A Genealogy of the Verse Novel

Total Page:16

File Type:pdf, Size:1020Kb

A Genealogy of the Verse Novel A Genealogy of the Verse Novel A Genealogy of the Verse Novel By Catherine Addison A Genealogy of the Verse Novel By Catherine Addison This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Catherine Addison All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7899-5 ISBN (13): 978-1-4438-7899-9 For John Hulcoop TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................. x INTRODUCTION ............................................................................................. 1 CHAPTER ONE ............................................................................................ 12 GENRE CHAPTER TWO ........................................................................................... 36 EARLY VERSE NOVELS Origins: William Chamberlayne’s Pharonnida ................................... 36 Christopher Anstey: The New Bath Guide ........................................... 44 Anna Seward, Louisa ........................................................................... 49 George Crabbe’s Tales ......................................................................... 53 Byron’s “Beppo” and Don Juan .......................................................... 59 Thomas Moore, The Fudge Family Sagas .......................................... 72 Alexander Pushkin, Eugene Onegin .................................................... 75 Adam Mickiewicz, Pan Tadeusz ......................................................... 81 CHAPTER THREE ........................................................................................ 84 THE VICTORIAN PERIOD Blank Verse.......................................................................................... 89 Elizabeth Barrett Browning, Aurora Leigh .................................... 89 “Violet Fane,” Denzil Place ......................................................... 103 Robert Browning, The Ring and the Book .................................... 109 Thomas Woolner, Pygmalion, Charles MacKay, A Man’s Heart, Marguerite A. Power, Virginia’s Hand, Other Blank Verse Texts ....................................................................................... 123 Heroic Couplets ................................................................................. 130 Wilfred Scawen Blunt, Griselda .................................................. 130 William Allingham, Laurence Bloomfield in Ireland .................. 140 Sonnets ............................................................................................... 147 George Meredith, Modern Love ................................................... 147 Hexameter Verse Novels ................................................................... 153 Arthur Hugh Clough, The Bothie and Amours De Voyage ........... 153 Tetrameter Verse Novels ................................................................... 170 viii Table of Contents Conventry Patmore, The Angel in the House and The Victories of Love .................................................................................... 170 Herman Melville, Clarel .............................................................. 180 “Owen Meredith,” Lucile ............................................................. 192 Alphonso Alva Hopkins, Geraldine ............................................. 210 Edmund C. Nugent, Anderleigh Hall ........................................... 212 Manners Stephenson, Jason of the Golden Fleece ....................... 221 CHAPTER FOUR ........................................................................................ 227 THE EARLIER TWENTIETH CENTURY Free-Verse Novels ............................................................................. 230 Edgar Lee Masters, Spoon River Anthology ................................. 230 May Sinclair, The Dark Night ...................................................... 239 David Jones, In Parenthesis ......................................................... 245 Peter Bowman, Beach Red ........................................................... 257 MacKinlay Kantor, Glory for Me ................................................. 264 Jazz Rhythm ....................................................................................... 273 Joseph Moncure March, The Wild Party and The Set-Up ............ 273 Blank Verse........................................................................................ 285 Susan Miles, Lettice Delmer ........................................................ 285 Edgar Lee Masters, Domesday Book ............................................ 297 Mixed Forms ...................................................................................... 309 Philip Toynbee, Pantaloon and its Sequels .................................. 309 Christopher La Farge, Each to the Other and other texts ............. 314 Stephen Vincent Benét, John Brown’s Body ................................ 321 William Rose Benét, Rip Tide ...................................................... 326 Zelda Varian Price, Take It to the Hills ........................................ 333 C. J. Dennis, The Songs of a Sentimental Bloke and Sequels ....... 336 Ottava Rima and Similar Stanzas ....................................................... 339 Gilbert Frankau, One of Us, One of Them and More of Us .......... 339 Eileen Hewitt, Donna Juana ........................................................ 348 CHAPTER FIVE .......................................................................................... 358 THE CONTEMPORARY AGE Free Verse .......................................................................................... 361 Classification and the Unclassifiable: 24 Hours, by Π. O. ........... 361 Short-Line and Short-to-Longer-Line Free Verse .............................. 362 Dorothy Porter, The Monkey’s Mask ............................................ 362 Diane Brown, 8 Stages of Grace, Ana Castillo, Watercolor Women Opaque Men, Anne Carson’s The Beauty of the Husband, Bernadine Evaristo, The Emperor’s Babe .............................. 368 A Genealogy of the Verse Novel ix Long-Line Free Verse Novels ............................................................ 375 Bernadine Evaristo, Lara, Les Murray, Fredy Neptune, W. S. Merwin, The Folding Cliffs .......................................... 377 Metrical Verse: Unrhymed Forms, Including Blank Verse ............... 382 Paul Hetherington, Blood and Old Belief ..................................... 382 David Mason, Ludlow .................................................................. 384 Terza Rima and Related Forms .......................................................... 387 Derek Walcott, Omeros ................................................................ 388 John Haynes, Letter to Patience, Glyn Maxwell, Time’s Fool, Kwame Dawes, Prophets, Ralph Thompson, View from Mount Diablo .......................................................................... 396 Ottava Rima (and Some Spenserian Stanzas) .................................... 401 Fred D’Aguiar, Bloodlines ........................................................... 403 Anthony Burgess, Byrne .............................................................. 406 Wayne Koestenbaum, Model Homes ........................................... 410 Alan Wearne, The Lovemakers .................................................... 414 Sonnets ............................................................................................... 416 Les Murray, The Boys Who Stole the Funeral .............................. 419 Marilyn Hacker, Love, Death, and the Changing of the Seasons .... 424 Four-Beat Lines: The Onegin Stanza and Related Forms .................. 428 John Fuller, The Illusionists ......................................................... 429 Vikram Seth, The Golden Gate .................................................... 432 H. R. F. Keating, Jack the Lady-Killer ......................................... 441 Matt Rubinstein, Solstice and Equinox ......................................... 443 Mixed-Form Verse Novels ................................................................ 449 Alan Wearne, The Nightmarkets and The Lovemakers ................ 449 New Forms ......................................................................................... 456 Brad Leithauser, Darlington’s Fall .............................................. 456 WORKS CITED .......................................................................................... 467 INDEX ....................................................................................................... 488 ACKNOWLEDGEMENTS The author gratefully acknowledges permission to adapt or reproduce material from the following articles published under her name: “Contemporary Verse Novels: An Explosion of Poetic Narrative,” Alternation 10.1 (2003): 307-326; “The Verse Novel as Genre: Contradiction or Hybrid?”, Style 43:4 (2009): 540-563; “The Verse Novel: A Challenge to Established Genres?”, English Studies in Africa 55.2 (2012): 85-101; “Chamberlayne’s Pharonnida: The First English Verse
Recommended publications
  • The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
    THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice.
    [Show full text]
  • Download This Guide As A
    Teacher’s Guide I Remember: Poems and Pictures of Heritage compiled by Lee Bennett Hopkins About the Book Genre: Poetry (Biographical) SYNOPSIS Format: Hardcover, $19.95 I Remember: Poems and Pictures of Heritage brings together the work of 56 pages, 7” x 10” fourteen award-winning poets and sixteen illustrators of diverse backgrounds ISBN: 9781620143117 who share aspects of their childhood experiences in honest portraits of what it was like for them growing up in the United States. Newbery Medalist Kwame Reading Level: Grade 5 Alexander takes us on a riotous ride through good times and sad spent with his extended family, which is perfectly captured by Coretta Scott King Award Interest Level: Grades 4–12 winner Michele Wood’s vibrant overlapping images. Pura Belpré Award winner Guided Reading Level: W Margarita Engle shares happy memories of learning embroidery from her grandmother, accompanied by Ecuadorean fine artist and printmaker Paula Accelerated Reader® Level/Points: Barragán’s colorful graphic representation of a granddaughter and grandmother NP at work. Bestselling author Nick Bruel talks about his confusion at having to define himself by a single racial label, which is brought to life by newcomer Lexile™ Measure: NP Janine Macbeth’s reflective image of herself trying to figure out her own mixed *Reading level based on the ATOS Readability Formula ancestry. Themes: Art, Biography and Memoir, Biracial/ Multiracial Interest, Childhood Experiences and Memories, Together these heartfelt poems and captivating illustrations shine a light on the Cultural Diversity, Diversity, Dreams and Aspirations, Empathy rich diversity of people in our nation as well as the timeless human connections and Compassion, Families, Fathers, Food, Grandparents, and universal experiences we all share.
    [Show full text]
  • The Novelistic Poem and the Poetical Novel: Towards A
    THE NOVELISTIC POEM AND THE POETICAL NOVEL: TOWARDS A THEORY OF GENERIC INTERRELATION IN THE ROMANTIC PERIOD by Nick Bujak A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland July 2014 © 2014 Nick Bujak All Rights Reserved Abstract This dissertation examines the shifting set of formal and conceptual relations that have structured the intertwined development and reception of “the novel” and “poetry” since the Romantic period. In Part One, I focus on the continuing rise of the novel in the age of best-selling poetry, arguing that narrative poetry and the novel participated in a shared history of narrative innovation. I take the popular and formally innovative poems of Walter Scott as a particularly important example of poetry’s contribution to this shared history. Specifically, I argue that Scott’s knowledge of the ballad tradition and his modern experiments with poetry in that mode enabled him to introduce narrative techniques into the novel that prepare the way for the deployment of free indirect discourse in the novels of Jane Austen and her successors. More broadly, I attempt to describe a theory of generic interrelation that is capable of identifying and explaining the interrelated formal development of works written during the Romantic period. In Part Two, I work to recover and analyze the complex history of perceptions about genre from the Romantic period through the twentieth century. Since the Romantic period itself, many thinkers have been interested in identifying what is essentially poetic about poetry, and, as a closely related matter, in determining what can distinguish poetry from prose and the novel.
    [Show full text]
  • Poetic Technique in Vikram Seth's the Golden Gate
    Poetic Technique in Vikram Seth's The Golden Gate by June Edvenson Thjømøe A Thesis presented to the Department of Humanities University of Oslo in partial fulfillment of the requirements for the Master of Arts degree in English Literature September, 2008 Oslo, Norway Table of Contents Acknowledgements i Dedication and Foreword ii 1. Introduction 1 2. Analytical Tools 4 3. Analysis and Comment to Date 11 4. Analysis 14 A. Beginnings: Sonnet 1.1 14 B. Dialogues 19 1. Voicemail and Phone Chat 20 2. Context and Conversation at a Chinese Restaurant 21 C. Party Contexts 31 1. Cocktail Party Culture 31 2. The Wedding Party 41 3. The Last Party 44 D. Nature 48 1. Characters in Nature 48 2. Seth Characterizing Nature 51 E. Activism and Acts 56 1. Speech and Social Activism: The Priest's Speech 56 2. Acts of Prayer & Salvation 63 a. Prayer to Saint Francis 63 b. Endings 65 5. Conclusion 69 APPENDIX A: Synopsis of The Golden Gate 80 BIBLIOGRAPHY 107 Primary Bibliography Secondary Bibliography Acknowledgements I would like to thank my advisor, Juan Christian Pellicer, for his insightful direction and support. I would also like to thank Professor Jakob Lothe for his guidance in the Thesis Writing seminar. i Dedication To my husband, Hans Mathias Thjømøe, for his steadfast belief in me and his support of my efforts in Norway Foreword Also born in '52, She grew up in Chicago, Hometown of gangsters, cronies, blues. To the Illinois forests and plains she moves. There, studied literature and law, Landscapes, philosophy, played in a band.
    [Show full text]
  • Ad – VERSE – Ity!
    Ad – VERSE – ity! A verse novella by the students of Collingwood Alternate School in collaboration with published poet Amelia Walker. CONTENTS Introduction 3 Episode 1: Scattered Secrets 4 Episode 2: 2am Phone Call / Egyptian Wakemare 5 Episode 3: MC Battle 7 Episode 4: Where are you when you’re lost? 8 Episode 5: SMS SOS 9 Episode 6: Home Again 10 Episode 7: Mokita 11 Episode 8: Wildcards 14 Episode 9: What’s Beneath All This Junk? 16 Episode 10: Broken Surface 19 Episode 11: Snatches of Truth (A Modified Ninjun Renga*) 21 Episode 12: Becalmed Before the Storm 23 Episode 13: Verdict 25 Episode 14: The Flowering Gums 28 Episode 15: Part 1 - Lights Out 30 Part 2 - Caped Crusaders, Kryptonite and Cake 31 2 Ad-VERSE-ity! - Collingwood Alternative School's Verse Novella On Friday 1st June 2007, Reach Out! presented the first episode of 'Ad-VERSE-ity!', a new verse novella by the students of Collingwood Alternative School in collaboration with published poet Amelia Walker. Told through a series of linked poems, 'Ad-VERSE-ity' follows the journey of T.J. - a sixteen year boy struggling to understand and cope with his older brother's mental illness. The story was told over fifteen weeks, with a new episode appearing every Friday. 'Ad-VERSE-ity' explores the myths and misconceptions that surround mental illness. It also portrays the reality: the practical and emotional challenges faced by people who experience mental illness and their families, and the ways in which people with mental illness and their families can find help to triumph over tough times.
    [Show full text]
  • Narrative Poetry: Telling Stories Through Verse by Thoughtco.Com, Adapted by Newsela Staff on 02.12.20 Word Count 1,046
    Narrative poetry: Telling stories through verse By ThoughtCo.com, adapted by Newsela staff on 02.12.20 Word Count 1,046 Image from public domain Narrative poetry tells stories through verse. Like a novel or a short story, a narrative poem has plot, characters and setting. It creates a mood using poetic devices such as rhyme and meter and often includes action and dialogue. In most cases, narrative poems have only one speaker — the narrator — who tells the entire story from beginning to end. For example, Edgar Allan Poe's "The Raven" is narrated by a grieving man. In the poem, he describes his mysterious confrontation with a raven and his descent into despair. Origins Of Narrative Poetry The earliest poetry was not written but spoken, recited, chanted or sung. Poetic devices like rhythm, rhyme and repetition made stories easier to memorize. This allowed people to hand the poems down through generations. Narrative poetry evolved from this oral tradition. In nearly every part of the world, narrative poetry established a foundation for other literary forms. For example, "The Iliad" and "The Odyssey," which have come down to us from ancient This article is available at 5 reading levels at https://newsela.com. Greece, have inspired artists and writers for more than 2,000 years. Narrative poetry became a literary tradition throughout the Western world. The German saga known as "Nibelungenlied," for example, lives on in composer Richard Wagner's opera series, "The Ring of the Nibelung." The Anglo Saxon narrative "Beowulf" has inspired modern-day books, movies, operas and computer games.
    [Show full text]
  • |What to Expect from Eugene Onegin
    | WHAT TO EXPECT FROM EUGENE ONEGIN A TIMELESS STORY OF LOVE, YEARNING, AND THE TRAGIC CONSEQUENCES THE WORK: of youthful pride, Eugene Onegin holds the dual honor of being one of the most EUGENE ONEGIN An opera in three acts, sung in beloved works of both Russian opera and Russian literature. Tchaikovsky’s Russian expressive lyricism gives a fitting voice to the emotional turmoil at the heart Music by Pyotr Tchaikovsky of Alexander Pushkin’s famous verse novel. Pushkin’s stature in Russian Libretto by the composer and literature can only be compared to Shakespeare’s in the English canon, and Konstantin Shilovsky the opera represents a fortuitous meeting of two of Russia’s great creative Based on the verse novel Eugene Onegin by Alexander Pushkin minds. With roughly half a century separating them, Tchaikovsky stands First performed March 19, 1879 at as the tortured creator of highly personal, semi-autobiographical works of the Maly Theater, Moscow, Russia (with students from the Moscow art while Pushkin is the sly and subversive social critic. But it is these differ- Conservatory); professional premiere ences that make the operatic version of Eugene Onegin so thrilling: it’s both on January 29, 1881 at the Bolshoi Theater, Moscow, Russia a kaleidoscopic portrait of Russian society and a philosophical reflection on the human condition. PRODUCTION Deborah Warner’s Met production places the action in the late 19th Robin Ticciati, Conductor century, around the time of the opera’s premiere and several decades after Deborah Warner, Production Pushkin’s own setting in the 1820s. This shift emphasizes the autumnal Tom Pye, Set Designer quality of aristocratic life at the end of Russia’s imperial age, highlighting Chloe Obolensky, Costume Designer the sharp divisions between country life, rural gentry, and aristocratic St.
    [Show full text]
  • The Sand in the Oyster Vetting the Verse Novel by Patty Campbell Horn Book Magazine; Sep/Oct2004, Vol
    The Sand in the Oyster Vetting the Verse Novel by Patty Campbell Horn Book Magazine; Sep/Oct2004, Vol. 80 Issue 5, p611-616, 6p The verse novel? What is it? It's poetry. Poetry? What is it? Who knows. Maybe Webster knows Or at least American Heritage. Aha! "A composition designed to convey a vivid and imaginative sense of experience, characterized by the use of condensed language chosen for its sound and suggestive power as well as its meaning, and by the use of such literary techniques as structured meter, natural cadences, rhyme, or metaphor." Which about sums it up Except for the part about rhyme. IF YOU THINK the above sounds like I've been reading too many YA verse novels, you're right. Twelve, to be exact, of the thirteen or fourteen published so far in 2004. An impressive statistic, because up until last year there had been only about thirty titles in the form's whole ten-year history. But each year more writers have been choosing this way to shape a YA novel, and this year's sudden jump in numbers may mean that the verse novel has become a standard part of young adult literature, rather than an occasional oddity. In any case, we've seen enough now to look at the origins and history, the rules and parameters, the successes and pitfalls of this emerging form. A long story told in verse is probably the prototype for all literature, but this approach to storytelling faded away with the appearance of the prose novel in the eighteenth century.
    [Show full text]
  • Panning for Gold: Finding Poetry in Children’S and Young Adult Literature
    Panning for Gold: Finding Poetry in Children’s and Young Adult Literature Jaqueline Bach and Steve Bickmore While poetry permeates children’s and young adult literature, one is unlikely to find a separate section devoted to the genre in a chain bookstore. From singled-authored col- lections like Shel Silverstein’s to the memorable appearance of Robert Frost’s “Nothing Gold Can Stay” in S. E. Hinton’s The Outsiders (1967), poetry continues to appeal to young readers. Rather than trace the historical aspects of children’s and young adult poetry, we want to point to the forms it currently takes. In doing so, we wish to remind readers how poetry captures children’s love of language in ways that schools often neglect when they choose more conventional types of literature. The most dominant form today is the verse novel—books which are either written entirely in poetic verse or which alternate between verse and prose. One of the most notable examples is Virginia Euwer Wolff’s Make Lemonade (1993) Trilogy. Its poetic lan- guage seems effortless and students, when they discover that it is poetry, want to argue that it really couldn’t be. Today, Ellen Hopkins takes edgy subject matter and carefully manipulates words on the page to resemble characters’ movements and thoughts. Nikki Grimes, on the other hand, often alternates between prose and poetry as in her novel Bronx Masquerade (2002), a story told in first person narrative and poems. Mel Glenn also frequently rotates among a large cast of characters, and his free verse poems slowly reveal the narrative.
    [Show full text]
  • Verse Novel 1 Verse Novel
    Verse novel 1 Verse novel A verse novel is a type of narrative poetry in which a novel-length narrative is told through the medium of poetry rather than prose. Either simple or complex stanzaic verse-forms may be used, but there will usually be a large cast, multiple voices, dialogue, narration, description, and action in a novelistic manner. History Verse narratives are as old as the epic of Gilgamesh, the Iliad, and the Odyssey, but the verse novel is a distinct modern form. Although the narrative structure is similar to that of a novella, the organisation of the story is usually in a series of short sections, often with changing perspectives. Verse novels are often told with multiple narrators, potentially providing readers with a cinematic view into the inner workings of the characters' minds. Some verse novels, following Byron's mock-heroic Don Juan (1818-24) employ an informal, colloquial register. Eugene Onegin (1831) by Alexander Pushkin is a classical example, and with Pan Tadeusz (1834) by Adam Mickiewicz is often taken as the seminal example of the modern genre.[1] The major nineteenth-century verse novels that ground the form in Anglophone letters include The Bothie of Toper-na-fuisich (1848) and Amours de Voyage (1858) by Arthur Hugh Clough, Aurora Leigh (1857) by Elizabeth Barrett Browning, Lucile (1860) by 'Owen Meredith' (Robert Bulwer-Lytton), and The Ring and the Book (1868-9) by Robert Browning. The form appears to have declined with Modernism, but has since the 1960s-70s undergone a remarkable revival. Of particular
    [Show full text]
  • Fred D’Aguiar’S Use of Ottava Rima in Bloodlines Kathie Birat
    ”Keeping my slave side well versed”: Fred D’Aguiar’s Use of Ottava Rima in Bloodlines Kathie Birat To cite this version: Kathie Birat. ”Keeping my slave side well versed”: Fred D’Aguiar’s Use of Ottava Rima in Bloodlines. Journal of Postcolonial Writing, Taylor & Francis (Routledge), 2018, 54 (1), pp.56-68. 10.1080/17449855.2017.1416564. hal-02940067 HAL Id: hal-02940067 https://hal.univ-lorraine.fr/hal-02940067 Submitted on 16 Sep 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. “Keeping my slave side well versed”: Fred D’Aguiar’s Use of Ottava Rima in Bloodlines Kathie Birat Emeritus Professor, Department of English, University of Lorraine, Metz, France This article explores Fred D’Aguiar’s use of ottava rima in his novel in verse Bloodlines. It considers poetry as a minority genre within postcolonial writing and ottava rima as a minority form within the genre of poetry. D’Aguiar’s choice of this long narrative form can be examined in relation to his subject, which is the rape of a black slave by a white man, the love that follows the rape and the consequences of their relation.
    [Show full text]
  • Complexity in the Verse Novel and the Process of Creating Its Structure
    Patterns of Being Volume 2 - Exegesis Heather Anne Stuart Submitted for the degree of Doctor of Philosophy in Creative Writing Discipline of English School of Humanities University of Adelaide September 30, 2013 Volume 2 – Exegesis Patterns of Being: Complexity in the verse novel and the process of creating its structure 2 CONTENTS Volume 2: Exegesis Abstract 4 Thesis declaration 5 Acknowledgements 5 List of Figures 6 Introduction 8 1. The verse novel: a genre of complex possibilities 21 2. The writing on the wall': H.D.'s complex intention 31 3. 'The writing': patterns for perception 41 4. Three conceptual patterns of individuation in Helen in Egypt 49 5. Myth and Individuation in 'Patterns of Being' 64 6. The structural edit of 'Patterns of Being': from chaos to order via the focus of layered thought patterns 73 Conclusion 87 Bibliography 92 Appendix 104 3 Abstract Exegesis: Complexity in the verse novel and the process of creating its structure. Hilda Doolittle, most often referred to as H.D., published the award winning verse novel, Helen in Egypt, in 1961, just prior to her death. She used the Greek myth of Helen of Troy to recount three versions of her own psychic journey towards individuation, focussing on 'self-remembering', Jungian integration of the masculine and the feminine principles, and Hermetic wisdom. H.D. saw a vision on a wall in Corfu in 1919 that she called 'the writing on the wall' and asserted it was an 'illustrated poem', but Sigmund Freud diagnosed it as a symptom of megalomania in 1933-34. H.D.'s account of 'the writing on the wall' in her book, Tribute to Freud, if approached as an 'illustrated poem', explains H.D.'s use of a geometrical apparatus to be applied to the process of writing.
    [Show full text]