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Where I Lived And What I Lived For Essay Summary Statements

This article is about the book by Henry David Thoreau. For other uses, see Walden (disambiguation).

Original title page of Walden featuring a picture drawn by Thoreau's sister Sophia.

AuthorHenry David Thoreau
Original titleWalden; or, Life in the Woods
CountryUnited States
LanguageEnglish
GenreMemoir
PublishedAugust 9, 1854[1] (Ticknor and Fields: Boston)
Media typePrint

Walden (; first published as Walden; or, Life in the Woods) is a book by noted transcendentalistHenry David Thoreau. The text is a reflection upon simple living in natural surroundings.[2] The work is part personal declaration of independence, social experiment, voyage of spiritual discovery, satire, and—to some degree—a manual for self-reliance.[3]

First published in 1854, Walden details Thoreau's experiences over the course of two years, two months, and two days in a cabin he built near Walden Pond, amidst woodland owned by his friend and mentor Ralph Waldo Emerson, near Concord, Massachusetts. Thoreau used this time to write his first book, A Week on the Concord and Merrimack Rivers. The experience later inspired Walden, in which Thoreau compresses the time into a single calendar year and uses passages of four seasons to symbolize human development.

By submersing himself in nature, Thoreau hoped to gain a more objective understanding of society through personal introspection. Simple living and self-sufficiency were Thoreau's other goals, and the whole project was inspired by transcendentalist philosophy, a central theme of the American Romantic Period.

Thoreau makes precise scientific observations of nature, as well as metaphorical and poetic use of natural phenomenon. He identifies many plants and animals by both their popular and scientific names, records in detail the color and clarity of different bodies of water, precisely dates and describes the freezing and thawing of the pond, and recounts his experiments to measure the depth and shape of the bottom of the supposedly "bottomless" Walden Pond.

Plot[edit]

I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion.

— Henry David Thoreau[4]

Part memoir and part spiritual quest, Walden opens with the announcement that Thoreau spent two years at Walden Pond living a simple life without support of any kind. Readers are reminded that at the time of publication, Thoreau is back to living among the civilized again. The book is separated into specific chapters that each focus on specific themes:


Economy: In this first and longest chapter, Thoreau outlines his project: a two-year, two-month, and two-day stay at a cozy, "tightly shingled and plastered", English-style 10' × 15' cottage in the woods near Walden Pond.[5] He does this, he says, to illustrate the spiritual benefits of a simplified lifestyle. He easily supplies the four necessities of life (food, shelter, clothing, and fuel) with the help of family and friends, particularly his mother, his best friend, and Mr. and Mrs. Ralph Waldo Emerson. The latter provided Thoreau with a work exchange – he could build a small house and plant a garden if he cleared some land on the woodlot and did other chores while there.[5] Thoreau meticulously records his expenditures and earnings, demonstrating his understanding of "economy", as he builds his house and buys and grows food. For a home and freedom, he spent a mere $28.12½, in 1845 (about $867 in 2017 dollars). At the end of this chapter, Thoreau inserts a poem, "The Pretensions of Poverty", by seventeenth-century English poet Thomas Carew. The poem criticizes those who think that their poverty gives them unearned moral and intellectual superiority. Much attention is devoted to the skepticism and wonderment with which townspeople greeted both him and his project as he tries to protect his views from those of the townspeople who seem to view society as the only place to live. He recounts the reasons for his move to Walden Pond along with detailed steps back to the construction of his new home (methods, support, etc.).

Where I Lived, and What I Lived For: Thoreau recollects thoughts of places he stayed at before selecting Walden Pond, and quotes Roman Philosopher Cato's advice "consider buying a farm very carefully before signing the papers".[6] His possibilities included a nearby Hollowell farm (where the "wife" unexpectedly decided she wanted to keep the farm). Thoreau takes to the woods dreaming of an existence free of obligations and full of leisure. He announces that he resides far from social relationships that mail represents (post office) and the majority of the chapter focuses on his thoughts while constructing and living in his new home at Walden.[5]

Reading: Thoreau discusses the benefits of classical literature, preferably in the original Greek or Latin, and bemoans the lack of sophistication in Concord evident in the popularity of unsophisticated literature. He also loved to read books by world travelers.[7] He yearns for a time when each New England village supports "wise men" to educate and thereby ennoble the population.

Sounds: Thoreau encourages the reader to be “forever on the alert” and “looking always at what is to be seen.”[6] Although truth can be found in literature, it can equally be found in nature. In addition to self-development, an advantage of developing one’s perceptiveness is its tendency to alleviate boredom. Rather than “look abroad for amusement, to society and the theatre,” Thoreau’s own life, including supposedly dull pastimes like housework, becomes a source of amusement that “never ceases to be novel.”[6] Likewise, he obtains pleasure in the sounds that ring around his cabin: church bells ringing, carriages rattling and rumbling, cows lowing, whip-poor-wills singing, owls hooting, frogs croaking, and cockerels crowing. “All sound heard at the greatest possible distance,” he contends “produces one and the same effect.”[6] Likening the train’s cloud of steam to a comet tail and its commotion to “the scream of a hawk,” the train becomes homologous with nature and Thoreau praises its associated commerce for its enterprise, bravery, and cosmopolitanism, proclaiming: “I watch the passage of the morning cars with the same feeling that I do the rising of the sun.”[6]

Solitude: Thoreau reflects on the feeling of solitude. He explains how loneliness can occur even amid companions if one's heart is not open to them. Thoreau meditates on the pleasures of escaping society and the petty things that society entails (gossip, fights, etc.). He also reflects on his new companion, an old settler who arrives nearby and an old woman with great memory ("memory runs back farther than mythology").[8] Thoreau repeatedly reflects on the benefits of nature and of his deep communion with it and states that the only "medicine he needs is a draught of morning air".[6]

Visitors: Thoreau talks about how he enjoys companionship (despite his love for solitude) and always leaves three chairs ready for visitors. The entire chapter focuses on the coming and going of visitors, and how he has more comers in Walden than he did in the city. He receives visits from those living or working nearby and gives special attention to a French Canadian born woodsman named Alec Thérien. Unlike Thoreau, Thérien cannot read or write and is described as leading an "animal life".[citation needed] He compares Thérien to Walden Pond itself. Thoreau then reflects on the women and children who seem to enjoy the pond more than men...and how men are limited because their lives are taken up.

The Bean-Field: Reflection on Thoreau's planting and his enjoyment of this new job/hobby. He touches upon the joys of his environment, the sights and sounds of nature, but also on the military sounds nearby. The rest of the chapter focuses on his earnings and his cultivation of crops (including how he spends just under fifteen dollars on this).

The Village: The chapter focuses on Thoreau's second bath and on his reflections on the journeys he takes several times a week to Concord, where he gathers the latest gossip and meets with townsmen. On one of his journeys into Concord, Thoreau is detained and jailed for his refusal to pay a poll tax to the "state that buys and sells men, women, and children, like cattle at the door of its senate-house".[9]

The Ponds: In autumn, Thoreau discusses the countryside and writes down his observations about the geography of Walden Pond and its neighbors: Flint's Pond (or Sandy Pond), White Pond, and Goose Pond. Although Flint's is the largest, Thoreau's favorites are Walden and White ponds, which he describes as lovelier than diamonds.

Baker Farm: While on an afternoon ramble in the woods, Thoreau gets caught in a rainstorm and takes shelter in the dirty, dismal hut of John Field, a penniless but hard-working Irish farmhand, and his wife and children. Thoreau urges Field to live a simple but independent and fulfilling life in the woods, thereby freeing himself of employers and creditors. But the Irishman won't give up his aspirations of luxury and the quest for the American dream.

Higher Laws: Thoreau discusses whether hunting wild animals and eating meat is necessary. He concludes that the primitive, carnal sensuality of humans drives them to kill and eat animals, and that a person who transcends this propensity is superior to those who cannot. (Thoreau eats fish and occasionally salt pork and woodchuck.)[5] In addition to vegetarianism, he lauds chastity, work, and teetotalism. He also recognizes that Native Americans need to hunt and kill moose for survival in "The Maine Woods", and ate moose on a trip to Maine while he was living at Walden.[5] Here is a list of the laws that he mentions:

  • One must love that of the wild just as much as one loves that of the good.
  • What men already know instinctively is true humanity.
  • The hunter is the greatest friend of the animal which is hunted.
  • No human older than an adolescent would wantonly murder any creature which reveres its own life as much as the killer.
  • If the day and the night make one joyful, one is successful.
  • The highest form of self-restraint is when one can subsist not on other animals, but of plants and crops cultivated from the earth.

Brute Neighbors: is a simplified version of one of Thoreau's conversations with William Ellery Channing, who sometimes accompanied Thoreau on fishing trips when Channing had come up from Concord. The conversation is about a hermit (himself) and a poet (Channing) and how the poet is absorbed in the clouds while the hermit is occupied with the more practical task of getting fish for dinner and how in the end, the poet regrets his failure to catch fish. The chapter also mentions Thoreau's interaction with a mouse that he lives with, the scene in which an ant battles a smaller ant, and his frequent encounters with cats.

House-Warming: After picking November berries in the woods, Thoreau adds a chimney, and finally plasters the walls of his sturdy house to stave off the cold of the oncoming winter. He also lays in a good supply of firewood, and expresses affection for wood and fire.

Former Inhabitants; and Winter Visitors: Thoreau relates the stories of people who formerly lived in the vicinity of Walden Pond. Then he talks about a few of the visitors he receives during the winter: a farmer, a woodchopper, and his best friend, the poet Ellery Channing.

Winter Animals: Thoreau amuses himself by watching wildlife during the winter. He relates his observations of owls, hares, red squirrels, mice, and various birds as they hunt, sing, and eat the scraps and corn he put out for them. He also describes a fox hunt that passes by.

The Pond in Winter: Thoreau describes Walden Pond as it appears during the winter. He claims to have sounded its depths and located an underground outlet. Then he recounts how 100 laborers came to cut great blocks of ice from the pond, the ice to be shipped to the Carolinas.

Spring: As spring arrives, Walden and the other ponds melt with powerful thundering and rumbling. Thoreau enjoys watching the thaw, and grows ecstatic as he witnesses the green rebirth of nature. He watches the geese winging their way north, and a hawk playing by itself in the sky. As nature is reborn, the narrator implies, so is he. He departs Walden on September 6, 1847.

Conclusion: This final chapter is more passionate and urgent than its predecessors. In it, he criticizes conformity: "If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away",[citation needed] By doing so, men may find happiness and self-fulfillment.

I do not say that John or Jonathan will realize all this; but such is the character of that morrow which mere lapse of time can never make to dawn. The light which puts out our eyes is darkness to us. Only that day dawns to which we are awake. There is more day to dawn. The sun is but a morning star.[10]

Themes[edit]

Walden is a difficult book to read for three reasons: First, it was written in an older prose, which uses surgically precise language, extended, allegorical metaphors, long and complex paragraphs and sentences, and vivid, detailed, and insightful descriptions. Thoreau does not hesitate to use metaphors, allusions, understatement, hyperbole, personification, irony, satire, metonymy, synecdoche, and oxymorons, and he can shift from a scientific to a transcendental point of view in mid-sentence. Second, its logic is based on a different understanding of life, quite contrary to what most people would call common sense. Ironically, this logic is based on what most people say they believe. Thoreau, recognizing this, fills Walden with sarcasm, paradoxes, and double entendres. He likes to tease, challenge, and even fool his readers. And third, quite often any words would be inadequate at expressing many of Thoreau's non-verbal insights into truth. Thoreau must use non-literal language to express these notions, and the reader must reach out to understand.

— Ken Kifer[11]

Walden emphasizes the importance of solitude, contemplation, and closeness to nature in transcending the "desperate" existence that, he argues, is the lot of most people. The book is not a traditional autobiography, but combines autobiography with a social critique of contemporary Western culture's consumerist and materialist attitudes and its distance from and destruction of nature. That the book is not simply a criticism of society, but also an attempt to engage creatively with the better aspects of contemporary culture, is suggested both by Thoreau's proximity to Concord society and by his admiration for classical literature. There are signs of ambiguity, or an attempt to see an alternative side of something common. Some of the major themes that are present within the text are:

  • Self-reliance: Thoreau constantly refuses to be in "need" of the companionship of others. Though he realizes its significance and importance, he thinks it unnecessary to always be in search for it. Self-reliance, to him, is economic and social and is a principle that in terms of financial and interpersonal relations is more valuable than anything. To Thoreau, self-reliance can be both spiritual as well as economic. Connection to transcendentalism and to Emerson's essay.
  • Simplicity: Simplicity seems to be Thoreau's model for life. Throughout the book, Thoreau constantly seeks to simplify his lifestyle: he patches his clothes rather than buy new ones, he minimizes his consumer activity, and relies on leisure time and on himself for everything.
  • Progress: In a world where everyone and everything is eager to advance in terms of progress, Thoreau finds it stubborn and skeptical to think that any outward improvement of life can bring inner peace and contentment.
  • The need for spiritual awakening: Spiritual awakening is the way to find and realize the truths of life which are often buried under the mounds of daily affairs. Thoreau holds the spiritual awakening to be a quintessential component of life. It is the source from which all of the other themes flow.
  • Man as part of nature
  • Nature and its reflection of human emotions
  • The state as unjust and corrupt
  • Meditation: Thoreau was an avid meditator and often spoke about the benefits of meditating.

Origins and publishing history[edit]

There has been much guessing as to why Thoreau went to the pond. E.B. White stated on this note, “Henry went forth to battle when he took to the woods, and Walden is the report of a man torn by two powerful and opposing drives—the desire to enjoy the world and the urge to set the world straight.”,[6] while Leo Marx noted that Thoreau’s stay at Walden Pond was an experiment based on his teacher Emerson's "method of nature" and that it was a “report of an experiment in transcendental pastorialism".[6]

Likewise others have assumed Thoreau's intentions during his time at Walden Pond was "to conduct an experiment: Could he survive, possibly even thrive, by stripping away all superfluous luxuries, living a plain, simple life in radically reduced conditions?"[12] He thought of it as an experiment in "home economics". Although Thoreau went to Walden to escape what he considered, "over-civilization", and in search of the "raw" and "savage delight" of the wilderness, he also spent considerable amounts of his time reading and writing.[citation needed]

Thoreau spent nearly four times as long on the Walden manuscript as he actually spent at the cabin. Upon leaving Walden Pond and at Emerson’s request, Thoreau returned to Emerson’s house and spent the majority of his time paying debts. During those years Thoreau slowly edited and drafted what were originally 18 essays describing his “experiment” in basic living. After eight drafts over the course of ten years, Walden was published in 1854.[12]

After Walden's publication, Thoreau saw his time at Walden as nothing more than an experiment. He never took seriously "the idea that he could truly isolate himself from others".[13] Without resolution, Thoreau used "his retreat to the woods as a way of framing a reflection on both what ails men and women in their contemporary condition and what might provide relief".[14]

Reception[edit]

Walden enjoyed some success upon its release, but still took five years to sell 2,000 copies,[15] and then went out of print until Thoreau’s death in 1862.[16] Despite its slow beginnings, later critics have praised it as an American classic that explores natural simplicity, harmony, and beauty. The American poet Robert Frost wrote of Thoreau, "In one book ... he surpasses everything we have had in America".[17]

It is often assumed that critics initially ignored Walden, and that those who reviewed the book were evenly split or slightly more negative than positive in their assessment of it. But researchers have shown that Walden actually was “more favorably and widely received by Thoreau’s contemporaries than hitherto suspected.”[18] Of the 66 initial reviews that have been found so far, 46 “were strongly favorable.”[18] Some reviews were rather superficial, merely recommending the book or predicting its success with the public; others were more lengthy, detailed, and nuanced with both positive and negative comments. Positive comments included praise for Thoreau’s independence, practicality, wisdom, “manly simplicity,”[19] and fearlessness. Not surprisingly, less than three weeks after the book’s publication, Thoreau’s mentor Ralph Waldo Emerson proclaimed, “All American kind are delighted with ‘Walden’ as far as they have dared to say.”[20]

On the other hand, the terms “quaint” or “eccentric” appeared in over half of the book’s initial reviews.[18] Other terms critical of Thoreau included selfish, strange, impractical, privileged (or “manor born”[21]), and misanthropic.[22] One review compared and contrasted Thoreau’s form of living to communism, probably not in the sense of Marxism, but instead of communal living or religious communism. While valuing freedom from possessions, Thoreau was not communal in the sense of practicing sharing or of embracing community. So, communism “is better than our hermit’s method of getting rid of encumbrance.”[23]

In contrast to Thoreau’s “manly simplicity,” nearly twenty years after Thoreau’s death Scottish author Robert Louis Stevenson judged Thoreau’s endorsement of living alone in natural simplicity, apart from modern society, to be a mark of effeminacy, calling it "womanish solicitude; for there is something unmanly, something almost dastardly" about the lifestyle.[24] Poet John Greenleaf Whittier criticized what he perceived as the message in Walden that man should lower himself to the level of a woodchuck and walk on four legs. He said: "Thoreau's Walden is a capital reading, but very wicked and heathenish... After all, for me, I prefer walking on two legs".[25] Author Edward Abbey criticized Thoreau's ideas and experiences at Walden in detail throughout his response to Walden called "Down the River with Thoreau," written in 1980.[26]

Today, despite these criticisms, Walden stands as one of America's most celebrated works of literature. John Updike wrote of Walden, "A century and a half after its publication, Walden has become such a totem of the back-to-nature, preservationist, anti-business, civil-disobedience mindset, and Thoreau so vivid a protester, so perfect a crank and hermit saint, that the book risks being as revered and unread as the Bible."[27] The American psychologist B. F. Skinner wrote that he carried a copy of Walden with him in his youth,[28] and eventually wrote Walden Two in 1945, a fictional utopia about 1,000 members who live together in a Thoreau-inspired community.[29]

Kathryn Schulz has accused Thoreau of hypocrisy, misanthropy and being sanctimonious based on his writings in Walden[30] although this criticism has been perceived as highly selective.[31][32]

Adaptations[edit]

Video games[edit]

The National Endowment for the Arts in 2012 bestowed Tracy Fullerton, game designer and professor at the University of Southern California’s Game Innovation Lab with a $40,000 grant to create, based on the book, a first person, open world video game called Walden, a game,[33] in which players "inhabit an open, three-dimensional game world which will simulate the geography and environment of Walden Woods".[34] The game production was also supported by grants from the National Endowment for the Humanities and was part of the Sundance New Frontier Story Lab in 2014. The game was released to critical acclaim on July 4th, 2017, celebrating both the day that Thoreau went down to the pond to begin his experiment and the 200th anniversary of Thoreau’s birth.

Digitization and scholarship efforts[edit]

Digital Thoreau,[35] a collaboration among the State University of New York at Geneseo, the Thoreau Society, and the Walden Woods Project, has developed a fluid text edition of Walden[36] across the different versions of the work to help readers trace the evolution of Thoreau's classic work across seven stages of revision from 1846 to 1854. Within any chapter of Walden, readers can compare up to seven manuscript versions with each other, with the Princeton University Press edition,[37] and consult critical notes drawn from Thoreau scholars, including Ronald Clapper's dissertation The Development of Walden: A Genetic Text[38] (1967) and Walter Harding's Walden: An Annotated Edition[39] (1995). Ultimately, the project will provide a space for readers to discuss Thoreau in the margins of his texts.

Influence[edit]

Jean Craighead George's My Side of the Mountain trilogy draws heavily from themes expressed in Walden. Protagonist Sam Gribley is nicknamed "Thoreau" by an English teacher he befriends.

Shane Carruth's second film Upstream Color features Walden as a central item of its story, and draws heavily on the themes expressed by Thoreau.

R.E.M.'s song Finest Worksong off 1987´s Document has a reference to the writer, in the line ´throw Thoreau and rearrange´.

The 1989 film Dead Poets Society heavily features an excerpt from Walden as a motif that comes up more than once in the plot.

The Finnish symphonic metal band Nightwish makes several references to Walden on their eighth studio album Endless Forms Most Beautiful of 2015.

The investment research firm Morningstar, Inc. was named for the last sentence in Walden by founder and CEO Joe Mansueto, and the "O" in the company's logo is shaped like a rising sun.

In the 2015 video game Fallout 4, which takes place in Massachusetts, there exists a location called Walden Pond, where the player can listen to an automated tourist guide detail Thoreau's experience living in the wilderness. At the location there stands a small house which is said to be the same house Thoreau built and stayed in.

Notes[edit]

  1. ^Alfred, Randy (August 9, 2010). "Aug. 9, 1854: Thoreau Warns, 'The Railroad Rides on Us'". Wired News. Retrieved 8 August 2011. 
  2. ^Henry David Thoreau
  3. ^Transcendentalism and Social Reform by Philip F. Gura], Gilder Lehrman Institute of American History
  4. ^Grammardog Guide to Walden, by Henry David Thoreau, Grammardog LLC, ISBN 1-60857-084-3, p. 25
  5. ^ abcdeSmith, Delivered at the Thoreau Society Annual Gathering, on July 14, 2007, Richard. "Thoreau's First Year at Walden in Fact & Fiction". Retrieved 2014-05-03. 
  6. ^ abcdefghThoreau, Henry David. Walden Civil Disobedience and Other Writings. W.W. Norton & Company, 2008, p. 61.
  7. ^"The Maine Woods Henry David Thoreau Edited by Joseph J. Moldenhauer With a new introduction by Paul Theroux" (Press release). Princeton University. January 2004. Retrieved 2014-05-03. 
  8. ^Thoreau, Henry David. "Walden Civil Disobedience and Other Writings. W.W. Norton & Company, 2008, p. 96.
  9. ^"Walden Study Guide : Summary and Analysis of Chapters 1–3". GradeSaver. 2000-09-30. Retrieved 2014-05-03. 
  10. ^"Walden, and on the Duty of Civil Disobedience, by Henry David Thoreau". Gutenberg.org. 2013-01-26. Retrieved 2014-05-03. 
  11. ^"Archived copy". Archived from the original on March 18, 2006. Retrieved December 28, 2010. 
  12. ^ abLevin, Jonathan (2003). Introduction. Walden and Civil Disobedience. Barnes and Noble Classics. ISBN 978-1-59308-208-6. 
  13. ^Levin. p. 24
  14. ^Levin. p. 34
  15. ^"Henry David Thoreau (American writer) : Works". Britannica.com. 2013-04-18. Retrieved 2014-05-03. 
  16. ^Dean, Bradley P.; Scharnhorst, Gary (1990). "The Contemporary Reception of Walden". Studies in the American Renaissance: 293–328. 
  17. ^Frost, Robert. "Letter to Wade Van Dore", (June 24, 1922), in Twentieth Century Interpretations of Walden, ed. Richard Ruland. Englewood Cliffs, NJ: Prentice Hall, Inc. (1968), 8. LCCN 68-14480.
  18. ^ abcDean and Scharnhorst 293.
  19. ^Dean and Scharnhorst 302.
  20. ^Quoted in Dean and Scharnhorst 293, from Ralph L. Rusk (ed.), The Letters from Ralph Waldo Emerson (vol. 4), (New York: Columbia University Press, 1939) pp. 459–60.
  21. ^Dean and Scharnhorst 300.
  22. ^Dean and Scharnhorst 293–328.
  23. ^Dean and Scharnhorst 298.
  24. ^"Henry David Thoreau: His Character and Opinions". Cornhill Magazine. June 1880. 
  25. ^Wagenknecht, Edward. John Greenleaf Whittier: A Portrait in Paradox. New York: Oxford University Press, 1967: 112.
  26. ^Abbey, Edward (1980). "Down the River with Thoreau". 
  27. ^John Updike, "A Sage for all seasons", The Guardian, June 25, 2004
  28. ^Skinner, B.F. A Matter of Consequences. 1938
  29. ^Skinner, B.F. Walden 2. 1942
  30. ^Schulz, Kathryn (October 19, 2015). "Henry David Thoreau, Hypocrite". The New Yorker. Retrieved October 19, 2015. 
  31. ^Malesic, Jonathan (October 19, 2015). "Henry David Thoreau's Radical Optimism". New Republic. Archived from the original on October 19, 2015. Retrieved October 19, 2015. 
  32. ^Hohn, Donovan (October 21, 2015). "Everybody Hates Henry". New Republic. Archived from the original on October 26, 2015. Retrieved October 21, 2015. 
  33. ^http://www.waldengame.com
  34. ^Flood, Alison (April 26, 2012). "Walden Woods video game will recreate the world of Thoreau". The Guardian. Retrieved 26 April 2012. 
  35. ^"digitalthoreau.org". digitalthoreau.org. 2013-07-18. Retrieved 2014-05-03. 
  36. ^"Walden: a Fluid Text Edition". 
  37. ^"Thoreau, H.D.; Shanley, J.L., ed.: The Writings of Henry David Thoreau: Walden. (Hardcover)". Press.princeton.edu. 2014-04-17. Retrieved 2014-05-03. 
  38. ^"The development of Walden: a genetic text. (Book, 1968)". [WorldCat.org]. 1999-02-22. Retrieved 2014-05-03. 
  39. ^"Walden : an annotated edition (Book, 1995)". [WorldCat.org]. 2012-05-08. Retrieved 2014-05-03. 

External links[edit]

Wikimedia Commons has media related to Walden.
Wikiquote has quotations related to: Walden
Walden Pond, discussed extensively in chapter The Ponds
Memorial with a replica of Thoreau's cabin near Walden.
The site of Thoreau's cabin marked by a cairn in 1908.
Site of Thoreau's cabin, 2010.

I went to the woods because I wished to live deliberately, to front only the essential facts of life . . . and not, when I came to die, discover that I had not lived.

(See Important Quotations Explained)

Summary

Thoreau recalls the several places where he nearly settled before selecting Walden Pond, all of them estates on a rather large scale. He quotes the Roman philosopher Cato’s warning that it is best to consider buying a farm very carefully before signing the papers. He had been interested in the nearby Hollowell farm, despite the many improvements that needed to be made there, but, before a deed could be drawn, the owner’s wife unexpectedly decided she wanted to keep the farm. Consequently, Thoreau gave up his claim on the property. Even though he had been prepared to farm a large tract, Thoreau realizes that this outcome may have been for the best. Forced to simplify his life, he concludes that it is best “as long as possible” to “live free and uncommitted.” Thoreau takes to the woods, dreaming of an existence free of obligations and full of leisure. He proudly announces that he resides far from the post office and all the constraining social relationships the mail system represents. Ironically, this renunciation of legal deeds provides him with true ownership, paraphrasing a poet to the effect that “I am monarch of all I survey.”

Thoreau’s delight in his new building project at Walden is more than merely the pride of a first-time homeowner; it is a grandly philosophic achievement in his mind, a symbol of his conquest of being. When Thoreau first moves into his dwelling on Independence Day, it gives him a proud sense of being a god on Olympus, even though the house still lacks a chimney and plastering. He claims that a paradise fit for gods is available everywhere, if one can perceive it: “Olympus is but the outside of the earth every where.” Taking an optimistic view, he declares that his poorly insulated walls give his interior the benefit of fresh air on summer nights. He justifies its lack of carved ornament by declaring that it is better to carve “the very atmosphere” one thinks and feels in, in an artistry of the soul. It is for him an almost immaterial, heavenly house, “as far off as many a region viewed nightly by astronomers.” He prefers to reside here, sitting on his own humble wooden chair, than in some distant corner of the universe, “behind the constellation of Cassiopeia’s Chair.” He is free from time as well as from matter, announcing grandiosely that time is a river in which he goes fishing. He does not view himself as the slave of time; rather he makes it seem as though he is choosing to participate in the flow of time whenever and however he chooses, like a god living in eternity. He concludes on a sermonizing note, urging all of us to sludge through our existence until we hit rock bottom and can gauge truth on what he terms our “Realometer,” our means of measuring the reality of things

Analysis

The title of this chapter combines a practical topic of residence (“Where I Lived”) with what is probably the deepest philosophical topic of all, the meaning of life (“What I Lived For”). Thoreau thus reminds us again that he is neither practical do-it-yourself aficionado nor erudite philosopher, but a mixture of both at once, attending to matters of everyday existence and to questions of final meaning and purpose. This chapter pulls away from the bookkeeping lists and details about expenditures on nails and door hinges, and opens up onto the more transcendent vista of how it all matters, containing less how-to advice and much more philosophical meditation and grandiose universalizing assertion. It is here that we see the full influence of Ralph Waldo Emerson on Thoreau’s project. Emersonian self-reliance is not just a matter of supporting oneself financially (as many people believe) but a much loftier doctrine about the active role that every soul plays in its experience of reality. Reality for Emerson was not a set of objective facts in which we are plunked down, but rather an emanation of our minds and souls that create the world around ourselves every day.

Thoreau’s building of a house on Walden Pond is, for him, a miniature re-enactment of God’s creation of the world. He describes its placement in the cosmos, in a region viewed by the astronomers, just as God created a world within the void of space. He says outright that he resides in his home as if on Mount Olympus, home of the gods. He claims a divine freedom from the flow of time, describing himself as fishing in its river. Thoreau’s point in all this divine talk is not to inflate his own personality to godlike heights but rather to insist on everyone’s divine ability to create a world. Our capacity to choose reality is evident in his metaphor of the “Realometer,” a spin-off of the Nilometer, a device used to measure the depth of the river Nile. Thoreau urges us to wade through the muck that constitutes our everyday lives until we come to a firm place “which we can call Reality, and say, This is.” The stamp of existence we give to our vision of reality—“This is”—evokes God’s simple language in the creation story of Genesis: “Let there be. . . .” And the mere fact that Thoreau imagines that one can choose to call one thing reality and another thing not provides the spiritual freedom that was central to Emerson’s Transcendentalist thought. When we create and claim this reality, all the other “news” of the world shrinks immediately to insignificance, as Thoreau illustrates in his mocking parody of newspapers reporting a cow run over by the Western Railway. He opines that the last important bit of news to come out of England was about the revolution of 1649, almost two centuries earlier. The only current events that matter to the transcendent mind are itself and its place in the cosmos.

Summary

One of the many delightful pursuits in which Thoreau is able to indulge, having renounced a big job and a big mortgage, is reading. He has grand claims for the benefits of reading, which he compares, following ancient Egyptian or Hindu philosophers, to “raising the veil from the statue of divinity.” Whether or not Thoreau is ironic in such monumental reflections about books is open to debate, but it is certain that reading is one of his chief pastimes in the solitude of the woods, especially after the main construction work is done. During the busy days of homebuilding, he says he kept Homer’s Iliad on his table throughout the summer, but only glanced at it now and then. But now that he has moved in not just to his handmade shack, but into the full ownership of reality described in the preceding chapter, reading has a new importance. Thoreau praises the ability to read the ancient classics in the original Greek and Latin, disdaining the translations offered by the “modern cheap” press. Indeed he goes so far as to assert that Homer has never yet been published in English—at least not in any way that does justice to Homer’s achievement. Thoreau emphasizes the work of reading, just as he stresses the work of farming and home-owning; he compares the great reader to an athlete who has subjected himself to long training and regular exercise. He gives an almost mystical importance to the printed word. The grandeur of oratory does not impress him as much as the achievements of a written book. He says it is no wonder that Alexander the Great carried a copy of the Iliad around with him on his military campaigns.

Thoreau also urges us to read widely, gently mocking those who limit their reading to the Bible, and to read great things, not the popular entertainment books found in the library. Thoreau gradually extends his criticism of cheap reading to a criticism of the dominant culture of Concord, which deprives even the local gifted minds access to great thought. Despite the much-lauded progress of modern society in technology and transportation, he says real progress—that of the mind and soul—is being forgotten. He reproaches his townsmen for believing that the ancient Hebrews were the only people in the world to have had a Holy Scripture, ignoring the sacred writings of others, like the Hindus. Thoreau complains the townspeople spend more on any body ailment than they do on mental malnourishment; he calls out, like an angry prophet, for more public spending on education. He says, “New England can hire all the wise men in the world to come and teach her, and board them round the while, and not be provincial at all.” Thoreau implicitly blames the local class system for encouraging fine breeding in noblemen but neglecting the task of ennobling the broader population. He thus calls out for an aristocratic democracy: “[i]nstead of noblemen, let us have noble villages of men.”

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