Thoreau, Henry D, Walden Essay Example for Free

Thoreau, Henry D, Walden Essay Henry David Thoreau, who deals with nature, remains to this day something of a mystery. He was an American essayist, poet, and sensible philosopher, best known for his autobiographical story of life in the woods, WALDEN (1854). Thoreau became one of the leading personalities in New England Transcendentalism. Thoreaus primary genre was essay, and his fascination with his natural surroundings is reflected in many of his writings dealing with totally different subjects. Natural History of Massachusetts includes poetry, describes the Merrimack River, and discusses the best technique for spear fishing. Although he has had more interpreters than any of our other writers on nature, his complex personality has eluded an ever-gathering host of sentimental disciples, whom he would have been the first to spurn , and nearly all his ingenious critics from Lowell and Stevenson to those of his centenary in 1917. He has been regarded as an American Diogenes and a rural Barnum; as a narrow Puritan, as a rebel against Puritanism, as a German-Puritan romanticist; as a sentimentalist; as a poet-naturalist; as a hermit worshiping Nature; as an anarchistic dreamer; as a loafer, Where, amid these bewildering and often equally plausible interpretations, are we to find what he himself called his true centre, if indeed he has one? Obviously, the answer should lie within the twenty volumes of his collected writings; in part, however, it should be revealed by an examination of the influences that were most important in making him what he was. John Thoreau-one of Carlyles sincere, silent fathers of genius, who, in his manufacture of pencils and plumbago, was more intent on excellence than on pecuniary gain-and of Cynthia Dunbar, handsome and spirited, one of the most unceasing talkers ever seen in Concord, whom her staid community was inclined not altogether to approve. His love of nature seems to have been adumbrated in his mother; certainly it was evoked very early, since he tells of the keen impression produced on his imagination, when he was only four or five years old, by the sight of Waldens fair waters and woods, which, he says, for a long time made the drapery of my dreams. Early, too, came the tendency to reverie and the love of solitude, although for some years he lived, like Wordsworth, mainly the life of glad animal movements, wandering over the countryside, to woods, lakes, and rivers-hunting, fishing, berry-picking, boating, swimming. Thoreau was associating with men on other grounds than the raptures of youth in contact with nature; and this habit grew until, at Harvard College, he paid little heed to the curriculum, and He embarked upon a long voyage of unchartered reading that profoundly influenced his outlook on nature and on human life . For the field observations of a student of nature Thoreau was admirably endowed. There was a wonderful fitness, said Emerson, of body and mind. He had in high degree a species of dexterity not uncommon in the Yankee. He understood the relation between sensuous vigour and subtlety and the life of a naturalist: The true man of science, he wrote in the Journal, will know nature better by his finer organization; he will smell, taste, see, hear, feel, better than other men. Accurate perception in the metaphysical as well as the physical sphere he believed to be dependent on a fit body. The whole duty of man is to make to oneself a perfect body, a fit companion for the soul, since the bodily senses are channels through which we may receive ineffable messages-subservient still to moral purposes, auxiliar to divine. This relation between body and soul he was almost incessantly conscious of; certainly he never cultivated body for the sake of body, and, being a good New Englander, had no erotic strain. Nothing was more foreign to his nature than the sensuality of a certain type of vigorous masculinity to be found in all ages, notably in the Renaissance, when poet and painter, as well as philosopher, had ground for saying that not all the snows of Caucasus could avail to allay the fires within me. Driven to choose between body and soul, Thoreau would have had no hesitation: I must confess there is nothing so strange to me as my own body, he wrote in his Journal. I love any other piece of nature, almost, better. That is his view of body as body, but body as minister of the divine he could not value too highly, and, if not of the Renaissance, he was equally not of the Middle Ages. He was indeed all- sentient. Other poets of nature have not been so fortunate. Thoreaus Taking nature as his province, Thoreau studied her faithfully, acquainting himself with her multitudinous facts, her exact rules and laws, her endless diversity and loveliness of form and movement, till he was prone to forget that knowledge of the part was but a means to knowledge of the whole. Yet inwardly he knew and remembered that to attain the true end, to penetrate to the reality beneath the show, he must stir the deeper currents of his own being, rouse himself out of that somnambulism which, according to Carlyle, is what we please to call life. How could he hope to read rightly the holy book of nature if he brought to it nothing better than the unreal light of the dream world in which the ordinary man lives without knowing it-that ordinary man of whom Plato says, dreaming and slumbering in this life, before he will awake here he arrives at the world below, and has his final quietus . Thoreaus subtle and ambiguous synthesis is founded on a fiction. His account of his tax resistance in the essay revises his tax resistance in the world, in his community of Concord. Thoreau tells us he finds in himself an instinct toward the higher, or spiritual, life, and another toward a primitive and savage one. He reverences them both: ‘I love the wild no less than the good. ’ For wildness and goodness must ever be separate. Thoreau repudiates the physical life with the astounding statement— in Walden of all books—‘Nature is hard to be overcome but she must be overcome. ’ In this new context it appears that Nature is abruptly aligned with the feminine, the carnivorous, and the carnal; though a mans spiritual life is ‘startlingly moral’ one is nonetheless susceptible to temptations from the merely physical, or feminine; urges to indulge in a ‘slimy beastly life’ of eating, drinking, and undifferentiated sensuality. Thoreau speaks as a man to other men, in the hectoring tone of a Puritan preacher, warning his readers not against damnation (in which he cannot believe-he is too canny, too Yankee) but against succumbing to their own lower natures: ‘We are conscious of an animal in us, which awakens in proportion as our higher nature slumbers. ’ Sensuality takes many forms but it is all one-one vice. All purity is one. Though sexuality of any kind is foreign to Walden, chastity is evoked as a value, and a chapter which began with an extravagant paean to wildness concludes with a denunciation of the unnamed sexual instincts. ‘I hesitate to say these things, but it is not because of the subject, I care not how obscene my words are, but because I cannot speak of them without betraying my impurity Thoreaus extensive accounts of his house in Walden demonstrate a lively appreciation of issues in current architectural thought. Pinning down his intellectual sources, however, often proves difficult, and it is uncertain whether or not he knew the villa books firsthand. There is some evidence that he was familiar with Downing, albeit at a later date than the Walden experiment. He mentions Downings A Treatise on the Theory and Practice of Landscape Gardening (1841) and The Fruits and Fruit Trees of North America (1845) in a brief enumeration of books on a friends shelf in 1857, and in a journal entry of 1852, he critiques the notion that one should take up a handful of the earth at your feet paint your house that colour, a conceit that had appeared in Downings writings in 1846 and 1850. Joseph J.  Moldenhauer argues, however, that Thoreaus source was instead William Wordsworths Guide to the Lakes (1810), a copy of which Thoreau owned (the fifth edition, of 1835, is an American compilation), in which the handful of the earth conceit is attributed to Joshua Reynolds (1723-1792) in conversation. Moldenhauer stresses that Thoreaus knowledge of Downing is circumstantial rather than documentary; nonetheless, the circumstantial evidence seems strong, given that Downing was at the height of his popularity and influence at the very moment of Thoreaus 1852 remarks . Elsewhere Thoreaus Nature is unsentimental, existentialist. In ‘Brute Neighbours,’ for instance, Thoreau observes an ant war of nearly Homeric proportions and examines two maimed soldier ants under a microscope; the analogue with the human world is too obvious to be emphasized . Although Thoreau introduces the irreconcilability of man and Nature in Walden, in The Maine Woods (1864) he gives the inscrutability of Nature its fullest treatment. In each of Thoreaus three quests into the forest of Maine he foregrounds an epistemological crisis which ultimately reveals the inscrutability of Nature, and the inability of man, as Melville might suggest, to pierce through the pasteboard mask of Nature. In Ktaadn, Thoreau introduces the epistemological themes that he will develop further in Chesuncook and Allegash and East Branch. Each of these three excursions is an extravagant wandering from civilization out into the wild interior of Maine, and then back to civilization (although it must be noted that none of the three excursions is completely circular: in the first and third journeys. Thoreau and his companions leave from Boston, but only return as far as Bangor; in the second journey Thoreau leaves from Boston and returns to Oldtown, just a bit past Bangor). The central opposition at work in all three excursions is the contrast between civilization and Nature, the tamed and the primitive. The hallmarks of civilization are money, property, politics, and machines, such as the railroad and steamboat; the wilderness features wild animals, tangled plants, bugs, mountains, rivers, and Mount Ktaadn. Ktaadn, the first excursion, takes place in 1846. The themes of Ktaadn are grounded in the relationship between civilized man and primitive Nature. Thoreau sets out from Boston into the wilderness of Maine in order to ascend Mount Ktaadn in an effort to re-establish an original relation with Nature, to push beyond boundaries into the realm of the Indian storm-bird Pomolawho, according to Penobscot legend, lives on Mount Ktaadn-where man and Nature unite and ultimate truths are revealed. He never reaches the summit of Mount Ktaadn, however, and Thoreau makes it clear that Nature remains ultimately inscrutable. Speaking of Ktaadn, Thoreau writes: It was vast, Titanic, and such as man never inhabits. Some part of the beholder, even some vital part, seems to escape through the loose grating of his ribs as he ascends. He is more alone than you can imagine. There is less of substantial thought and fair understanding in him than in the plains where men inhabit. His reason is dispersed and shadowy, more thin and subtle, like the air. Vast, Titanic, inhuman. Nature has got him at disadvantage, caught him alone and pilfers him of some of his divine faculty. She does not smile on him as in the plains. She seems to say sternly, Why came here before your time. This ground is not prepared for you. Thoreau writes: Talk of mysteries! Think of our life in nature, daily to be shown matter, to come in contact with it, rocks, trees, wind on our cheeks. Having sought the unification of man and Nature, and failed. But, just as Thoreau fails to reach the top of Ktaadn, none have gone high enough up the mountain to find the origin of the spring. Thoreaus second journey into the wilderness of Maine occurs in 1853. Thoreau more fully develops a series of oppositions introduced in Ktaadn. In Chesuncook Thoreau explores the contrast between civilization and wilderness, the civilized and the primitive, the present and the past, lower uses of Nature and higher laws, the indiscriminate hunter and the poet, and commodity and discipline. In his excursion, Thoreau wishes to recapture the past-to relive what the Jesuit missionaries experienced when travelling through the primitive wilderness untouched by civilized man-but he is unable to: he is tainted by the corrosive effect of civilization. Thoreau makes this clear central crisis: the destruction of the moose by Thoreaus band of indiscriminate hunters. Framed by suggestive allusions to Mount Ktaadn, Thoreaus participation in the killing of the moose provokes the wrath of Nature against Thoreau, thereby cutting off any chance. Thoreau may have had of succeeding where he failed in Ktaadn: to establish an original relation with Nature, to go beyond boundaries and express truth . In Chesuncook Thoreau laments his only half-willed participation in the destruction of Nature; in A Minor Bird the narrator tries to understand what there is within man that would cause him to silence any song of Nature, whether that song be in-or-out of key. The suggestion in A Minor Bird is that there is some mysterious separation between man and Nature, a disharmony. Thoreau reflects on the relentless, inevitable advance of civilization, and the destruction of Nature, which this advance brings with it. This poses a serious problem, for the Poet, notes Thoreau, and draws power and inspiration from contact with primitive Nature. In the end Thoreau suggests that perhaps man can preserve some of the raw wilderness left in America (through some form of park system or similar venture). This solution is Thoreaus problematic attempt at a mediating compromise between the relentless progress of civilization and the need of the Poet to tap into the inscrutable power within Nature, the Poets muse. In the past, Nature was untouched and available to the Poet; in the present, Nature is quickly receding. Thoreau introduces the idea of Nature as Muse in Chesuncook. Thoreau is doubly-damned: the mythological tablets that only the poet can read are being destroyed by civilization, and the poet himself has been so corrupted by civilization that even he can no longer read the few glowing wood chips that remain. The poet yearns for communication with Nature, but he cannot bridge the gulf, which separates them. In the end, Thoreau symbolically resigns himself to his fate: when hop and Indian Joe pass by Ktaadn on their way back home, they do not even attempt to climb. Thoreau complains testily in his Journal (1852). One needs distance to be able to focus his vision. One needs space and freedom of movement to refocus his vision, keep it unconstrained by familiarity, habit and custom. In Thoreaus view, lack of originality and morning freshness amounts to near blindness. What makes nature nonhuman, but, for that very reason, also a perfect conversationalist is that nature is ever original, lacking intention and memory. Both, in Thoreaus eyes, are socially conditioned and therefore suspect, the first associated with private interest, the second, with the bonds of tradition. Natural existence, on the other hand, is superior to petty concerns and designs, it unfolds spontaneously moment-by-moment, offering itself to man as a pure tonic. Vista and novelty are what Thoreau treasures most in relationships and communication, and these natures would provide amply . Until recently, Thoreaus scientific interests and pursuits were dismissed by critics as amateur and sloppy science coupled with a declined prose style. Only recently, with the 1993 publication of Faith in a Seed—a collection of not just his late natural history essays but also including the first publicat ion of his unfinished manuscripts—has it become apparent that Thoreau had accomplished something important. In Faith, he demonstrated by observation, experimentation and analysis, how 99 percent of forest seeds are dispersed; and how forests change over time, and regenerate after fire or human destruction. Thoreau worked at his familys pencil factory in 1837-38, 1844, and 1849-50. He had a natural gift for mechanics. According to Henry Petroski, Thoreau discovered how to make a good pencil out of inferior graphite by using clay as the binder; this invention improved upon graphite found in New Hampshire in 1821 by Charles Dunbar. Later, Thoreau converted the factory to producing plumbago, used to ink typesetting machines. Frequent contact with minute particles of graphite may have weakened his lungs. He travelled to Quebec once, Cape Cod twice, and Maine three times; these landscapes inspired his excursion essays, A Yankee in Canada, Cape Cod, and The Maine Woods, in which travel intineraries frame his thoughts about geography, history and philosophy. Thoreau was not without his critics. Scottish author Robert Louis Stevenson judged Thoreaus endorsement of living alone in natural simplicity, apart from modern society to be a mark of effeminacy: Thoreaus content and ecstasy in living was, we may say, like a plant that he had watered and tended with womanish solicitude; for there is apt to be something unmanly, something almost dastardly, in a life that does not move with dash and freedom, and that fears the bracing contact of the world. In one word, Thoreau was a skulker. He did not wish virtue to go out of him among his fellow-men, but slunk into a corner to hoard it for himself. He left all for the sake of certain virtuous self-indulgences. Stevenson was sickly much of his life, bed-ridden and cared for by his mother and wife, but craved a life of adventure and travel. However, English novelist George Eliot, writing in the Westminster Review, characterized such critics as uninspired and narrow-minded: People—very wise in their own eyes—who would have every mans life ordered according to a particular pattern, and who are intolerant of every existence the utility of which is not palpable to them, may discourage Mr. Thoreau and this episode in his history, as unpractical and dreamy. Throughout the 19th century, Thoreau was dismissed as a cranky provincial, hostile to material progress. In a later era, his devotion to the causes of abolition, Native Americans, and wilderness preservation have marked him as a visionary.