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Osmond-Williams, Philippa (2019) Changing Scotland: a Social History of Love in the Life and Work of Edwin Morgan

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Osmond-Williams, Philippa (2019) Changing Scotland: a Social History of Love in the Life and Work of Edwin Morgan Osmond-Williams, Philippa (2019) Changing Scotland: A social history of love in the life and work of Edwin Morgan. PhD thesis. http://theses.gla.ac.uk/75142/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Changing Scotland: A Social History of Love in the Life and Work of Edwin Morgan Philippa Osmond-Williams M.A. (Hons), M.Phil. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Arts) Department of Scottish Literature School of Critical Studies College of Arts University of Glasgow June 2019 Abstract Examining love in the life and work of Edwin Morgan (1920-2010), this thesis argues that Morgan’s literary and artistic demonstrations of love inherently respond to the legal, political, and social changes of Scotland in the twentieth and twenty-first century. By mapping Morgan’s biographical contexts within Scotland’s wider social history and culture, the impact of the nation and its shifting attitudes on Morgan’s collected works is delineated. An examination of material only available to researchers, including Morgan’s correspondence and scrapbooks held in Archives and Special Collections at Glasgow University Library, supplements this comprehensive exploration of the significance of love in Morgan’s life and work. Different themes in Morgan’s literature surface at different periods of his life, often significantly responding to specific biographical or socio-historical contexts. This thesis, therefore, is organised chronologically in relation to Morgan’s biography rather than to his publications, although these two timelines do often overlap. Each chapter covers three decades of Morgan’s life. Chapter One explores Morgan’s interaction with love in the context of war. Morgan’s early defining relationships and the iconography of love and war in his scrapbooks are examined, followed by an interrogation of the homosocial emphasis in Morgan’s translation of Beowulf (1952). A reappraisal of the ‘subterranean’ structure of ‘The New Divan’ (1977) is performed through a thematic examination of love and sex. Chapter Two analyses the homosexual subtexts that arise in Morgan’s later scrapbooks, focusing particularly on literary figures and British public trials. The love sequence from The Second Life (1968) is examined in relation to the major romantic relationship of Morgan’s life that inspired these poems, followed by an exploration of personal and universal grief in ‘The Moons of Jupiter’ (1979). Chapter Three considers transformation, exploring Scotland’s social attitudes following the decriminalisation of homosexuality and the impact this had on Morgan’s writing and his role as a public figure. Highlighting Morgan’s emphasis on particular themes that respond to personal contexts and Scotland’s socio-political shifts, transformation through translation and adaptation is examined through four key texts: Cyrano de Bergerac (1992), Phaedra (2000), A.D.: A Trilogy of Plays on the Life of Jesus Christ (2000) and The Play of Gilgamesh (2005). The ‘Demon’ (1999) sequence is the final text analysed, serving to highlight the crucial connection that Morgan establishes between love, creation, and energy. 2 Table of Contents Acknowledgements 5 Author’s Declaration 6 Abbreviations 7 Introduction i. General Introduction 8 ii. Methodology 11 Chapter One: Morgan and Love in War 17 1.1. Introduction 17 1.2. Early Life 18 1.3. Scrapbooks I 22 1.4. Pre-War Relationships 39 1.5. Homosociality in War 45 1.6. Beowulf 52 1.6.1. Hrothgar 57 1.6.2. Grendel 61 1.7. ‘The New Divan’ 67 Chapter Two: Love and Desire in the Fifties, Sixties, and Seventies 93 2.1. Introduction 93 2.2. Scrapbooks II 93 2.2.1. Literary Figures 96 2.2.2. Public Trials 105 2.3. John Scott and The Second Life 117 2.3.1. Elegies 119 2.3.2. Love Poetry 123 2.4. ‘The Moons of Jupiter’ 134 Chapter Three: Translation, Adaptation, and Transformation 156 3.1. Introduction 156 3.2. 1980s Scotland 157 3.3. Malcolm 165 3 3.4. Coming Out 173 3.5. Cyrano de Bergerac and Phaedra 177 3.5.1. Cyrano de Bergerac: Shame and Suppression 182 3.5.2. Phaedra: Guilt and Desire 190 3.6. Morgan in the New Millennium 199 3.7. A.D. and Gilgamesh 204 3.8. ‘Demon’ 228 Conclusion 240 Bibliography 247 4 Acknowledgements I would like to thank my two supervisors, Alan Riach and Ernest Schonfield, who have guided me through this process. I am immeasurably grateful for their encouragement, ideas, and support - both personal and academic - over the past three and a half years. It has been a pleasure to spend my undergraduate and postgraduate study at the University of Glasgow based in the Scottish Literature department, and I am thankful to all of those from the department who have supported me along the way. Thank you to the College of Arts at the University of Glasgow for their generous support in funding this research, without which this project would not have been possible. I would also like to thank the Archives and Special Collections Department, in particular Sarah Hepworth and Sam Maddra, for their assistance and support throughout this process. Thank you, too, to Mark, for the chats and encouragement, and for allowing me insight into his friendship with Morgan. My research was made all the more enjoyable working alongside my office-mates - thank you to Ioulia, whose hard work inspired me when I first started writing my thesis, and Will, whose creativity and hilarity made all our office days together an absolute pleasure. Thank you to my token office-mates, Isla and Charlie, for the hugs and love, and the rest of 73 Great George Street - Nia, Simon, Hannah, Heather, and others. A special thank you to my family and friends. In particular, thank you to Naomi, for all of her love and sisterly support. Thank you to Stuart, for everything over the past year. Most of all, thank you to my brother, Jim, for his endless love and encouragement of everything I do. I dedicate this thesis in memory of my late mother, Jane. She is, and always will be, in every word I write about love. 5 Author’s Declaration I declare that, except where explicit reference is made to the contribution of others, that this dissertation is the result of my own work and has not been submitted for any other degree at the University of Glasgow or any other institution. Signature: Philippa Osmond-Williams 6 Abbreviations Texts and publications ABL: A Book of Lives BTLD: Beyond the Last Dragon C: Cathures CP: Collected Poems CT: Collected Translations DON: Dreams and Other Nightmares E: Essays HHAA: Hold Hands Among the Atoms LL: Love and a Life TML: The Midnight Letterbox NNGM: Nothing Not Giving Messages SOD: Sweeping Out the Dark TPoG: The Play of Gilgamesh VOR: Virtual and Other Realities 7 Introduction i. General Introduction It seems this is a world of change, where we, observing, can scarcely fix the observed and are unfixed ourselves. This solid hill even as I speak is half transparent, white walls and floor show through, we sink, the stars are roof-lights in a large computer room. The air is clear, the light even, the hall vibrant as a heart.1 It is commonplace to describe Edwin Morgan as a poet of change, his apothegm ‘Change Rules is the supreme graffito’2 characterising his work as a whole. This thesis seeks to investigate the interconnection between change and what George Reid describes as Morgan’s commitment ‘to a process of transformation that was both national and personal’.3 The nexus of that interconnection between transformation and commitment in Morgan’s life and writing is love. Scotland, as with its surrounding world, underwent significant political and social change during the twentieth century, by which Morgan was directly affected. As a gay man born in Glasgow in 1920, sixty years before Scotland’s partial decriminalisation of homosexuality, Morgan witnessed the gradual transformation of religious, medical and social perceptions of his sexual identity, transitioning from uncompromising intolerance into an outspoken acceptance, albeit still with barriers to overcome. This thesis plots Morgan’s artistic demonstrations of love against the changing political, legal, cultural, and socio-historical frameworks of Scotland in his lifetime. Morgan’s exploration of love is a key aspect of his creative output, but my research argues that his depiction of love inherently responds to the twentieth- and twenty-first-century transformation of Scotland, particularly in relation to wider 1 Edwin Morgan, ‘Memories of Earth: Tape 2: The Earth’, Collected Poems (Manchester: Carcanet, 1990), 387, ll. 282-9. 2 Edwin Morgan, Essays (Manchester: Carcanet, 1974), vii 3 George Reid, ‘Edwin Morgan: A Eulogy’ (26 August 2010) https://asls.arts.gla.ac.uk/Morgan-eulogy.html [accessed 01.03.2019]. 8 perceptions of homosexuality. Morgan’s belief in the universality of love is essential and thus different facets of love are considered throughout this work, which in turn will be used to construct my closing theory on Morgan’s perception of love as a form of energy. The major focus of the thesis, however, is Morgan’s personal and literary response to his sexuality and its place within Scottish political, cultural, and legal contexts.
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