Chapter 2

Emerson himself was too sane ever to fall into the hermit's trap of banishment to the rocks and echoes. 'Solitude,' he said, 'is impracticable, and society fatal.' He steered his way as best he could between these two irreconcilable necessities. He had, as we have seen, the good sense to make for himself a calling which brought him into healthy contact with bodies of men, and made it essential that he should have his listeners in some degree in his mind, even when they were not actually present to the eye. As a preacher Emerson has been described as making a deep impression on susceptible hearers of a quiet mind, by 'the calm dignity of his bearing, the absence of all oratorical effort, and the singular simplicity and directness of a manner free from the least trace of dogmatic assumption.' 'Not long before,' says this witness, 'I had listened to a wonderful sermon by Chalmers, whose force and energy, and vehement but rather turgid eloquence, carried for the moment all before him--his audience becoming like clay in the hands of the potter. But I must confess that the pregnant thoughts and serene self-possession of the young Boston minister had a greater charm for me than all the rhetorical splendours of Chalmers' (_Ireland_, 141).

At the lecturer's desk the same attraction made itself still more effectually felt. 'I have heard some great speakers and some accomplished orators,' Mr. Lowell says, 'but never any that so moved and persuaded men as he. There is a kind of undertone in that rich barytone of his that sweeps our minds from their foothold into deep waters with a drift that we cannot and would not resist. Search for his eloquence in his books and you will perchance miss it, but meanwhile you will find that it has kindled all your thoughts.' The same effect was felt in its degree wherever he went, and he took pains not to miss it. He had made a study of his art, and was so skilful in his mastery of it that it seemed as if anybody might do all that he did and do it as well--if only a hundred failures had not proved the mistake.

In 1838 Emerson delivered an address in the Divinity School of Harvard, which produced a gusty shower of articles, sermons, and pamphlets, and raised him without will or further act of his to the high place of the heresiarch. With admirable singleness of mind, he held modestly aloof. 'There is no scholar,' he wrote to a friend, 'less willing or less able to be a polemic. I could not give account of myself if challenged. I delight in telling what I think, but if you ask me how I dare say so, or why it is so, I am the most helpless of men,' The year before, his oration on the American Scholar had filled Carlyle with delight. It was the first clear utterance, after long decades of years, in which he had 'heard nothing but infinite jangling and jabbering, and inarticulate twittering and screeching.' Then Carlyle enjoined on his American friend for rule of life, 'Give no ear to any man's praise or censure; know that that is _not_ it; on the one side is as Heaven, if you have strength to keep silent and climb unseen; yet on the other side, yawning always at one's right hand and one's left, is the frightfullest Abyss and Pandemonium' (Dec. 8, 1837). Emerson's temperament and his whole method made the warning needless, and, as before, while 'vociferous platitude was dinning his ears on all sides,' a whole world of thought was 'silently building itself in these calm depths.' But what would those two divinities of his, Plato and Socrates, have said of a man who 'could not give an account of himself if challenged'? Assuredly not every one who saith Plato, Plato, is admitted to that ideal kingdom.

It was soon after this that the _Dial_ was projected. It had its origin in the Transcendental Club, a little knot of speculative students at Boston, who met four or five times a year at one another's houses to discuss questions mainly theological, from more liberal points of view than was at that time common, 'the air then in America getting a little too close and stagnant.' The Club was first formed in 1836. The _Dial_ appeared in 1840, and went on for four years at quarterly intervals. Emerson was a constant contributor, and for the last half of its existence he acted as editor. 'I submitted,' he told Carlyle, 'to what seemed a necessity of petty literary patriotism--I know not what else to call it--and took charge of our thankless little _Dial_ here, without subscribers enough to pay even a publisher, much less any labourer; it has no penny for editor or contributor, nothing but abuse in the newspapers, or, at best, silence; but it serves as a sort of portfolio, to carry about a few poems or sentences which would otherwise be transcribed or circulated, and we always are waiting until somebody shall come and make it good. But I took it, and it took me and a great deal of good time to a small purpose' (July 1, 1842). On the whole one must agree that it was to small purpose. Emerson's name has reflected lustre on the _Dial_, but when his contributions are taken out, and, say, half a dozen besides, the residuum is in the main very poor stuff, and some of it has a droll resemblance to the talk between Mrs. Hominy and the Literary Ladies and the Honourable Elijah Pogram. Margaret Fuller--the Miranda, Zenobia, Hypatia, Minerva of her time, and a truly remarkable figure in the gallery of wonderful women--edited it for two years, and contributed many a vivid, dashing, exuberant, ebullient page. Her criticism of Goethe, for example, contains no final or valid word, but it is fresh, cordial, and frank, and no other prose contributor, again saving the one great name, has anything to say that is so readable. Nearly all the rest is extinct, and the _Dial_ now finds itself far away from the sunshine of human interest.

In 1841 the first series of Emerson's Essays was published, and three years later the second. The Poems were first collected in 1847, but the final version was not made until 1876. In 1847 Emerson paid his second visit to England, and delivered his lectures on Representative Men, collected and published in 1850. The books are said to have had a very slow sale, but the essays and lectures published in 1860, with the general title of _The Conduct of Life_, started with a sale of 2,500 copies, though that volume has never been considered by the Emersonian adept to contain most of the pure milk of the Word.

Then came that great event in the history of men and institutions, the Civil War. We look with anxiety for the part played by the serene thinker when the hour had struck for violent and heroic action. Emerson had hitherto been a Free Soiler; he had opposed the extension of slavery; and he favoured its compulsory extinction, with compensation on the plan of our own policy in the West Indies. He had never joined the active Abolitionists, nor did he see 'that there was any particular thing for him to do in it then.' 'Though I sometimes accept a popular call, and preach on Temperance or the Abolition of Slavery, I am sure to feel, before I have done with it, what an intrusion it is into another sphere, and so much loss of virtue in my own' (_To Carlyle_, 1844). But he missed no occasion of showing that in conviction and aim he was with good men. The infirmities of fanatics never hid from him either the transcendent purity of their motives or the grandeur of their cause. This is ever the test of the scholar: whether he allows intellectual fastidiousness to stand between him and the great issues of his time. 'Cannot the English,' he cried out to Carlyle, 'leave cavilling at petty failures and bad manners and at the dunce part, and leap to the suggestions and finger-pointings of the gods, which, above the understanding, feed the hopes and guide the wills of men?' These finger-pointings Emerson did not mistake. He spoke up for Garrison. John Brown was several times in Concord, and found a hearty welcome in Emerson's house. When Brown made his raid at Harper's Ferry, and the crisis became gradually sharper, Emerson felt that the time had come, and his voice was raised in clear tones. After the sword is drawn, it is deeds not words that interest and decide; but whenever the word of the student was needed Emerson was ready to give the highest expression to all that was best in his countrymen's mood during that greatest ordeal of our time. The inward regeneration of the individual had ever been the key to his teaching, and this teaching had been one of the forces that, like central fire in men's minds, nourished the heroism of the North in its immortal battle.

The exaltation of national character produced by the Civil War opened new and wider acceptance for a great moral and spiritual teacher, and from the close of the war until his death in 1882, Emerson's ascendency within his own sphere of action was complete, and the public recognition of him universal. Of story, there is no more to tell. He pursued his old way of reading, meditating, conversing, and public lecturing, almost to the end. The afternoon of his life was cloudless as the earlier day, and the shades of twilight fell in unbroken serenity. In his last years there was a partial failure of his memory, and more than one pathetic story is told of this tranquil and gradual eclipse. But 'to the last, even when the events of yesterday were occasionally obscured, his memory of the remote past was unclouded; he would tell about the friends of his early and middle life with unbroken vigour.' So, tended in his home by warm filial devotion, and surrounded by the reverent kindness of his village neighbours, this wise and benign man slowly passed away (April 27, 1882).[4]

[Footnote 4: The reader who seeks full information about Emerson's life will find it scattered in various volumes: among them are--

_Ralph Waldo Emerson_; by George Willis Cooke (Sampson Low & Co., 1882)--a very diligent and instructive work.

_R.W.E._; by Alexander Ireland (Simpkin, Marshall, & Co. 1882), described by Carlyle, and known by others, as 'full of energy and broad sagacity and practicality; infinitely well affected to the man Emerson too,'--and full moreover of that intellectual enthusiasm which in his Scotch countrymen goes so often with their practicalities.

_Emerson, at Home and Abroad_; by Moncure D. Conway (Trübner & Co., 1883): the work of a faithful disciple, who knew Emerson well, and has here recorded many interesting anecdotes and traits.]

II.

It cannot be truly said that Emerson is one of the writers who make their way more easily into our minds by virtue of style. That his writing has quality and flavour none but a pure pedant would deny. His more fervent votaries, however, provoke us with a challenge that goes far beyond this. They declare that the finish, charm, and beauty of the writing are as worthy of remark as the truth and depth of the thought. It is even 'unmatchable and radiant,' says one. Such exaggerations can have no reference to any accepted standard. It would in truth, have been a marvel if Emerson had excelled in the virtues of the written page, for most of his published work was originally composed and used for the platform. Everybody knows how different are the speaker's devices for gaining possession of his audience, from the writer's means of winning, persuading, and impressing the attention of his reader. The key to the difference may be that in the speech the personality of the orator before our eyes gives of itself that oneness and continuity of communication, which the writer has to seek in the orderly sequence and array of marshalled sentence and well-sustained period. One of the traits that every critic notes in Emerson's writing, is that it is so abrupt, so sudden in its transitions, so discontinuous, so inconsecutive. Dislike of a sentence that drags made him unconscious of the quality, that French critics name _coulant_. Everything is thrown in just as it comes, and sometimes the pell-mell is enough to persuade us that Pope did not exaggerate when he said that no one qualification is so likely to make a good writer, as the power of rejecting his own thoughts.

His manner as a lecturer, says Dr. Holmes, was an illustration of his way of thinking. 'He would lose his place just as his mind would drop its thought and pick up another, twentieth cousin or no relation at all to it.' The same manner, whether we liken it to mosaic or to kaleidoscope, marks his writing. It makes him hard to follow, oracular, and enigmatical. 'Can you tell me,' asked one of his neighbour, while Emerson was lecturing, 'what connection there is between that last sentence and the one that went before, and what connection it all has with Plato?' 'None, my friend, save in God!' This is excellent in a seer, but less so in the writer.

Apart from his difficult staccato, Emerson is not free from secondary faults. He uses words that are not only odd, but vicious in construction; he is not always grammatically correct; he is sometimes oblique, and he is often clumsy; and there is a visible feeling after epigrams that do not always come. When people say that Emerson's style must be good and admirable because it fits his thought, they forget that though it is well that a robe should fit, there is still something to be said about its cut and fashion.

No doubt, to borrow Carlyle's expression, 'the talent is not the chief question here: the idea--that is the chief question.' We do not profess to be of those to whom mere style is as dear as it was to Plutarch; of him it was said that he would have made Pompey win the battle of Pharsalia, if it could have given a better turn to a phrase. It would not be worth while to speak of form in a thinker to whom our debt is so large for his matter, if there were not so much bad literary imitation of Emerson. Dr. Holmes mournfully admits that 'one who talks like Emerson or like Carlyle soon finds himself surrounded by a crowd of walking phonographs, who mechanically reproduce his mental and oral accents. Emerson was before long talking in the midst of a babbling Simonetta of echoes.' Inferior writers have copied the tones of the oracle without first making sure of the inspiration. They forget that a platitude is not turned into a profundity by being dressed up as a conundrum. Pithiness in him dwindles into tenuity in them; honest discontinuity in the master is made an excuse for finical incoherencies in the disciples; the quaint, ingenious, and unexpected collocations of the original degenerate in the imitators into a trick of unmeaning surprise and vapid antithesis; and his pregnant sententiousness set the fashion of a sententiousness that is not fertility but only hydropsy. This curious infection, which has spread into divers forms of American literature that are far removed from philosophy, would have been impossible if the teacher had been as perfect in expression as he was pure, diligent, and harmonious in his thinking.

Yet, as happens to all fine minds, there came to Emerson ways of expression deeply marked with character. On every page there is set the strong stamp of sincerity, and the attraction of a certain artlessness; the most awkward sentence rings true; and there is often a pure and simple note that touches us more than if it were the perfection of elaborated melody. The uncouth procession of the periods discloses the travail of the thought, and that too is a kind of eloquence. An honest reader easily forgives the rude jolt or unexpected start, when it shows a thinker faithfully working his way along arduous and unworn tracks. Even at the roughest, Emerson often interjects a delightful cadence. As he says of Landor, his sentences are cubes which will stand firm, place them how or where you will. He criticised Swedenborg for being superfluously explanatory, and having an exaggerated feeling of the ignorance of men. 'Men take truths of this nature,' said Emerson, 'very fast;' and his own style does no doubt very boldly take this capacity for granted in us. In 'choice and pith of diction,' again, of which Mr. Lowell speaks, he hits the mark with a felicity that is almost his own in this generation. He is terse, concentrated, and free from the important blunder of mistaking intellectual dawdling for meditation. Nor in fine does his abruptness ever impede a true urbanity. The accent is homely and the apparel plain, but his bearing has a friendliness, a courtesy, a hospitable humanity, which goes nearer to our hearts than either literary decoration or rhetorical unction. That modest and lenient fellow-feeling which gave such charm to his companionship breathes in his gravest writing, and prevents us from finding any page of it cold or hard or dry.

Though Emerson was always urgent for 'the soul of the world, clean from all vestige of tradition,' yet his work is full of literature. He at least lends no support to the comforting fallacy of the indolent, that originating power does not go with assimilating power. Few thinkers on his level display such breadth of literary reference. Unlike Wordsworth, who was content with a few tattered volumes on a kitchen shelf, Emerson worked among books. When he was a boy he found a volume of Montaigne, and he never forgot the delight and wonder in which he lived with it. His library is described as filled with well-selected authors, with curious works from the eastern world, with many editions in both Greek and English of his favourite Plato; while portraits of Shakespeare, Montaigne, Goethe, Dante, looked down upon him from the walls. Produce a volume of Plato or of Shakespeare, he says somewhere, or '_only remind us of their names_,' and instantly we come into a feeling of longevity. That is the scholar's speech. Opening a single essay at random, we find in it citations from Montesquieu, Schiller, Milton, Herodotus, Shelley, Plutarch, Franklin, Bacon, Van Helmont, Goethe. So little does Emerson lend himself to the idle vanity of seeking all the treasures of wisdom in his own head, or neglecting the hoarded authority of the ages. It is true that he held the unholy opinion that a translation is as good as the original, or better. Nor need we suppose that he knew that pious sensation of the book-lover, the feel of a library; that he had any of the collector's amiable foolishness about rare editions; or that he nourished festive thoughts of 'that company of honest old fellows in their leathern jackets in his study,' as comrades in a sober old-world conviviality. His books were for spiritual use, like maps and charts of the mind of man, and not much for 'excellence of divertisement.' He had the gift of bringing his reading to bear easily upon the tenor of his musings, and knew how to use books as an aid to thinking, instead of letting them take the edge off thought. There was assuredly nothing of the compiler or the erudite collegian in him. It is a graver defect that he introduces the great names of literature without regard for true historical perspective in their place, either in relation to one another, or to the special phases of social change and shifting time. Still let his admirers not forget that Emerson was in his own way Scholar no less than Sage.

A word or two must be said of Emerson's verses. He disclaimed, for his own part, any belief that they were poems. Enthusiasts, however, have been found to declare that Emerson 'moves more constantly than any recent poet in the atmosphere of poesy. Since Milton and Spenser no man--not even Goethe--has equalled Emerson in this trait.' _The Problem_, according to another, 'is wholly unique, and transcends all contemporary verse in grandeur of style.' Such poetry, they say, is like Westminster Abbey, 'though the Abbey is inferior in boldness.' Yet, strangely enough, while Emerson's poetic form is symbolised by the flowing lines of Gothic architecture, it is also 'akin to Doric severity.' With all the good will in the world, I do not find myself able to rise to these heights; in fact, they rather seem to deserve Wordsworth's description, as mere obliquities of admiration.

Taken as a whole, Emerson's poetry is of that kind which springs, not from excitement of passion or feeling, but from an intellectual demand for intense and sublimated expression. We see the step that lifts him straight from prose to verse, and that step is the shortest possible. The flight is awkward and even uncouth, as if nature had intended feet rather than wings. It is hard to feel of Emerson, any more than Wordsworth could feel of Goethe, that his poetry is inevitable. The measure, the colour, the imaginative figures, are the product of search, not of spontaneous movements of sensation and reflection combining in a harmony that is delightful to the ear. They are the outcome of a discontent with prose, not of that high-strung sensibility which compels the true poet into verse. This must not be said without exception. _The Threnody_, written after the death of a deeply loved child, is a beautiful and impressive lament. Pieces like _Musquetaquid_, the _Adirondacs_, the _Snowstorm_, _The Humble-Bee_, are pretty and pleasant bits of pastoral. In all we feel the pure breath of nature, and

The primal mind, That flows in streams, that breathes in wind.

There is a certain charm of _naiveté_, that recalls the unvarnished simplicity of the Italian painters before Raphael. But who shall say that he discovers that 'spontaneous overflow of powerful feeling,' which a great poet has made the fundamental element of poetry? There are too few melodious progressions; the melting of the thought with natural images and with human feeling is incomplete; we miss the charm of perfect assimilation, fusion, and incorporation; and in the midst of all the vigour and courage of his work, Emerson has almost forgotten that it is part of the poet's business to give pleasure. It is true that pleasure is sometimes undoubtedly to be had from verse that is not above mediocrity, and Wordsworth once designed to write an essay examining why bad poetry pleases. Poetry that pleases may be bad, but it is equally true that no poetry which fails to please can be really good. Some one says that gems of expression make Emerson's essays oracular and his verse prophetic. But, to borrow Horace's well-known phrase, 'tis not enough that poems should be sublime; _dulcia sunto_,--they must be touching and sympathetic. Only a bold critic will say that this is a mark of Emerson's poems. They are too naked, unrelated, and cosmic; too little clad with the vesture of human associations. Light and shade do not alternate in winning and rich relief, and as Carlyle found it, the radiance is 'thin piercing,' leaving none of the sweet and dim recesses so dear to the lover of nature. We may, however, well be content to leave a man of Emerson's calibre to choose his own exercises. It is best to suppose that he knew what he was about when he wandered into the fairyland of verse, and that in such moments he found nothing better to his hand. Yet if we are bidden to place him among the poets, it is enough to open Keats at the _Ode to a Nightingale_, or Shelley at _The Cloud_, the _Skylark_, or the _Sensitive Plant_, or Wordsworth at _Tintern Abbey_, or Goethe at _Das Göttliche_, or Victor Hugo in the _Contemplations_. Then in spite of occasional formality of rhythm and artifice in ornament, we cannot choose but perceive how tuneful is their music, how opulent the resources of their imagination, how various, subtle, and penetrating their affinity for the fortunes and sympathies of men, and next how modest a portion of all these rare and exquisite qualifications reveals itself in the verse of Emerson.

III.