Essays. Ralph Waldo Emerson

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СКАЧАТЬ in twenty words—self-reliance, culture, intellectual and moral independence, the divinity of nature and man, the necessity of labor, and high ideals.

      Emerson spent the latter part of his life in lecturing and in literary work. His son, Dr. Edward Emerson, gave an interesting account of how these lectures were constructed. “All through his life he kept a journal. This book, he said, was his ‘Savings Bank.’ The thoughts thus received and garnered in his journals were indexed, and a great many of them appeared in his published works. They were religiously set down just as they came, in no order except chronological, but later they were grouped, enlarged or pruned, illustrated, worked into a lecture or discourse, and, after having in this capacity undergone repeated testing and rearranging, were finally carefully sifted and more rigidly pruned, and were printed as essays.”

      Besides his essays and lectures Emerson left some poetry in which is embodied those thoughts which were to him too deep for prose expression. Oliver Wendell Holmes in speaking of this says: “Emerson wrote occasionally in verse from his school-days until he had reached the age which used to be known as the grand climacteric, sixty-three.… His poems are not and hardly can become popular; they are not meant to be liked by the many, but to be dearly loved and cherished by the few.… His occasional lawlessness in technical construction, his somewhat fantastic expressions, his enigmatic obscurities hardly detract from the pleasant surprise his verses so often bring with them.… The poetic license which we allow in the verse of Emerson is more than excused by the noble spirit which makes us forget its occasional blemishes, sometimes to be pleased with them as characteristic of the writer.”

      Emerson was always a striking figure in the intellectual life of America. His discourses were above all things inspiring. Through them many were induced to strive for a higher self-culture. His influence can be discerned in all the literary movements of the time. He was the central figure of the so-called transcendental school which was so prominent fifty years ago, although he always rather held aloof from any enthusiastic participation in the movement.

      Emerson lived a quiet life in Concord, Massachusetts. “He was a first-rate neighbor and one who always kept his fences up.” He traveled extensively on his lecturing tours, even going as far as England. In English Traits he has recorded his impressions of what he saw of English life and manners.

      Oliver Wendell Holmes has described him in this wise: “His personal appearance was that of the typical New Englander of college-bred ancestry. Tall, spare, slender, with sloping shoulders, slightly stooping in his later years, with light hair and eyes, the scholar’s complexion, the prominent, somewhat arched nose which belongs to many of the New England sub-species, thin lips, suggestive of delicacy, but having nothing like primness, still less of the rigidity which is often noticeable in the generation succeeding next to that of the men in their shirt-sleeves, he would have been noticed anywhere as one evidently a scholarly thinker astray from the alcove or the study, which were his natural habitats. His voice was very sweet, and penetrating without any loudness or mark of effort. His enunciation was beautifully clear, but he often hesitated as if waiting for the right word to present itself. His manner was very quiet, his smile was pleasant, but he did not like explosive laughter any better than Hawthorne did. None who met him can fail to recall that serene and kindly presence, in which there was mingled a certain spiritual remoteness with the most benignant human welcome to all who were privileged to enjoy his companionship.”

      Emerson died April 27, 1882, after a few days’ illness from pneumonia. Dr. Garnett in his excellent biography says: “Seldom had ‘the reaper whose name is Death’ gathered such illustrious harvest as between December 1880 and April 1882. In the first month of this period George Eliot passed away, in the ensuing February Carlyle followed; in April Lord Beaconsfield died, deplored by his party, nor unregretted by his country; in February of the following year Longfellow was carried to the tomb; in April Rossetti was laid to rest by the sea, and the pavement of Westminster Abbey was disturbed to receive the dust of Darwin. And now Emerson lay down in death beside the painter of man and the searcher of nature, the English-Oriental statesman, the poet of the plain man and the poet of the artist, and the prophet whose name is indissolubly linked with his own. All these men passed into eternity laden with the spoils of Time, but of none of them could it be said, as of Emerson, that the most shining intellectual glory and the most potent intellectual force of a continent had departed along with him.”

Critical Opinions of Emerson and his Writings

      MATTHEW ARNOLD, IN AN ADDRESS on Emerson delivered in Boston, gave an excellent estimate of the rank we should accord to him in the great hierarchy of letters. Some, perhaps, will think that Arnold was unappreciative and cold, but dispassionate readers will be inclined to agree with his judgment of our great American.

      After a review of the poetical works of Emerson the English critic draws his conclusions as follows:

      “I do not then place Emerson among the great poets. But I go farther, and say that I do not place him among the great writers, the great men of letters. Who are the great men of letters? They are men like Cicero, Plato, Bacon, Pascal, Swift, Voltaire—writers with, in the first place, a genius and instinct for style.… Brilliant and powerful passages in a man’s writings do not prove his possession of it. Emerson has passages of noble and pathetic eloquence; he has passages of shrewd and felicitous wit; he has crisp epigram; he has passages of exquisitely touched observation of nature. Yet he is not a great writer.… Carlyle formulates perfectly the defects of his friend’s poetic and literary productions when he says: ‘For me it is too ethereal, speculative, theoretic; I will have all things condense themselves, take shape and body, if they are to have my sympathy.’ …

      “.… Not with the Miltons and Grays, not with the Platos and Spinozas, not with the Swifts and Voltaires, not with the Montaignes and Addisons, can we rank Emerson. No man could see this clearer than Emerson himself. ‘Alas, my friend,’ he writes in reply to Carlyle, who had exhorted him to creative work,—‘Alas, my friend, I can do no such gay thing as you say. I do not belong to the poets, but only to a low department of literature,—the reporters; suburban men.’ He deprecated his friend’s praise; praise ‘generous to a fault’ he calls it; praise ‘generous to the shaming of me,—cold, fastidious, ebbing person that I am.’ ”

      After all this unfavorable criticism Arnold begins to praise. Quoting passages from the Essays, he adds:

      “This is tonic indeed! And let no one object that it is too general; that more practical, positive direction is what we want.… Yes, truly, his insight is admirable; his truth is precious. Yet the secret of his effect is not even in these; it is in his temper. It is in the hopeful, serene, beautiful temper wherewith these, in Emerson, are indissolubly united; in which they work and have their being.… One can scarcely overrate the importance of holding fast to happiness and hope. It gives to Emerson’s work an invaluable virtue. As Wordsworth’s poetry is, in my judgment, the most important done in verse, in our language, during the present century, so Emerson’s Essays are, I think, the most important work done in prose.… But by his conviction that in the life of the spirit is happiness, and by his hope that this life of the spirit will come more and more to be sanely understood, and to prevail, and to work for happiness,—by this conviction and hope Emerson was great, and he will surely prove in the end to have been right in them.… You cannot prize him too much, nor heed him too diligently.”

      Herman Grimm, a German critic of great influence in his own country, did much to obtain a hearing for Emerson’s works in Germany. At first the Germans could not understand the unusual English, the unaccustomed turns of phrase which are so characteristic of Emerson’s style.

      “Macaulay gives them no difficulty; even Carlyle is comprehended. But in Emerson’s writings the broad turnpike is suddenly changed into a hazardous sandy foot-path. His thoughts and his style are American. He is not writing for Berlin, but for the people of Massachusetts.… It is СКАЧАТЬ