Letters and social aims

by Ralph Waldo Emerson

7. But the solitude of nature is not so essential as solitude of habit. I have found my advantage in going in summer to a country inn, in winter to a city hotel, with a task which would not prosper at home. I thus secured a more absolute seclusion; for it is almost impossible for a housekeeper, who is in the country a small farmer, to exclude interruptions, and even necessary orders, though I bar out by system all I can, and resolutely omit, to my constant damage, all that can be omitted. At home, the day is cut into short strips. In the hotel, I have no hours to keep, no visits to make or receive, and I command an astronomic leisure. I forget rain, wind, cold, and heat. At home, I remember in my library the wants of the farm, and have all too much sympathy. I envy the abstraction of some scholars I have known, who could sit on a curbstone in State Street, put up their back, and solve their problem. I have more womanly eyes. All the conditions must be right for my success, slight as that is. What untunes is as bad as what cripples or stuns me. Novelty, surprise, change of scene, refresh the artist,—"break up the tiresome old roof of heaven into new forms," as Hafiz said. The sea-shore, and the taste of two metals in contact, and our enlarged powers in the presence, or rather at the approach and at the departure of a friend, and the mixture of lie in truth, and the experience of poetic creativeness which is not found in staying at home, nor yet in travelling, but in transitions from one to the other, which must therefore be adroitly managed to present as much transitional surface as possible,—these are the types or conditions of this power. "A ride near the sea, a sail near the shore," said the ancient. So Montaigne travelled with his books, but did not read in them. "La Nature aime les croisements," says Fourier.

I know there is room for whims here; but in regard to some apparent trifles there is great agreement as to their annoyance. And the machine with which we are dealing is of such an inconceivable delicacy that whims also must be respected. Fire must lend its aid. We not only want time, but warm time. George Sand says, "I have no enthusiasm for nature which the slightest chill will not instantly destroy." And I remember that Thoreau, with his robust will, yet found certain trifles disturbing the delicacy of that health which composition exacted,—namely, the slightest irregularity, even to the drinking too much water on the preceding day. Even a steel pen is a nuisance to some writers. Some of us may remember, years ago, in the English journals, the petition, signed by Carlyle, Browning, Tennyson, Dickens, and other writers in London, against the license of the organ-grinders, who infested the streets near their houses, to levy on them blackmail.

Certain localities, as mountain-tops, the sea-side, the shores of rivers and rapid brooks, natural parks of oak and pine, where the ground is smooth and unencumbered, are excitants of the muse. Every artist knows well some favorite retirement. And yet the experience of some good artists has taught them to prefer the smallest and plainest chamber, with one chair and table, and with no outlook, to these picturesque liberties. William Blake said, "Natural objects always did and do weaken, deaden, and obliterate imagination in me." And Sir Joshua Reynolds had no pleasure in Richmond; he used to say "the human face was his landscape." These indulgences are to be used with great caution. Allston rarely left his studio by day. An old friend took him, one fine afternoon, a spacious circuit into the country, and he painted two or three pictures as the fruits of that drive. But he made it a rule not to go to the city on two consecutive days. One was rest; more was lost time. The times of force must be well husbanded, and the wise student will remember the prudence of Sir Tristram in Morte d'Arthur, who, having received from the fairy an enchantment of six hours of growing strength every day, took care to fight in the hours when his strength increased; since from noon to night his strength abated. What prudence, again, does every artist, every scholar, need in the security of his easel or his desk! These must be remote from the work of the house, and from all knowledge of the feet that come and go therein. Allston, it is said, had two or three rooms in different parts of Boston, where he could not be found. For the delicate muses lose their head, if their attention is once diverted. Perhaps if you were successful abroad in talking and dealing with men, you would not come back to your book-shelf and your task. When the spirit chooses you for its scribe to publish some commandment, it makes you odious to men, and men odious to you, and you shall accept that loathsomeness with joy. The moth must fly to the lamp, and you must solve those questions though you die.

8. Conversation, which, when it is best, is a series of intoxications. Not Aristotle, not Kant or Hegel, but conversation, is the right metaphysical professor. This is the true school of philosophy,—this the college where you learn what thoughts are, what powers lurk in those fugitive gleams, and what becomes of them; how they make history. A wise man goes to this game to play upon others, and to be played upon, and at least as curious to know what can be drawn from himself as what can be drawn from them. For, in discourse with a friend, our thought, hitherto wrapped in our consciousness, detaches itself, and allows itself to be seen as a thought, in a manner as new and entertaining to us as to our companions. For provocation of thought, we use ourselves and use each other. Some perceptions—I think the best—are granted to the single soul; they come from the depth, and go to the depth, and are the permanent and controlling ones. Others it takes two to find. We must be warmed by the fire of sympathy to be brought into the right conditions and angles of vision. Conversation; for intellectual activity is contagious. We are emulous. If the tone of the companion is higher than ours, we delight in rising to it. 'Tis a historic observation that a writer must find an audience up to his thought, or he will no longer care to impart it, but will sink to their level, or be silent. Homer said, "When two come together, one apprehends before the other"; but it is because one thought well that the other thinks better: and two men of good mind will excite each other's activity, each attempting still to cap the other's thought. In enlarged conversation we have suggestions that require new ways of living, new books, new men, new arts and sciences. By sympathy, each opens to the eloquence, and begins to see with the eyes of his mind. We were all lonely, thoughtless; and now a principle appears to all: we see new relations, many truths; every mind seizes them as they pass; each catches by the mane one of these strong coursers like horses of the prairie, and rides up and down in the world of the intellect. We live day by day under the illusion that it is the fact or event that imports, whilst really it is not that which signifies, but the use we put it to, or what we think of it. We esteem nations important, until we discover that a few individuals much more concern us; then, later, that it is not at last a few individuals, or any sacred heroes, but the lowliness, the outpouring, the large equality to truth, of a single mind,—as if in the narrow walls of a human heart the whole realm of truth, the world of morals, the tribunal by which the universe is judged, found room to exist.

9. New poetry; by which I mean chiefly, old poetry that is new to the reader. I have heard from persons who had practice in rhyming, that it was sufficient to set them on writing verses, to read any original poetry. What is best in literature is the affirming, prophesying, spermatic words of men-making poets. Only that is poetry which cleanses and mans me.

Words used in a new sense, and figuratively, dart a delightful lustre; and every word admits a new use, and hints ulterior meanings. We have not learned the law of the mind,—cannot control and domesticate at will the high states of contemplation and continuous thought. "Neither by sea nor by land," said Pindar, "canst thou find the way to the Hyperboreans"; neither by idle wishing, nor by rule of three or rule of thumb. Yet I find a mitigation or solace by providing always a good book for my journeys, as Horace or Martial or Goethe,—some book which lifts me quite out of prosaic surroundings, and from which I draw some lasting knowledge. A Greek epigram out of the anthology, a verse of Herrick or Lovelace, are in harmony both with sense and spirit.

You shall not read newspapers, nor politics, nor novels, nor Montaigne, nor the newest French book. You may read Plutarch, Plato, Plotinus, Hindoo mythology, and ethics. You may read Chaucer, Shakspeare, Ben Jonson, Milton,—and Milton's prose as his verse; read Collins and Gray; read Hafiz and the Trouveurs; nay, Welsh and British mythology of Arthur, and (in your ear) Ossian; fact-books, which all geniuses prize as raw material, and as antidote to verbiage and false poetry. Fact-books, if the facts be well and thoroughly told, are much more nearly allied to poetry than many books are that are written in rhyme. Only our newest knowledge works as a source of inspiration and thought, as only the outmost layer of liber on the tree. Books of natural science, especially those written by the ancients,—geography, botany, agriculture, explorations of the sea, of meteors, of astronomy,—all the better if written without literary aim or ambition. Every book is good to read which sets the reader in a working mood. The deep book, no matter how remote the subject, helps us best.

Neither are these all the sources, nor can I name all. The receptivity is rare. The occasions or predisposing circumstances I could never tabulate; but now one, now another landscape, form, color, or companion, or perhaps one kind of sounding word or syllable, "strikes the electric chain with which we are darkly bound," and it is impossible to detect and wilfully repeat the fine conditions to which we have owed our happiest frames of mind. The day is good in which we have had the most perceptions. The analysis is the more difficult, because poppy-leaves are strewn when a generalization is made; for I can never remember the circumstances to which I owe it, so as to repeat the experiment or put myself in the conditions.

"'Tis the most difficult of tasks to keep

Heights which the soul is competent to gain."