Sample Student Research Project 2016: Essay
LITR
4328 American Renaissance / Model Assignments
Sample Student Research Project 2016:
Essay
Laura Wilson
The Moral of the Story:
Literature of the American Romantic Era not only romanticized nature and
the wilderness, it viewed it as a gateway to the sublime and held it in
reverence of that. No matter the theme or subject, nature always seemed to play
a part in the greater meaning of the work. Often, a parallel was drawn between
the inner mind and outer environment, sometimes emphasizing the correspondence
between the wildness of the mind, other times the tranquility. Nature always
seems to inspire ideas higher and bigger than oneself, and could be described as
one of the pillars of the Transcendental movement. Transcendentalism arose in
the 1800s, and it’s popularity is largely attributed to the literary work of Ralph
Waldo Emerson. It was grounded in religious experience but sought more
spiritually-orientated ideals. In his paper, “Emerson: Religion after
Transcendentalism,” David M. Robinson describes it as teaching
“a reverence for the natural world; and
it affirmed the human capacity for right action” (33). The literature
of the American Romantic Era used nature to either explore, or emphasize
Transcendent themes, as a way of defining a moral code.
People have long used nature as the setting for revelation and discovery,
but none, perhaps, so eloquently as Emerson. A former Unitarian minster who
left his ministry behind to embark on a literary journey of sublime revelation,
Emerson is considered to be at the center of the Transcendental movement. His
first book, Nature, is dense with personal connections to the natural
world around him, which then spirals out into much larger ideas. He sought a
new, more personal way to express his need for worship, new language to connect
with God and the divine, and in Nature he finds it all around him,
proposing “the universe is composed of Nature and the Soul” (5).
Emerson himself only accepted the term Transcendentalism reluctantly; instead he
preferred to think of it as “the very oldest of thoughts cast into the mould of
these new times,” religious experiences of self
rather than doctrine (“The Transcendendalist”). There’s a
correspondence to be drawn between Emerson’s, and indeed all the
Transcendentalists, search for a sense of spiritual self while America sought
her identity as a fledgling country. However, there’s more of a beautiful kind
of ironic correspondence in his desire to find a new framework for existing
moral ideas in nature, which he himself describes as “essences unchanged by man”
(Nature 5). To look for new expression in the unchanging spirit of
nature mirrors Emerson’s desire to return to a more personal, intimate form of
worship. Religion is an unnecessary middle man, when you can build your own
paradise: “Every spirit builds itself a house; and beyond its house a world; and
beyond its world, a heaven. Know then, that the world exists for you” (Nature
27).
This form of Transcendental self-revelation in nature isn’t limited to the literary work of the Romantic period, either, it is found quite often in modern literature as well, providing an interesting contrast. Wild: From Lost to Found on the Pacific Crest Trail is a memoir by Cheryl Strayed detailing her thousand-mile hike alone through the wilderness. Strayed had let her life spiral out of control following her mothers death, losing herself to drugs and adultery, and the hike was her way back to sanity and leading a moral life. Like Emerson, nature was not only the stage of her self-discovery, but the catalyst. Woefully underprepared, Strayed was lucky to survive her first few weeks on the trail, but as she pushes herself onward she finds small moments of peace that come, not from self-reflection as she expected, but from focusing on the natural world around her, and the effect it had on her body. In the first leg of her hike she describes the hardships of the trail, and the weight of the pack she carries brings about the revelation she can, and did, bear tragedy and heartache. As she explains it “These realizations about my physical, material life couldn’t help but spill over into the emotional and spiritual realm.” (92). Strayed sought something new in the unchanging realm of nature, but much like Emerson, she also looked to redefine ideals that already existed in her. They both desired rebirth and revelation, something to belong to, and found that by attuning themselves with nature. Strayed states “the wilderness had a clarity that included me,” and contrast that to Emerson declaring “In the tranquil landscape…man beholds somewhat as beautiful as his own nature.” (Strayed 143, Nature 13). There exists a correspondence between the outward world of nature and both authors’ inner humanity, but also between their desires for growth and the natural changing of the seasons, where the old becomes the new.
Where they differ, is where these desires come from.
Emily Dickinson’s A Light Exists in Spring is filled with
Transcendent ideas and sublime imagery. The very title shows correspondence
between the rebirth of nature in springtime, and the spiritual rebirth of one
who has seen “the light”. She goes on to describe and revere the ability humans
have to commune with nature: “That Science cannot overtake, But Human Nature
feels.” (2.3). Dickinson recognizes something beyond science, that
humans can detect because they have emotion. It could also be a reference to the
human ability to choose. Science deals mainly in absolutes, but it cannot tell
you right from wrong. Humans have free will and emotion so they can decide, and
feel, for themselves. Though often intertwined, religion and morality are not
mutually exclusive. Dickinson likely recognized that, and while this is similar
to Emerson, (both writers believed in a personal connection with the divine, one
that can be felt in nature), where they part ways is the impact that connection
has. Emerson is elevated by this connection to nature, he becomes the
“Transparent eye-ball”, a part of nature and God himself (Nature 13), but
Dickinson is grounded by it. The endless horizon, the cycle of day to night, is
seen as something grand and above her. “It passes, and we stay—“, indicates that
while we are connected to nature, she knows we aren’t a part of it (Dickinson
4.4). Dickinson could also be referring to a moment of passion, or fleeting
feelings. In this case, the color on the “Solitary Fields” (Dickinson 2.2) could
be a new idea, or temptation, with “we stay” indicating a return to our core
morals after the moment of consideration has passed. The setting of the sun and
unchanging horizon a morose reminder that we can’t change who we fundamentally
are.
The
view of nature as a gateway to Transcendence is not only used by writers
examining ideas of self or the divine, but can also be used as a conduit for
guiding the readers conscience, or to convey a message. The imposing of moral
ideas can be either explicit in
the text, or implicit. Explicit messages are often found in fairy tales, or
classic parables such as Hansel and Gretel. Two children get lost in the wood,
and subsequently anger a witch, who cooks them. The moral of the tale being
don’t go into the woods. Or eat the walls of houses you find there. These
stories draw a parallel between the tragic ending and the evils of nature. Many
Puritan authors of the Romantic Era engaged in this type of story-telling,
particularly Nathaniel Hawthorne. His story Young Goodman Brown is a
allegory of the corrupting forces of nature, which is a stark contrast to how
nature is portrayed by most other writers of the time. Hawthorne demonizes,
rather than romanticizes nature. Though this is not entirely surprising when
thought of in the religious context of the time. Nature in general, could be
representative of Original Sin and the garden of Eden, which is why Puritans saw
nature as the domain of evil. Hawthorne makes multiple references to the woods
being sinister, calling it “the heathen wilderness”, “dark”, and “benighted”
(Hawthorne 45,51,53). As Goodman Brown runs through the wood shouting for
his wife, Faith, the “echoes of the forest mocked him, crying “Faith! Faith!””,
an example of punning. The name of his wife being a stand in for theological
beliefs, and by venturing out into the woods Goodman Brown has his very faith
mocked by nature, as it has no regard for it. The “moral” of the story isn’t
quite as blatant as a classic parable, Hawthorne ends the tale in a very
ambiguous manner with Goodman Brown returning to the village to find everything
as he left it, but the implications are quite clear. Nature corrupts the pure of
heart, stay away from it. This aspect of the Puritan beliefs are quite well
documented. While not a literary form, the film “The Witch” (2015) depicts a
family being cast out of their village for immoral behavior and forced to
survive alone in the wilderness, which ends in black magic, possession, and
death. The moral behind the story, of nature being a corrupting force, isn’t
really valid today, but it still makes a chilling tale, particularly since much
of the dialogue was derived from actual writing of that time. Comparing this
back to Wild, Strayed ventures into the wilderness and instead of being
possessed by a demonic force, she finds a place of spiritual and personal
tranquility. In modern literature the wilderness is romanticized and held akin
to “finding yourself,” but the theme of it being a corrupting, evil force
prevails regardless, perhaps serving as a reminder we don’t belong there.
The explicit implications of these stories serves well when developing
basic moral principles in impressionable minds, but to inspire change the
suggestions have to be much more subtle. Slave narratives sought to do just
that. Writers such as Harriet Beecher Stowe connecting the reader to the strife
of the characters by evoking an emotional connection. By getting the reader to
identify with the slave characters, the implicit statement is far more
impactful, as empathy is by far a more motivating force than sympathy. Uncle
Tom’s Cabin by Harriet Beecher Stowe was written after the Fugitive Slave
Act of 1850, which made it illegal to help, or in any way aid a runaway slave, so
Stowe’s novel was a strong political statement. In a broad sense, the novel
depicts the North as symbolizing freedom, and the South represents oppression
and slavery, but Stowe employs the connotations of nature to establish a more
personal relationship between her characters and the reader. In chapter 22 of
the novel, Eva reads the Bible to Tom in the cottage garden, and they are
described as being “seated on a little mossy seat, in an arbor, at the foot of
the garden”, while the “golden sunset” bathes them in light (Stowe 22). This
would have been a very powerful image for people reading, and even more so when
the book came with illustrations and they could see the closeness of the two,
framed by nature. It’s a very humanizing image, which would have been very
important—a first step in getting people to see slaves as people, not
property.
Of course, deliberately leading your reader to a specific moral idea may
not always go the way it’s intended. While not exclusive to images involving
nature and sublime ideals, outside influences, and changing society norms, can
impact how a reader responds to the implied moral of the story. Uncle Tom’s
Cabin has been on the receiving end of this problem, primarily for Stowe’s
depiction of African Americans as a sentimental stereotype, there to serve a
purpose but no more. At the time of publication, the novel was viewed as
progressive and outspoken, but when considered in a modern era, those kind of
depictions could be viewed as discriminatory. Perhaps the most famous example of
context informing content is Mark Twain’s Huckleberry Finn. Viewed both
as one of the greatest American novels, and also depicting dehumanizing racist
stereotypes in the character of Jim. Neither of these stories intended to be
offensive, quite the opposite at their time of publication, but there is an
argument about whether they should be enjoyed as literary works in a changed
society. A current example akin to this is the scandal surrounding Bill Cosby.
Once beloved as “America’s Dad”, the multiple allegations of sexual assault he
is faced with have not only ruined his image, but led to lawsuits,
cancellations, and made his work impossible for many to enjoy, as they can’t
look past the context.
The concept of leading your reader to a moral conclusion begs the
question, can you enjoy a literary work while ignoring the context and intended
effect? The answer is yes, and no. Literature holds enormous historical
importance. You can learn more from what was being written during a time period
than you can from what is written about it. Only by reading the work can you
discover the beliefs, morals, and new ideas being explored by authors of that
period. Ignoring a literary work because it contains motifs that are distasteful
in modern society is akin to burying your head in the sand. As a society we can
only learn from our mistakes if we acknowledge them. The literature of the
American Romantic Era isn’t perfect, nothing is, and it contains scenarios and
moral implications that may seem outdated to a modern audience, but the reason
they have endured is because we find something to identify in them: Nature. The
thread that connects literature about divinity, self-discovery, slavery,
morality, and more is a Transcendent ideal of nature. Nature is vast and there
is something compelling about it, and regardless of the specific way we regard
it, the very fact that we still are fascinated by it is what makes these works
last. The thing all the aforementioned Romantic works have in common is an
affinity and reverence to the natural world, and what we can learn from it. It
is simple in it’s complexity, vast and at the same time deeply personal. Modern
society makes everything seen complicated and time consuming, which is why
people like Cheryl Strayed venture out into the wilderness when it gets too
much. In our hearts, we all long for the simplicity of the times in these
stories and poems, and when we head out into nature with our hearts and minds
open, we recognize it as so much bigger than us. Nature is timeless and
awe-inspiring, it is what connects the past to the present, and by studying its
influence on authors through the years, we come a little closer to the immense
transcendent ideas it inspires.
Works
Cited
Robinson, David M. “Emerson: Religion after Transcendentalism.” The Concord
Saunterer,
vol. 11, 2003, pp. 30–37.
www.jstor.org/stable/23395123.
Emerson, Ralph Waldo. Nature. 1836. Craig White Course Site. Web. 16 Nov.
2016. <http://coursesite.uhcl.edu/HSH/Whitec/texts/AmClassics/Transcend/Emerson/RWENature.html>
Emerson, Ralph Waldo.
"The Transcendentalist."
1842. The Complete Works of Ralph Waldo Emerson - RWE.org. Web. 16 Nov. 2016. <http://www.rwe.org/the-Transcendentalist/>
Strayed, Cheryl. Wild: From Lost to Found on the Pacific Crest Trail.
Vintage Books, 2013.
Dickinson, Emily. A Light Exists in Spring. Selected Poetry. Craig White
Course Site. Web. 16 Nov. 2016. <http://coursesite.uhcl.edu/HSH/Whitec/texts/AmClassics/poems/EDpoems/EDlightspring.html>
Hawthorne, Nathaniel. Young Goodman Brown. 1835. Craig White Course Site.
Web. 16 Nov. 2016.
<http://coursesite.uhcl.edu/HSH/Whitec/texts/AmClassics/RomFiction/Hawthorne/YngGmnBrown.html>
The
Witch.
Directed by Robert Eggers. A24, 2015
Stowe, Harriet Beecher. Uncle Tom’s Cabin. 1896
"Great Star" flag of pre-Civil War USA