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    The Dolphin: Two Versions, 1972-1973
    The Dolphin: Two Versions, 1972-1973
    The Dolphin: Two Versions, 1972-1973
    Ebook271 pages1 hour

    The Dolphin: Two Versions, 1972-1973

    By Robert Lowell

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    About this ebook

    I have sat and listened to too many
    words of the collaborating muse,
    and plotted perhaps too freely with my life,
    not avoiding injury to others,
    not avoiding injury to myself—
    to ask compassion . . . this book, half fiction,
    an eelnet made by man for the eel fighting
    my eyes have seen what my hand did.

    Winner of the 1974 Pulitzer Prize in Poetry, The Dolphin was controversial from the beginning: many of the poems include the letters that Robert Lowell’s wife, the celebrated writer and critic Elizabeth Hardwick, wrote to him after he left her for the English socialite and writer Caroline Blackwood. He was warned by many, among them Elizabeth Bishop, that “art just isn’t worth that much.” Nevertheless, these poems are a powerful document of an impulsive love, and a moving record of Lowell’s change from one life and marriage in America to a new life on new terms with a new family in England, rendered with the stunning technical power and control for which he was so celebrated. This new edition, which follows the 1973 edition, includes scans of the pages of Lowell’s original manuscript, giving us a look into the brilliant and complicated mind of one of our most beloved and distinguished poets.

    LanguageEnglish
    PublisherMacmillan Publishers
    Release dateDec 10, 2019
    ISBN9780374719975
    The Dolphin: Two Versions, 1972-1973
    Author

    Robert Lowell

    Robert Lowell (1917–1977) was the renowned and pathbreaking author of many leading works in American poetry, including Life Studies (FSG, 1959), For the Union Dead (FSG, 1964), and Day by Day (FSG, 1977).

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      Book preview

      The Dolphin - Robert Lowell

      The Unexpected Spy by Tracy Walder

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      Table of Contents

      About the Author and Editor

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      Introduction

      I have learned what I wanted from the mermaid

      and her singeing conjunction of tail and grace.¹

      One man, two women is what Robert Lowell called the common novel plot of The Dolphin. It is a book of love poems, and therefore a book of being driven off course, of doubt and vacillation. The protagonist is a poet (a suffering hero?² as Lowell ventured in an interview), who, while in England and away from his wife and daughter in New York, falls in love with a woman named Caroline, both a figure in the plot and the actual person, Caroline Blackwood, to whom the book is dedicated. He thinks of his pursuit of Caroline and of his own art as continuous. A sense of impending mortality haunts him, as well as responsibility to and anxiety about children; Caroline’s, with whom he now lives; and his daughter, Harriet, in America. But more cutting and urgent is another rapier voice,³ that of his wife, Lizzie (Elizabeth Hardwick), speaking in letters and through the telephone cables. In the course of the story, he falls in love, has a recurrence of mania, suffers hallucinations and hospitalization, recovers, vacillates in an agony of indecision, goes back home to find no true answer, then makes his choice. In the manuscript version, the choice, made at Christmas, is followed the next year by the birth of a son (Robert Sheridan) and a happiness so slow burning, it is lasting.⁴ In the published version, the coming of the child precedes, and helps him to find, his resolution.

      The riddles that all poems make and solve helped Lowell survive those days—it seems our insoluble lives sometimes come clearer in writing.⁵ While pursuing my ear that knows not what it says,⁶ Lowell created a series of poems that recount an experience of recovery, survival, guilt, and grief coincident with beguilement and the storm of erotic forces. To borrow from Coleridge, it is the choice of sensations⁷—the poet alert to his own feeling and thought alongside the look of London crowds at night, or the sounds of the crude and homeless wet of rain against the glass, or the memory of Lizzie’s intonations, or the experience of Caroline’s humor and fragility—that the poems sift. More than writing per se, the writing of this book, the shaping of the drama, is part of the narrative—for Lowell found in the writing of it a form of equipoise, balancing in his mind his exhilaration and desires, his conflicting responsibilities, and his artistic judgment.

      As with all of Lowell’s deeply allusive work, he invites us to think of his art against the background of tradition. The verse form is an adapted sonnet, consisting mainly of fourteen lines, rhyming internally to no set scheme, with something of a sonnet’s thought structure. Among the ideals he invokes is accuracy, which was already on his mind when he was revising poems for Notebook, the collection that immediately preceded The Dolphin. He wrote to Marianne Moore in January 1970 about a recent poem of hers:

      What startled was your generosity of thought, and the accuracy in carrying it out. I mean that when most people might feel they’ve\d/ found a good enough figure, you go on to accuracy.⁸

      Accuracy meant more than exact description, but figures and represented forms quick with life and various of feeling or thought. He had said of his most celebrated book, Life Studies,⁹ that his ambition was for each poem to seem as open and single-surfaced as a photograph, what Michael Hofmann has described as an Imagism enriched with psychological notes, with hardheadedness, with implication.¹⁰ But Lowell subsequently came to see the ambition as a limitation, finding it severe to be confined to rendering appearances. The material of the Life Studies poems was largely recollection, of his childhood and family life. In the Notebook sonnets, which led to The Dolphin, the mix of the immediate present moment with memory, the day-to-day with the history—always the instant, sometimes changing to the lost—resulted in poems that are more jagged and imagined. This is the accuracy he was after, things I felt or saw, or read becoming drift in the whirlpool.¹¹ He would later pray, in his poem Epilogue, for the grace of accuracy.¹²

      Perhaps his decision to be frank, open and vulnerable¹³—or simple, sensuous and passionate, from Milton’s definition of poetry¹⁴—while in the grip of writing his poems creates the special style of The Dolphin. In the spring of 1971 Lowell was thinking about the difficult poetry I grew wise and confused on in the thirties¹⁵—William Empson and Hart Crane, he offered as examples, and others inspired not only by sixteenth- and seventeenth-century poetry but by the critics who wrote so discerningly about it. Now that obscure poetry is perhaps out of fashion, one must pay homage to its supreme invention and exploration.¹⁶ In the summer of 1971, he spoke of Ezra Pound’s Pisan Cantos as the work of a hard, angular, in some ways shrill and artificial man who by courage let the heart break through his glass ribs.¹⁷ The first sonnets, with their "unnecessarily grand

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