Assignment Paper 108
Introduction
Overview of Transcendentalism
Key Thinkers: Emerson and Thoreau
Influence on 20th-Century Literature
Core Ideas of Transcendentalism
Self-Reliance and Individualism
Nature as a Source of Truth
Rejection of Materialism
Civil Disobedience and Moral Resistance
Transcendentalist Echoes in 20th-Century Literature
Modernist Writers and the Search for Meaning
Ernest Hemingway: Self-Reliance in For Whom the Bell Tolls
F. Scott Fitzgerald: The American Dream and Self-Creation in The Great Gatsby
Existentialist Influence: The Individual vs. Society
Albert Camus’ The Stranger: Radical Individualism
Richard Wright’s Native Son: Self-Definition and Oppression
Nature and Spiritual Reflection in American Literature
John Steinbeck’s The Grapes of Wrath: Resilience and Nature
Jack Kerouac’s On the Road: Nonconformity and Self-Discovery
Nature as a Transcendental Bridge to Truth
The Over-Soul and Universal Connection
Emerson’s Concept of the Over-Soul
Steinbeck’s The Grapes of Wrath and Collective Struggle
Comparison Between Transcendentalist and 20th-Century Literary Themes
Similarities: Individualism, Freedom, and Nature
Differences: Optimism vs. Existential Ambiguity
Conclusion
Lasting Influence of Transcendentalist Thought
Relevance in Contemporary Literature
Reference Sources
The legacy of Transcendentalist thought persisted long after the movement itself declined in the late 19th century. In the 20th century, literature saw significant ideological shifts due to world wars, existential crises, industrialization, and rapid modernization. However, many core principles of Transcendentalism—such as self-reliance, individual authenticity, skepticism toward institutions, and the reverence for nature—remained relevant.
Although Transcendentalists like Ralph Waldo Emerson and Henry David Thoreau were fundamentally optimistic about human potential, 20th-century literature often presented these ideals within a more complex and sometimes tragic context. This section examines how Transcendentalist ideas were reflected in Modernist, Existentialist, and Naturalist literature, highlighting the works of Ernest Hemingway, F. Scott Fitzgerald, Albert Camus, Richard Wright, John Steinbeck, and Jack Kerouac.
1. Modernist Writers and the Search for Meaning
Modernism and the Transcendentalist Spirit
Modernism emerged in the aftermath of World War I as writers sought to redefine truth, meaning, and the role of the individual in a fractured world. Modernist literature often wrestled with alienation, the breakdown of traditional structures, and the search for authenticity—themes that, despite their darker undertones, align with Transcendentalist values.
While Emerson and Thoreau believed in an intrinsic spiritual order, many Modernist writers approached self-reliance and the individual’s quest for meaning from a more skeptical, sometimes existential, perspective. Nonetheless, Modernist heroes often embody a Transcendentalist sense of self-definition and resistance to external conformity.
Ernest Hemingway: The Code Hero as a Transcendentalist Figure
Hemingway’s protagonists, often described as “code heroes,” exhibit qualities of self-reliance, individualism, and resilience in the face of existential challenges—ideas that align with Transcendentalist philosophy.
For Whom the Bell Tolls (1940): Self-Reliance and Individual Duty
In For Whom the Bell Tolls, Robert Jordan, an American fighting in the Spanish Civil War, reflects Thoreau’s belief in personal responsibility and moral clarity.
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Transcendentalist Self-Reliance: Robert Jordan does not adhere to blind patriotism; instead, he follows his own moral compass, much like Thoreau in Civil Disobedience. He understands that his actions should stem from personal convictions rather than societal expectations.
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Nature as a Place of Reflection: Jordan frequently turns to nature for solace and insight, mirroring Thoreau’s retreat to Walden Pond as a means of spiritual renewal. The mountains serve as both a battlefield and a sacred space where he contemplates life and death.
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Rejection of Materialism: Hemingway’s characters often live by a strict, minimalist code, emphasizing experience over material wealth. Jordan’s ultimate sacrifice aligns with Thoreau’s idea that a life of principle is more valuable than one driven by material success.
F. Scott Fitzgerald: The Paradox of the American Dream
While The Great Gatsby (1925) is often read as a critique of the American Dream, its protagonist, Jay Gatsby, paradoxically embodies many Transcendentalist ideals—most notably, the belief in self-creation.
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Gatsby as an Emersonian Figure: Emerson’s Self-Reliance advocates for self-invention and nonconformity. Gatsby, originally James Gatz, reinvents himself entirely, embodying the belief that identity is fluid and self-directed.
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Critique of Materialism: Thoreau argued that society’s obsession with wealth is spiritually hollow. Gatsby’s ultimate tragedy lies in his belief that material success can fulfill an emotional and existential void. His fate illustrates the tension between Transcendentalist self-reliance and the corrupting forces of capitalism.
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Nature and the Green Light: The green light at Daisy’s dock represents an unattainable ideal, much like the Transcendentalist pursuit of higher truth. Gatsby’s longing mirrors Emerson’s notion that truth always exists just beyond one’s grasp, compelling the individual to continue searching.
2. Existentialism and the Transcendentalist Individual
Existentialist literature, which emerged in the mid-20th century, shares fundamental similarities with Transcendentalist philosophy. Both movements prioritize individual agency and question societal norms. However, while Transcendentalists believed in an inherently meaningful universe, Existentialists such as Albert Camus and Jean-Paul Sartre argued that individuals must create their own meaning in an indifferent world.
Albert Camus: Meursault as an Anti-Transcendentalist Hero
Camus’ The Stranger (1942) presents a protagonist, Meursault, who resists societal expectations in a way that echoes Emerson’s call for radical individualism—though with a distinctly existentialist conclusion.
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Radical Nonconformity: Like Thoreau, Meursault refuses to live according to social conventions. His indifference to events such as his mother’s funeral defies traditional morality, much like Emerson’s insistence that true self-reliance means ignoring societal pressures.
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Rejection of Institutional Authority: Just as Thoreau rejected government authority in Civil Disobedience, Meursault passively rejects the legal and religious institutions that seek to control him.
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The Absurd vs. Transcendentalist Optimism: While Transcendentalists believed in the spiritual unity of all things, Camus introduces the Absurd, suggesting that the universe is indifferent to human existence. Meursault ultimately finds peace in accepting this reality, much like Thoreau found peace in nature’s cycles.
Richard Wright: Native Son and the Struggle for Self-Definition
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Bigger Thomas’ Search for Identity: Like a Transcendentalist hero, Bigger Thomas in Native Son (1940) seeks self-definition in a society that seeks to control him.
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Resistance to Oppression: Thoreau’s Civil Disobedience called for resistance against unjust systems. Wright’s protagonist, though acting in desperation, represents the struggle of the oppressed individual against systemic forces.
3. Nature and Spiritual Reflection in American Literature
Nature remains central to Transcendentalist thought, acting as both a teacher and a refuge. Many 20th-century American writers continued to use nature as a source of spiritual and existential reflection.
John Steinbeck: Nature and the Over-Soul in The Grapes of Wrath
Steinbeck’s The Grapes of Wrath (1939) echoes Emerson’s belief in a shared human spirit (the Over-Soul).
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Communal Struggle and Transcendentalist Brotherhood: The novel emphasizes the interconnectedness of human beings, aligning with Emerson’s idea that all individuals share a divine essence.
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Nature as a Spiritual Guide: Like Thoreau’s Walden, Steinbeck’s depiction of the Dust Bowl reinforces the power of nature to both challenge and sustain human beings.
Jack Kerouac: The Beat Generation and Transcendentalist Wanderlust
Kerouac’s On the Road (1957) embodies the Transcendentalist spirit of rebellion and self-exploration.
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The Open Road as Walden Pond: Just as Thoreau retreated into the wilderness, Kerouac’s characters seek meaning through movement and escape from societal constraints.
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Spontaneity as Spiritual Discovery: The Beat philosophy of kicks—finding meaning through lived experience—mirrors Emerson’s call to trust one's instincts and live authentically.
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