The New “Eyesight”: Walt Whitman’s Panoramic Vision
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In his poetry and prose, Whitman frequently refers to the term “panorama” meaning “view all” in Greek. In Whitman’s time, panoramas became the popular forms of urban entertainments in nineteenth-century America. Living in New York and Brooklyn during and after the 1840s, Whitman experienced the rapidly changing urban life full of “motion” and “velocity” due to the urbanization. Significantly, Whitman’s infinite affections for the crowds and the popular spectacles of the city including theaters, museums, and daguerreotype galleries stimulate his “all-surrounding” and “kosmical” eyesight. In Leaves of Grass, he panoramically displays the cityscape and the river scenery of New York and Brooklyn by perceiving the “changing” and “moving” panorama. Above all, Whitman directly experiences the “moving panorama” in relation to the steamboat and the railroad which became the two representative American transportations. The “moving panorama” Whitman emphasizes is arising from his “constantly changing” viewpoints inspired by the “motion” and “velocity” of the steamboats and the railroads. Particularly, his perception for the “moving panorama” is best embodied by railroad which makes him experience the “distances join’d like magic.” The overwhelming “velocity” of the railroads enables the poet to perceive a “rapid succession” of fragmentary images rather than a two-dimensional picture. On the rapid railroads Whitman could directly experience the loss of traditional senses of time and space by seeing the images as the moving pictures on a screen. Accordingly, the panoramization of Whitman’s poetry is the products of the expansion of his “eyesight” tempered by New York modernity.
Abstract
In his poetry and prose, Whitman frequently refers to the term “panorama” meaning “view all” in Greek. In Whitman’s time, panoramas became the popular forms of urban entertainments in nineteenth-century America. Living in New York and Brooklyn during and after the 1840s, Whitman experienced the rapidly changing urban life full of “motion” and “velocity” due to the urbanization. Significantly, Whitman’s infinite affections for the crowds and the popular spectacles of the city including theaters, museums, and daguerreotype galleries stimulate his “all-surrounding” and “kosmical” eyesight. In Leaves of Grass, he panoramically displays the cityscape and the river scenery of New York and Brooklyn by perceiving the “changing” and “moving” panorama. Above all, Whitman directly experiences the “moving panorama” in relation to the steamboat and the railroad which became the two representative American transportations. The “moving panorama” Whitman emphasizes is arising from his “constantly changing” viewpoints inspired by the “motion” and “velocity” of the steamboats and the railroads. Particularly, his perception for the “moving panorama” is best embodied by railroad which makes him experience the “distances join’d like magic.” The overwhelming “velocity” of the railroads enables the poet to perceive a “rapid succession” of fragmentary images rather than a two-dimensional picture. On the rapid railroads Whitman could directly experience the loss of traditional senses of time and space by seeing the images as the moving pictures on a screen. Accordingly, the panoramization of Whitman’s poetry is the products of the expansion of his “eyesight” tempered by New York modernity.
참고문헌 (19)
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