Wandering, in a word the principle of reciprocity and interaction

What is"wandering" all about? Is it a subject or theme? The straight answer to this question is: No. It is about relationships. Relationships cannot exist unless there are things and people that can be related to each other and so relationships impl! subject matter in the end. "t the root o# wandering which one can ta$e to mean the totalit! o# the e##ects o# all words based on the %erbs to wander and wandern - is the sense o# turning &c#. to wend. 'm. wenden( and the positi%e or negati%e sense o# to wander in a gi%en context depends on what one turns awa! #rom and what one turns towards. )ain t!pi#ies the sinner who turns #rom the good path and the wandering pilgrim turns #rom sin and error towards a di%inel! appointed goal. The 'erman %erb wandern and to wander share the same et!mological root and poets recogni*e in these %erbs and their deri%ati%es particularl! in the #orm o# "Wanderer " a common #und o# associations implications and themes. This can be adduced #rom +ong#ellow,s translation o# 'oethe,s "Wandrers Nachtlied" as "Wanderer,s Night-.ongs." When re#erring to ph!sical motion wandering signi#ies that outward mo%ements express the inner dispositions and mental states o# a wanderer. )on%ersel! re#erences to mental wandering impl! detachment #rom in%ol%ement in ph!sical acti%ities or the disciplined execution o# an assignment. This implication alone entails the recognition that the ph!sical world and objecti%e criteria exist. /erhaps here lies one important reason wh! experts in literar! criticism ha%e a hard time dealing with the phenomenon that wandering poses in literature #or the #requenc! o# occurrences o# words deri%ed #rom to wander and wandern in the wor$s o# 'oethe and other poets and in the poetr! o# an entire epoch notabl! in the Romantic period raises questions which literar! criticism has #ailed to answer or e%en see as an issue to be in%estigated. .ome critics are a%erse to ma$ing connections between one literar! wor$ and another and thus discount such #actors as "in#luence" or an! rele%ance o# poetr! to "external" realities in whate%er #orm societ! religion or li#e in general. +et us pic$ up the gauntlet thrown down b! the phenomenon o# wandering and underta$e the tas$s that this challenge calls #or b! examining words particularl! all words deri%ed #rom to wander and wandern in situ - that is to sa! where the! are actuall! #ound within literar! texts . In so doing we ma! ha%e to o%ercome certain misgi%ings. .ome concern the word wandering itsel# which con%e!s a sense o# nebulous disorientation and lac$ o# precision. 0espite this handicap noted literar! scholars cannot help using it in articles boo$s and essa!s. Then there is a bias against accepting words altogether

as the primar! %ital constituent o# poetr!. "s de#ined in a dictionar! words ha%e a %er! limited range o# meanings. The %iewpoint ta$en in this stud! incorporates the #indings o# 1erdinand de .aussure and scholars who ha%e modi#ied and applied his theories to the examination o# literar! texts. 2ne basic tenet o# those holding a word-based logocentric position is that a word alwa!s requires a context and in poetr! an! word has se%eral contexts one within the text to which it belongs another in the contemporar! world o# the author and !et another within literar! tradition. 1urthermore a word in poetr! has multiple indeed inexhauststible powers o# e%ocation and interaction with other words b! dint o# its being steeped in all potential meanings that reside in a word irrespecti%e o# its context. and o# its abilit! to #orm an untold number o# combinations with other words in a manner analogous to the combinations o# atoms and molecules in chemistr!. " poem there#ore resembles a three-dimensional object such as a sculpture rather than a two-dimensional one such as a picture. Those scholars who ha%e ta$en note o# the phenomenon o# wandering attach it to the core issue o# the relationship between the conscious and unconscious constituents o# the mind and creati%e imagination citing the authorit! o# .igmund 1reud or ). '. 3ung as the! do so and as it it is onl! through the mind that we relate to the world and whate%er truth it holds wandering in its widest sense comprehends e%er!thing that we humans can $now or imagine.