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Hilda Doolittle, determined her self-mythologizing literary personae from Imagism to Trilogyher modernist masterwork. The bombing of England in World War Two precipitated her creation of a new literary persona—the poet as medium. From this view of herself came her poetics of psychoanalysis, her dream-interpretation skills praised by Freud, and magic in the form of spiritualism. For even from its earliest impulses it had meant much more than technical innovation. It was a new way to write poetry that, like the troubadour lyric, both captured and extended the spirit of the culture surrounding it.
She was possessed both by the personal erotic desire for sexual fulfillment and by the supra-personal spiritual desire for transcendence. These desires propelled her quest for the perfect union of sexual and spiritual love such as exists within divinity.
The first inklings came after Bryher, the wealthy shipping heiress Winifred Ellerman, rescued her from the traumas she suffered during World War One: a stillborn child; collapse of her marriage to Richard Aldington; the deaths of her brother and father, a brief affair in summer with the musicologist Cecil Gray that left Hot british women Saint-esprit pregnant, and in winter her illness from influenza that made doctors predict death for either mother or baby or both in childbirth.
The two women pledged love and loyalty to each other and to raising the child together. Bryher, who had been frustrated and suicidal, now had a mission in life: she would use her vast wealth to support H. In summerleaving the new baby well cared for by trained nurses in London, H. This over-mind, she said, is also. It was before the birth of my child that the jelly-fish consciousness seemed to come definitely into the field or realm of the intellect or brain. She ends the Notes in an Imagist paean that syncretizes Christian myth and the fertility myths of Mediterranean religions:.
Christ and his father, or as the Eleusinian mystic would have said, his mother, Hot british women Saint-esprit one … Christ was the grapes that hung against the sunlit walls … the white hyacinth of Sparta … the conch shell and the purple-fish left by the lake tides.
He was the body of nature, the Dionysus, as he was the soul of nature. These poems teem with overwhelming sexual passion, all-consuming agonized love, fatal lusts and fears conveyed through the personae of Greek drama, its ceremonial masks and over-life-sized heroines. Crimson, with honey-seeing lips The sun lies hot across his back, The gold is flecked across his wings, Quivering he sways and quivering clings Ah, rare her shoulders drawing back! One moment, then the plunderer slips Between the purple flower-lips.
Her method had gone flat, formulaic and overly repetitive, the emotions forced, the poetic persona still passionate but desperate. The cause: H. The central character is a woman writer, like H. In the first stanza she addresses herself, in the second the literary critics, and in the third the spirit of poetry who hovers over her eternally and the discerning few who render true judgment:. Her pursuit of the ideal union of sexual and spiritual love had failed utterly. Her Greek persona was gone. She had no idea what self-image could take its place.
Bryher had arranged and paid for three months of six sessions a week. As the end of their sessions neared in and H. She reported to Bryher:. But stabilizing. Friedman She wondered why she had been saved and asks this question in the first section of The Walls Do Not Fallbegun in the spring of She wrote:. It was melted away. Trilogy 4. She took this vision of the transfigured war hero as a :. To get an answer she went in early December to a private session with Arthur Bhaduri, a spiritualist medium, at the International Institute for Psychic Investigation on Walton Street, an episode she described both in her wartime novel Majic Ring and her postwar novel The Sword Went Out to Sea.
She told him her problem.
Bhaduri asked if this man had been in Egypt; she said yes. The medium told her:.
It goes on. There are foot-prints. Now the foot-prints branch off. There are two tracks …. Let the story go. She could not stop writing about this connection to the first man who had fallen in love with her after the birth of Perdita and her pact with Bryher; he was the Eternal Lover.
And who was she if she had been able to step out of time? Throw out this story? It was impossible. Here was her mother, she thought. He was a mystic who, with his followers, including H. Levering she had recently been reading H. She was to use her literary gift to help end the war. She felt ed to the energetic women doing war work all around her in London, and especially ed to her daughter Perdita, now twenty-two Hot british women Saint-esprit old, who lived not far from Lowndes Square and was driving an ambulance as a volunteer.
She left Walton Street dazzled and went home to tell Bryher what had happened. A great creative outpouring ensued for H. The words were true beyond all doubt or criticism. All he had to do was obey their direction to shape the poems Yeats8. A lifetime of powerful poetry followed from this belief. She was the one who knew what they meant, as in psychoanalysis the dreamer is the one who knows the true meaning of the dream. Ecstasy returned. She says in section five of Walls :. When in the company of the gods, I loved and was loved.
His, the track in the sand from a plum-tree in flower. His, the Genius in the jar which the Fisherman finds. He is Mage, bringing myrrh. Trilogy Freud is also a mage, one of the wise men of the East in the Biblical Christmas story.
In section three of Wallsthe images of life-saving power are phallic but touched with feminine succor:. Let us, however, recover the Sceptre, the rod of power:. Trilogy 7. By H. The transformation is achieved in section 8 of Angels by means of H. Here H. Now polish the crucible and set the jet of flame. Star of the Sea, Mother. But for H. Then she is present not in words, not as a symbol frozen on thebut beyond poetry as a living spirit who carries not a baby but a book. The apple tree flowering reveals both masculine and feminine in the godhead to produce ongoing and everlasting life—the perfect union of the sexual and spiritual H.
The troubadours employed the symbols of human passion to express this longing to be united with the greatest love of all, embodied in God, however named or depicted. Through the evolutionary stages of H. Friedman, Susan Stanford, ed. Guest, Barbara. Herself Defined: The Poet H. London: Collins, Martz, ed. Augustine, ed. Tryphonopoulos, ed.
Boughn, ed. Gelpi, ed. London: Peter Owen, Hogue and J. Vandivere, ed. Gainesville: University Press of Florida, Pearson, intro. Pearson, foreword, New York: New Directions, Barnstone, intro. Rougemont, Denis deLove in the Western Worldtrans. Belgion, Princeton: Princeton University Press, — Plan du site. Caliban French Journal of English Studies. This over-mind, she said, is also centered in the love-region of the body or placed like a foetus in the body … Is it easier for a woman to attain this state of consciousness?
She ends the Notes in an Imagist paean that syncretizes Christian myth and the fertility myths of Mediterranean religions: Christ and his father, or as the Eleusinian mystic would have said, his mother, were one … Christ was the grapes that hung against the sunlit walls … the white hyacinth of Sparta … the conch shell and the purple-fish left by the lake tides.
She wrote: the bone-frame was made for no such shock within terror, yet the skeleton stood up to it: the flesh? She took this vision of the transfigured war hero as a : the invisible web bound us; whatever we thought or said, we were people who had crossed over, we had already crashed, we were already dead. There are two tracks … Let the story go. She says in section five of Walls : When in the company of the gods, Hot british women Saint-esprit loved and was loved, never was my mind stirred to such rapture, my heart moved to such pleasure, as now, to discover over Love, a new Master.
Trilogy 10 21 The new Master over Love for H. In section three of Wallsthe images of life-saving power are phallic but touched with feminine succor: Let us, however, recover the Sceptre, the rod of power: it is crowned with the lily-head or the lily-bud: it is Caduceus; among the dying it bears healing: or evoking the dead, it brings life to the living. Trilogy 71 23 In sections 11 and 12 of the poem, H. Bibliographie Friedman, Susan Stanford, ed. Haut de. Suivez-nous Flux RSS.
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