By Ann Marie Mikkelsen
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Additional info for Pastoral, Pragmatism, and Twentieth-Century American Poetry
Example text
CHAPTER 2 Tramp Culture and the Cult of Pan: Robert Frost’s Pastoral of Class Mobility I n the fall of 1894 after a spat with his future wife, Elinor White, Robert Frost bought a one-way train ticket and set off on an ostensibly suicidal trip to the Dismal Swamp on the Virginia-North Carolina border. By the time he decided against throwing himself into the murky waters, he found he didn’t have enough funds to make his way back home to Lawrence, Massachusetts. Assessing his situation, Frost embarked on a series of adventures that read, in retrospect, as if purloined from turn-of-the-century headlines and popular fiction about the menace of tramps, the unemployed and homeless men who haunted urban and rural America in the wake of the major depressions of the late nineteenth century.
Rather than a “physical wilderness,” he avers, “our problems grow out of social conditions. . The adventure of the individual . . is an unsubdued social frontier” (Individualism, 45 –46). Only by embracing scientific method and pragmatic philosophy, he concludes, can modern Americans hope to replace the pioneer with a new ideal citizen, who in turn might shape a better national community. Even as he expresses hope for the future, though, Dewey is not wholly optimistic. All too often, he finds the older individual is idealized rather than discarded as the cultural remnant (or “rag”) that it is; people tend to be suspicious of science or use it for private and financial rather than publicly minded and ethically driven purposes.
36 Poetry and literature are especially potent forms of aesthetic experience, insofar as “the expressions that constitute art are communication in its pure and undefiled form,” and literature is presented in a “medium” “already formed by communication,” or language (Art, 244). Even the critic is granted a role in this process, for in interpreting “the moral function of art” he furthers art’s role in “remov[ing] prejudice,” and “tear[ing] away the veils due to wont and custom” (Art, 324). Dewey’s connection between art and democracy proved significant and inspiring, as it provided an opportunity for a diverse range of individuals to establish themselves as citizens by virtue of their aesthetic activity.