Dead Poets and Philosopher's Society
Longinus’s piece on the subject of sublimity defines the parameters of what is sublime. He identifies sublimity as something that “at the right moment, tears everything up like a whirlwind, and exhibit’s the orator’s whole power at a single blow” (137). Sublimity is a stunning and an empowering attribute.
Sublimity must be based on certain sources. By setting up guidelines for what is sublime, it becomes easier to define. Longinus considers the most important definition of something being sublime is “the power to conceive great thoughts” (138). This implies that sublimity lends itself to being incredibly inspiring to others, and lends itself to the next point being that sublimity should include “strong and inspired emotion” (138). This all being said, sublimity is profound and creates an impact.
However, within that impact, there should not be a trace of grandeur. The ego that is attached with grandeur does not mesh with the delicacy of sublimity. Longinus says that showings of grandeur “when dissected, prove vain and hollow, the kind of thing which it does a man more honor to despise than to admire” (138). This is in the same vein that created the counterculture. The idea to go against what is considered awesome and great typically and to escape to a place of peace that may not necessarily be recognized for what it truly is. Sublimity is, in this essence, an escape from the dreaded standards of awe and is a serene place of inspiration.
This reminded me of Ethan Hawke’s impromptu speech in Dead Poet’s Society. Robin Williams’ character is a whimsically inspirational English teacher trying to empower a shy teenage boy. To begin with, the school is none too pleased with Williams’ teaching methods. He does not live up to the standards of what is considered being a great teacher. With this in mind, Williams’ character escapes the academic idea of grandeur within this world. He defies the awe of traditional academia, contributing to the teaching counterculture. With that said, he is meant to be innately inspiring.
The clip that I chose is what I consider to be his breakthrough moment within the film. He recognizes Hawke’s fear of not only poetry, but also his fear of public vulnerability. As Williams circles Hawke, he slowly peps up Hawke and brings him to the point of inspiration, and an impromptu poem is produced in front of the class. Hawke’s poem begins slowly and forced, and flourishes into something beautiful. It becomes a rousing piece that brings the rest of the class to applause, and inevitably respect. Hawke begins to stutter as he is forced into poetry, fumbling over his description of a man in a picture, and ending with delivering the line “Truth is like, like a blanket that always leaves your feet cold” (Schulman). Despite some giggles from his classmates, Williams’ sublimity allows Hawke to conclude (on truth) “It'll never be enough. You kick at it, beat it. It'll never cover any of us. From the moment we enter crying to the moment we leave dying, it will just cover your face as you wail and cry and scream” (Schulman). Because of the sublimity Williams provides, Hawke reaches inspiration and clarity which is the essential sublime experience.
Word Count: 530
Works Cited
Dead Poets Society. Dir. Peter Weir. By Tom Schulman. Perf. Robin Williams. Touchstone Pictures, 1989. DVD.
Hammond, Pete. "Dead Poets Society (1989) - IMDb." The Internet Movie Database (IMDb). Web. 14 Feb. 2011. <http://www.imdb.com/title/tt0097165/>.
Leitch, Vincent B. The Norton Anthology of Theory and Criticism. 2nd ed. New York: W. W. Norton &, 2010. Print.
"YouTube." YouTube - Broadcast Yourself. 1 Mar. 2006. Web. 14 Feb. 2011. <http://www.youtube.com/watch?v=aLFQYbjYsso>.
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