Showing posts with label pantheism. Show all posts
Showing posts with label pantheism. Show all posts

May 8, 2014

Poking and Prodding: e.e. cummings’ “O sweet spontaneous” and the Nature of Nature (and; un-Schooling



At Kensington Metropark the other day, I discovered an island hubbub, a rookery full of Great Egrets, Great Blue Herons, and Cormorants. Below them Canada Geese squawked. Closer to shore, red winged blackbirds clung to reeds and half-seriously threatened me, I assume because of nearby nests. Two male geese squared off as if to fight—much hissing and honking in goose profanity, I'm sure. Later, two male redwings got into the longest physical squabble (maybe ten seconds) I’ve ever seen between two birds. At home, the wiser gold finches, doves, cardinals, and sparrows make only symbolic gestures of combat. 
 
My big birding day at Kensington got me thinking even more about spring and nature, and that reminded me of e.e. cummings’ poem,  “O sweet spontaneous,” in which he offers mockery and contempt for philosophy, science, and religion. Whatever those three endeavors might be, what they are not—and never will be—is spontaneous. They are considered, rehearsed, systematic invasions and perversions of nature, which is so magical and supra-rational that spring, season of rebirth and renewal, is the “rhythmic/lover” of death.


Nature is spontaneous in the sense that it simply is; it cannot be understood empirically. Philosophers and scientists are “prurient” and “naughty” voyeurs, while religionists try to knock nature around, “buffeting” it as they attempt to pull gods from its womb. Is that not a rather violent image of birthing, perhaps suggestive of abortion?

In the ongoing American hostility and debate about evolutionism vs. creationism, what might e.e. cummings say? And what might he say about religion in the schools? Would he tell us to avoid teaching philosophy, science and religion altogether?

As a poem, “O sweet spontaneous” is surely vulnerable to charges of oversimplification and sentimentality (that is, excessive or unearned emotional content).  Does it cross that line into touchy-feely, art-fart mush? Or does it try to demonstrate through simplicity its own argument that nature and the cosmos cannot be known in Academy-sanctioned curricula? 
Does the poem ask us to plop the kid in a field to witness the elk and experience snakebite? Shall we cancel science classes nationwide? What would a school run by cummings look like?

What would cummings do about climate change? Or cancer?

Would he argue that pantheism, animism, atheism and their ilk are also “prurient,” “naughty,” and “squeezing” and “buffeting”?  Do they too have “scraggy knees”? Or is it only mainstream schools of thought that are villains and morons? Kill the Presbyterian, let the hippie roam.
 
See how easy it is to take cummings to task? And aren’t his anti-traditional punctuation, capitalization, and diction rather juvenile, facile, disingenuous rebellions?

Or are they the most honest, urgent, cogent way to challenge authority? Maybe they demand that we experience the world as cummings does, unfettered by semicolons.
 
Whatever the case, when I’m having a good experience in nature, what I’m feeling feels unknowable—fwom de pwitty wittle finchee (change now to a baritone voice) to the big mean hawk that eats him (“the incomparable/couch of death”?).  What I’m experiencing might be such a vigorous firing of neurons, or such a jiggling of stardust as it wiggles with what I am, that no mere empirical Discipline can touch it.

Surely the solution is to invite politicians to write up an exam that tests a student’s life-essential knowledge at age 15. For if politicians don’t know what must be learned, who does? 














Mar 17, 2010

GERARD MANLEY HOPKINS, "CARRION COMFORT"







GERARD MANLEY HOPKINS AND DEAN YOUNG: STRANGE BEDFELLOWS?






“Carrion Comfort” is one of the “Terrible Sonnets,” poems of religious questioning, doubt and anguish by Gerard Manley Hopkins, a Jesuit priest in Victorian England and Ireland. The poem also illustrates some points I was trying to make in response to the visitor comments on March 15 and 16, concerning Dean Young’s poem, as well as poetry in general.

Some grim, sad, and depressing poems are also difficult, perhaps never completely understood by Reader X. Yet he might love such a poem or at least some of it if it offers gifts along the way, probably images, lines, passages and music to feel connected to, but also thoughts and emotions, conveying something of what Reader X had thought or felt himself, but would never have considered uttering in this way.

A Victorian poet (1844-1889), Hopkins’ language can be, or seem at first, self-conscious, jerky, grandiose. His experiments with language can be so dramatic, so bold that many scholars say he is (along with Emily Dickinson and Robert Browning) more modern than Victorian in manner and maybe thought as well. I take that as high praise, but I also worry that some readers will find these experiments excessive, or even an unintended self-parody. So let’s keep in mind how bizarrely unconventional Hopkins’ style is for its era. Let’s cut him some slack, for it’s in these very excesses that we’re likely to find the “wow factor” as he blazes new trails in poetry.

Carrion Comfort by Gerard Manley Hopkins : The Poetry Foundation [poem] : Find Poems and Poets. Discover Poetry.

Hopkins doesn’t strike me as all that different, conceptually, from the Romantics. In nature, he finds not only the variety, beauty, and awe of the physical details, but also a revelation of God. I see a blend of Christianity and Pantheism (though for honesty’s sake, I must add that I don’t know enough about either of those schools to make such a statement).

With Hopkins, I allow myself another privilege: violating the New Criticism’s "Biographical Fallacy" (and you thought I was timid!). I find it unusually important to remember that Hopkins was a Catholic by conversion—that is, he presumably knew something about the faith before committing to it. He believed in it so completely that he became a Jesuit priest. So, while I don’t usually like reading much of an author’s life into his work, in this case I’m moved by the fact that this writer is not just you, me, or Joe Schmoe having a crisis of faith, but a man who lived his religion as completely as Hopkins did.

Maybe I need to add that, if someone hasn’t had a few crises of faith, I don’t put much stock in that person’s faith (including atheism). So I can only try to imagine how agonizing it must have been for the devout Hopkins when he had these times of wondering, fear, intense doubt.

Back to context: I was not planning to post Hopkins any time soon, but I think he illustrates what I was trying to say one and two days ago about poets who leave plenty of gems along the way to a poem's closure and wholeness. We might not like, agree with, or understand the entire poem, but we can be bowled over by individual images, lines, passages, or the work’s overall music, atmosphere, texture. In turn, those gifts might keep us coming back until we feel comfortable with more and more of its parts, or even its entirety.

Carrion Comfort by Gerard Manley Hopkins : The Poetry Foundation [poem] : Find Poems and Poets. Discover Poetry.

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Lovers' Lane