A Propostion that Verbs of Motion (to travel, to wander and to progress, etc.) Are Part of the Fabric of Thought, Underlie Much Poetic Imagery and Spur Major Advances in the Literary Domain
The word preamble (from the Latin ambulare (to walk) reminds us how metaphors based on references to bodily movement constitute the very fabric of our thinking processes. When using the words progress and digress we are usually unaware that the abstract notions they signify go back to the Latin word meaning to step. The received metaphors we employ daily also lie at the root of poetic imagery and even provide the initial stimulus for a major new development in the history of literature, as in the case we now consider.
In 1771 Goethe, then in his early twenties, declared his allegiance to Shakespeare as "the greatest of wanderers" in the Rede zum Shakespears Tag "(Speech on Shakespeare's Day"), essentially a highly effusive polemical manifesto that might be described as a declaration of emancipation from traditional literary conventions and norms, particularly those governing drama according to the rules based on the Aristotelian "Unities." Shakespeare is depicted as a titanic figure in which Prometheus and the folkloric giant in seven-league boots coalesce, forming the central sustained image that informs the entire speech. The striding giant not only represented the universal scope of Shakespeare's imagination as manifested by his dramas and poetry but also marked the debut of an era in which the word Wanderer gained unparalleled prestige and resonance, first in Goethe's poetry and later in the works of the German Romantic poets and even in those of Wordsworth and other English poets.
The phenomenon of wandering in such terms as those outlines above, while not ignored altogether, has not been awarded the attention it so clearly deserves in academic books and critical articles. Those scholars who have recognized in the Wanderer a matter of central 2
importance in their respective articles on Goethe and the English Romantic poets agree that the phenomenon is rooted in the quest of the libido to achieve union with the anima as defined in the theories of Sigmund Freud and G. C. Jung, theories for which Goethe himself secured the foundation. For want of a commonly accepted belief in the muses of ancient Greece or a similar source of direct divine inspiration, it is only by taking recourse to consulting Freud and Jung on the nature of the subconscious or collective unconscious that we can find a sufficiently broad basis for exploring the possibility that the phenomenon of wandering transcends the barrier between the English and German languages. Here it is also pertinent to reflect on the fact that notable translations of the word Wanderer in Goethe's poetry by William of Norwich and Longfellow retain the identical form: "wanderer."
While any verb denoting physical motion may become a metaphor for a mental or imaginative process, the root meaning of to wander in English, and wandern in German is "to change" or "to turn" and thus denotes an abstraction with no necessary implication of a physical bodily movement. Hence its pivotal function and implication, its power t o imply interrelationships and the very principle of reciprocity especially in the question of the body-mind relationship. We can go further to recognize in wandering a dialectic force able to reconcile or unite the very oppositions wandering also brings to mind, especially in naming allegorical figures traditionally associated with the wandere,r on one side Cain and the Wandering Jew, and on the other the image of a pilgrim on a spiritual journey through life. The same figures provided Goethe and the Romantics with a stock of indispensable images and terms of reference irrespective of any poet's personal religious beliefs, which in many cases did not accord with the official doctrines of Christianity.
In their articles devoted to the subject of "the Wanderer" Geoffrey H. Hartman recognizes that the wanderer or wandering Jew poses a central motif in English Romantic poetry 1
while Professor L. A. Willoughby has noted that the Wanderer / der Wandrer is the central image in Goethe's poetry. 2 However, Hartman only considers the wanderer as a symbol of
1 Geoffrey H. Hartman, "Romanticism and 'Anti-Self-consciousness"', Romanticism and Consciousness, ed. Harold Bloom,New York: W.W. Norton & Co. 1970,. 46-56. 2 L. A. Willoughby,. "The Image of the 'Wanderer' and the 'Hut' in Goethe's Poetry," Etudes Germaniques, 1951, 3, Autumn 1951 . 3
a purely internal mental process while Willoughby infers from Goethe's frequent use of the word Wanderer that there is an inseparable connection between Goethe's creative writings and the course of his life. Hartman ignores that the verb to wander implies the interaction of mental and bodily motions. This Willoughby accepts but fails to relate the issues surrounding the Wanderer in Goethe's works to the general phenomenon of wandering evident the works of Romantic poets and a poetic tradition that embraces works by Shakespeare and Milton.
. Goethe and the Romantics did not arrive at a common intellectual formula with which to meet their needs but their overall strategy was much the same; they persevered in the practice of their art finding their staying power in exploiting the qualities and dynamics of language itself. As Frederick Nims once noted, a traveler may be an isolated symbol and a mountain may be the same but should the traveler take but one step towards the mountain, an allegory results spontaneously irrespective of any authorial intention. 3 Furthermore, to wander is more than any verb able to denote such actions as walking or roaming for it is imbued with a treasury of associations some of which I have mentioned
The uncertainties and angst that beset the generation of poets to which Goethe and Romantic poets belonged exposed a crisis stemming from a questioning of language itself and this crisis appears most poignantly in poems in which the word Wanderer enjoys great prominence and significance. The Wanderer which we encounter in the form of a word that appeared in the titles of Goethe's early poetry was not a conventional tag or poetic device. It betrayed Goethe's awareness of tensions and dichotomies affecting him personally. For this reason he withheld Wandrers Sturmlied from publication until virtually obliged to do so decades after its composition. The tensions in question were not exclusively personal but reflected the turmoil of an age that fittingly earned the title of Sturm und Drang ("Storm and Stress"), originally the title of a play set in the midst of the American Revolution. The turmoil and disquiet which reached their climax at this time were not only of a political and social character for they exposed a general crisis that involved questioning the basis of religion, philosophy and not least the essential nature of
3 Frederick Nims, Western Wind, an Introduction to Poetry, New York. 1983, 20
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language, after all the medium and vehicle of all thought, and it was poets naturally enough who were acutely and forcibly aware of this fact. A sense of the desolation experienced by poets during this period comes over most strikingly in Hoelderlin's "Dichterberuf" (Poet's Vocation), particularly in the closing lines that voice the poet's consolation in the contemplation of God's absence (Fehl Gottes) implying that poets now had to fulfill their divinely appointed task by working on their own initiative and discovering the innate value of their poetic medium without external props. This meant exploring the innate potentialities of language through perseverance and dedication
Leading philosophers in the eighteenth century lauded progress as the principle that should guide humanity toward the future course of civilization in the belief that discoveries in science and technology would automatically induce the betterment of the world. The language of the modern world, the Marquis de Condorcet pleaded, should be precise and mirror accurately the insights of philosophy based on scientific discovery. Words should have a clear and precise meaning. 4 In such a climate it is no surprise that "all wandering" is declared by Lord Byron to be the worst of sinning in Don Juan and the wandering in question meant deviating from a logical and chronological account of events. 5 Thomas Love Peacock wrote in his essay The Four Ages of Poetry (1820) that poetry was a development that had taken place during man's infantile state at the dawn of history and had little place in the advanced modern age. To this Percy Bysshe Shelley took great exception and defended the poet's prophetic vocation despite his rejection of formal religion.
One concomitant of secularization was the demystification of language, a process intimated in the opening scene of Goethe's Faust Part I, in which Faust pores over the task of translating a portion of the New Testament. He confronts the task of finding the most fitting German word for the Greek logos. He rejects the traditional word ("Wort") in favor of deed ("Tat"), a decision which Leon Trotsky would endorse in a statement on literature in the
Esquisse d'un tableau From Marie Jean Antoine Nicolas Caritat, marquis de Condorcet, 4 historique des progrs de l'esprit humain (Paris: Masson et Fils, 1822), 27985, 29394, 303- 5. 5 The regularity of my design / Forbids all wandering as the worst of sinning (Don Juan, Canto 1, VII.) 5
fullness of time. 6 Goethe and the Romantics found themselves in a period when it was too late to rely on the intervention of a muse and too early to consult the theories of Freud and Jung. The frequent use of words derived from the closely related verbs to wander and wander helped them to tide themselves over in a period of uncertainty for among its other associations such words evoked traditional notions concerning a supernatural source of inspiration which Milton condensed into the Muse and the Holy Spirit in the opening lines of Paradise Lost. In the seventh book of the same work the speaker betrays a fear that without the inspirational assistance of Pegasus, his bid to ascend to the celestial sphere will fail and see him topple to earth "there to wander and forlorn." (PL, VII.12-20) Byron alluded to this passage in his mocking reference to Southey in the eighth stanza of the Dedication to Don Juan, Essentially the same dread of stalling in flight for lack of divine support is expressed in Goethe "Wandrers Sturmlied." Shakespeare, described by Goethe as "the greatest Wanderer of all," anticipated Goethe and Novalis by associating the wanderer with the night and the power to explore the elements of nature and again anticipated Goethe and the Romantics in identifying Cinna the Poet as a wanderer in Julius Caesar (III, 3). Goethe and the Romantics tapped the potential of words derived from wander and wandern with regard to their ability to recall the motif of pilgrimage and in so doing rebutted the concept of progress entertained by proponents of secular rationalism. A linkage between progress and pilgrimage appears in the very title of Bunyan's The Pilgrim's Progress and it is surely to the sustained metaphor of a pilgrim's journey through life that this novel owes its fame, denied to other works by John Bunyan based on a static metaphor. Goethe evoked the association of wanderer and pilgrim in Werther's outcry "I am but a wanderer, a pilgrim on earth's journey." 7 While in Don Juan Byron described the hero's life in terms of ever widening circles reminiscent of the circuitous structure of Dante's Divine Comedy, the sustained metaphor of pilgrimage informs Childe Harold's Pilgrimage, lending shape and coherence to this poem in which uses of the verb to wander are highly poignant. The use of any verb of motion infuses dynamic but to wander does more: it shapes and fosters harmony and rounded completion.
6 Leon Trotsky, "The Formalist School of Poetry and Marxism," Literature and Revolution (Russian version published in 1924), tr. Rose Strumsky.Ann Arbor: 1960.
7 , "Am 16 Junius. Ja wohl bin ich nur ein Wandrer, ein Waller auf der Erde." (On 16 th June. "I am but a wanderer, a pilgrim upon the earth"). 6
The course of history has exploded the facile notion that scientific and technological progress ensures the general amelioration of the human condition and with its demise Love Peacock's assertion that logically constructed prose had rendered poetry redundant and obsolete. However, wandering still seems to be the worst of sinning in the minds of critics, scholars and even poets. Geoffrey Hartman and Harold Bloom share Peacock's view that poetry has outlived its effectiveness as a vital form of language, but for a quite different reason. As a result of the process Bloom calls "internalization" poetic language allegedly lost its connection with external realities, be they biographical, historical or religious in nature, Words become labels for nonverbal components of poetry, symbols, quasi-music effects and images. As Ezra Pound put it, words are like numerical notations with their limited ability to define one value whereas images are "|algebraic" in that they denote variables. 8 Juriy Tynjanov has explained why words can achieve just that power of infinite variation if seen as the point where many contextual planes intersect. His theories are to be examined in due course. It is one thing to find fault with current schools of literary criticism, quite another to construct a basis for contending with a phenomenon such as wandering. The essential area of research and inquiry to be explored lies in the study of language and the most promising avenue of exploration was laid down by Ferdinand de Saussure and subsequent logocentric theories concerning the relationship between general language and the language of poetry. For me this recognition came somewhat late in life. My readings in the works on Dylan Thomas led me to an interest in Robert Browning's poetry. I detected in "Fern Hill" an undeniable allusion to the motif of the Pied Piper and then felt drawn to a close reading of Browning's "The Pied Piper of Hamelin." The apparently simple narrative contrasted starkly with the obscurity of Dylan Thomas's works. Beneath the smooth surface of Browning's poems I sensed complexities and even the possibility of cryptic messages. A section of this book reflects my interest in the figure of Pied Piper, which also fits into my understanding of wandering. As a student of German at University College London I enjoyed the privilege of studying under the guidance of Professor Elizabeth Wilkinson and Leonard Forster. At that time Professor Wilkinson was one of the most renowned experts on Goethe in the world and even today I remember her explication of "Wandrers Nachtlied" during a
tutorial. However, my interest in Goethe's poetry was aroused many years later when attended a seminar on Goethe's poetry at the University of Texas at Austin supervised by Professor Christopher Middleton, a reputed poet, translator and scholar. The term paper I wrote on "Wandrers Sturmlied" prompted my interest in the wider ramifications of the figure of the Wanderer in Goethe's poetry. Intuitive hunches did not prove sufficient to cope with the issues with which I had to deal within the framework of my formal studies. However, the brilliant instruction of the Late Franticek Galan set me on path the that eventually led me to a logocentric method of textual analysis which I developed in the course of private research.