Summary
Highlights
Rosemary Dobson discusses her grandfather, Austin Dobson, a well-known English poet, and notes that while she read his work, there was no direct influence on her own poetry due to the significant changes in poetic styles between their generations. She explains how her interest in painting developed alongside her poetry, leading her to study painting with Thea Proctor and teach art history.
Dobson describes the profound impact of her visit to Europe, particularly Florence, on her artistic sensibilities. She explains how many of her 'painting poems' developed after this trip, though she had some earlier works inspired by paintings. She also addresses the criticism of her 'secondhand works of art' by asserting that paintings evoke real responses that can stimulate original poetry, and some of her painting poems were even about imaginary artworks.
Dobson discusses the deeper meanings of 'The Raising of the Dead', noting its starting point in a minor Sienese school painting, but developing it to explore the young man's experience of paradise. She also shares the inspiration behind 'The Child with Cockatoo', a poem based on a description of a painting from Gladys Scott Thompson's 'Life in a Noble Household', theorizing the cockatoo's Australian origin.
Dobson talks about 'The Bystander', a popular poem inspired by her interest in the seemingly unimportant figures in paintings. She specifically references Brueghel's works, like 'Landscape with the Fall of Icarus' and 'Massacre of the Innocents'. She also recounts her early experience with printing at school, where she assisted a printer and learned the basic techniques, which influenced poems like 'Country Press' and 'The Tiger'.
Dobson addresses her poetic style, denying that it is solely 'feminine' and emphasizing her aim for disciplined, strict, and strong writing. She acknowledges the influence of Browning on some of her dramatic monologues. She identifies 'The Fisherman and the Moon' as her first poem employing humor, a departure from her earlier, more somber works.
Dobson explains the origin of her humorous 'Devil and the Angel' series, where individuals near death are interviewed and offered a choice between Heaven and Hell. She describes the characters' responses, often choosing both or seeking exploration. She then discusses 'Captain Swenson', a recent poem inspired by a real hospital character, observing the sisters' movements and interactions.
Dobson reflects on how motherhood has influenced her writing process, leading to more immediate composition but requiring more revision due to constant interruptions. She notes that her poetry took on a new, more personal character after becoming a mother, exploring themes of growth and young children, aiming for a balance of personal and universal appeal. She references 'Cock-Crow' as an example of this personal experience.
Dobson expresses her belief that women poets are increasingly exploring new depths of female experience, crediting Judith Wright for her contributions in this area. She hopes to continue finding new themes with each experience. She discusses ranging more widely for subjective purposes, citing 'Jack-in-the-box' as a charming poem inspired by her children's toy, which she used to explore deeper philosophical questions about human confinement.
Dobson articulates her view that a poet's task is to 'illumine everyday experience' rather than being strictly didactic, revealing the 'secret life of things'. She discusses her recent re-handling of classical themes in modern settings, such as 'Across the Strait' (Leander) and 'Andromeda', where mythological figures are reinterpreted in contemporary scenarios, finding enjoyment in these creative reinterpretations.
Dobson notes her shift from blank verse to more regular forms with irregular rhymes, aiming for an apparently accidental yet purposeful rhyme for emphasis or surprise. She shares her experience with her poems being translated into French by Dr. Marcelle Auclair and Mr. Louis Totó, an experience she found deeply interesting and humbling, even feeling one poem was improved in its French translation. She acknowledges a perceived affinity between her poetry and French poetic traditions.
Dobson explains how she maintains a connection to the countryside despite living in the city, through visits to friends and drawing inspiration from these experiences for her 'country poems'. She recites 'The Conversation', a poem rooted in a real country experience, portraying a wordless yet profound interaction between two individuals contemplating the landscape.