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Transformation, Paradox and Continuity in the Poetry of James Mcauley

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Transformation, Paradox and Continuity in the Poetry of James Mcauley UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS “So many voices urging:” Transformation, Paradox and Continuity in the Poetry of James McAuley Rosemary Jean Page Orientador: Prof. Doutor Mário Vítor Fernandes Araújo Bastos, Professor Auxiliar, Faculdade de Letras da Universidade de Lisboa Tese especialmente elaborada para obtenção do grau de Doutor no ramo de Estudos da Literatura e Cultura, na Especialidade de Estudos da Literatura e Cultura de Expressão Inglesa 2018 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS “So many voices urging:” Transformation, Paradox and Continuity in the Poetry of James McAuley Rosemary Jean Page Orientador: Prof. Doutor Mário Vítor Fernandes Araújo Bastos Tese especialmente elaborada para obtenção do grau de Doutor no ramo de Estudos da Literatura e Cultura, na Especialidade de Estudos da Literatura e Cultura de Expressão Inglesa Júri: Presidente: Doutora Maria Cristina de Castro Maia de Sousa Pimentel, Professora Catedrática e Membro do Conselho Científico da Faculdade de Letras da Universidade de Lisboa Vogais: - Doutor François-Xavier Giudicelli, Maître de Conférences, Département d’Anglais, UFR Lettres et Sciences Humaines, Université de Reims Champagne-Ardenne, França - Doutor Kenneth David Callahan, Professor Associado, Departamento de Línguas e Culturas da Universidade de Aveiro - Doutora Isabel Maria da Cunha Rosa Fernandes, Professora Catedrática, Faculdade de Letras da Universidade de Lisboa - Prof. Doutor Mário Vítor Fernandes Araújo Bastos, Professor Auxiliar, Faculdade de Letras da Universidade de Lisboa - Doutora Maria Teresa Correia Casal, Professora Auxiliar, Faculdade de Letras da Universidade de Lisboa 2018 i ii Copyright information The copyright of this thesis is held by the Universidade de Lisboa The copyright of James McAuley is held by the James McAuley Estate (executor Curtis Brown, Sydney) iii DEDICATÓRIA Time out of mind And out of the heart too Yet I am not resigned To be what I do. […] But I shall know this Only in knowing My self’s Self, who is, and is The end of my going. “Time out of Mind” 1962 James McAuley, Collected Poems, 179 I have pursued rhyme, image, and metre, Known all the clefts in which the foot may stick, Stumbled often, stammered, But in time the fading voice grows wise […] Ern Malley, (James McAuley and Harold Stewart), “Petit Testament,” “The Darkening Ecliptic,” 1943/44 iv Acknowledgments I would like first to express my gratitude to my supervisor Mário Vítor Fernandes Araújo Bastos for his excellent guidance, insight, advice and continuing support, without whose assistance this work would not have been possible. I also wish to express my gratitude to staff and facilities of the following libraries in Australia who have facilitated my often long-distance research: Austlit, Australian Defence Force Academy Library, The Fisher Library (U. Sydney), National Library of Australia, Pascoal Franciscan Library (Box Hill, Vic), State Library of NSW (Special Collections), State Library of Tasmania, State Library of Victoria. I owe especial thanks, in Australia, to Michael Ackland, David Brooks, Peter Coleman, Sarah Day, Jim Franklin, Patricia Giles, Graham Hetherington, Jennifer Livett, Lyn McCredden, Louis Magee, David Page, Peter Pierce and John Winter for their help, advice and information. I also thank the teaching staff at the Department of English and American Studies at the University of Lisbon, and my fellow researchers who have provided support, encouragement and inspiration, and also Dorothy Alves and Margarida Oliveira. Finally, I especially thank my family Carlos, Frances and Thomas, and my friends who have always supported me and given me sound advice. v vi Abstract (English) This dissertation addresses the paradoxical work of the Australian poet James McAuley, (1917-76) known for his polemic “anti-modernism” as co-inventor of an anti-surrealist hoax poet (Ern Malley) and subsequent neo-classical verse, but also for an inward lyric poetry using modernist, imagist forms. Through a sequential close reading, I underline the diversity, strength and consistency of this important poet, showing how McAuley’s “anti-modernist” phase, and his many experiments, revisions and transformations, were produced by an antithetical impulse in search for an adequate poetics, a knowledge of self and how best to be a poet in his own time. An extensive analysis of McAuley texts, including unpublished work, shows how such transformation was generated through cycles of response to and against the cultural, literary and artistic background of the poet’s time, in a dialectic between romantic, modernist, avant-garde and realist impulses. A consistent, if unpremeditated, pattern of transformation is observed in McAuley’s use of different successive voices evolving in his early modernist work from the nature observer, urban wanderer, to the controversial parodist, marking McAuley’s statement against surrealism. During the 1950s McAuley shifted to neoclassical genres and dialogues, in his celebratory Christian-lyricism and the seventeenth-century focus of his epistle “A Letter to John Dryden” and the heroic characters of his modern epic Captain Quiros. His turn “against the grain,” was abandoned, surprisingly, in the mid-1960s for a contemporary autobiographical approach, exploring personal history, and in his last poems of the 1970s, for a seeming return to his early neo-symbolist lyricism, and also the realist voice of the stoic nature-observer. The dissertation traces thematic and symbolic constants, McAuley’s insistence on formal craftsmanship, the search for an image-based symbolism, and, as a cosmopolitan Australian poet, ongoing questions about identity and culture, place and its differentiation, as well as an energising quest for order and a metaphysical element in the mid-twentieth-century. Australian literature / twentieth-century poetry / place / influence / voice vii viii Portuguese abstract Esta dissertação aborda a obra do poeta australiano James McAuley (1917-76), conhecido pela polémica “anti modernismo” enquanto coinventor de um poeta anti surrealista, mas também pela poesia íntima e lírica usando formas modernistas e imagistas. Apesar de se tratar de uma leitura sequencial de proximidade, sublinha-se a diversidade e consistência deste importante poeta, mostrando como a fase “anti modernista” e as muitas experiências, revisões e transformações foram produzidas por um impulso antitético em busca de uma poética adequada, do conhecimento do eu e da forma de ser poeta no seu tempo. Uma análise extensiva da obra mostra como tal transformação foi gerada por ciclos de resposta e oposição ao contexto cultural, literário e artístico do tempo, numa dialética entre impulsos românticos, modernistas, avant-garde e realistas. Um padrão consistente, mas não premeditado, de transformação observa-se na utilização de vozes sucessivas que vão, na obra inicial modernista, do observador da natureza e vagabundo urbano, até ao parodista contra o surrealismo. Posteriormente, mudou para géneros e diálogos neoclássicos no lirismo comemorativo cristão, no foco seiscentista da epístola “A Letter to John Dryden” e nas personagens heroicas do épico moderno Captain Quiros. Esta postura “contra a corrente” foi abandonada, surpreendentemente, em meados da década de 1960, preferindo um tema mais contemporâneo e autobiográfico explorando a história pessoal e, na década de 1970, num aparente retorno ao lirismo neossimbolista inicial e à voz realista do observador da natureza. Esta dissertação explora constantes tópicas, simbólicas e temáticas, a insistência de McAuley na competência formal, a busca de um simbolismo baseado em imagens e questões permanentes sobre identidade e cultura, o lugar e a sua diferenciação, assim como uma estimulante procura da ordem e de um elemento metafísico em meados do século XX. Literatura australiana / poesia do século XX / lugar / influência / voz ix x RESUMO (Extended Portuguese abstract) Esta dissertação de doutoramento aborda a obra diversificada de James McAuley (1917-76), poeta australiano do século XX conhecido sobretudo, se bem que negativamente, pela polémica “anti modernismo” como coinventor de um poeta anti surrealista fictício (Ern Malley) e posteriormente como autor de poesia neoclássica. Contudo, é menos conhecido pela sua poesia íntima e lírica com um estilo modernista e imagista. Uma dialética contínua, muitas vezes contraditória, entre o romântico, o modernista e elementos realistas posteriores nas ideias e poéticas em constante evolução é acentuada pela herança dividida de um poeta australiano fortemente atraído pelo cosmopolita, mas incapaz de resistir a um discurso ligado ao local. Devido a essa divisão e à plasticidade de forma e ideias, McAuley é considerado um poeta de paradoxos. Inicialmente, o meu interesse pela obra de McAuley relacionava-se com os seus poemas sobre exploradores espanhóis e portugueses, relevantes na Austrália em meados do século XX como teorias alternativas à “descoberta” do continente australiano (Terra Australis) pelo Ocidente. O interesse do poeta por questões ligadas às identidades australianas incluiu um encontro inicial com o pós-colonialismo, assim como com a diferenciação local e regional. Esta análise representativa e sequencial ilumina a diversidade, força e consistência deste importante poeta. Ao seguir o percurso das suas transformações literárias, afirma que, em vez de polémico, o desenvolvimento da obra poética de McAuley foi impulsionado por uma originalidade consistente e antitética que o levou a escrever
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