODY PERSONIFIED ANDHUMAN ACTIONS 141 IN THE ABSTRACT XII.-MISCELLANEOUS CATEGORIES If6 A—POLITICS, GOVERNMENT AND WAR 146 B—SPORTS AND GAMES 148 C—DOMESTIC IMAGES 14° D—FOOD AND DRINK 149 E—CLOTHING 150 F—NAVIGATION i5i TABLE OF CONTENTS CONCLUSION i§2 APPENDIX I 176 BIBLIOGRAPHY 178 INTRODUCTION 1. The Nature of Imagery In inquiring into the nature of poetic vision, let us direct attention to the problems of semantics. In this study, the writer's purpose has been to evaluate the subject-matter of Francis Thompson's images with a view of understanding the man himself. The technical aspects of imagery are of minor importance because the form of the image does not affect the validity of the meaning; the content, does. The differences between metaphor and the other figures of resemblance and identity exist only in the expression, not in the mind. The word 'image' suggests primarily a general idea of picture or comparison of some kind. In explaining an unfamiliar idea to someone else, we find ourselves using imagery. Our daily speech is made up of all sorts of images. Imagery springs from the inadequacy of language to express thought precisely. The myriad analogies between the world of sensible reality and the imaginative faculty are the poet's foundation for the making of images. In Shelley's felicitous phrase it consists in the observation of the "before unappre­ hended relationships of things." 1. Cook, A.S., Shelley: A Defence of Poetry, Ginn & Co., Boston, 1891. p. 3. v INTRODUCTION images are not beautiful. Images show lack of good taste by being florid, gaudy, or too obvious. Images with endless detail are neither in good taste nor poetically effective. 2. The Function of Imagery in Poetry In poetry, then, the term 'imagery' includes the figures of resemblance, metaphor, simile, and personification, and the minor figures of contiguity, metonymy and synecdoche. Any word used in other than its literal meaning is a metaphor. For purposes of this study, this wide, rather general defini­ tion will suffice. Metaphor is the natural language of poetry. For the gifted poet, it is a mode of apprehension, an intuitive perception of reality. It is incessant in fine poetry. A poet leads in discovering likenesses, similarities, and relationships that do not exist. Metaphor is the name ^iven to the imaginative function between two Ideas, that bear a resemblance brought about by the poet's experience of life. By the use of metaphor, a poet attempts to express in terms of his experience, thoughts lying beyond experience, to express the abstract in terms of the concrete, the unfam­ iliar by means of the familiar, and the intellectual by the sensible. Metaphor then, is the personal expression of a poet's individual vision. If we think of images as links in a scattered chain, their meaning lies in re-assembling them accordlng to their subject-matter. vi INTRODUCTION In language, imagery is the use of words or phrases in other than their proper signification; or an image is the use of a word in other than its root meaning. Imagery is the use of one idea, the known, to picture, describe, or explain another idea, the unknown. An image makes an intell­ ectual idea visible to the perception. When a poet cannot communicate the whole of an intellectual concept, he compares it with a sensible object. Thus he is able to express this concept for which no exact literal equivalent existed in language. The use of an image does not necessarily involve the sacrifice of truth. At times, an image may be able to express truth with a greater degree of accuracy than literal statement. Sometimes the only way a poet can communicate emotion is by describing the objects which aroused it. Insofar as an image is the outcome of emotion, it gives to the expression color, vigor, and intensity, but not logical clearness. An idea may not be clear in the order of logical association (i.e. Hound of Heaven), but it is immediately grasped by the perception. Imagery expresses truth more concisely, vividly, memorably, and emotionally than literal statement. The ideal image springs from spontaneous emotion. To be poetically effective, an image must be intelligible and in good taste. Neither an obscure Image nor a too familiar image is beautiful; artificial images, conceits, and trite vii INTRODUCTION 3. Method Explained The problem of the thesis is that the study of image­ ry is a much closer approach to a poet's personality and innermost thoughts, insofar as they are recorded in the images, than either biography or autobiography. A biographer shapes his material and usually has a predetermined viewpoint in approaching his subject; a person writing about himself is limited in treating with candor events in his past life which may be embarrassing, or actions which he regrets having done. Imagery is to a certain extent an unwilling record of experience. An image is based on the poet's individual experience of life and thought. In studying the poetic cre­ ation of any writer, we find that the poet tends to draw his images from the departments of life and reality in which he is most interested. In his images then, a poet leaves a record, unknown to himself, of his preferences and aversions, beliefs, opinions, and a glimpse into his personality: "...like the man who under stress of emotion will show no sign of it in eye or face, but will reveal it in some muscular tension, the poet unwittingly reveals his own innermost likes and dislikes, observations and interests, associations of thought, attitudes of mind and belief, in and through his images."2 2. Spurgeon, Caroline F. E., Shakespeare's Imagery: And What It Tells Us, The MacMillan Company, New York, 1935, p. 4 vili INTRODUCTION It is the writer's purpose in this study to evaluate the subject-matter of Francis Thompson's images and reveal his thoughts and philosophy and sources of poetic inspiration. The evidence of the images is the sole basis for making conclusions; all known biographical data has been omitted. At no time does the proof of the argument depend on biograph­ ical data. Biographical facts are only brought in to prove the validity of conclusions which have been made on the evidence of the images alone. The writer has also found that it is almost impos­ sible to discover the fine points of meaning because the nature of poetic imagery is a subject upon which critics disagree. Another limitation in the study is that the analy­ sis of imagery while indeed representative can never be complete. In studying the imagery, a count has been made of the images, then sorted them into categories, studied each cat­ egory, and finally made conclusions. Each chapter of the thesis is based on one of the main groups of Thompson's images. A sufficient number of images have been quoted to give the reader an impression of the basic thoughts and dominant interests that went into the formation of the images of Francis Thompson. 4. Survey of Previous Literature In attempting to define the term 'image', the writer has met with almost universal disagreement among the major lx INTRODUCTION critics on the subject.
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