Ralph Waldo Emerson Essay History - Age of the Sage
In December 1839 Emerson gave two lectures on literature as part of a series called "The Present Age," much of the material of which went into a paper called "Thoughts on Modern Literature," published in the in October 1840 and reprinted in (1893). Here Emerson lists, in order of importance, three classes of literature. "The highest class of books are those which express the moral element; the next, works of imagination; and the next, works of science." Though he calls "the first literary genius of the world, the highest in whom the moral is not the predominating element," he insists that 's work "leans on the Bible: his poetry supposes it." By contrast, "the Prophets do not imply the existence of or ." is secondary, the prophets of the Bible are primary. These views compensate and balance those in the Divinity School address. Indeed seems to have been intended by Emerson as a sort of corrective of some of his early views and various misinterpretations of them. One of the best things in "Thoughts on Modern Literature" is a long and very specific treatment of the problem of subjectivity. Defending the subjectivism of the age, Emerson is at great pains to distinguish true subjectivism (the right of each single soul, each subject "I" to "sit in judgment on history and literature, and to summon all facts and parties before its tribunal") from narrow-minded insistence on one's own personality or mere "intellectual selfishness." "A man may say , and never refer to himself as an individual," says Emerson in a phrase that prefigures his concept of the representative poet.
History by Ralph Waldo Emerson the full text of the famous essay.
Emerson spent the rest of his life centered in Concord, with another trip to England in 1847-1848, one to California in 1871, and a final trip to Egypt in 1872. Each winter he would travel through New England and the East Coast, and as far west as there were cities on his annual lecture tour, for which he was his own booking agent, advertiser, and arranger. The rest of the year he spent in Concord, which soon became one of the intellectual centers of the country, a sort of American Weimar. The group around Emerson, usually called the Transcendentalists, were defined in one way by Emerson's 1838 Divinity School address, which offended orthodox Unitarians by locating religious authority in the religious nature of human beings, rather than in the Bible or the person of Christ. The , a new magazine founded by the group and edited first by , showed the group's interest in the literature of Idealism. In religion, in philosophy, and in literature, the group around Emerson was liberal, learned, forward-looking and reform-minded. The Emersonian "movement" (it was Emerson who said there are always two parties in society, the Establishment and the Movement) or "the newness" was eventually overshadowed by the Civil War, the coming of industrialism, and the rise of realism. But in the late 1830s, 1840s, and into the 1850s, Emerson was at the center of much that was new, exciting, and vital in American cultural life.
Returning home in October 1833, Emerson immediately embraced a new career, that of public lecturer. One month after disembarking, he was invited by the Boston Natural History Society to deliver the first of his four lectures on science. That winter he lectured in Concord and Bedford on his Italian trip, and, beginning in January 1835, at Boston's Masonic Temple, he delivered his first open public lecture series, six lectures on "Biography." The fourth lecture in the series, that on , was his first important statement about literature. The lecture was published, posthumously, in (1893), but the other five lectures in the "Biography" series of 1835, like the ten lectures he gave on "English Literature" later that same year, the twelve lectures on "The Philosophy of History" in 1836-1837, and the ten on "Human Culture" of 1837-1838, were only published beginning in 1959 as . Many of the ideas and phrases were incorporated by Emerson in subsequent lectures and books, which is why he did not publish them. But the early lectures show vividly the development of Emerson's characteristic views about literature.
Ralph Waldo Emerson: Essays: First and Second Series - …
(1850), a book made up of lectures first given in 1845 on , Swedenborg, Montaigne, , Napoleon, and Goethe, is the fullest account of Emerson's biographical approach to literature. This subject is not new with him. It goes back at least to his early lecture on , but it now has a new emphasis. Just as he had once claimed that there is properly no history, only biography, so comes close to saying there is properly no literature, there are only literary persons. "There must be a man behind the book," he says of Goethe. "It makes a great difference to the force of any sentence whether there be a man behind it or no." Emerson's representative figures are his Plutarchan heroes. The book is a pantheon of heroes, chosen not from among warriors (except for Napoleon), but from among thinkers and writers, who are of use to us because they represent or symbolize qualities that lie in us, too. They are essays in symbolic literary biography. Assuming that language is representative, that is, symbolic, Emerson says that "Behmen and Swedenborg saw that things were representative." Then, moving, not toward circular idealism, but toward biography, he states: "Men also are representative: first of things, and secondly, of ideas." Emerson identifies in each of his figures some permanent quality of the human mind. He is also a prestructuralist in that he believes that the world people make and inhabit is determined partly or even largely by the structure of the human mind. "Our colossal theologies of Judaism, Christism, Buddhism, Mahometism are the necessary and structural action of the human mind." It follows from this that our reading is a process of recognizing our own thoughts, or capabilities for thought and imagination, in the work and lives of others. Emerson sums this up concisely. "The possibility of interpretation lies in the identity of the observer with the observed." The democratic aesthetic also follows from this. "As to what we call the masses, and common men,--there are no common men. All men are at last of a size; and true art is only possible on the conviction that every talent has its apotheosis somewhere."
The Essays Of Ralph Waldo Emerson - …
It is finally the imagination, not wine, which intoxicates the true poet, and the same quality works in us, too. "The use of symbols has a certain power of emancipation and exhilaration for all men.... This is the effect on us of tropes, fables, oracles and all poetic forms." Consider, for example, the sense of delight with which we are momentarily freed of the tyranny of English numbers by the child's book which tells us, if we are tired of counting to ten in the same old way, to try a new way, such as "ounce, dice, trice, quartz, quince, sago, serpent, oxygen, nitrogen, denim." Of such language, Emerson says, "We seem to be touched by a wand, which makes us dance and run about happily like children." He concludes, in a phrase that sums up the essay, "poets are thus liberating gods." Themselves free, they set us free--free, for example, to take only what we want from the books we read. "I think nothing is of any value in books, excepting the transcendental and extraordinary." Thus Emerson cheerfully and knowingly dismisses all but the very best of even his own writing.