1873-1878. AET. 70-75.
Publication of "Parnassus."--Emerson Nominated as Candidate for the
Office of Lord Rector of Glasgow University.--Publication of
"Letters and Social Aims." Contents: Poetry and Imagination.--Social
Aims.--Eloquence.--Resources.--The Comic.--Quotation and
Originality.--Progress of Culture.--Persian Poetry.--Inspiration.--
Greatness.--Immortality.--Address at the Unveiling of the Statue of "The
Minute-Man" at Concord.--Publication of Collected Poems.
In December, 1874, Emerson published "Parnassus," a Collection of Poems
by British and American authors. Many readers may like to see his
subdivisions and arrangement of the pieces he has brought together.
They are as follows: "Nature."--"Human Life."--"Intellectual."
--"Contemplation."--"Moral and Religious."--"Heroic."--"Personal."
--"Pictures."--"Narrative Poems and Ballads."--"Songs."--"Dirges and
Pathetic Poems."--"Comic and Humorous."--"Poetry of Terror."--"Oracles
and Counsels."
I have borrowed so sparingly from the rich mine of Mr. George Willis
Cooke's "Ralph Waldo Emerson, His Life, Writings, and Philosophy," that
I am pleased to pay him the respectful tribute of taking a leaf from his
excellent work.
"This collection," he says,
"was the result of his habit, pursued for many years, of copying
into his commonplace book any poem which specially pleased him. Many
of these favorites had been read to illustrate his lectures on
the English poets. The book has no worthless selections, almost
everything it contains bearing the stamp of genius and worth. Yet
Emerson's personality is seen in its many intellectual and serious
poems, and in the small number of its purely religious selections.
With two or three exceptions he copies none of those devotional
poems which have attracted devout souls.--His poetical sympathies
are shown in the fact that one third of the selections are from the
seventeenth century. Shakespeare is drawn on more largely than any
other, no less than eighty-eight selections being made from him. The
names of George Herbert, Herrick, Ben Jonson, and Milton frequently
appear. Wordsworth appears forty-three times, and stands next to
Shakespeare; while Burns, Byron, Scott, Tennyson, and Chaucer make
up the list of favorites. Many little known pieces are included, and
some whose merit is other than poetical.--This selection of poems
is eminently that of a poet of keen intellectual tastes. I
not popular in character, omitting many public favorites, and
introducing very much which can never be acceptable to the general
reader. The Preface is full of interest for its comments on many of
the poems and poets appearing in these selections."
I will only add to Mr. Cooke's criticism these two remarks: First, that
I have found it impossible to know under which of his divisions to look
for many of the poems I was in search of; and as, in the earlier copies
at least, there was no paged index where each author's pieces were
collected together, one had to hunt up his fragments with no little loss
of time and patience, under various heads, "imitating the careful search
that Isis made for the mangled body of Osiris." The other remark is that
each one of Emerson's American fellow-poets from whom he has quoted
would gladly have spared almost any of the extracts from the poems of
his brother-bards, if the editor would only have favored us with some
specimens of his own poetry, with a single line of which he has not seen
fit to indulge us.
In 1874 Emerson received the nomination by the independent party among
the students of Glasgow University for the office of Lord Rector. He
received five hundred votes against seven hundred for Disraeli, who was
elected. He says in a letter to Dr. J. Hutchinson Sterling:--
"I count that vote as quite the fairest laurel that has ever fallen
on me; and I cannot but feel deeply grateful to my young friends in
the University, and to yourself, who have been my counsellor and my
too partial advocate."
Mr. Cabot informs us in his Prefatory Note to "Letters and Social Aims,"
that the proof sheets of this volume, now forming the eighth of the
collected works, showed even before the burning of his house and the
illness which followed from the shock, that his loss of memory and of
mental grasp was such as to make it unlikely that he would in any case
have been able to accomplish what he had undertaken. Sentences, even
whole pages, were repeated, and there was a want of order beyond what
even he would have tolerated:--
"There is nothing here that he did not write, and he gave his
full approval to whatever was done in the way of selection and
arrangement; but I cannot say that he applied his mind very closely
to the matter."
This volume contains eleven Essays, the subjects of which, as just
enumerated, are very various. The longest and most elaborate paper is
that entitled "Poetry and Imagination." I have room for little more than
the enumeration of the different headings of this long Essay. By these
it will be seen how wide a ground it covers. They are "Introductory;"
"Poetry;" "Imagination;" "Veracity;" "Creation;" "Melody, Rhythm, Form;"
"Bards and Trouveurs;" "Morals;" "Transcendency." Many thoughts with
which we are familiar are reproduced, expanded, and illustrated in this
Essay. Unity in multiplicity, the symbolism of nature, and others of his
leading ideas appear in new phrases, not unwelcome, for they look fresh
in every restatement. It would be easy to select a score of pointed
sayings, striking images, large generalizations. Some of these we find
repeated in his verse. Thus:--
"Michael Angelo is largely filled with the Creator that made and
makes men. How much of the original craft remains in him, and he a
mortal man!"
And so in the well remembered lines of "The Problem":--
"Himself from God he could not free."
"He knows that he did not make his thought,--no, his thought made him,
and made the sun and stars."
"Art might obey but not surpass.
The passive Master lent his hand
To the vast soul that o'er him planned."
Hope is at the bottom of every Essay of Emerson's as it was at the
bottom of Pandora's box:--
"I never doubt the riches of nature, the gifts of the future, the
immense wealth of the mind. O yes, poets we shall have, mythology,
symbols, religion of our own.
--"Sooner or later that which is now life shall be poetry, and every
fair and manly trait shall add a richer strain to the song."
Under the title "Social Aims" he gives some wise counsel concerning
manners and conversation. One of these precepts will serve as a
specimen--if we have met with it before it is none the worse for wear:--
"Shun the negative side. Never worry people with; your contritions,
nor with dismal views of politics or society. Never name sickness;
even if you could trust yourself on that perilous topic, beware of
unmuzzling a valetudinarian, who will give you enough of it."
We have had one Essay on "Eloquence" already. One extract from this new
discourse on the same subject must serve our turn:--
"These are ascending stairs,--a good voice, winning manners, plain
speech, chastened, however, by the schools into correctness; but
we must come to the main matter, of power of statement,--know your
fact; hug your fact. For the essential thing is heat, and heat comes
of sincerity. Speak what you know and believe; and are personally in
it; and are answerable for every word. Eloquence is _the power to_
_translate a truth into language perfectly intelligible to the
person to whom you speak_."
The italics are Emerson's.
If our learned and excellent John Cotton used to sweeten his mouth
before going to bed with a bit of Calvin, we may as wisely sweeten and
strengthen our sense of existence with a morsel or two from Emerson's
Essay on "Resources":--
"A Schopenhauer, with logic and learning and wit, teaching
pessimism,--teaching that this is the worst of all possible worlds,
and inferring that sleep is better than waking, and death than
sleep,--all the talent in the world cannot save him from being
odious. But if instead of these negatives you give me affirmatives;
if you tell me that there is always life for the living; that what
man has done man can do; that this world belongs to the energetic;
that there is always a way to everything desirable; that every man
is provided, in the new bias of his faculty, with a key to
nature, and that man only rightly knows himself as far as he has
experimented on things,--I am invigorated, put into genial and
working temper; the horizon opens, and we are full of good-will and
gratitude to the Cause of Causes."
The Essay or Lecture on "The Comic" may have formed a part of a series
he had contemplated on the intellectual processes. Two or three sayings
in it will show his view sufficiently:--
"The essence of all jokes, of all comedy, seems to be an honest or
well-intended halfness; a non-performance of what is pretended to
be performed, at the same time that one is giving loud pledges of
performance.
"If the essence of the Comic be the contrast in the intellect
between the idea and the false performance, there is good reason why
we should be affected by the exposure. We have no deeper interest
than our integrity, and that we should be made aware by joke and by
stroke of any lie we entertain. Besides, a perception of the comic
seems to be a balance-wheel in our metaphysical structure. It
appears to be an essential element in a fine character.--A rogue
alive to the ludicrous is still convertible. If that sense is lost,
his fellow-men can do little for him."
These and other sayings of like purport are illustrated by
well-preserved stories and anecdotes not for the most part of very
recent date.
"Quotation and Originality" furnishes the key to Emerson's workshop. He
believed in quotation, and borrowed from everybody and every book. Not
in any stealthy or shame-faced way, but proudly, royally, as a king
borrows from one of his attendants the coin that bears his own image and
superscription.
"All minds quote. Old and new make the warp and woof of every
moment. There is no thread that is not a twist of these two
strands.--We quote not only books and proverbs, but arts, sciences,
religion, customs, and laws; nay, we quote temples and houses,
tables and chairs by imitation.--
"The borrowing is often honest enough and comes of magnanimity and
stoutness. A great man quotes bravely, and will not draw on his
invention when his memory serves him with a word as good.
"Next to the originator of a good sentence is the first quoter of
it."--
--"The Progress of Culture," his second Phi Beta Kappa oration, has
already been mentioned.
--The lesson of self-reliance, which he is never tired of inculcating,
is repeated and enforced in the Essay on "Greatness."
"There are certain points of identity in which these masters agree.
Self-respect is the early form in which greatness appears.--Stick to
your own; don't inculpate yourself in the local, social, or national
crime, but follow the path your genius traces like the galaxy of
heaven for you to walk in.
"Every mind has a new compass, a new direction of its own,
differencing its genius and aim from every other mind.--We call this
specialty the _bias_ of each individual. And none of us will ever
accomplish anything excellent or commanding except when he listens
to this whisper which is heard by him alone."
If to follow this native bias is the first rule, the second is
concentration.--To the bias of the individual mind must be added the
most catholic receptivity for the genius of others.
"Shall I tell you the secret of the true scholar? It is this: Every
man I meet is my master in some point, and in that I learn of
him."--
"The man whom we have not seen, in whom no regard of self degraded
the adorer of the laws,--who by governing himself governed others;
sportive in manner, but inexorable in act; who sees longevity in his
cause; whose aim is always distinct to him; who is suffered to be
himself in society; who carries fate in his eye;--he it is whom we
seek, encouraged in every good hour that here or hereafter he shall
he found."
What has Emerson to tell us of "Inspiration?"
"I believe that nothing great or lasting can be done except by
inspiration, by leaning on the secret augury.--
"How many sources of inspiration can we count? As many as our
affinities. But to a practical purpose we may reckon a few of
these."
I will enumerate them briefly as he gives them, but not attempting to
reproduce his comments on each:--
1. Health. 2. The experience of writing letters. 3. The renewed
sensibility which comes after seasons of decay or eclipse of the
faculties. 4. The power of the will. 5. Atmospheric causes, especially
the influence of morning. 6. Solitary converse with nature. 7. Solitude
of itself, like that of a country inn in summer, and of a city hotel
in winter. 8. Conversation. 9. New poetry; by which, he says, he means
chiefly old poetry that is new to the reader.
"Every book is good to read which sets the reader in a working
mood."
What can promise more than an Essay by Emerson on "Immortality"? It is
to be feared that many readers will transfer this note of interrogation
to the Essay itself. What is the definite belief of Emerson as expressed
in this discourse,--what does it mean? We must tack together such
sentences as we can find that will stand for an answer:--
"I think all sound minds rest on a certain preliminary conviction,
namely, that if it be best that conscious personal life shall
continue, it will continue; if not best, then it will not; and we,
if we saw the whole, should of course see that it was better so."
This is laying the table for a Barmecide feast of nonentity, with the
possibility of a real banquet to be provided for us. But he continues:--
"Schiller said, 'What is so universal as death must be benefit.'"
He tells us what Michael Angelo said, how Plutarch felt, how Montesquieu
thought about the question, and then glances off from it to the terror
of the child at the thought of life without end, to the story of the two
skeptical statesmen whose unsatisfied inquiry through a long course of
years he holds to be a better affirmative evidence than their failure
to find a confirmation was negative. He argues from our delight in
permanence, from the delicate contrivances and adjustments of created
things, that the contriver cannot be forever hidden, and says at last
plainly:--
"Everything is prospective, and man is to live hereafter. That the
world is for his education is the only sane solution of the enigma."
But turn over a few pages and we may read:--
"I confess that everything connected with our personality fails.
Nature never spares the individual; we are always balked of a
complete success; no prosperity is promised to our self-esteem. We
have our indemnity only in the moral and intellectual reality to
which we aspire. That is immortal, and we only through that. The
soul stipulates for no private good. That which is private I see not
to be good. 'If truth live, I live; if justice live, I live,'
said one of the old saints, 'and these by any man's suffering are
enlarged and enthroned.'"
Once more we get a dissolving view of Emerson's creed, if such a word
applies to a statement like the following:--
--"I mean that I am a better believer, and all serious souls are
better believers in the immortality than we can give grounds for.
The real evidence is too subtle, or is higher than we can write down
in propositions, and therefore Wordsworth's 'Ode' is the best modern
essay on the subject."
Wordsworth's "Ode" is a noble and beautiful dream; is it anything more?
The reader who would finish this Essay, which I suspect to belong to an
early period of Emerson's development, must be prepared to plunge
into mysticism and lose himself at last in an Oriental apologue. The
eschatology which rests upon an English poem and an Indian fable belongs
to the realm of reverie and of imagination rather than the domain of
reason.
On the 19th of April, 1875, the hundredth anniversary of the "Fight at
the Bridge," Emerson delivered a short Address at the unveiling of the
statue of "The Minute-Man," erected at the place of the conflict, to
commemorate the event. This is the last Address he ever wrote, though he
delivered one or more after this date. From the manuscript which lies
before me I extract a single passage:--
"In the year 1775 we had many enemies and many friends in England,
but our one benefactor was King George the Third. The time had
arrived for the political severance of America, that it might play
its part in the history of this globe, and the inscrutable divine
Providence gave an insane king to England. In the resistance of the
Colonies, he alone was immovable on the question of force. England
was so dear to us that the Colonies could only be absolutely
disunited by violence from England, and only one man could compel
the resort to violence. Parliament wavered, Lord North wavered, all
the ministers wavered, but the king had the insanity of one idea; he
was immovable, he insisted on the impossible, so the army was sent,
America was instantly united, and the Nation born."
There is certainly no mark of mental failure in this paragraph, written
at a period when he had long ceased almost entirely from his literary
labors.
Emerson's collected "Poems" constitute the ninth volume of the recent
collected edition of his works. They will be considered in a following
chapter.