As we discussed earlier in class, the first distinct section of "Howl" is a vivid combination of both true stories and fantastic, sometimes grotesque, imagery. This is Ginsberg's method of introduction, as he opens the first line of "Howl" proclaiming that the "best minds of [his] generation" are driven to madness by the unaccepting society in which they are surrounded. Ginsberg presents this struggle as a war between the spiritual (himself and his peers) and the mechanical (society). By the end of the first section, there seems to be hope still abounding in the desperation as Ginsberg seeks to find the "absolute heart of the poem."
However, this tone does not remain present as Ginsberg shifts "Howl" into its second section. Perhaps it does not seem fitting to try and resolve a poem dedicated to the pursuit of spiritual transcendence by mentioning the murder of spiritualism and even humanity within a society, but Ginsberg has a purpose. Ginsberg names this mechanistic force "Moloch," which is fitting, because historically, children were sacrificed to the god Moloch. Children are representative of the futurity of the human race; therefore, we can deduce that Ginsberg's context of Moloch is also a destroyer of humanity. For Ginsberg and his loyal readers to fight against this mechanical god, they must know its nature. Therefore, Ginsberg describes Moloch as "Solitude! Filth! Ugliness!" This is a harsh juxtaposition to a high level of spiritual transcendence, a disgrace to Ginsberg. He even goes on to say that Moloch's followers "broke their backs lifting Moloch to Heaven." Moloch has invaded the spiritual plane, as Heaven is no place for the mechanical, but the spiritual. Ginsberg even admits that Moloch "entered [his] soul early." Therefore, Moloch seems to be inescapable; however, Ginsberg responds to the reader with hope, for all is not lost. He addresses Moloch: "whom I abandon!" This resolves the notion that Moloch is an omnipotent god, for Ginsberg is able to escape its influence. However, many are not able to transcend the force of Moloch. At the end of Section 2, Ginsberg talks about the "American River." This river symbolizes time, and this time is carrying the spiritual side of humanity ("Highs! Epiphanies! Despairs! Ten years' animal screams and suicides! Minds! New loves! Mad generation!") down its stream. Note that this spiritual side is not just one of happiness, as there are suicides and madness. It is rather a representation of human feeling. This section, I feel, is Ginsberg's commentary in the present state of the world and society in the poem.
The third section once again shifts tone, more akin to the first section than the second, as it is an address to Carl Solomon, to which the poem is dedicated. His repetition of "I'm with you in Rockland," a mental institution, assures the reader that he is still mad and burning with human feeling, rather than lifting Moloch to a spiritual plane and perverting transcendence. His lines, describing madness, are true stories, allowing the reader to know that this attempt at transcendence is reality, that spirituality itself is a reality for him. He then resolves the poem with two important lines:
I'm with you in Rockland
where we wake up electrified out of the coma by our own souls' airplanes roaring over the roof they've come to drop angelic bombs the hospital illuminates itself imaginary walls collapse O skinny legions run outside O starry-spangled shock of mercy the eternal war is here O victory forget your underwear we're free.
I have bolded key words in this section. I believe that Ginsberg has resolved the oppressive state of section two, proclaiming that spirituality is the clear victor is this “eternal war.” This line is full of heavenly imagery, as even the bombs of war are angelic. Also notice that punctuation and grammatical structure are forgotten, as the spiritual is escaping from even written language standards. The poem itself cannot even describe the transcendence. There are no rules anymore, for they are free to fight, free to love, and free to even forget their underwear.
I'm with you in Rockland
in my dreams you walk dripping from a sea-journey on the highway across America in tears to the door of my cottage in the Western night.
Ginsberg states that Solomon is back from a “sea journey.” This is in opposition to the river of time that destroys the spiritual in section 2. As the river has one direction, the sea is limitless, bringing the resolution of the poem. Even tears are a victory, for a mechanical world is without human emotion and passion, and solace is found at last.
However, this tone does not remain present as Ginsberg shifts "Howl" into its second section. Perhaps it does not seem fitting to try and resolve a poem dedicated to the pursuit of spiritual transcendence by mentioning the murder of spiritualism and even humanity within a society, but Ginsberg has a purpose. Ginsberg names this mechanistic force "Moloch," which is fitting, because historically, children were sacrificed to the god Moloch. Children are representative of the futurity of the human race; therefore, we can deduce that Ginsberg's context of Moloch is also a destroyer of humanity. For Ginsberg and his loyal readers to fight against this mechanical god, they must know its nature. Therefore, Ginsberg describes Moloch as "Solitude! Filth! Ugliness!" This is a harsh juxtaposition to a high level of spiritual transcendence, a disgrace to Ginsberg. He even goes on to say that Moloch's followers "broke their backs lifting Moloch to Heaven." Moloch has invaded the spiritual plane, as Heaven is no place for the mechanical, but the spiritual. Ginsberg even admits that Moloch "entered [his] soul early." Therefore, Moloch seems to be inescapable; however, Ginsberg responds to the reader with hope, for all is not lost. He addresses Moloch: "whom I abandon!" This resolves the notion that Moloch is an omnipotent god, for Ginsberg is able to escape its influence. However, many are not able to transcend the force of Moloch. At the end of Section 2, Ginsberg talks about the "American River." This river symbolizes time, and this time is carrying the spiritual side of humanity ("Highs! Epiphanies! Despairs! Ten years' animal screams and suicides! Minds! New loves! Mad generation!") down its stream. Note that this spiritual side is not just one of happiness, as there are suicides and madness. It is rather a representation of human feeling. This section, I feel, is Ginsberg's commentary in the present state of the world and society in the poem.
The third section once again shifts tone, more akin to the first section than the second, as it is an address to Carl Solomon, to which the poem is dedicated. His repetition of "I'm with you in Rockland," a mental institution, assures the reader that he is still mad and burning with human feeling, rather than lifting Moloch to a spiritual plane and perverting transcendence. His lines, describing madness, are true stories, allowing the reader to know that this attempt at transcendence is reality, that spirituality itself is a reality for him. He then resolves the poem with two important lines:
I'm with you in Rockland
where we wake up electrified out of the coma by our own souls' airplanes roaring over the roof they've come to drop angelic bombs the hospital illuminates itself imaginary walls collapse O skinny legions run outside O starry-spangled shock of mercy the eternal war is here O victory forget your underwear we're free.
I have bolded key words in this section. I believe that Ginsberg has resolved the oppressive state of section two, proclaiming that spirituality is the clear victor is this “eternal war.” This line is full of heavenly imagery, as even the bombs of war are angelic. Also notice that punctuation and grammatical structure are forgotten, as the spiritual is escaping from even written language standards. The poem itself cannot even describe the transcendence. There are no rules anymore, for they are free to fight, free to love, and free to even forget their underwear.
I'm with you in Rockland
in my dreams you walk dripping from a sea-journey on the highway across America in tears to the door of my cottage in the Western night.
Ginsberg states that Solomon is back from a “sea journey.” This is in opposition to the river of time that destroys the spiritual in section 2. As the river has one direction, the sea is limitless, bringing the resolution of the poem. Even tears are a victory, for a mechanical world is without human emotion and passion, and solace is found at last.
