A FRAGMENT
If I am poor,
It is that I am proud;
If God has made me naked and a boor,
He did not think it fit his work to shroud.
The poor man comes direct from heaven to earth,
As stars drop down the sky, and tropic beams;
The rich receives in our gross air his birth,
As from low suns are slanted golden gleams.
Yon sun is naked, bare of satellite,
Unless our earth and moon that office hold;
Though his perpetual day feareth no night,
And his perennial summer dreads no cold.
Mankind may delve, but cannot my wealth spend;
If I no partial wealth appropriate,
No armèd ships unto the Indies send,
None robs me of my Orient estate.
Henry David Thoreau's poem "Poverty" presents a complex meditation on the nature of wealth, societal status, and the human condition. This fragment, though brief, encapsulates many of Thoreau's core philosophical tenets, particularly his views on materialism and the inherent value of a life lived in harmony with nature. Through a careful analysis of the poem's structure, imagery, and thematic content, we can uncover layers of meaning that speak to Thoreau's transcendentalist ideals and his critique of 19th-century American society.
The poem consists of four quatrains, each following an ABAB rhyme scheme. This regular structure provides a sense of order and balance, mirroring the natural harmony that Thoreau often celebrated in his works. The use of iambic pentameter in most lines lends a rhythmic quality to the verse, evoking the steady, measured pace of a contemplative walk in nature—a activity Thoreau famously cherished.
However, it's worth noting that the first two lines of the poem deviate from this pattern:
"If I am poor, It is that I am proud;"
This departure from the established meter serves to immediately draw the reader's attention, emphasizing the central paradox of the poem: the notion that poverty can be a source of pride rather than shame.
Thoreau employs a rich tapestry of celestial imagery throughout the poem, drawing parallels between the heavens and the human condition. The poor man is likened to stars that "drop down the sky" and "tropic beams," suggesting a direct, unmediated connection to the divine. This imagery reinforces the transcendentalist belief in the inherent goodness of both nature and the individual.
In contrast, the rich are associated with "low suns" and "slanted golden gleams," implying a certain artificiality or distortion in their relationship to the natural world. The use of "gross air" to describe the environment of the wealthy further underscores this sense of corruption or impurity.
The sun serves as a central symbol in the third quatrain, representing the ideal of self-sufficiency and spiritual wealth. Described as "naked, bare of satellite," the sun stands alone, needing no adornment or support—much like Thoreau's ideal of the self-reliant individual.
At its core, "Poverty" challenges conventional notions of wealth and poverty. Thoreau inverts societal expectations by presenting poverty as a state of pride and direct connection to the divine. This inversion is evident from the opening lines and continues throughout the poem, culminating in the final quatrain's assertion of an "Orient estate" that cannot be robbed or diminished.
This redefinition of wealth aligns closely with Thoreau's philosophy as expressed in "Walden," where he argues for the richness of a life unencumbered by material possessions. The poem suggests that true wealth lies not in material goods but in one's relationship to nature and the divine.
Thoreau's critique of materialistic society is subtle but pervasive throughout the poem. The "armèd ships" sent to the Indies serve as a pointed reference to colonial exploitation and the pursuit of material wealth at the expense of others. By rejecting this form of "partial wealth," the speaker aligns himself with a more universal, spiritual form of abundance.
This critique extends to the very nature of ownership and appropriation. The speaker's claim that "Mankind may delve, but cannot my wealth spend" suggests a form of wealth that exists beyond the reach of human exploitation or depletion—perhaps the wealth of natural beauty or inner peace that Thoreau so valued.
The poem's consistent use of celestial imagery underscores Thoreau's transcendentalist belief in the divinity of nature. By drawing direct parallels between the poor and celestial phenomena, Thoreau elevates poverty to a state of grace, closer to the divine than the artificial world of material wealth.
This theme reaches its apex in the third quatrain, where the sun becomes a metaphor for the ideal state of being: self-sufficient, fearless, and in perfect harmony with the natural cycles of day and night, summer and winter. This imagery resonates strongly with Thoreau's advocacy for a life lived in accordance with natural rhythms, as detailed in "Walden."
The assertion of pride in the face of poverty is perhaps the poem's most striking theme. This pride stems not from material possessions or societal status, but from a sense of direct connection to the divine and natural world. The speaker's pride is intrinsically linked to his state of being "naked and a boor," terms that in this context suggest a state of authenticity and freedom from societal constraints.
This celebration of self-reliance and individual authenticity echoes Ralph Waldo Emerson's essay "Self-Reliance," a key text in the transcendentalist movement. Thoreau takes this concept further, suggesting that true self-reliance may require a rejection of societal norms and material pursuits.
Thoreau's use of juxtaposition is particularly effective in this poem. The contrast between the poor and the rich, the direct and the slanted, the naked and the shrouded, all serve to heighten the poem's central themes. These oppositions create a sense of tension that propels the reader through the poem's philosophical arguments.
The use of personification, particularly in the final quatrain where "Mankind" is given agency to "delve," adds a layer of universality to the poem's message. It suggests that the speaker's philosophy is not merely personal but has implications for humanity as a whole.
Thoreau's diction is carefully chosen to reinforce his themes. Words like "naked," "boor," and "gross" carry strong connotations that challenge the reader's preconceptions about poverty and wealth. The use of "Orient estate" in the final line is particularly intriguing, possibly alluding to the perceived exoticism and spiritual richness of Eastern philosophy, which held great interest for the transcendentalists.
"Poverty" stands as a testament to Thoreau's skill as a poet and philosopher. In just sixteen lines, he manages to challenge societal norms, redefine concepts of wealth and poverty, and present a vision of human existence deeply rooted in the natural world. The poem's complex interplay of imagery, form, and theme rewards close reading and analysis, revealing layers of meaning that speak to Thoreau's larger body of work and his place within the transcendentalist movement.
Through this poem, Thoreau invites us to reconsider our own relationships with material wealth, nature, and the divine. He challenges us to find pride not in what we possess, but in our authentic selves and our connection to the world around us. In an era increasingly defined by materialism and environmental exploitation, Thoreau's message in "Poverty" remains as relevant and provocative as ever, urging us to seek a different kind of wealth—one that cannot be spent, appropriated, or stolen, but must be cultivated through a life lived in harmony with nature and true to one's inner self.