Predrag Kovaevi 1

Predrag Kovaevi
Professor Nataa Karanfilovi Phd
XIX Century American Literature
1 A!ril "#11
$%ut of the Cradle &ndlessly 'oc(ing)* +hemes
A great !hiloso!her and a very influential figure in nineteenth century America, 'al!h
-aldo &merson, stated in his essay $+he Poet) that every great nation has to have its leading
!oet, a visionary and a seer .ho .ill hel! in creating the national identity and set foundation for
the e/ually great culture 0&merson 112"1134 -alt -hitman read this essay .hich .as !u5lished
in 167 and .as !rofoundly influenced 5y it, he .as even remem5ered to have said* $I .as
simmering, simmering, simmering and &merson 5rought me to a 5oil4) 0'eynolds, 1"34 It can 5e
true that this idea of &merson8s !rovided the im!etus for -hitman8s very !rolific literary career4
In 177 -hitman !u5lished his collection of 1" !oems called $Leaves of 9rass) .hich
.as to see 1 editions
1
and gro. from 1: !ages to 67; !ages and :1 !oems .hich the final,
$death5ed) edition, in 11" contained4 It .as very different form conventional American !oetry
of the time and even though it might 5e .rong to <udge a 5oo( 5y the cover, the covers of this
5oo(, ornamented .ith natural motifs on the green 5ac(ground, suggested one very im!ortant
as!ect of the collection, .hich is the theme of nature 4 %ne of the main themes of the 5oo( is
nature 5ut there are many others as .ell .hich are !erha!s even more im!ortant4 +his 5oo( .as
to 5ecome -alt -hitman8s magnum o!us and to gro. together .ith the !oet, to change the
1
The number of editions varies from 6 to 9, according to what diferent scholars regard as a
diferent edition.
Predrag Kovaevi
mood and attitude as the !oet8s mood and attitude changed, to 5e, .hat =4+4 Coleridge referred to
as organic form, a .or( of art .hich matures .ith the artist, <ust li(e his >iogra!hia Literaria4
+his collection of !oems dealt .ith the im!ortance of the !oet as a visionary, as someone .ho
unites the !resent and the future and hel!s in a.a(ening !eo!le8s consciousness 5ut he does not
say he is .orthier that any other individual, 5ecause he adhered firmly to the 5elief of democracy
that every individual is e/ually im!ortant, the 5elief .hich .ould 5ecome so dee!ly rooted in the
American culture and consciousness4 ?or -hitman, the !oet is more li(e a channel through
.hich natural imagination and 5eauty, inherent to humans, s!rings out4
+he title of the collection .as a sort of !un in .hich $grass) referred to the .ay
!u5lishers at that time called literary .or(s of minor value and $leaves) .ere the !ages on .hich
they .ere !rinted 0Loving, 1@13 5ut $grass) has many different inter!retations and it can 5e said
that it unifies almost all the themes in the collection4 It can stand for individuality in the mass
since every 5lade of grass is uni/ue in some .ay even though there is a large num5er of them, it
can also re!resent the cycle of life and re5irth since every s!ring the grass starts to gro. 5efore
all the other vegetation and as -hitman, himself, stated grass is a sym5ol of e/uality among the
races since it gro.s among the 5lac( men same as among the .hite 0Aatthiessen, 7634
Aarc van Boren, in his .or( $Ca!!y Critic), stated that the !oems $-hen Lilacs Last in
the Booryard >loom8d) and $%ut of the Cradle &ndlessly 'oc(ing) are the summit of
-hitman8s !oetry in the .ay that they are most effective and mature 0Dan Boren, 6:34 +his !a!er
.ill deal in much greater detail .ith $%ut of the Cradle &ndlessly 'oc(ing)
$%ut of the Cradle &ndlessly 'oc(ing) .as first !u5lished individually in New York
Saturday Press under the title $A Child8s 'eminiscence) in 171, ho.ever, -hitman .as not
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com!letely satisfied .ith the !oem so he altered it several times and also changed the title4 In
1;# it 5ecame a !art of Leaves of Grass under the title $A -ord out of =ea)4 +he !oem .ent
through considera5le changes in 1;@ edition and got its final form in 11, in so2called
$death5ed edition) .hen it .as !laced as the first !oem of the =ea2drift section4 +he !resent title
.as first used in 1@1 edition4
+he !oem re!resents, as the first title suggested, a reminiscence of the !oet a5out the
crucial event in his childhood .hich a.a(ened the artistic side of his 5eing and determined his
future as a !oet4 +he storyline is /uite sim!le* the !oet remem5ers himself as a young 5oy .ho
on the 5eaches of Long Island o5serves t.o moc(ing25irds .hom he refers to as $feather8d
guests from Ala5ama) 0-hitman ";34 Not only does he o5serve them 5ut he is also a5le to
understand their song and translate it4 %ne day the she25ird does not return to the nest so the he2
5ird suffers and calls to her the entire summer4 -hen he finally loses ho!e the 5oy eE!eriences a
(ind of e!i!hany a5out life8s sorro.s and loss and the sea utters the .ord $death) as the final
.ord .hich is su!erior to all4 +he realiFation of death as an over.helming !o.er is .hat
!rovides the source for his art4
+here are several im!ortant themes .hich are dealt .ith in this !oem and they .ill 5e
ela5orated on se!arately4 +hese themes are* the 5irth of a !oet, the sources of !oetic imagination
and the theme of nature, the theme of love and ha!!iness, the theme of loss, the theme of death
and finally the cycle of life4
+he first and the most im!ortant theme, .hich underlies all the others is the theme of
5irth and, more s!ecifically, the 5irth of a !oet4 +his theme is evident even in the structure and
rhythm of the first sentence, .hich is one of the sentences ty!ical of -hitman 5ut also one of his
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5est such sentences4 =u5<ect in this sentence does not a!!ear until the line "# and is !receded 5y
a5undance of !re!ositions and movement adver5s suggesting struggle and tension, struggle and
tension of 5irth4 +he rhythm of the sentence resem5les the sound of the sea and the .aves
crashing against the seashore4 +he sea .hich is com!ared to cradle in the first line and the title
sym5oliFes 5irth among several other things4 =cholars have coined the term $oceanic sentences)
to refer to this element of -hitman8s style 0Allen, Bavis ":"34 $%ut of the Ninth2month
midnight) 0-hitman, :3 is one of the !re!ositional !hrases in the first, oceanic, sentence .hich
!articularly suggests the culmination of !regnancy and that something, in this case the !oet, is
a5out to come to eEistence4 +he 5oy s!ends the entire summer .atching the 5irds careful not to
distur5 them4 -hen the he25ird stays alone and suffers the 5oy identifies .ith him, feels his loss
and sorro. as something universal and at that moment he eE!eriences e!i!hany, the line
$+housand .ar5ling echoes have started to life .ithin me never to die) 0-hitman, 1613 means
that the realiFation a.a(ened the artistic im!ulse .ithin him4
Co.ever, it is not at this moment .hen the 5oy turns into a !oet, its rather that he
5ecomes a.are of his !oetic a5ilities and a!titudes 5ut he is still lost and sur!rised and he almost
des!erately cries for meaning, the meaning of all the suffering in life4 +he !oet is finally 5orn
.hen the sea utters the .ord $death) as the ans.er to his !leas, at this moment the 5oy realiFes
that the fact that everything has to come to an end and die ma(es life .hat it is and gives the
immense value to it4 +his realiFation gives the 5asic idea to his later !oetry and !rovides the
im!etus for his !oetic endeavors4
-hitman8s vie. of the !oet and sources of !oetic imagination can 5e regarded as a
se!arate theme in the !oem4 +his vie. has its roots in &merson8s essay $+he Poet) .here the
author !oints out to the necessity of the society to have its re!resentative 5ard, a s!iritual leader,
Predrag Kovaevi #
a visionary, an ins!ired seer, .ho hel!s !eo!le form their national consciousness4 Ce has to
!ossess an inner illumination .hich he then !ro<ects on the .orld through his art4 >ut .here
does his ins!iration come fromG Ans.er to this can 5e found in 5oth +ranscendentalism and
'omanticism, .hich had great influence on -hitman4 >oth of these movements held that nature
is the su!reme source of the !oetic ins!iration, 5ut -hitman even goes one ste! further, since his
ins!iration does not come from mere admiration of natural 5eauties 5ut he seems to a5le to
communicate .ith nature and get ans.ers from it4 +his !articular !oem !resents these ideas in
many .ays4 ?irstly, the 5oy is a5le to understand .hat the 5irds sing a5out, unli(e any other
human, therefore, he is a connection 5et.een ordinary !eo!le and nature and natural truths4 +his
can easily 5e only his imagination or the !ro<ection of his o.n !sychological state 5ut then it
sho.s ho. fruitful and truly !oetic his imagination is4 =econdly, the !oet is here to re!resent a
universal man, different form the ordinary !eo!le only in his eEce!tional gift of imagination4
+his idea is o5vious in the line* $?rom your memories sad 5rother, form the fitful risings and
fallings I heard) 0-hitman 134 +hirdly, the !oet is $uniter of here and hereafter) 0-hitman "#3,
therefore, a seer .ho is a5le to foresee the future of his nation and a collector of different
eE!eriences2 $+a(ing all hints to use them, 5ut s.iftly lea!ing 5eyond them) 0-hitman "13 5ut
not only does he collect individual eE!eriences 5ut he generaliFes a5out them and finds universal
truths as .ell4 As .e can see the first sentence serves as a sort of $catalogue) 0Dan Boren, 63
.here the sources of !oetic ins!iration are num5ered4 In addition to these, nature is also a great
source of ins!iration as o5vious in $%ver the sterile sands and fields 5eyond) 0-hitman 63 or
$%ut form the !atches of 5riers and 5lac(5erries) 0-hitman @34
9reat natural forces 2 the sea, the land, the sun, the moon, the stars are !resented as
similar to gods, 5ecause living 5eings, in this case the !oet and the he25ird turn to them for
Predrag Kovaevi 6
ans.ers4 +his can 5e vie.ed as a reflection of -hitman8s !antheism4 +he he25ird addresses each
of these elements as(ing for his mate and the !oet gets the final ans.er from the sea4 Also the
natural atmos!here corres!onds to the events and emotions in the !oem H love is accom!anied to
sun, loss to the moon and night and the ho!e of the he25ird fades gradually .ith the moon4 +he
moon also foreshado.s the sorro.ful events .hen it is descri5ed in the 5eginning as $that
yello. half2moon late2risen and s.ollen as if .ith tears) 0-hitman 1#34
Love and ha!!iness are t.o very im!ortant themes in $%ut of the Cradle &ndlessly
'oc(ing) and they are mirrored in t.o moc(ing5irds .hich come from Ala5ama and ma(e their
nest near the 5oy8s house4 +he t.o 5irds live in !erfect ha!!iness $singing all time, minding no
time) 0:13, they are com!lete as one .hole .hile they are together4 Co.ever, their ha!!iness is
!resented in very short !art of the !oem, some nine lines, in order to sho. ho. ha!!iness lasts
shortly4 It can 5e seen merely as a literary device !roviding a transition, a ste!, to.ards more
im!ortant theme of loss4 It is very im!ortant to note that love does not die .ith loss, on the
contrary, it gets stronger, it seems li(e it finally and fully realiFes itself only .hen it gets
distur5ed4 +his could, very .ell, fit in .ith, !erha!s, the general idea a5out life that -hitman
.anted to !ortray in this !oem and that is that the full a!!reciation of something comes only
after the loss or the realiFation of changefulness of that !articular thing4
As .e come to the theme of loss in $%ut of the Cradle &ndlessly 'oc(ing) .e can see
that loss here is a general conce!t .hich encom!asses losses of several individual things,
namely, the loss of the loved one and ha!!iness and ho!e on the !art of the 5ird .hich
corres!ond .ith the loss of childhood illusions and innocence in the 5oy4 In the line 61 $+ill of a
sudden) 0-hitman 613 an a5ru!t t.ist ta(es !lace and the !icture of loss and loneliness re!laces
the idyllic !icture of ha!!iness4 No. there is $+he solitary guest from Ala5ama) 0-hitman 713
Predrag Kovaevi $
.ho sings to his mate, .ho did not a!!ear one afternoon in the nest, .anting her to come 5ac(4
Ce addresses the .ind, the moon, the land as(ing them to 5ring his love 5ac( to him and his
ho!e gradually fades, this loss of ho!e is re!resented 5y the moon .hich is first $laggingIheavy
.ith love) 0-hitman @;3, after that there is a $dus(y s!ot) 0-hitman 1@3 of ho!e on the $Lo.2
hanging) 0-hitman 1;3 moon until the ho!e finally dies and the moon almost disa!!ears leaving
only $5ro.n halo) 0-hitman 1"130Karanfilovi, !ractice classes34 +he !ast love and loss are
contrasted from the line 1"7 to 1:#*
% !astJ % ha!!y lifeJ % songs of <oyJ
In the airKin the .oodsKover fieldsL
LovedJ lovedJ lovedJ lovedJ lovedJ
>ut my love no more, no more .ith meJ
-e t.o together no more4 0-hitman 1"721"13
+he insistence on the .ords $no more) is to illustrate the sorro. of the one .ho .as once
ha!!y 5ut has no. lost that ha!!iness4 &dgar Allan Poe used this device as a refrain in his !oem
$+he 'aven) .ith the same !ur!ose4
+he 5oy .as a5le to understand the 5irds .hen they .ere ha!!y 5ut they did not
influence him so much until the he25ird8s dirge corres!onded .ith the same emotion of loss
.ithin him4 +he young !oet identifies .ith the 5ird and feels his loss trough his o.n loss of
childhood illusions and ignorance4
Ce !our8d forth the meanings .hich I of all men (no.4
Predrag Kovaevi %
Mes my 5rother I (no.,
+he rest might not, 5ut I have treasur8d every note 0-hitman ;#2;"3
undou5tedly, suggests his a5ility to understand the sufferings of others 5ecause he has suffered
himself4 Co.ever, this a5ility of identification of !ain is still not com!lete, he is still not a5le to
feel the sorro. of life com!letely 5ecause he still has that shell of childhood around him4 After
.itnessing the 5ird8s loss of ho!e he feels the shell of his childhood crac(ing in the ecstasy of
a.a(ening of a !oet, he is no. an $outsetting 5ard) 0-hitman 16:34 >ecoming conscious of his
nature as a human 5eing !rone to suffering and also a !oet .ho is to feel that suffering, !erha!s,
even more intensely is !ainful and causes tears4 +here is even dou5t in the 5oy .hether the 5ird
is a demon since it !rovo(e so much !ain .ithin him, it 5ecomes an em5odiment of sorro.* $%
you singer solitary, singing 5y yourself, !ro<ecting me) 0-hitman 17#3, sorro. .hich gives a
5irth to the !oet4 +he culmination of the feeling of loss is evident in the follo.ing lines*
Never more shall I esca!e, never more the rever5erations,
Never more the cries of unsatisfied love 5e a5sent from me,
Never again leave me to 5e the !eaceful child I .as 5efore .hat there, in the night
0-hitman 17"21763
+he ana!horic re!etition of the .ords $never more) is a !arallel to the 5irds loss of ho!e
eE!ressed 5y $never again) cited a5ove and identical to Poe8s use in $+he 'aven) +his is no.
the 5oys dirge a5out the loss of childhood and safety4
According to Aarc van Boren, this realiFation alone is enough to ma(e a good !oem and
a good !oet, 5ut .hat ma(es -hitman a great !oet and this !oem one of the master!ieces is the
realiFation that comes after4 Dan Boren states that in most of his !oems -hitman8s effect is
Predrag Kovaevi 9
someho. .atered do.n 5ecause he is very a!!reciative of everything that8s natural and devoted
to !raising life 5ut .hat8s necessary is to incor!orate death in the !oetry 5ecause .ithout death
there is no life as .e (no. it4 In this remar(a5le !oem -hitman manages to incor!orate death
and 5y .riting a5out it he actually .rites a5out life as it is and thus ma(es this !oem a
master!iece 0Dan Boren 634
If .e say that the 5irth of the !oet is the overall theme in this !oem then .e must say that
theme of death is crucial in that !rocess4 In the ecstasy of the realiFation of himself as a !oet the
5oy is near the sea, .hich !rovides an undertone and is first mentioned as the old mother
$incessantly crying) 0-hitman 16134 -hen the 5oy finally dares to as( for the meaning of all the
suffering in life eE!ressed in one .ord it comes from the sea and the .aves re!eat $ death, death,
death, death) 0-hitman 1;13 in their s.eet lulling rhythm4 +o the 5oy, this .ord is suddenly
delicious, it ma(es him understand everything, it )laves him softly all over) 0-hitman 1@"3
5ecause it gives him the most im!ortant meaning that everything is in a cycle, everything comes
and goes, ha!!iness and sorro., love and loss, life and death4 +his realiFation is .hat ma(es his
art great 5ecause as he says*
-hich I do not forget,
>ut fuse the song of my dus(y demon and 5rother,
+hat he sang to me in the moonlight on Paumano(8s gray 5each,
-ith the thousand res!onsive songs, at random,
Ay o.n songs, a.a(ed from that hourL
And .ith them the (ey, the .ord u! from the .aves,
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+he .ord of the s.eetest song, and all songs, 0-hitman @62#3
it ena5les him to fuse death .ith everything he .rites thus giving everything the true meaning4
At the very end of the !oem .e have a !icture of an old .oman roc(ing the cradle .his!ering
$death) .hich creates a sort of !aradoE on .hich Bavis and -ilson comment*
+he .ord $death) .his!ered 5y the sea means essentially the same as the $(ey .ord)
emerging out of the endless roc(ing of the cradle eEce!t that $cradle) is itself highly
suggestive of life, young life and hence 5irth40Bavis, -ilson 1;73
therefore, death, itself, is not the meaning it is only a transition to.ards re5irth and ne. life4
-ith this in mind it is no .onder that the ending of the !oem is so !eaceful and the atmos!here
is that of !eace and satisfaction4
>y s!ea(ing alternately a5out ha!!iness and sorro., love and loss of the loved one, life
and death the !oet underlines his 5asic idea, the idea of the cycle of life4 +his theme ma(es even
the flo. of this !oem cyclical since it starts from the !icture of love and ha!!iness then through
the loss of ha!!iness, ho!e and death it comes to re5irth and ne. life 0Dan Boren, 634 +he line
in the first sentence, .hich .as mentioned a5ove* $%ut of the ninth2month midnight) 0-hitman
:3 is availa5le for multi!le inter!retations, for not only does it refer to the culmination of
!regnancy, .hich .as already mentioned, 5ut also to the month of =e!tem5er4 +his !articular
month is very convenient for illustrating the idea of cycle of life, since it is the 5eginning of
autumn and death of vegetation 5ut it is, as .ell, the time .hen vegetation 5ears fruits and seeds,
thus the 5eginning of ne. life4 In addition to this, a 5it later in the !oem, -hitman also mentions
the ?ifth month, that is the month of Aay suggestive of s!ring and 5irth, again fusing life and
death into one .hole4
Predrag Kovaevi 11
In this cycle death seems to re!resent a sort of frame for life, or as Aarc Dan Boren !uts
it $death is the !re2eminent theme for !oetry, since it is the envelo!ing force, the 5eginning and
end framing the middle H life)4 0Dan Boren, 6;43, and the realiFation of it defines life in itself4
+his idea goes together .ith $the fact that death, loss, suffering, a sense of guilt and !ersonal
fragmentation is the source of !oetry of high distinction) 0 Paci, 113, since !hysical and mental
suffering 5roaden one8s !ers!ectives and o!en ne. s!iritual vistas, thus, giving 5irth to
something ne., in this case the art of !oetry4
?inally, it .ould 5e good to analyFe the ocean as the central sym5ol of the !oem, 5ecause
it forms an element .hich unifies the most im!ortant themes4 -hitman regarded it as the unity of
life, death and re5irth and dra.n much of his ins!iration from it4 Ce associates it .ith 5irth for
t.o reasons, first, for its constant movement .hich resem5les the roc(ing of the cradle, hence,
the first line and the title, secondly, shortly 5efore the !u5lishing of the !oem Charles Bar.in
came u! .ith the idea that all living creatures on the &arth come from the sea4 %n the other hand,
$dar(ness and de!th 5elo. the illusory stillness of the surface) 0Aatthiessen 7;;3 is highly
suggestive of un(no.n and death4 +he setting of the !oem, that is the seashore, is according to
-hitman a !lace of !erfect 5alance, right in 5et.een .hat Aelville referred to as $unshored
har5orless immensities) and $land8s !eaceful margin of safety) 0Aatthiessen 7;;34 +hat is the
!lace .here $the solid is marrying the li/uid) 0-hitman, 1:73, .here the t.o antagonists meet
and fuse, li(e male and female, real and ideal ma(ing one another com!lete4 +his .ay he
$instinctively ado!ts seEual sym5olism .hich is nearly al.ays at the root of his most living
utterance) 0Aattheissen 7;73, li(e in the lines $% madly the sea !ushes u!on the land,N -ith
love, .ith love) 0-hitman @@2@34 +herefore, this setting has the !otential to give 5irth to a !oet
and !rovide the ins!iration for a great .or( of art4 -hitman also said that he intended to .rite a
Predrag Kovaevi 1
!iece of !rose or verse a5out the sea2shore eEclusively 5ut it someho., un.ittingly to him,
ha!!ened that he never did 5ut it .as an underlying theme in all his .or(s 0-hitman 1:734
+o summariFe the analysis of this !oem, one has to admit that this is definitely one of the
master!ieces of not only American 5ut the .orld8s !oetry4 +he reasons for this are !ro5a5ly 5est
stated 5y Bavis and -ilson*
$+he choice of themes such as 5irth, death and resurrection is common to almost all the
.orld8s religious and cultural myths and for those themes he .as a5le to find a!!ro!riate
atmos!here, sym5olic imagery and rhythm4 +his is one of the master!ieces in .hich the
!oet transcends not only his !ersonality 5ut also the national consciousness4) 0Bavis,
-ilson 63
+he im!act of -hitman8s .or( as a .hole on the American culture is immense and if .e
.ere to as( if he succeeded in his goal to 5ecome a seer, a !ro!het, one of the fathers of the ne.
nation the ans.er .ould !ro5a5ly 5e affirmative 5ecause no.adays he is vie.ed as one of the
crucial figures in the formation of the American national consciousness4 +his is certainly even
more so 5earing in mind the idea that his influence is undis!utedly !resent in the .or(s of B4C
La.rence and &Fra Pound and many im!ortant modern American .riters such as Oac( Kerouac,
-illiam =4 >urroughs and Aichael Cunningham to name a fe.4 &Fra Pound even said a5out
-hitman that he is not only $America8s !oetIhe is America) 0Pound 34 +herefore, it .ould 5e
im!ossi5le to tal( a5out modern American literature if it had not 5een for -hitman4
Placing -hitman in .ider artistic conteEt and 5earing in mind the !eriod in .hich he
lived and created, he can 5e vie.ed as a figure .hich connects romanticism .ith modernism4
Cis insistence on the im!ortance of intuitive and sensual rather than rational is also one of the
Predrag Kovaevi 1!
most im!ortant !remises of the modernist movement and if .e add that La.rence and Pound
.ho .ere among the central figures of the movement .ere strongly influenced 5y him, then it is
not ina!!ro!riate to say that -hitman .as one of the figures .ho formed the setting out of
.hich the modernist movement s!rang4
Predrag Kovaevi 1"
'eferences*
Allen, 9ay -ilson and Charles +4 Bavis4 Walt Whitmans Poems. Ne. Mor(* Ne.
Mor( Pniversity Press, 11774 Print4
&merson, 'al!h -aldo4 Essays 18!. Ne. Mor(* 9eneral >oo(s4 "##14 Print4
Karanfilovi N4 Practice Classes4 Pniversity of Novi =ad4 Aarch, "#114
Loving, Oerome4 Walt Whitman" #he Son$ of %imself4 >er(eley* Pniversity of
California Press, "###4 Print4
Aatthiessen, ?rancis %tto4 &meri'an (enaissan'e" &rt and E)*ression in the &$e of
Emerson and Whitman. London* %Eford Pniversity Press, 11614 Print4
Paci, >ran(ica4 #he +i$ #en ,a-or Nineteenth .entury &meri'an Writers. Ni*
PniverFitet u Niu, 11114 Print4
Pound, &Fra4 Walt Whitman4 Ne. Oersey* Prentice2Call, Inc4, 11;"4 Print4
'eynolds, Bavid4 Walt Whitman. Ne. Mor(* %Eford Pniversity Press, "##64 Print4
Dan Boren, Aarc4 #he %a**y .riti'. Ne. Mor(* Cill and -ang, 11;14 Print4
-hitman, -alt4 Leaves of Grass4 Ne. Mor(* Aodern li5rary, 111:4 Print4
-hitman, -alt4 Prose Works. Philadel!hia* Bavid AcKay, 11"4 Print4