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The Fate of Epic in Twentieth- Century American Poetry The Fate of Epic in Twentieth- Century American Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Radway, John North. 2016. The Fate of Epic in Twentieth-Century American Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718713 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Fate of Epic in Twentieth-Century American Poetry A dissertation presented by John North Radway to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts October 2015 © 2015 Î John North Radway All rights reserved. Dissertation Advisor: Professor Elisa New John North Radway The Fate of Epic in Twentieth-Century American Poetry Abstract This dissertation explores the afterlife of the Western epic tradition in the poetry of the United States of America after World War Two and in the wake of high modernism. The ancient, Classical conception of epic, as formulated by Aristotle, involves a crucial, integral opposition between ethos, or character, and mythos, or the defining features, narratives, and histories of the world through which ethos moves. The classical epic and its direct line of succession, from Homer to Virgil to Dante to Milton and even to Joel Barlow, uses the opposition between ethos and mythos to create literary tension and drive. In the first half of the twentieth century, however, Ezra Pound upended this tradition dynamic by attempting to create a new form of epic in which mythos, not ethos, was the principal agonist, and in which large-scale aspects of the political, literary, and economic world struggled for survival on their own terms, thus divorcing epic from its traditional reliance on ethos. Chapter One explores this dubious revolution in terms qh"RqwpfÓu"nctigt"rtqlgev"qh"dtgcmkpi"cyc{"htqo"jku"pkpgvggpvj"egpvwt{"hqtdgctu0"Vjg"tgockpkpi" chapters comprise three case studies of the divergent ways in which later twentieth century poets sought to salvage something of the traditional epic dynamic from the ruin wracked by Pound and jku"ceqn{vgu0"Ejcrvgt"Vyq"gzrnqtgu"Lqjp"Dgtt{ocpÓu"77 Dream Songs, an epic-like poem that oqfgnu"kvugnh"uwdvn{"qp"FcpvgÓu"Commedia while placing a profound and deliberate emphasis on ethos even cv"vjg"gzrgpug"qh"o{vjqu0"Ejcrvgt"Vjtgg"gzrnqtgu"Tqdgtv"NqygnnÓu"ectggt-long effort to expose the terrifyingly inexorable nature of mythos, constructing an inconceivably enormous iii presence against whom character and divinity alike struggle in vain. Finally, Chapter Four gzcokpgu"Cftkgppg"TkejÓu"gctn{"cpf"okffng"{gctu"cu"cp"cvvgorv"vq"qwvnkpg"cpf"gpcev"c"rqnkvkecnn{" and socially efficacious means by which ethos might finally overcome mythos and liberate itself not only from the recursive historical traps of Pound, modernism, fascism, and patriarchy, but also from the literary history and tradition that lured humanity into believing that those traps ever gzkuvgf0"Dgtt{ocpÓu"kpvgtxgpvkqp"kp"vjg"grke"vtcfkvkqp"ku"jgcxkn{"nkvgtct{"cpf"qxgtvn{"rgtuqpcn=" NqygnnÓu"ku e{pkecn."crqecn{rvke."cpf"fguetkrvkxgn{"rqnkvkecn="cpf"TkejÓu"ku revolutionary and messianic. Together, these three poets represent a meaningful sampling of the afterlife of the epic tradition in late twentieth-century America. iv TABLE OF CONTENTS Acknowledgments..........................................................................................................................vi Abbreviations.................................................................................................................................vii Introduction: The Fate of Epic.........................................................................................................1 Chapter 1: How Epic Lost Its Ethos: Pound, Browning, and the Columbiad................................10 Chapter 2: Dgtt{ocpÓu"Fcpvg."FcpvgÓu"Xktikn."cpf"vjg"Cuegpukqp"qh"Gvjqu..................................41 Chapter 3: Robert Lowell, Mythos, and the Inexorable IS..........................................................105 Chapter 4: Cftkgppg"TkejÓu"Rquv-Epic Vision.............................................................................180 Bibliography................................................................................................................................213 v Acknowledgements This dissertation would not have been possible without the brilliant support of most people I know. If I were to thank them all, this section would be longer than the following four chapters. So then, with all due apologies for every reluctant omission, accidental or otherwise, here are a few of the humans (and one non-human) to whom I owe more gratitude than I can properly express here or possibly ever: to my advisor and mentor Elisa New, whose brilliance, honest guidance, unfailing generosity, and extreme kindness helped me through these pages as well as through several years of my life; to my advisor Stephen Burt, whose surgical insights into poetry continue to inspire me; to my advisor Andrew Warren, who never let me forget the Romantics and whose book recommendations always outpaced my ability to read them; to the Harvard English Department at large, professors and administrators alike, whom I have been honored to consider colleagues and friends for a quarter of a lifetime; to my infamous graduate cohort, whose intelligence and quirks made graduate school a far more colorful place than it might otherwise have been; to the hard-working and highly skilled staff of Harvard University, its maintenance workers, security guards, custodians and librarians, many of whom I have never even met but without whose constant labor the academic apparatus as we know it would cease to exist; to friends too numerous to name, for reminding me about the existence of the outside world; to my family, who learned exactly which questions never to ask a dissertation writer more often than weekly; and to Oslo for chewing on my computer screen almost constantly. vi Abbreviations Hqt"vjg"tgcfgtÓu"eqpxgpkgpeg."K"jcxg"ocfg"wug"qh"cddtgxkcvgf"ekvcvkqpu"in the text for poems quoted from primary sources by the main authors discussed in this dissertation (Ezra Pound, John Berryman, Robert Lowell, and Adrienne Rich). I hope that these citations prove unambiguous and prevent more confusion than they cause; however, I include a full list here. Ezra Pound: 3 Cantos ÐVjtgg"Ecpvqu0Ñ"Poetry 10:3 (1917), 113-121. Personae Personae of Ezra Pound. New York: Boni & Liveright, 1926. Cantos The Cantos of Ezra Pound. New York: New Directions, 1970. John Berryman: CP Collected Poems 1937 Î 1971. New York: Faber, Straus & Giroux, 1991. HMB Homage to Mistress Bradstreet. New York: Faber, Straus & Giroux, 1970. DS## The Dream Songs. New York: Faber, Straus & Giroux, 2007. N.B.: To minimize confusion, I have included the number-vkvngu"qh"Dgtt{ocpÓu" individual dreams songs in lieu of page numbers. Dante Alighieri: Inf. Inferno. Trans. Charles Singleton. Princeton: Princeton University Press, 1970. Pur. Purgatorio. Trans. Singleton. Princeton: Princeton University Press, 1970. Par. Paradiso. Trans. Singleton. Princeton: Princeton University Press, 1970. Robert Lowell: LWC Nqtf"Ygct{Óu"Ecuvng LS Life Studies N.B.: The above are collected in Collected Poems. New York: Faber, Straus & Giroux, 2003. Page numbers refer to this collected edition. NB678 Notebook 1967 Î 68. New York: Faber, Straus & Giroux, 1969. Adrienne Rich: CW A Change of World L Leaflets N.B.: Page numbers from these two volumes refer to the following edition: CEP Collected Earlier Poems. New York: Norton, 1993. DW Diving into the Wreck, excerpted from The Fact of a Doorframe. New York: Norton, 1984. vii Introduction: The Fate of Epic The study you are about to read is a ghost story. It is not a critical survey of the epic literature of the twentieth century. I am not wholly convinced that such a thing even exists, though the label is frequently applied, rightly or wrongly, to everything from the book-length poem to the encyclopedic novel. This practice is not without its uses; any set of tezvu"vq"yjkej"c"etkvke"okijv"tgcuqpcdn{"crrn{"vjg"ncdgn"ÐgrkeÑ"ku" worthy of study in its own right, and, as always, the act of classification itself can be as critically productive as subsequent observations about the texts, their quirks, and their affinities. This dissertation is also not a study in the rich and complicated influence of classical Greek and Latin literature on twentieth-century authors. The reception history of classical texts, especially in the heavily allusive works of the high modernism of the early twentieth century, is a fascinating and possibly inexhaustible subject on which much rich criticism has focused while leaving plenty still to be said. The following chapters say next to none of it, though, as we shall ugg."Dgtt{ocpÓu"tgkocikpkpi"qh"FcpvgÓu"yqtnfxkgy"ecppqv"dg"wpfgtuvqqf"ykvjqwv"c"nqqm"cv" GnkqvÓu"crrtqrtkcvkqp"qh"egtvckp"kocigu"htqo"vjg"Divine Comedy, just as post-yct"rqgvuÓ"igpgtcn" turn toward the reinvigoration of character and the potency of short forms cannot be understood wivjqwv"c"nqqm"cv"RqwpfÓu"fgvgtokpcvkqp"vq"qwv-Virgil Virgil through
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