Page images
PDF
EPUB

mated, his verse is sometimes metrical and rimed philosophy. It is often also true that his prose is very poetic in its quality. And the poetic quality

does not injure the prose, as the prosaic quality sometimes spoils the verse. The "Essays" have influenced other writers far more than the poems have influenced other poets. There have always been a great many little men-as Lowell, in the "Fable for Critics," says about one man- trying to make their short legs cover Emerson's mighty stride; and the effect is sometimes ludicrous. Aside from this pseudoinfluence, Emerson's prose work has been a great power. The most earnest and thoughtful spirits have read it and brooded over it. It has given texts for thousands of lay sermons. It has been one of the most germinant influences in our American thinking.

It might be said that Emerson "struck twelve" the first time; for "Nature," which appeared in 1836, is unexcelled in all the qualities which give greatness to his work. There had already been printed a "Right-hand-of-Fellowship" discourse, 1830; and a "Historical Discourse" at Concord, 1835. He had also, the same year, delivered a course of "Lectures on Biography," two of which were published in the "North American Review." But "Nature" was the first real Emersonian message to the world. His address on "The American Scholar," 1837, Lowell speaks of as our intellectual declaration of independence. It did for critical, speculative thought in America what Cooper, Irving, and Poe accomplished for other forms of Literature. It set an American

standard, so that the American critic could henceforth stand upon his own feet. This is one of the notable qualities of Emerson's thinking. He is serenely confident in his own judgments. With the most profound reverence for the great spirits of Literature, he judged them all from the point of view of our present needs. He had supreme faith in the present and in the future. All his interest and faith in the past but strengthened his confidence in the present. This cannot justly be said to flow from "egotism." It rested on his belief in God, as now present with men; in inspiration as a present power. This is a doctrine which might easily, and as held by weaker spirits often has, run into fanaticism. But there is

always a saving grain of the salt of common sense in Emerson, which prevents that result.

After "Nature" and "The American Scholar" had been published, there was always a large public for anything that Emerson might write; not large enough to make him rich, but large enough to give him a feeling of security in the literary life. The "Essays," First Series, appeared in 1841; and the Second Series in 1844; "Representative Men," 1850; "English Traits," 1856; "The Conduct of Life," 1860; and "Society and Solitude," 1870. Emerson's philosophy was one of the great influences for the revival of "Platonism." It represented the extreme reaction from the Deistic materialism of the Eighteenth Century. His thinking did for America what Wordsworth and Coleridge did for England. He is often compared with Carlyle; but the compari

son is largely misleading. They were far more contrasted than alike. There is not a trace of the bitter, destructive, denunciatory spirit in Emerson. Opposing conditions or opinions did not fret him. He seemed either to rise above or to withdraw himself from what was unsympathetic. He is serenely optimistic. It is often difficult to discover what his views are; but his spirit is unmistakable. And it is by the influence of the spirit of his writings that he makes his impression on our spirits.

Emerson's style is one to enjoy and admire; but not one to imitate, or even to study as a model. It has the effect of obscurity, sometimes, from the crowded and disconnected character of the thoughts. It would be scarcely possible to find an obscure sentence. But unless the reader makes a strong effort to hold the attention, he may lose the connection. For Emerson, the practice Dr. Holmes recommends in some cases, of reading "in" rather than "through" a book, is certainly often best. He quotes largely from the thoughts of other writers, but he hardly ever quotes their words. Perhaps of all writers Montaigne is the one to whom he most often refers. He likes to use contrast or antithesis of thought; but does not care especially for the antithesis as a figure of speech. He uses metaphor and simile constantly; and quite as often for their suggestive force as for illustration. A quiet humor betrays itself often in the form of expression, which is the more enjoyable because unexpected. Take a single paragraph from "Nature" and look into the style with some care.

The problem of restoring to the world original and eternal beauty is solved by the redemption of the soul. The ruin, or the blank, that we see when we look at nature, is in our own eye. The axis of vision is not coincident with the axis of things, and so they appear not transparent but opaque. The reason why the world lacks unity, and lies broken and in heaps, is, because man is disunited with himself. He cannot be a naturalist, until he satisfies all the demands of the spirit. Love is as much its demand, as perception. Indeed, neither can be perfect without the other. In the uttermost meaning of the words, thought is devout, and devotion is thought. Deep calls unto deep. But in actual life, the marriage is not celebrated. There are innocent men who worship God after the tradition of their fathers, but their sense of duty has not yet extended to the use of all their faculties. And there are patient naturalists, but they freeze their subject under the wintry light of the understanding. Is not prayer also a study of truth, - a sally of the soul into the unfound infinite? No man ever prayed heartily, without learning something. But when a faithful thinker, resolute to detach every object from personal relations, and see it in the light of thought, shall, at the same time, kindle science with the fire of the holiest affections, then will God go forth anew into the creation.

Notice that the method is always statement rather than argument. If we do not feel the truth of his words, Emerson never stays to prove them; but goes on to state another truth. Notice the bold metaphors: "the axis of vision," "broken and in heaps,” “they freeze their subject under the wintry light of the understanding." Notice the abrupt contrast of thought and style, and the quiet humor of the change in the two sentences, "Deep calls unto deep. But in actual

life, the marriage is not celebrated." Notice how the last sentence lifts the thought to the highest plane, and closes the paragraph with a grand trumpet-call of faith.

Always associated with the figure and fame of Emerson are those of Henry David Thoreau. He was an accomplished scholar, and in his earlier years wrote verse, some of which is of a high order. He was in love with nature. He liked very few human beings, but those few he loved very dearly. But he seemed to like all the gentler wild creatures; and they seem. to have responded remarkably. It is said of him that he would take fish out of the lake in his hands, and put them back, the fish showing no fear and making no effort to escape. Whether this is literal fact or not, it is certainly true that he had far more sympathy with squirrels than with men and women in general. He built a hut on the shore of Walden Pond, near Concord, and lived there alone for nearly two years. But, as Lowell points out, Walden Pond was not very far from Concord; and the civilization Thoreau scorned was always conveniently near in case of need. His philosophy and faith were of the "Transcendental" school; but of a more combative and less attractive form than those of Emerson. His writings were voluminous. He contributed largely to a number of periodicals; and eleven volumes of his works have been published, nine of them since his death. They are for the most part, as the titles would indicate, descriptions of nature as he observed it. Some of them are: "Walden," 1854; "The Maine Woods," 1864; "Cape

Henry David born in

Thoreau,

Massachu

setts, 1817; died, 1862.

« PreviousContinue »