For the Class of October 4 - text analysis | close reading practice
Choose either, to analyse using all the literary, discourse analysis and intertextual skills that you can resort to:
1. Thoreau, excerpt from Walden (again): Write a short text analysis of the passage, on pp. 2127-28, that begins "The whole bank, which is from twenty to forty feet high" and ends with "we may turn over a new leaf at last"
2. Whtiman, preface from Leaves of Grass (1855): pp. 2734-2735: From the paragraph that starts "The art of art" to the end of next paragraph "and makes one"
Thoreau, illustration from The New Yorker
Whitman, in the opening page of Leaves of Grass (1855)
2) In Preface from "Leaves of Grass", Whitman posits that simplicity rather than complexity, is the optimal means of achieving “the glory of expression.” He further states that “there is nothing better than simplicity.” This notion coincides with the more general trend of Romanticism, which praises the beauty of unadorned truth found in nature and the human experience. By asserting that “nothing can make up for… the lack of definiteness,” Whitman might address the challenges and constraints associated with 18th-century, particularly the highly complex and ornate Neoclassicism that prioritized decoration and a tight structure over the intrinsic honesty of the content.
ReplyDeleteWhitman’s comments on art that is natural and simple finds a parallel in the work of poets such as William Wordsworth, who advocated for the truth of common language and common life. To illustrate, Wordsworth’s well-known assertion in the Preface to Lyrical Ballads that poetry should utilize “the real language of men” bears resemblance to Whitman’s contention that a poet does not portray life with the intention of creating an image, but rather to convey its intrinsic reality. This ideal is fundamental to the Romantic movement, as evidenced by Whitman’s claim that the “poet is a free channel” of the truths that shape the surrounding world.
Furthermore, Whitman’s references to “the movements of animals” and “the sentiment of trees” serve to reinforce the transcendentalist beliefs. The regard for nature among transcendentalists was distinct from that of other philosophical traditions. Rather than being regarded as a mere backdrop for human experience, nature was viewed as a living, unified force that could foster a sense of connection between humans and the divine. As mentioned in “Nature”, Emerson posits that ‘nature always wears the colors of the spirit.’ This implies that nature serves as a reflection of our emotional states and ideas. Also, Whitman posits that all human experiences are inextricably linked to the natural environment. The movements of animals may express such truths based on primal instincts found in humanity. By observing animal behavior, humans can rediscover their own primal instincts, tapping into an inherent wisdom that society often obscures. Whitman’s perspective was that the bond with nature enables the human being to gain deeper insights about themselves and the earth.
In addition, Whitman portrays the poet as one who transcends the order of things and walks “at his ease” beyond the bounds of history. This represents a covert act of defiance against the constraints of external authority, enabling the individual to transcend the expectations of others. This self-assertion is consistent with the American Renaissance spirit whereby Emerson and Thoreau and others strived for pantheism and claimed art for its own distinct American character free from the European influence. By stating that “the cleanest expression is that which finds no sphere worthy of itself and makes one,” Whitman responds to the very debate of the need for abandoning the restrictive traditions set by all those who came before. It is the need for transcending all accepted boundaries that irrefutably cuts across the arguments in his contemporaries’ artistic practices.
2- I will start from the specific and continue with the general (in the 'reply' section). The excerpt from Walt Whitman's Leaves of Grass emphasizes simplicity, authenticity, and the role of the poet as a conduit for truth by not putting a "curtain" between the lives of common people and their language. The opening statement, “The art of art, the glory of expression, and the sunshine of the light of letters is simplicity,” is striking, in that, it challenges the notion of complexity often associated with high art. By rejecting pretentiousness in literature, Whitman positions the poet as someone who distills experience to its most genuine form. The phrase “the perfect rectitude and insouciance” is also noteworthy, as it emphasizes human experience without embellishment, particularly in relation to nature. The word ‘insouciance’ is particularly powerful. It might be interpreted, perhaps, just like the wilderness, or like the way the nature works, art should also be honest and direct as such, which can connect to the idea of the greatest poet as a “free channel.” When it comes to the closing lines, they encapsulate Whitman's philosophy that the best art is not merely reflective of existing forms but creates new ones. He states that true artistic expression transcends established norms (This idea aligns with Whitman’s vision of America as a land of innovation and possibility, where individual expression contributes to collective cultural evolution.).
ReplyDeleteThe influences of Emerson and Thoreau can be clearly observed in Whitman’s excerpt and his work in general. Emerson in "Nature" explores similar themes of individualism, the connection between humans and nature, and the idea of nonconformity. His suggestion that individuals should trust their intuition and experiences aligns with Whitman's belief in the poet as a “free channel” of thoughts. Both writers advocate for a break from tradition and an embrace of personal truth. Thoreau, like Whitman, emphasizes simplicity and the importance of nature. In Walden, Thoreau advocates for a return to a simpler way of life, encouraging readers to live deliberately and connect with the natural world. Their philosophies highlight a transcendentalist perspective that prioritizes individual intuition and the inherent beauty of the world.
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DeleteMy final comparison will be on two Prefaces, that of Whitman’s and Wordsworth’s. Both Walt Whitman's Preface to "Leaves of Grass" and William Wordsworth's "Preface to Lyrical Ballads" serve as manifestos for their poetic visions. They share some thematic similarities while also showing notable differences in style and philosophy. The first similarity that caught my attention is their shared focus on the common people. In a way, they both celebrate ordinariness as well as the beauty of the rural. Wordsworth (1800) states and I quote “Humble and rustic life was generally chosen, because, in that condition, the essential passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings coexist in a state of greater simplicity…” The emphasis on simplicity in language and themes from everyday life is a common thread in Whitman, who also suggests avoiding abstract themes and fancy language. Moreover, both poets see nature as a source of inspiration and truth. In both prefaces, it can be concluded that nothing a poet invents can match the beauty and truth of the natural world, highlighting the value of authenticity and simplicity in art.
DeleteOn the other hand, there are notable differences in cultural context, stylistic approach, and philosophy that are worth mentioning. Although both are considered Romantic poets, Wordsworth writes in late 18th-century England, reacting against the Industrial Revolution and the loss of connection to nature. In contrast, Whitman’s work emerges from the unique cultural landscape of 19th-century America, influenced by democracy, individualism, and a burgeoning national identity. Another important difference is evident in their writing styles. Whitman’s style is characterized by free verse, while Wordsworth employs more structured verse. Additionally, while both poets celebrate the common man, Wordsworth’s focus is more on the emotional and moral insights gained from nature and human experience, often reflecting on the inner life of the individual. Whitman, however, emphasizes the collective experience, portraying a vision of democracy where every individual voice contributes to a greater whole.
In summary, while both Whitman's Preface to Leaves of Grass and Wordsworth's Preface to Lyrical Ballads share fundamental themes of simplicity, nature, and a focus on the common man, they diverge significantly in their cultural contexts, stylistic approaches, and philosophical underpinnings.
On a different note, I would like to briefly introduce a Turkish poet and one of his poems (which I attempted to translate, hoping it conveys the essence of the language faithfully): Orhan Veli Kanık. Although he was a poet of a much later period (1936-1950) compared to Whitman and the American Romantics, there are significant similarities between them. Kanık is one of the founders of the Garip Movement, which aimed to fundamentally change traditional forms in Turkish poetry. He incorporated colloquial language into his work and rejected the use of syllable and aruz meters. By adopting straightforward expressions, he made poetic language more relatable to everyday speech.
DeleteKanık can be considered revolutionary in Turkish literature because he advocated for simplicity in language and focused on themes from everyday life and the experiences of common people at a time when poetry was often overly adorned with meter, rhyme, metaphor, and hyperbole. Although he is not strictly a "nature poet," reading Whitman (along with Emerson and Thoreau) reminded me of Kanık, as they share important similarities, such as simplicity in language, spontaneous beauty found in nature, a desire for freedom, and profound truths emerging from simple moments. Both poets also reject the traditional forms of their times.
While they differ in cultural contexts, tone, and personal philosophies, both Walt Whitman and Orhan Veli Kanık express a love for nature, simplicity, and freedom of expression. Their work reflects a universal longing for simplicity and truth, bridging the distance between American and Turkish literary traditions.
Here is one of Kanık's poem, which I really love:
One day, I’ll set off, leave it all behind,
In the scent of freshly pulled nets from the sea.
From one island to another,
Chasing after the shearwater birds.
There are worlds beyond what you can imagine;
Flowers burst open with noise,
Smoke rises with a rumble from the ground.
And the seagulls, oh the seagulls,
Each feather carries a different urgency!
One day, I’ll be surrounded by blue,
One day, I’ll be drenched in sunlight,
One day, I’ll be wild, mad with freedom…
Hope you enjoy!
2- Walt Whitman’s opening statement within this excerpt “The art of art (…) is simplicity”. He continues developing this idea in the text by saying that “to speak in literature with the perfect rectitude and insouciance of the movements of animals and the unimpeachableness of the sentiment of trees in the woods and grass by the roadside is the flawless triumph of art.” In other words, writers and artists need only translate into paper (or any other artistic form) the beauty of the nature that surrounds us. And what was the possible origins of such ideas? They are clearly inspired by Plato’s ideas on art, in which the artist must be a mirror to what it finds, paint what he sees as he sees it, in other words, as Whitman states “What I tell I tell for precisely what it is”. Any other artistic and anthropological additions and interpretations of nature go very much against Whitman’s ideal poet “What I experience or portray shall go from my composition without a shred of my composition”.
ReplyDeleteFurthermore, this idea of showing nature as it is and not telling us how it is conveys an idea of
literature that would, around the end of the 19th century, come into place. “Show, don’t tell”, the
golden rule of creative writing that was thought to only start to manifest itself with Anton Chekhov’s letter to his brother in 1886, "Don't tell me the moon is shining; show me the glint of light on broken glass"; Only with Mark Swan, the American playwright and scriptwriter, was this golden rule standardised because of his obsession over this motto that he had above his writing desk “Show-not tell”. The immersiveness of showing nature around us instead of just merely describing it makes it possible to, as Whitman says, “stand by my side and look in the mirror with me” which, again, returns us to the platonic idea of art being the mirror of nature.
In addition, Whitman was an innovator, obsessed with new forms of art. He argued that “nothing is finer than silent defiance advancing from new forms” and sought out the changing tides of times that innovate and create new ways of showing and not telling. Maybe, at this time, he was already thinking of the minimalist artistic movement that would only appear around the 1960s and, as can be seen in how the text is written, already followed the “show don’t tell” motto. He paved the way for new art forms “that which finds no sphere worthy of itself and makes one”.
The transcendentalist saw nature as inherently good and wanted to portray it as purely as possible and in its real form. This clearly influenced the future of world, and not just American literature. This influenced American authors to believe that they did not need to create anything new. They only had to look around and serve as a mirror for the readers and general audience to appreciate just like Plato’s own conception of art.
By William Greer.
DeleteI would like to add that this excerpt clearly shows the influence of Sir Philip Sydney's "Defence of Poesy" for the exact same points that I have mentioned beforehand.
DeleteThe influence of the classics, specifically Plato; the defense of simplicity and the romantic influence.
In Thoreau’s excerpt, the author is clearly establishing a connection between Nature and religion. By saying “I am affected as if in a peculiar sense I stood in the laboratory of the Artist who made the world and me”, Thoreau acknowledges the “Artist” as something exterior to him who had the power to create him and the the environment in which he finds himself in. The capitalized A in “Artist” might suggest that, in this context, Thoreau is referring to a divine entity - God. Considering an artist as someone who creates a work of art, God can be portrayed as an artist, for He was the creator of the world and that through Him all things were made. Similarly, this idea of Supreme Deity is also present in Emerson’s “Nature”, as he recognizes Beauty in Nature as “the mark of God”. This religious greatness adds to Nature the element of “perfection”, hence making every action in graceful. Both authors, by assuming the presence of Almighty in the environment and all its elements, propose that in order to transcend, that is, become closer to God, one should stay connected to Nature.
ReplyDeleteAdditionally, the element of “leaves” becomes the main focus of in Thoreau, as the author identifies it in all natural components as a way of the earth of expressing itself (“No wonder that the earth expresses itself outwardly in leaves”): the human anatomy is compared to the characteristics of a leaf; the fact that a leaf can be compared to feathers and wings of brids; and how something, for instance ice, can begin in a leaf (“Even ice begins with delicate crystal leves”). There is an exaggeration, he goes on equalling the tree, which is usually one of the biggest constituents of nature, to a leaf, reducing it to the object that grows from itself. Moreover, the importance of leave for Thoreau is once again reinforced by introducing the idea of “lobe”, as it can be identified in Nature and humankind. To begin with, in the environmental context, “lobe” is in fact a constituent of the leaf. Regarding human anatomy, its homonym it is used to describe the different brain hemispheres. The conviction that Nature, represented by a leaf, is intrinsically linked to humankind is reinforced by this connection through the word “lobe”. Also, his resoluteness to define the leaf as the main object of existence is once agains show as he proposes the man’s hieroglyphical representation should be a leaf. Additionally, Thoreaus’ thoughts on humankind’s endorsement with Nature are in line with Emerson’s. He argues that man will only be as great as Nature if he lets himself be embraced by it and if he becomes unison with what surrounds him. As a result of prioritization of natural elements, both Thoreau and Emerson defend a less anthropocentric view of Nature.