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Conventions and Modern Poetry: a Study in the Development of Period Mannerisms

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Conventions and Modern Poetry: a Study in the Development of Period Mannerisms University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-1957 Conventions and Modern Poetry: A Study in the Development of Period Mannerisms Jacob P. Blumenfeld University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Blumenfeld, Jacob P., "Conventions and Modern Poetry: A Study in the Development of Period Mannerisms. " Master's Thesis, University of Tennessee, 1957. https://trace.tennessee.edu/utk_gradthes/2953 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jacob P. Blumenfeld entitled "Conventions and Modern Poetry: A Study in the Development of Period Mannerisms." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Robert Daniel, Major Professor We have read this thesis and recommend its acceptance: K.L. Knickerbocker, Nathaniel Wright, & James Patty Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) October 1, 1957 To the Graduate Council: I am submitting herewith a thesis written by Jacob P. Blumenfeld entitled "Conventions and Modern Poetry: A Study in the Development of Period Mannerisms." I recommend that it be accepted in partial fulfill­ ment of the requirements for the degree of Doctor of Philosophy, with a major in English. We have read this the sis and recommend its acceptance: Accepted for the Council: Dean of theGr a�ool CONVENTIONS AND MOOERN POETRYa A STUDY IN THE DEVELOPMENT OF PERIOD MANNERISMS A THESIS Submitted to The Graduate Council of The University of Tennessee in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy by Jacob P. Blumenfeld December 1957 I wish to express my appreciation to all those whose assistance, encouragement, and advice have enabled me to complete this project. I should like especially to thank Dr . Robert w. Daniel, my adviser, and the other members of my committee tor their patient guidance and for all their suggestions, which I have used freely throughout this study. TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION • • • • • • • • • • • • • • • • • • • • • 1 Statement of problem • • • • • • • • • • • • • • • • 1 Importance of study. • • • • • • • • • • • • • • • • 4 Definition of terms ••••••••••••••••• 5 Scope of the study • • • • • • • • • • • • • • • • • 5 Previous scholarship • . • • • • • . • • • 6 Method of procedure and sources of data . • • • • • • 1 Organization of study•••••• • • • • . 9 II. MODERN POETRY AS A REVOLT AGAINST VICTORIAN ConvENTIONS •• • • • • • • • • . 10 Introduction • • • • • • • • • • • • • • • • • • • • 10 The growth of Victorian conventions ••• • • • • • • 10 The poet as seer • • • • • • • • • • • • • • • • • • 11 The poetic subject and Victorian style • • • • • • • 11 The revolt of the Moderns. • • • • • • • • • • • • • 16 Conclusion • • • • • • • • • • • • • • • • • • • • • 28 III . SUBJECT, VOCABULARY, METRE, AND SYNTAX AS CONVENTIONS IN MODERN POETRY. • • • • • • • • • • 30 Introduction • • • • • • • • • • • • • • • • • • • • 30 Conventions resulting fr om the Moderns' search for the fresh and new • • • • • • • • • • • 32 Subject matter • • • • • • • • • • • • • • • • • • • 32 Vocabulary • • • • • • • • • • • • • • • • • • • • • 34 iv CHAPI'ER PAGE III. (continued) Metrics • • • • • • • • • • • • • • • • • • • • • • • 37 Syntax • • • • . • • • • • • • • • • • • • • • • • 43 Conclusion • • • • • • • • • • • • • • • • • • • • • 55 IV. THE SYMBOL AS COOVENTION IN MOOERN POETRY •• • • • • • 57 Introduction • • • • • • • • • • • • • • • • • • • • 57 The image as meaning • • • • • • . • • • • • • • • 57 The symbol as a means for the direct presentation of emotion . • • • • • • • • • • • • • 59 The �bol in nature • • • • • • • • • • • • • • • • 60 The symbol throug hout Modern Poetry . • • • • • • • • 67 Conclusion • • • • • • • • • • • • • • • • • • • • • 70 v. ATTITUDE, TONE, AND SPECIAL TECHNIQUES AS CONVENTION IN MODERN POETRY •••••••••• . 72 Introduction • • • • • • • • • • • • • • • • • • • • 72 The Zeitgeist and Modern Poetry •••• • • • • • • • 72 The objective tone of Modern Poetry •• • • • • • • • 74 The serio-comic in Modern Poetry • • • • • • • . 80 The special audience of Modern Poetry •• • • • • • • 83 Conclusion • • • • • • • • • • • • • • • • • • • • • 93 VI. THE CONVENTIONAL USE OF ARCHETYPAL IMAGES IN MODERN POETRY • • • • • . • • • • • • • • • • 94 Introduction • • • • • • • • • • • • • • • • • • • • 94 Water imagery . • • • • • • • • • • • • • • • 97 v CHAPTER PAGE VI. (continued) Snow and ice imagery • • • • • • • • • • • • • • • • 101 Spring imagery • • • • • • • • • • • • • • • • • • • lo6 Hill and mountain imagery. • • • • • • • • • • • • • 109 Sun imagery. • • • • • • • • • • • • • • • • • • • • 113 Moon imagery • • • • • • • • • • • • • • • • • • • • 118 Star imagery • • • • • • • • • • • • • • • • • • • • 121 Leaf imagery . 124 Conclusion ••• • • • • • • • • • • • • • • • • • • 128 VII. THE CONVENTIONAL USE OF TRADITIONAL NON-ARCHETYPAL IMAGES IN MODERN POETRY. • • • • • • • • • • • • • • 130 Introduction • • • • • • • • • • • • • • • • • • • • 130 Tree imagery • • • • • • • • • • • • • • • • • • • • 130 Rock imagery .. • • • • • • • • • • • • • • • • • • • 133 Old-age imagery. • • • • • • • • • • • • • • • • • • 136 Youth imagery. • • • • • • • • • • • • • • • • • • • 140 Eye imagery. • • • • • • • • • • • • • • • • • • • • 146 Animal imagery • • • • • • • • • • • • • • • • • • • 1$3 Birds. • • • • • • • • • • • • • • • • • • • • • • • 153 Birds of prey. • • • • • • • • • • • • • • • • • • • 156 Jungle cats. • • • • • • • • • • • • • • • • • • • • 160 Fish • • • • • • • • • • • • . • • . • • • • • • • 163 Crabs. • • • • • • • • • • • • • • • • • • • • • • • 165 Color imagery. • • • • • • • • • • • • • • • • • • • 167 vi CHAPTER PAGE VII. (continued) Green. • • • • • • • • • • • • • • • • • • • • • • • 168 Gray • • • • • • • • • • • • • • • • • • • • • • • 170 Gold • • • • • • • • • • • • • • • • • • • • • • • • 174 Conclusion • • • • • • • • • • • • • • • • • • • . 177 VIII. THE CONVENTIONAL USE OF THE NEW IMAGES OF MODERN POETRY. • • • • • • • • • • • • • • • • • • 179 Introduction • • • • • • • • • • • • • • • • • • • • 179 Images of modern life •••••••••• • • • • • • 179 City streets • • • • 0 • • • • • • • • • • • • • • • 179 Furnished rooms. • • • • • . • • • • • • • • • 182 Man as a number. • • • • • • • • • • • • • • • • • • 184 The ether image. • • • • • • • • • • • • • • • • • 186 Economics and finance. • • • • • • • • • • • • • • • 187 Conclusion • • • • • • • • • • • • • • . • • • • • 189 II. CONCLUSION • • • • • • • • • • • • • • • • • • • • • 191 Findings • • • • • • • • • • • • • • • • • • • 191 Conclusions. • • • • • • • • • • • • • • • • • • • 198 BIBLIOORAPHY. • • • • • • • • • • • • • • • • • • • • • • • • 202 APPENDIX••• • • • • • • • • • • • • • • • . • • • • • • • 207 CHAPTER I INTRODUCTION One of the peculiarities of literature, as with the arts in gen- eral and other forms of intellectual activity, is that every age devel- ops its own characteristic manner and style. The division of the study of literature into the periods familiar to all students is dependent on this phenomenon. One has only to name a period to think of a kind of writing. The Elizabethans reveled in lush imagery and vigorous lan- guage, the Neo-Classicists concentrated on correctness and rationality, the Romantics re-introduced to poetry nature and feeling, and so on. This tendency of each period to develop its own conventions and manner has been recognized by Josephine Miles, who finds that "groupings of poets are based more solidly on time than on type. Each decade has its own homogeneity, though each has a different degree of heterogene­ ity."! Miss Miles's study indicates how closely contemporary poets work together, whether consciously or no; how closely contemporaries feel and analogize and sound and argue in common; how limited are a poet's choices by the choices of his times and how directly he himself participates in those choices and helps establish them.2 This development of a period manner was explained by John Livingston Lowes as a phase through which all poetry passes, part of a cycle consisting of alternating periods of convention and revolt which lThe Continuity of Poetic Lang e {Berkeley, California, 1951), uag P• 517. 2 proceeds thro ugh cer ta in ro ughly discernible stages. The first stage is tha t of innova ti on, in which a talen ted poe t in troduce s new me th ods which are so effec ti ve tha t they are ta ken up by hi s conte mp oraries and imi ta te d . At thi s stage, conven tions ha ve already be gun to develop; but the conventions are still plastic enough to be manipul ated wi th some originali ty and effect. In the ne xt stage, however, th e conven tions be - come so widely accepted tha t they are th ough t of as la ws; th en rigidi ty se ts in and a new revol t must occur before poe
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