The “foreground” Emerson sees in Whitman’s career is not, as he makes clear by his strange and original use of the word, a background. That latter term has been employed by literary historians during the twentieth century to mean a context, whether of intellectual, social, or political history, within which works of literature are framed. But Emerson means a temporal foreground of another sort, a precursory field of poetic, not institutional, history; perhaps one might say that its historiography is written in the poetry itself. Foregrounding, the verb, means to make prominent, or draw attention to, particular features in a literary work. What is the long foreground of Sir John Falstaff, or of Prince Hamlet, or of Edmund the Bastard? A formalist or textualist critic might say there is none, because these are men made out of words. [download]
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