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Paper 05; Module 20; E Text Paper 05; Module 20; E Text (A) Personal Details Role Name Affiliation Principal Investigator Prof. Tutun University of Hyderabad Mukherjee Paper Coordinator Prof. Niladri University of Kalyani, West Chatterjee Bengal. Content Writer/Author Ms. Sreemoyee Independent Researcher (CW) Banarjee Content Reviewer (CR) Prof. Niladri University of Kalyani, West Chatterjee Bengal. Language Editor (LE) Prof. Sharmila University of Kalyani, West Majumdar Bengal. (B) Description of Module Item Description of module Subject Name English Paper name American Literature Module title Selected Poems of Hart Crane Module ID MODULE 20 To Brooklyn Bridge, at Melville’s Tomb, My Grandmother’s Love Letters, Voyages I, and Chaplinesque Harold Hart Crane What is the Module About? The module introduces you to the life and times of the poet. This is followed by the summary of the selected poems and their critical appreciation. The Poet and his Time: Harold Hart Crane, popularly known as Hart Crane, was born at Garrettsville, Ohio. His father Clarence Crane was the inventor of the famous Life Saver’s candy and made a fortune by selling chocolate bars. His parents had a tumultuous relationship and they divorced in April, 1917. Crane dropped out of high school in his junior year and moved to New York City with the intention of joining Columbia University later. From Crane’s letters it is clear that New York was where he felt at ease and most of his poetry is set there. Through the early 1920s, small but well acknowledged literary magazines began publishing his poetry. His respect among the avant-garde poets of his age was enhanced by the publication of White Buildings (1926), his first volume of poetry. White Buildings contains many of Crane’s most appreciated lyrics, including "For the Marriage of Faustus and Helen," and "Voyages", a series of erotic poems, written while Crane was romantically involved with Emil Offer, a Danish merchant marine. Emil invited Crane to live in his father’s home at 110 Columbia Heights in Brooklyn Heights, New York. Crane was overjoyed at the views the location afforded him. His ambition to synthesize America was expressed in The Bridge (1930). The Brooklyn Bridge is both the poem’s central symbol and its poetic starting point. Crane left for Paris in early 1929. The Bridge received poor reviews, but Crane’s sense of his own failure became crushing. It was during the late 1920s, while he was finishing The Bridge, that his drinking, always a problem, became notably worse. Crane’s life came to an end on the Gulf of Mexico, where he jumped off a ship he was sailing in. Poetics of Hart Crane Crane's critical effort, like John Keats, is most distinct in his letters: he exchanged his views through letters with Allen Tate, Yvor Winters, Eugene O’Neil and Gorham Munson, and shared critical opinions with William Carlos Williams, E. E. Cummings, Sherwood Anderson, Kenneth Burke, Waldo Frank, Harriet Monroe, Marian Moore, and Gertrude Stein. Crane’s, most significant critical views on poetry are expressed in his letters. Crane’s letters to Munson, Tate, Winters, and his patron, Otto Hermann Kahn, are particularly perceptive. His two most famous stylistic defenses emerged from correspondences through his letters: his Emersonian "General Aims and Theories" (1925) was written to pursue Eugene O’Neill for writing a critical foreword to White Buildingsand the famous "Letter to Harriet Monroe" (1926) was part of an exchange for the publication of "At Melville's Tomb". Works of Hart Crane: White Buildings (1926) The Bridge (1930) The Complete Poems of Hart Crane, Marc Simon, ed. New York: Liveright (1986; Centennial edition with intro. by Harold Bloom, 2000) My Land, My Friends: The Selected Letters of Hart Crane. Introduction and commentary by Langdon Hammer, forward by Paul Bowles. New York: Four Walls Eight Windows (1997) Hart Crane: Complete Poems and Selected Letters, Langdon Hammer, ed. New York: The Library of America (2006) Hart Crane and Yvor Winters: Their Literary Correspondence. Thomas Parkinson ed. and commentary. Berkeley: University of California Press (1978) The Collected Poems of Hart Crane, Boriswood, 1938 (First UK edition edited by Waldo Frank) To Brooklyn Bridge Poem Summary: The poem opens with the image of a seagull taking flight from its perch on the water. It flies past the "chained" shadow of the Brooklyn Bridge and on into the distance past the Statue of Liberty. It flies out of sight like a boat sailing out of a harbour, or like a page of sales figures that an office clerk files away. The sea gull's disappearing flight reminds the speaker of the ghostlike flickers of movies. Movies are like a prophecy or the promise of some truth that is never told. He's not too keen on them. The poet admires the bridge from across the harbour: the way the sun shines on it, the way the bridge embodies potential energy, and the way it hangs free in the air. The poets now sets to describe how a mentally unstable person runs to the top of the bridge, stands for a moment, and then commits suicide by jumping off the bridge. The next picture presented is that of Wall Street, where light passes through the girders of high buildings on to the street below. Clouds are sailing by and tall structures called derricks seem to be turning. The wind from the North Atlantic passes through the cables of the bridge. The bridge offers the promise of a reward which is as mysterious as the mysteries of heavens described in Jewish scriptures. The speaker expresses that the Bridge watches as anonymous people pass by and functions like a forgiving element, shadowing the anonymity of passer- by. Like a king, it pardons people. The bridge is described as a fusion of religious and artistic symbols to enhance its majestic presence. The speaker wonders how something as petty as human labour was able to hold together the “choiring strings” of the harp like Brooklyn Bridge. It's a refuge for extraordinary and marginal figures like prophets, pariahs, and lovers. As night falls, the speaker watches the traffic lights go over the bridge. The lights remind him of eternity, and the bridge seems to hold the sky up on its towers. It is so high that the speaker feels the stars are “beading thy path”. The speaker stands by the piers in Manhattan, looking at the shadow of the bridge in the light of the city. The lights in the windows of office buildings and apartments have been put out signifying the end of day and approach of night. The shadow of the bridge is only clear at night. It's winter and another year is passing by making the bridge grow in years and experience. The bridge here stands as a symbol of eternity. But, like the river beneath it, the bridge never sleeps. Not only does it connect one side of the river with another, it seems to connect one side of America with another. It connects Americans. It functions as a symbol of unity and harmony. In the final two lines, the speaker asks the bridge to descend to the level of mere mortals and to help fill the space that God has left empty. Critical Comment: The seagull is an ordinary bird, too insignificant to be used in the opening lines of a poem, but Crane uses a common bird as a symbol of freedom. Throughout the poem he tries to reinvest our belief in the value of ordinary and anonymous things. Also, Crane is making an allusion to Walt Whitman's "Crossing Brooklyn Ferry," another classic poem about crossing from Brooklyn to Manhattan, written beforethe Brooklyn Bridge was constructed. Here are some of the lines from Whitman's poem: I watched the Twelfth-month sea-gulls—I saw them high in the air, floating with motionless wings, oscillating their bodies, I saw how the glistening yellow lit up parts of their bodies, and left the rest in strong shadow, I saw the slow-wheeling circles, and the gradual edging toward the south. Like Walt Whitman, Hart Crane found life in New York City to be a combination of excitement and fear, thrilling and thriving. Crane’s poemis a 20th Century poem, bearing the symbols of modern civilization and therefore laden with automobiles, movie theatres, elevators, subways, and other symbols of modernity. His projection of urban life uncovers the perils of modern existence, especially the suicide scene in stanza five, but is far away from being labelled dystrophic. Crane, unlike most of the modern poets, focused on maintaining a note of hope in his lines. The suspension bridge is one example of a modern, urban invention that Crane feels he can put his faith in this modern miracle. "To Brooklyn Bridge" can be called a classic "New York" poem. Hart Crane picks up where Whitman left off in "Crossing Brooklyn Ferry" – he employs a non-religious experience to represent a state of freedom and interconnectedness between people. The Brooklyn Bridge is symbol of a fundamental American art form – beautiful, gigantic, efficient, and profitable all at once. The bridge offers freedom of movement over a large body of water, uniting Americans from both sides of the coast. It also provides ease to those on the subalterns of society, like "prophets" and "pariahs," people who would not otherwise feel free in a society different from their way of life. Crane represents a generation who had invested their faith in spirituality and not any institutionalised religion. His spirituality seems roughly in line with the twin 19th century currents of British Romanticism and American Transcendentalism.
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