Eco-Criticism
Ever since the 1960s with the publication of Rachel Carson's Silent Spring and the succeeding environmental revolution, the term eco-criticism provides an importance to the relationship between human beings and nature, and how nature can affect human life. In its simplest form, eco-criticism refers to the study of the relationship between literature and the physical environment. Through the analysis of this relationship, most eco-critical works tend to allude to the troubling awareness that humans have reached the age of environmental limits: a time in which the consequences of anthropogenic actions are leading to the destruction of Earth's basic life support systems. As a whole, eco-criticism enables us to examine the world around us and critique the mannerisms of society with respect to the treatment of nature. All throughout the creation of Schuyler's writings and poems, many of the same overarching themes and questions that arise from taking an eco-critical approach to such poetry are evident in Schuyler's matriculation of plants and animals within his writings.
As one observes Schuyler's style of writing, a major takeaway from the conglomerate of species is that Schuyler typically depicts nature as a fundamental representation of humankind by expanding upon the simple and complex characteristics of such a relationship. Instead of limiting nature to something that only serves as a expansion of setting, Schuyler's elaborate insertions of flora and fauna facilitates the role of how the species enhance which tones are invoked, and what imagery is portrayed as a reader navigates through a particular poem. Even though most writers of the time only used setting to add depth to later occurrences in a novel or poem, Schuyler's poetry instead uses the combination of setting and descriptions of flora and fauna in the foreground so that the reader can apply that knowledge over the course of a poem. Moreover, Schuyler expands upon such descriptions of flora and fauna as they relate to humans by recognizing their similarities and differences as a way to gain greater understanding of the individual and enhanced loyalty to the plant or animal that humans often times cannot relate to.
Through the intentional representation of certain species, Schuyler also offers a glimpse into the biogeographical aspects of his writings. For most of the species that are mentioned, unless otherwise mentioned, there are high concentrations of these species in the Northeastern United States, which is where Schuyler notably spent most of his time at. Observing such repetition of geographic location is indicative of the pivotal significance that this region has on Schuyler, both personally and poetically.
As one observes Schuyler's style of writing, a major takeaway from the conglomerate of species is that Schuyler typically depicts nature as a fundamental representation of humankind by expanding upon the simple and complex characteristics of such a relationship. Instead of limiting nature to something that only serves as a expansion of setting, Schuyler's elaborate insertions of flora and fauna facilitates the role of how the species enhance which tones are invoked, and what imagery is portrayed as a reader navigates through a particular poem. Even though most writers of the time only used setting to add depth to later occurrences in a novel or poem, Schuyler's poetry instead uses the combination of setting and descriptions of flora and fauna in the foreground so that the reader can apply that knowledge over the course of a poem. Moreover, Schuyler expands upon such descriptions of flora and fauna as they relate to humans by recognizing their similarities and differences as a way to gain greater understanding of the individual and enhanced loyalty to the plant or animal that humans often times cannot relate to.
Through the intentional representation of certain species, Schuyler also offers a glimpse into the biogeographical aspects of his writings. For most of the species that are mentioned, unless otherwise mentioned, there are high concentrations of these species in the Northeastern United States, which is where Schuyler notably spent most of his time at. Observing such repetition of geographic location is indicative of the pivotal significance that this region has on Schuyler, both personally and poetically.
Map 2. Cities that James Schuyler has resided in or attended college at in the Northeastern United States. Cities include, but are not limited to:
1. Washington, District of Columbia 2. Chevy Chase, Maryland 3. East Aurora, New York 4. Buffalo, New York 5. Bethany, West Virginia 6. Manhattan, New York 7. New York City, New York 8. Appledore Island, Maine (exact island unknown) 11. Southampton, New York |