Emerson and Other Essays

by John Jay Chapman

In these lines we have the same thought which appears a few pages later in prose: "All that Shakespeare says of the king, yonder slip of a boy that reads in the corner feels to be true of himself." He has failed in the verse because he has thrown a mystical gloss over a thought which was stronger in its simplicity; because in the verse he states an abstraction instead of giving an instance. The same failure follows him sometimes in prose when he is too conscious of his machinery.

Emerson knew that the sense of mystery accompanies the shift of an absorbed attention to some object which brings the mind back to the present. "There are times when the cawing of a crow, a weed, a snowflake, a boy's willow whistle, or a farmer planting in his field is more suggestive to the mind than the Yosemite gorge or the Vatican would be in another hour. In like mood, an old verse, or certain words, gleam with rare significance." At the close of his essay on History he is trying to make us feel that all history, in so far as we can know it, is within ourselves, and is in a certain sense autobiography. He is speaking of the Romans, and he suddenly pretends to see a lizard on the wall, and proceeds to wonder what the lizard has to do with the Romans. For this he has been quite properly laughed at by Dr. Holmes, because he has resorted to an artifice and has failed to create an illusion. Indeed, Dr. Holmes is somewhere so irreverent as to remark that a gill of alcohol will bring on a psychical state very similar to that suggested by Emerson; and Dr. Holmes is accurately happy in his jest, because alcohol does dislocate the attention in a thoroughly mystical manner.

There is throughout Emerson's poetry, as throughout all of the New England poetry, too much thought, too much argument. Some of his verse gives the reader a very curious and subtle impression that the lines are a translation. This is because he is closely following a thesis. Indeed, the lines are a translation. They were thought first, and poetry afterwards. Read off his poetry, and you see through the scheme of it at once. Read his prose, and you will be put to it to make out the connection of ideas. The reason is that in the poetry the sequence is intellectual, in the prose the sequence is emotional. It is no mere epigram to say that his poetry is governed by the ordinary laws of prose writing, and his prose by the laws of poetry.

The lines entitled Days have a dramatic vigor, a mystery, and a music all their own:—

"Daughters of Time, the hypocritic Days,
Muffled and dumb like barefoot dervishes,
And marching single in an endless file,
Bring diadems and fagots in their hands.
To each they offer gifts after his will,
Bread, kingdoms, stars, and sky that holds them all.
I, in my pleached garden, watched the pomp,
Forgot my morning wishes, hastily
Took a few herbs and apples, and the Day
Turned and departed silent. I, too late,
Under her solemn fillet saw the scorn."

The prose version of these lines, which in this case is inferior, is to be found in Works and Days: "He only is rich who owns the day.... They come and go like muffled and veiled figures, sent from a distant friendly party; but they say nothing, and if we do not use the gifts they bring, they carry them as silently away."

That Emerson had within him the soul of a poet no one will question, but his poems are expressed in prose forms. There are passages in his early addresses which can be matched in English only by bits from Sir Thomas Browne or Milton, or from the great poets. Heine might have written the following parable into verse, but it could not have been finer. It comes from the very bottom of Emerson's nature. It is his uttermost. Infancy and manhood and old age, the first and the last of him, speak in it.

"Every god is there sitting in his sphere. The young mortal enters the hall of the firmament; there is he alone with them alone, they pouring on him benedictions and gifts, and beckoning him up to their thrones. On the instant, and incessantly, fall snowstorms of illusions. He fancies himself in a vast crowd which sways this way and that, and whose movements and doings he must obey; he fancies himself poor, orphaned, insignificant. The mad crowd drives hither and thither, now furiously commanding this thing to be done, now that. What is he that he should resist their will, and think or act for himself? Every moment new changes and new showers of deceptions to baffle and distract him. And when, by and by, for an instant, the air clears and the cloud lifts a little, there are the gods still sitting around him on their thrones,—they alone with him alone."

With the war closes the colonial period of our history, and with the end of the war begins our national life. Before that time it was not possible for any man to speak for the nation, however much he might long to, for there was no nation; there were only discordant provinces held together by the exercise on the part of each of a strong and conscientious will. It is too much to expect that national character shall be expressed before it is developed, or that the arts shall flourish during a period when everybody is preoccupied with the fear of revolution. The provincial note which runs through all our literature down to the war resulted in one sense from our dependence upon Europe. "All American manners, language, and writings," says Emerson, "are derivative. We do not write from facts, but we wish to state the facts after the English manner. It is the tax we pay for the splendid inheritance of English Literature." But in a deeper sense this very dependence upon Europe was due to our disunion among ourselves. The equivocal and unhappy self-assertive patriotism to which we were consigned by fate, and which made us perceive and resent the condescension of foreigners, was the logical outcome of our political situation.

The literature of the Northern States before the war, although full of talent, lacks body, lacks courage. It has not a full national tone. The South is not in it. New England's share in this literature is so large that small injustice will be done if we give her credit for all of it. She was the Academy of the land, and her scholars were our authors. The country at large has sometimes been annoyed at the self-consciousness of New England, at the atmosphere of clique, of mutual admiration, of isolation, in which all her scholars, except Emerson, have lived, and which notably enveloped the last little distinguished group of them. The circumstances which led to the isolation of Lowell, Holmes, Longfellow, and the Saturday Club fraternity are instructive. The ravages of the war carried off the poets, scholars, and philosophers of the generation which immediately followed these men, and by destroying their natural successors left them standing magnified beyond their natural size, like a grove of trees left by a fire. The war did more than kill off a generation of scholars who would have succeeded these older scholars. It emptied the universities by calling all the survivors into the field of practical life; and after the war ensued a period during which all the learning of the land was lodged in the heads of these older worthies who had made their mark long before. A certain complacency which piqued the country at large was seen in these men. An ante-bellum colonial posing, inevitable in their own day, survived with them. When Jared Sparks put Washington in the proper attitude for greatness by correcting his spelling, Sparks was in cue with the times. It was thought that a great man must have his hat handed to him by his biographer, and be ushered on with decency toward posterity. In the lives and letters of some of our recent public men there has been a reminiscence of this posing, which we condemn as absurd because we forget it is merely archaic. Provincial manners are always a little formal, and the pomposity of the colonial governor was never quite worked out of our literary men.