Mr. Alcott first visited Concord, as Mr. Cabot’s memoir of Emerson tells us, in 1835, and in 1840 came there to live. But it was as early as May 19, 1837, that Emerson wrote to Margaret Fuller: “Mr. Alcott is the great man. His book [‘Conversations on the Gospels’] does him no justice, and I do not like to see it.... But he has more of the Godlike than any man I have ever seen and his presence rebukes and threatens and raises. He is a teacher.... If he cannot make intelligent men feel the presence of a superior nature, the worse for them; I can never doubt him.”[12] It is suggested by Dr. W. T. Harris, one of the two joint biographers of Alcott, that the description in the last chapter of Emerson’s book styled “Nature,” finished in August, 1836, was derived from a study of Mr. Alcott, and it is certain that there was no man among Emerson’s contemporaries of whom thenceforward he spoke with such habitual deference. Courteous to all, it was to Alcott alone that he seemed to look up. Not merely Alcott’s abstract statements, but his personal judgments, made an absolutely unique impression upon his more famous fellow townsman. It is interesting to notice that Alcott, while staying first in Concord, “complained of lack of simplicity in A⸺, B⸺, C⸺, and D⸺ (late visitors from the city).” Emerson said approvingly to his son: “Alcott is right touchstone to test them, litmus to detect the acid.”[13] We cannot doubt that such a man’s own judgment was absolutely simple; and such was clearly the opinion held by Emerson, who, indeed, always felt somewhat easier when he could keep Alcott at his elbow in Concord. Their mutual confidence reminds one of what was said long since by Dr. Samuel Johnson, that poetry was like brown bread: those who made it in their own houses never quite liked the taste of what they got elsewhere.
And from the very beginning, this attitude was reciprocated. At another time during that same early period (1837), Alcott, after criticising Emerson a little for “the picture of vulgar life that he draws with a Shakespearian boldness,” closes with this fine tribute to the intrinsic qualities of his newly won friend: “Observe his style; it is full of genuine phrases from the Saxon. He loves the simple, the natural; the thing is sharply presented, yet graced by beauty and elegance. Our language is a fit organ, as used by him; and we hear classic English once more from northern lips. Shakespeare, Sidney, Browne, speak again to us, and we recognize our affinity with the fathers of English diction. Emerson is the only instance of original style among Americans. Who writes like him? Who can? None of his imitators, surely. The day shall come when this man’s genius shall shine beyond the circle of his own city and nation. Emerson’s is destined to be the high literary name of this age.”[14]
No one up to that time, probably, had uttered an opinion of Emerson quite so prophetic as this; it was not until four years later, in 1841, that even Carlyle received the first volume of Emerson’s “Essays” and said, “It is once more the voice of a man.” Yet from that moment Alcott and Emerson became united, however inadequate their twinship might have seemed to others. Literature sometimes, doubtless, makes strange friendships. There is a tradition that when Browning was once introduced to a new Chinese ambassador in London, the interpreter called attention to the fact that they were both poets. Upon Browning’s courteously asking how much poetry His Excellency had thus far written, he replied, “Four volumes,” and when asked what style of poetic art he cultivated, the answer was, “Chiefly the enigmatical.” It is reported that Browning afterwards charitably or modestly added, “We felt doubly brothers after that.” It may have been in a similar spirit that Emerson and his foot-note might seem at first to have united their destinies.
Emerson at that early period saw many defects in Alcott’s style, even so far as to say that it often reminded him of that vulgar saying, “All stir and no go”; but twenty years later, in 1855, he magnificently vindicated the same style, then grown more cultivated and powerful, and, indeed, wrote thus of it: “I have been struck with the late superiority Alcott showed. His interlocutors were all better than he: he seemed childish and helpless, not apprehending or answering their remarks aright, and they masters of their weapons. But by and by, when he got upon a thought, like an Indian seizing by the mane and mounting a wild horse of the desert, he overrode them all, and showed such mastery, and took up Time and Nature like a boy’s marble in his hand, as to vindicate himself.”[15]
A severe test of a man’s depth of observation lies always in the analysis he gives of his neighbor’s temperament; even granting this appreciation to be, as is sometimes fairly claimed, a woman’s especial gift. It is a quality which certainly marked Alcott, who once said, for instance, of Emerson’s combination of a clear voice with a slender chest, that “some of his organs were free, some fated.” Indeed, his power in the graphic personal delineations of those about him was almost always visible, as where he called Garrison “a phrenological head illuminated,” or said of Wendell Phillips, “Many are the friends of his golden tongue.” This quality I never felt more, perhaps, than when he once said, when dining with me at the house of James T. Fields, in 1862, and speaking of a writer whom I thought I had reason to know pretty well: “He has a love of wholeness; in this respect far surpassing Emerson.”
It is scarcely possible, for any one who recalls from his youth the antagonism and satire called forth by Alcott’s “sayings” in the early “Dial,” to avoid astonishment at their more than contemptuous reception. Take, for example, in the very first number the fine saying on “Enthusiasm,” thus:—
“Believe, youth, that your heart is an oracle; trust her instinctive auguries; obey her divine leadings; nor listen too fondly to the uncertain echoes of your head. The heart is the prophet of your soul, and ever fulfils her prophecies; reason is her historian; but for the prophecy, the history would not be.... Enthusiasm is the glory and hope of the world. It is the life of sanctity and genius; it has wrought all miracles since the beginning of time.”
Or turn to the following (entitled: “IV. Immortality”):—
“The grander my conception of being, the nobler my future. There can be no sublimity of life without faith in the soul’s eternity. Let me live superior to sense and custom, vigilant alway, and I shall experience my divinity; my hope will be infinite, nor shall the universe contain, or content me.”