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The Confessional Purgation of the Soul in the Poetry of Robert Lowell
Department of English The Flamekeeper: The Confessional Purgation of the Soul in the Poetry of Robert Lowell Ryan Jurison Degree of Bachelor, 15 points Literature Spring Term, 2020 Supervisor: Claudia Egerer Abstract This essay is a critical textual analysis of the poetry of Robert Lowell with focus on religious symbolism used in his work, and the Catholic theology which informed it. This results in a new, contrasting interpretation to the conventional view that he had abandoned his religious focus by mid-career, while accounting for his own assessment that he had not. Insights gained through this analysis, combined with those relating to Lowell’s personal history, reframe his confessional poetry while bolstering this claim. Through this study, poems selected from Lord Weary’s Castle, The Mills of the Kavanaughs, Life Studies and For the Union Dead are reinterpreted in order to explore the consequences of what Lowell could have intended with this stylistic modification, and discover the religiosity that he claimed was hidden. Lowell’s confessional poetry up until 1964 is examined and recast as the anguished wails of a Catholic soul in Purgatory. This fresh approach to one of America’s finest twentieth-century poets provides a novel foundation for the reinterpretation of the entirety of Lowell’s professional oeuvre. Keywords: Robert Lowell; American poetry; Catholic Theology; Religious Symbolism; Purgation; Purgatory; Land of Unlikeness; Lord Weary’s Castle; The Mills of the Kavanaughs; Life Studies; For the Union Dead Jurison 1 What soul is lost that does not think itself irrevocably so? When examining the poetry of Robert Lowell, and more specifically the equally lauded but outwardly contrasting work done from the beginning of his career to the middle, one cannot help but consider this question. -
A Study .Of Robert Lowell's Life Studies
The Mode of Private Vision: A Study . of Robert Lowell's Life Studies Kim, Kil-Joong 1. Earlier Lowell: Lord Weary's Castle Life Studies (1959), coming after Land of Unlikeness (1944), Lord Weary's Castle(l946) , and Mills ofthe Kavanaughs(1951), marks a significant development or change in the poetry. of Robert Lowell. So before we discuss Life Studies, which is the main subject of this paper, it would be proper to attempt to define what was the characteristic concern of earlier Lowell. For this purpose, we will start, for the span of a few pages, by con centrating on Lord Weary's Castle. It seems to embody the greater and surer power of vision and language than the other two. The general impression of his earlier .poems was that of agonized violence and visionary energy directed against the darker aspects of the socio-historical milieu of modern times. Lowell had been a Roman Catholic convert since his graduation from Kenyon College, and its influence had visibly worked into his poetry. He made use of many Biblical themes and images, which added to the texture of his poetry. Lowell's poetry was dra matic and colloquial, ambiguous and paradoxical, but compared with the new poems, his figures and allusions were much denser and his tone more heightened. His rather rigorous iambic pentameters were questioning in grand Apocalyptic terms the contingencies of the moment and the meanings of the particular heritage in which he lived. On the one hand, the poet just survived the great world war with his memory of serving a six-month prison term as a conscientious objector. -
Robert Lowell and the Religious Sublime
HenryHart RobertLowell and the ReligiousSublime A J^JLs a student in his last year at St. Mark's, Robert Lowell published an interpre- tation of an allegorical drawing by his friend, Francis Parker, which reveals an early enchantment with religious sublimity. Although the piece in Vindex is characterized more by youthful idealism than hermeneutic skill, it is prophetic of the sort of poetry he would soon be writing. Lowell's explication begins with a grand moral pronounce- ment intended to separate the saints from the fools: 'The idea that we wish to make clear is that tremendous labor and great intelligence, if applied toward the advance- ment of evil or petty ends, are of no avail." He then proceeds to excoriate fourteen types of misguided intellectuals who surround the central figure of "St. Simon, the Stylite, a symbol of true knowledge." The fools are generally pedants and scientists, "men of authority who misuse their power" (129), and no doubt modelled with in- subordinate glee after Lowell's teachers. The young Lowell, full of sanctimonious ambitions, has his eye on the sublime "St. Simon [who] is elevated high above everyone else by comprehension of the true light. The book and the pen symbolize real intellectual attainment, while the plumb line signifies a quite natural feeling of superiority; but more important, his insecurity. From the sublime to the ridiculous is but a step." The sublime from Longinus and Burke to Kant and Harold Bloom has always been a measure of power and has always involved ranking that power according to a hierarchy of values. -
Robert Lowell's Life-Writing and Memory Gye-Yu Kang Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2003 Robert Lowell's life-writing and memory Gye-Yu Kang Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the English Language and Literature Commons Recommended Citation Kang, Gye-Yu, "Robert Lowell's life-writing and memory" (2003). LSU Master's Theses. 1420. https://digitalcommons.lsu.edu/gradschool_theses/1420 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. ROBERT LOWELL’S LIFE-WRITING AND MEMORY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of English by Gye-Yu Kang B.A., Cheju National University, 1986 M.A., Korea University, 1995 August 2003 Table of Contents Abstract ………………………………………………………………………………….. iii Introduction …………………………………………………………………………….... 1 Chapter One Memory as an Imaginative Reconstruction: 91 Revere Street …... 4 Chapter Two Life Changed to Landscape: Life Studies ………………………... 17 Chapter Three The Past Changes More Than the Present: Day by Day ………. 39 Conclusion ……………………………………………………………………………... 52 Works Cited ……………………………………………………………………………. 55 Vita ……………………………………………………………………………………… 58 ii Abstract This thesis examines Robert Lowell’s use of memory in such autobiographical works as Life Studies and Day by Day. In those volumes, Lowell returns to recollect his private past; his act of remembering becomes the poetic process by which Lowell is able to create the retrospective truth of his life. -
BERRYMAN and LOWELL: the ART of LOSING Berrytnan and Lo-Well
BERRYMAN AND LOWELL: THE ART OF LOSING Berrytnan and Lo-well The Art of Losing Stephen Matterson M MACMILLAN PRESS © Stephen John Matterson 1988 Softcover reprint of the hardcover 1st edition 1988 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright Act 1956 (as amended). Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1988 Published by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world Typeset by Wessex Typesetters (Division of The Eastern Press Ltd) Frome, Somerset British Library Cataloguing in Publication Dat a Matterson, Stephen Berryman and Lowell: the art of losing. 1. Lowell, Robert-Criticism and interpretation 2. Berryman, John Criticism and interpretation I. Title 811'.52 PS3523.089Z/ ISBN 978-1-349-09018-1 ISBN 978-1-349-09016-7 (eBook) DOI 10.1007/978-1-349-09016-7 For Jean with all of my love Contents Acknowledgements ix Chronologies xi Introduction: Tumbles and Leaps 1 1 Beginning in Wisdom 15 2 Towards a Rhetoric of Destitution 35 3 Excellence and Loss 51 4 History and Seduction 70 5 Defeats and Dreams 92 Notes and References 107 Index 111 Vll Acknowledgements I should like to thank Frances Arnold, my editor at Macmillan, and the outside reader whose advice and comments helped to shape the book. -
Robert Lowell: Secular, Puritan, and Agnostical
420 Religion, Literature and the Arts Project ROBERT LOWELL: SECULAR, PURITAN, AND AGNOSTICAL Chris Watson The Aquarium is gone. Everywhere, giant finned cars nose forward like fish: a savage servility slides by on grease. "For the Union Dead" ends with this image of Boston in the middle of the twentieth century. The poem has previously referred to other images from the present and the past, one of them the public monument representing Colonel Shaw and a regiment of black infantry who fought in the Civil War. The speaker comments that: their monument sticks like a fishbone in the city's throat. The impact of the poem's ending is heightened by reference to its epigraph: "Relinquunt omnia servare Rem Publicam" almost meaning "they gave up everything to serve the Republic." LoweU links the debasement of language with other losses discerned in modern Boston modern America, the modern world. The poem refers to "graveyards of the Grand Army of the Republic". Even a century ago, let alone in a Roman context, the notion of "republic" suggested a common commitment to the public realm, the common weal. Here is a society with no such focus, but one which has parodies of it, summed up as he implies elsewhere, by the values of the "Republican" Party, the dominant party in the USA of the 1950s. Likewise the notion of service is parodied by the grease-smooth ''servility" of this consuming and greedy society; this people is neither truly free nor does it serve; neither does it want to know about those who have, those whose service was intimately linked with their religious commitment. -
Critical Survey of Poetry: American Poets
More Critical Survey of Poetry: American Poets Robert Lowell by Eleanor von Auw Berry Other literary forms Robert Lowell made free translations of poems by writers from Homer to Boris Pasternak, which constitute Imitations and the similar translations of Roman TABLE OF poems in Near the Ocean. In addition, he wrote Phaedra, a translation of Jean CONTENTS Other literary forms Racine’s play (published in 1961, premiered at Wesleyan University in 1965), Achievements and The Oresteia of Aeschylus, a translation of Aeschylus’s play (published Biography posthumously in 1979). The Old Glory, a group of plays (Endecott and the Analysis Red Cross, My Kinsman, Major Molineux, and Benito Cereno) based on stories Lord Weary’s Castle by Nathaniel Hawthorne and Herman Melville, was originally published in 1965; The Mills of the the latter two plays were premiered at the American Place Theater in 1964, Kavanaughs winning for Lowell an Obie Award. A revised edition, with an expanded version Life Studies of Endecott and the Red Cross, was issued in 1968, and Endecott and the For the Union Dead Red Cross had its first performance at the American Place Theater in the Near the Ocean same year. Prometheus Bound, Lowell’s only other dramatic work, was Notebook, 1967-1968 presented at Yale in 1967 and published in 1969. Lowell also published a History number of reviews and appreciations of writers; his Collected Prose was The Dolphin published in 1987. Day by Day Bibliography Robert Lowell (©Phil MacMullen, Newsweek/Courtesy, Farrar, Straus and Giroux) Achievements Robert Lowell’s poetry gives uniquely full expression to the painful experience of living in modern America; he speaks personally of his own experience as son, husband, lover, father, and mentally troubled individual human being, and publicly of American policy and society as a morally and spiritually troubled inheritor of Western cultural and Christian spiritual values. -
The Art of Robert Lowell
SYDNEY STUDIES The Art of Robert Lowell BARRY SPURR The generation of poets to which Robert Lowell belongs was dominated by the literary theory and practice of T. S. Eliot. Lowell's birth in the same year (1917) in which Eliot's first major collection, Prufrock and Other Observations, was published, is the first of many coincidences in the poets' lives. Like Eliot thirty years before, Lowell was born into a highly distinguished New England family conspicuous in public service and cultural pursuits. It was said of Boston, in those days, that The Lowells talk only to Cabots And the Cabots talk only to God. And if Lowell's father was rather less than the noblest of his kind, this made his parents more anxious to aspire to familic ex pectations. The poet who was to write bitter verse on the subject as a man, was depressed in childhood by the ostentatious em blems of patriarchy at home, the watered-down Unitarian religion of puritan moralism at church, and his parents' yearning for success in the world at large. His passage through life proved, in the long run, to be more erratic than Eliot's. Yet this early environment and such charac teristics and landmarks on Lowell's subsequent journey as his rootlessness-moving to the South, then to New York, and eventually to Europe and England-his conversion to Catholi cism, his unhappy married life, bear striking resemblance to Eliot's biography. However, the most important similarity be tween the poets is the character of the world view which Lowell's experiences shaped for him, and to which his poems give voice. -
Robert Lowell Collected Poems Free Download
ROBERT LOWELL COLLECTED POEMS FREE DOWNLOAD Robert Lowell,David Gewanter,Frank Bidart,DeSales Harrison | 1186 pages | 03 Apr 2007 | Farrar Straus Giroux | 9780374530327 | English | New York, NY, United States Collected Poems Snodgrass and Allen Ginsberg, Lowell in the mid-fifties began to write more directly from personal experience, and loosened his adherence to traditional meter and form. Collected Poems. I don't think that's a poor reflection of the poetry, but rather of myself. View 1 comment. After reading his collected poems, I do find it funny that the first I read of him was his 'free verse'. May 23, Frederick marked it as to-read Shelves: lowell-robert. Very good. So of course, poems like "Skunk Hour" and "Beyond the Alps" are just breathtaking. People look at e He'd dead--and deadly. Jan 11, Robert Lowell Collected Poems Epstein rated it liked it. I'm happy to say that I DID takes notes so many on some pages that I can barely make out the poem and it did become holy in the way that great works which you love so much they're hard to look at straight on become. Edmund Wilson wrote of Robert Lowell that he was the 'only recent American poet - if you don't count Eliot - who writes successfully in the language and cadence and Robert Lowell Collected Poems of the resounding English tradition'. May 20, Paul Baran rated it it was amazing. It's a memorable set-piece, one of Lowell's minor triumphs. Showing He was recognized as an accomplished poet in his own lifetime, and along with Elizabeth Bishop, John Berryman and Sylvia Plath he created the fashion and generated the force of American poetry over the s, 60s, and 70s. -
Robert Lowell - Poems
Classic Poetry Series Robert Lowell - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive Robert Lowell(1917 - 1977) Robert Traill Spence Lowell IV (March 1, 1917 – September 12, 1977) was an American poet, considered the founder of the confessional poetry movement. He was appointed the sixth Poet Laureate Consultant in Poetry to the Library of Congress where he served from 1947 until 1948. He won the Pulitzer Prize in both 1947 and 1974, the National Book Award in 1960, and the National Book Critics Circle Award in 1977. Life Early Years Lowell was born in Boston, Massachusetts to a Boston Brahmin family that included poets Amy Lowell and James Russell Lowell. His mother, Charlotte Winslow, was a descendant of William Samuel Johnson, a signer of the United States Constitution, along with Jonathan Edwards, the famed Calvinist theologian, Anne Hutchinson, the Puritan preacher and healer, Robert Livingston the Elder, Thomas Dudley, the second governor of Massachusetts, and Mayflower passengers James Chilton and his daughter Mary Chilton. He received his high school education at St. Mark's School, a prominent prep- school in Southborough, Massachusetts, where he met and was influenced by the poet Richard Eberhart who taught at the school. Then Lowell attended Harvard College for two years before transferring to Kenyon College in Gambier, Ohio, to study under John Crowe Ransom and Allen Tate. There is a well-known anecdote about where Lowell lived when he first arrived at Kenyon. Before arriving at the school, he asked Allen Tate if he could live with him, and Tate joked that if Lowell wanted to, he could pitch a tent on his lawn; this is exactly what Lowell did. -
"MARITAL METAPHORS in ROBERT LOWELL's LIFE STUDIES" Kawther
European Journal of English Language and Literature Studies Vol. 1, No 1, September 2013 Published by European Centre for Research Training and Development UK (www.ea-journals.org) "MARITAL METAPHORS IN ROBERT LOWELL'S LIFE STUDIES " Kawther Mahdi Al-Zwelef Faculty of Arts, Zarqa University, Jordan. Correspondence: Dr. Kawther Mahdi Al-Zwelef, Associate Professor, Faculty of Arts, Zarqa University, Jordan. ABSTRCT: This paper will examine Robert Lowell’s creative process of exposing his private experiences in his autobiographical poetry, particularly in one of his best volumes; Life Styles, through which he intended to fictionalize his self in the process of creating a retrospective truth of his life. Lowell utilized his recollected memories, not only to explore his lost self and others' as part of his psychotherapy, but to employ such reminiscences to recreate a modified self located at the center of the cultural framework. By following such a poetic style, that represented a new sensibility, Lowell achieved a significant breakthrough in American poetry, that M.L. Rosenthal branded as "confessional (1) , while B. Shaw labeled as "poetry of revolt." (2) However, the most interesting feature in his confessional poetry is the use of 'marital metaphors'; specifically those of 'separation', 'breaking up' and 'divorce'. Lowell adapted this style to launch a procession of alienated figures whose calamities examine, shed light and link the poet's private embarrassments, painful memories and psychological traumas with so many seemingly unrelated topics such as American materialistic traditions, estrangement of the artist from culture, religious false verifications and war. KEYWORDS: Confessional poetry, Mortification, Alienation, Family pressure, Marital metaphors that indicate collapse and parting.