Foley, Laudon, Chism 1 Mallory Foley, Nina Laudon, Lucy Chism Ms.

Kelley AP English Language 3 November 2012

Explanation of Our Transcendental Representation

The idea of innocent perfection and the splendor of things found in nature represented in the transcendentalist motif of beauty and peace in nature appear heavily in early 19th century literature. Present in many works of literature, historical events, and even 21st century popular culture, transcendental ideas are found littered about our world. In this piece, they are represented in a consonant fashion on the ideal figure of a woman, ironically mocking the transcendental idea of perfecting the human mind and spirit, rather than the human body. Transcendental literature incorporates the ideals of a perfect state of mind and connection to the natural world by finding reason and peace in their surroundings. Authors of the transcendental era intrigue their audience by elaborating on the potential for perfection and evaluating the innate grace of things found in the natural world. In Ralph Waldo Emersons The Rhodora, the purple flowers ineffable beauty is captured as it grows in solitude deep in the woods. Emerson expresses how one lone flower, while its petals [have] fallen in the pool, can with its striking beauty make black water gay. The idea is articulated that, similar to the rhodora, things can exist solely because beauty is its own excuse for Being (Emerson). Alongside The Rhodora, in Nature Emerson personifies the beauty of the stars and expresses the companionship they have with every man, perfectly pinpointing the transcendentalist motifs of the interconnectedness of the world, and beauty in nature. Emerson elucidates that if a man be alone, he can find comfort and companionship by look[ing] at the stars. Man, earth, and

Foley, Laudon, Chism 2 sky are brought together as one. Man is never alone; during the day he is accompanied by the simple beauties, such as the rhodora, and when the dark replaces the light, come out these envoys of beauty to light the universe and comfort man with their admonishing smile (Emerson). The formation of utopian societies was a result of transcendentalist ideas. The Shakers were among the longest living of the utopian societies formed after the influx of church members that accompanied the Second Great Awakening. Founded by a British woman, Ann Lee, in 1774, the Shakers remained a celibate society in preparation to enter Gods kingdom, as they believed judgment day to be nearing. This separation from the needs of the flesh in order to reach a greater truth is aligned with transcendental beliefs that there is more to be found beyond the physical realm. Their commitment to simplicity is evident in their fashion, furniture design, textiles, and music. By limiting their material wants, they again moved away from the physical needs of this world and were more capable of appreciating natural beauty. Discoverys documentary Planet Earth illuminates the magnanimous, unfathomable beauty available to those who are open to appreciate it. Virtually forgotten in American culture today, the wilderness opens ones eyes to a new perspective and great truths. In being reminded of the near miracles that encompass the globe, its viewers are revitalized in their wonder of the world. Sometimes the simplest of things are the most awe inspiring and by letting these earthly perfections into ones heart, they are healed. The transcendental motif of beauty and peace in nature can be expressed through this present day call back to the roots of life. Planet Earth seeks to educate the public in order to create a greater reverence for the natural world and encourage its protection.

Foley, Laudon, Chism 3 In a flourish of images representing the beauty of nature, transcendental ideas come together to reflect the splendor of nature as it is appreciated in literature, history, and the need to defend it today. The supple petals of the rhodora flower and the intriguing seduction of a galaxy on a backdrop of warming, saturated hues display the effortlessly all consuming inspiration of the peace and beauty of nature.

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Explanation of Our Gothic Representation

The spirit realm and the mundane are presented in the recurring gothic motif of rational versus irrational. Literature, history, and popular culture have all been influenced by the affront of contrasting realities. In this piece, they are all represented visually in a humorously morbid fashion by being displayed on a severed body. Gothic literature is riddled with contradictions in humanity, found in their forever flawed nature and the potential for beauty in darkness. By intriguing their audiences with a glimpse behind the curtain of the supernatural, gothic authors capture the imagination with rational versus irrational ideas. In Stephen Cranes In the Desert, a bestial humanoid consumes its own heart. The stark contrast between the imagery of one holding his heart in his hands and squatting, ate of it mirrors the nature of rationality against irrationality (Crane). It conjures both the images of one bearing their soul, and entirely human gesture, with that of a purely animalistic tearing of the flesh. This delves into reveling in the grotesque, the joy in basic instinct, and the meeting of tangible and intangible worlds. In Edgar Allan Poes The Tell-Tale Heart, a mad narrator is overcome with the need to kill an old man who has done him no harm due to the old mans eye of a vulture, where upon meeting it his blood ran cold. Object there was none, passion there was none, but the slow plotting of one frozen inside lead to the demise of an innocent (Poe). The narrator becomes seemingly more frantic as he is consumed by insanity, dragging him deeper into the pit of irrationality. Attempts to deny this loss of self stimulate greater disbelief in the audience of the narrators rational mind, which he swears remains. Gothic literature finds truth both in the depths of the unknown fantastic and the familiarity of the commonplace.

Foley, Laudon, Chism 5 The Second Great Awakening also finds itself a part of the rational versus irrational in flawed beliefs. Preachers exclaimed that all could be saved solely through faith and good deeds, but many still suffered despite the influx of the faithful. Women, the poor, and the enslaved were not held as equals, and if all are the same in the eyes of God, it was human irrationality that placed barriers and restrictions on those that would allegedly share eternity. Joseph Smith, the founder of Mormonism, claimed to have visions from God, something that would have had him killed for heresy some years before, now allowed a new belief system to develop. Regardless of ones beliefs, the God concept is one generally accepted as beyond the human capacit y for understanding, casting it in itself into the realm of the irrational. In Suza Scaloras childrens book, The Fairies, she provides photographic evidence and descriptions of the fey folk, members of the otherworld. She firmly believes in this imaginative reality, claiming to be a woman of science, but by venturing in the unknown world she embraces an alternate perception of what is real (Scalora). In this uncharted realm that Scalora is privy to, there is a release of practical nature in order to embrace these new boundaries. Her sense of reality draws from both rational and irrational nature in herself and the world she believes in. These ideas are culminated into the representation of Gothicism that exists today, how there were once considered, and their appearances in literature. The painted scenes on the clouded backdrop symbolize the seduction of the false, beauty in pain, and the total acceptance of being guided by logic and happily lost in madness.

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Works Cited
Crane, Stephen. In the Desert. 1905. Print Emerson, Ralph W. The Rhodora. 1847. Print ---. Nature. 1836. Print Poe, Edgar A. The Tell-Tale Heart. Boston: The Pioneer, 1843. Print Scalora, Suza. The Fairies. New York: Joanna Colter, 1999. Print