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This paper aims to examine the connection between ecological thoughts in Thoreau's Walden and modem American ecological poetry and then discover a continuum of American ecological writings with Thoreau as a starting point.
The study is motivated by the skepticism about Karl Kroeber's view that the most important American ecological writing in the 20th century is un-Thoreauvian, Kroeber underestimates Thoreau's nature writings because he believes that they have as a primary goal the purification of his own self through a sensual and intellectual confrontation with nature, which means he does not observe and write for others. However, Kroeber's view is in sharp contrast to that of Quetchenbach who maintains that American poetry, including nature poetry, after the World War Ⅱ has been based on "the Quotidian experience of the individual" which can extend to others through analogy. The reflections of the poets who attempt to reestablish the relations between man and nature can be public and universalized in this age of environmental crisis, which is also the reason why Thoreau's writings cannot be easily defined as personal and private ones.
The examination of Thoreau's Walden shows that the monumental work serves as a matrix of three primary characteristics of ecological poetry: an emphasis on maintaining an ecocentric perspective that recognizes the interconnection of the world, a need for humility in relationships with both human and nonhuman nature, an indictment of a technologized modern world and a warning concerning the potential for ecological catastrophe. Levertov's "Web" and Roethke's "the Minimal" and "Cuttings" echo Thoreau's reflections on the interconnectedness of man and nature sharing life in the universe. Thoreau's search for the possibility of an ecological writing to reveal nature as it is rather than impose artificial meanings is based on his recognition of the need for human humbleness towards nature. This recognition is also echoed in Ammons' "Corsons Inlet" and Snyder's "Ripples on the Surface" which acknowledge the ontological autonomy of the nonhuman world which exists beyond human language. Finally, Snyder's "Front Lines" and Merwin's "The Last One" remind us of Thoreau's warning against the destruction of nature by human avarice.
The study is motivated by the skepticism about Karl Kroeber's view that the most important American ecological writing in the 20th century is un-Thoreauvian, Kroeber underestimates Thoreau's nature writings because he believes that they have as a primary goal the purification of his own self through a sensual and intellectual confrontation with nature, which means he does not observe and write for others. However, Kroeber's view is in sharp contrast to that of Quetchenbach who maintains that American poetry, including nature poetry, after the World War Ⅱ has been based on "the Quotidian experience of the individual" which can extend to others through analogy. The reflections of the poets who attempt to reestablish the relations between man and nature can be public and universalized in this age of environmental crisis, which is also the reason why Thoreau's writings cannot be easily defined as personal and private ones.
The examination of Thoreau's Walden shows that the monumental work serves as a matrix of three primary characteristics of ecological poetry: an emphasis on maintaining an ecocentric perspective that recognizes the interconnection of the world, a need for humility in relationships with both human and nonhuman nature, an indictment of a technologized modern world and a warning concerning the potential for ecological catastrophe. Levertov's "Web" and Roethke's "the Minimal" and "Cuttings" echo Thoreau's reflections on the interconnectedness of man and nature sharing life in the universe. Thoreau's search for the possibility of an ecological writing to reveal nature as it is rather than impose artificial meanings is based on his recognition of the need for human humbleness towards nature. This recognition is also echoed in Ammons' "Corsons Inlet" and Snyder's "Ripples on the Surface" which acknowledge the ontological autonomy of the nonhuman world which exists beyond human language. Finally, Snyder's "Front Lines" and Merwin's "The Last One" remind us of Thoreau's warning against the destruction of nature by human avarice.
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