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Identity and the Victorian Woman Poet: Working in and Against the Poetess Tradition

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Identity and the Victorian Woman Poet: Working in and Against the Poetess Tradition IDENTITY AND THE VICTORIAN WOMAN POET: WORKING IN AND AGAINST THE POETESS TRADITION by STEPHANIE JENNER A thesis submitted to The University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of English Literature College of Arts and Law The University of Birmingham October 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This study asserts that many Victorian women poets were engaged in processes of challenging, interrogating and reconstructing the Poetess Tradition. In doing so, these women asserted control over the construction of their identities as women writers. This contradicts the image unfortunately constructed by previous scholarship, where reclamation of Victorian women poets has depicted them as passive victims of culturally institutionalised oppression. Instead, many women poets devised and applied a complex amalgamation of poetic styles and methods to trouble the limitations placed upon them due to their gender. This study investigates some of the many methods by which women poets worked in and against the Poetess Tradition, namely the adoption of a pseudonym, the construction of a new female poetics, and the use of a dramatised speaker. Through engaging in these practices, the position and status of women poets in Victorian writing cultures will be redressed, and a more complex and nuanced picture of Victorian literary landscapes will be provided. ACKNOWLEDGEMENTS First and foremost I offer my sincerest gratitude to my supervisor, Jim Mussell, who has supported me throughout my thesis with his patience, advice and assistance. I would also like to thank Marion Thain for her unfailing encouragement and inspired solutions. I simply could not have wished for better, friendlier or more encouraging supervisors. The Library of the University of Birmingham has been invaluable to me for the entirety of my study. The resources and materials available have provided me with a wealth of easily accessible knowledge and information, without which this thesis would not exist, and for which I am eternally grateful. I would also like to thank the staff of the library for their unfailing support; not only academically, but for accepting me into gainful employment and so preventing my imminent homelessness and starvation. In particular, I would like to thank Claire Browne and Luke Potter for being the most understanding managers I could have hoped for, and sympathetic to me needs to research journals while the phones were quiet. Also, my unending gratitude goes in particular to Mrs Claire McHale and Mr Vikee Chauhan for being the wonderfully moral-boosting, advice-offering, sympathetic-ear-providing people that they are. In my daily work I have been fortunate to have found a fun, supportive and cheerful group of fellow students. Laura Hilton, Sarah Parker, Paul Horn, Jenny Harding, Emma King and Lucine Nahabedian, amongst many, have made postgraduate life immensely varied, exciting and interesting, and have salvaged the study room from being a pit of despair many times. In particular, I would like to express my everlasting gratefulness to Holly Prescott and James Barnett, whose unfailing advice, intimate knowledge of the intricacies of English grammar, and motivational pep-talks, have brought about the completion of this thesis. I wish to also thank them for their enthusiasm for adventure, lyrical pouncing and cake provision, which have bestowed many hours of satisfying and memorable procrastination. I would also like to thank my friends who exist outside the academia bubble, most notably Lorna Hirst, Rachel Case and Sarah Clarke, whose realism and practicalities have kept things in perspective and so preserved my sanity, assisted with a constant supply of wine. A special mention goes to Michelle Cullen, the College of Arts and Law’s Graduate Officer, for her perpetual enthusiasm, knowledge of all paperwork and administration, ability to solve any problem in less than thirty minutes, and supply of teaspoons. Thank you. Finally, but most importantly, I thank my parents for supporting me throughout all my studies at University, instilling in me the strength and determination to survive it, providing a home in which to complete it, sending regular donations to the ‘shoes and smoothie fund’, and overall being the kindest, most supportive, most forgiving people on the planet. CONTENTS INTRODUCTION 1 CHAPTER ONE: THE POETESS TRADITION 9 Identifying the Poetess Tradition 9 The Gender as Genre Paradox 20 Negotiation of Identity 26 CHAPTER TWO: PSEUDONYMS 35 The Pseudonym as a Gender-Veil 37 The Pseudonym as a Stage Persona 44 The Pseudonym as a Constructed Identity 52 CHAPTER THREE: A NEW POETICS 64 Identity of the Woman Poet 69 Authority of the Woman Poet 73 Poetics of the Woman Poet 80 Multitude of Women Poets 84 CHAPTER FOUR: THE DRAMATIC MONOLOGUE 90 Inhabiting the Conventional 95 The Fragmented Self 102 Marginalised Voices 109 CONCLUSION 116 BIBLIOGRAPHY 126 List of Works Cited 126 List of Works Consulted 132 1 INTRODUCTION Different writers‟ „understanding and acceptance or manipulation of their position…vary from period to period, from culture to culture and, most importantly, from individual to individual‟ (Gill 2007: 8). This acknowledgement of the „huge differences between each [writer‟s] literary, cultural and indeed spiritual context‟ (Gill 2007: 8) asserts that the Victorian literary marketplace was immensely diverse and in a constant state of flux. However, statistical evidence from Joanna Russ (1983), Jeni Couzyn (1985) and Vicki Bertram (2005) shows that the majority of anthologies fail to reflect even a tiny portion of this diversity. This has resulted in a distorted canon which many late-twentieth-century critics became interested in repairing. One sub-group which suffered marginalisation from mainstream literature was women writers. The reasons behind this neglect can be traced to various traditionally institutionalised prejudices and ideas concerning literary worth, ranging from assumptions over women‟s inferior intelligence (Showalter 1979: 76-8) and a fierce masculine rationality that despised feminine writing (Armstrong, Bristow and Sharrock 2008: xxxvi), to the control male editors wielded over anthology compilations as they satisfied their own interests at the expense of diversity (Armstrong 1993: 322). However, initial attempts at recovery became skewed, for, as Elaine Showalter (1979) posits, women‟s literature suffered from John Goss‟s „residual Great Traditionalism‟, where it has been reduced and condensed into a tiny band. As a result, the majority of twentieth-century recovery attempts resulted with the novel being the main embodiment of women‟s literary efforts (Gill 2007: 11). Women poets predominantly remained in the background of literary interests until Margaret Homans‟ groundbreaking Women Writers and Poetic Identity of 1980. Victorian women poets are now not only being recovered, but also analysed. This study will build upon the 2 previous three decades‟ worth of attention on Victorian women poets, to focus on their consciousness of the gendered ideologies that influenced their critical reception. Over the last three decades there has been a focussed effort by academic research to rediscover the work of women poets from previous centuries, inspiring critics to redress the exclusion of women poets from the literary canon. In relation to the Victorian literary landscape, investigations led by Margaret Homans (1980), Kathleen Hickok (1984), Dorothy Mermin (1986), Deidre David (1987), Virginia Blain (1988), Isobel Armstrong (1993), Joseph Bristow (1995) and Angela Leighton (1996) provided a far more complex and nuanced picture than canonical anthologies traditionally indicated. This has resulted in the previously maligned and under-valued Victorian female poets being re-evaluated by those sensitive to female writing cultures. While these anthologies of the 1980s and 1990s succeeded in retrieving works by neglected poets, they failed to fully acknowledge the poets‟ own consciousness of their literary and cultural contexts. This study will, therefore, focus on the methodologies used by those women who have already been granted a position in these new anthologies. This re- assessment takes the form of the Victorian women poets‟ awareness of their precarious position in their contemporary literary societies, and the formation of literary history. My argument is that Victorian women poets‟ relationship with contemporary literary cultures was conscious and intentional. By investigating this awareness of the gendered politics of their society and women poets‟ active engagement with and interrogation of them, then the diversity, accomplishment and complexity of their work will be recognised. Although Susan Brown has already argued that „the voice of the poetess…took the form of a self-consciously feminine self-staging in verse‟ (2000: 184), this thesis will develop this notion further, by 3 exploring how Victorian women poets reconstructed
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