Abstract

This study is a discussion of ways in which the poetry of G. M. Hopkins, Dylan Thomas, and Stevie Smith transgresses established discourses of religion and spirituality. A way of reading these transgressive poetics is offered which focuses on expressions of spirituality as loci for language to open up spaces for new meanings, rather than close in upon itself in order to maintain specific ideological agendas. ;This alternative way of reading involves examination of the "author function" and critique of the construct of a transcendent center in its relation to the concept of the "freeplay" of language. Reconsideration of the role of the poet and of the ways in which language is controlled by established discourses results in a focus on how language transgresses accepted parameters. The first chapter is an examination of problems in existing critical approaches to "religious" poetry, as manifested in criticism of Hopkins' poetry. The second chapter offers a reading of elements in Hopkins' poetry which transgress established religious discourse, especially the discourse of the Catholic church, and therefore disrupt prior critical approaches which are based on traditional religious perspectives. A treatment of transgressive aspects of Thomas' poetry, considering existing criticism, follows, with emphasis on how the transgressive elements of the poetry lead to an alternative mythos. The reading of Stevie Smith's poetry is a discussion of how established religious discourse is disrupted and alternative meanings are expressed. ;This critique of the way in which the poetry of Hopkins, Thomas, and Smith is informed by and transgresses hegemonic religious discourses offers a theory of the relationship between poetics of the spiritual and the creation of multiple, inclusive meanings through acts of language. ftn*Originally published in DAI Vol. 54 no. 02. Reprinted here with corrected text