Ralph Waldo Emerson Part 17

1868-1873. AET. 65-70.

Lectures on the Natural History of the Intellect.--Publication of "Society and Solitude." Contents: Society and Solitude.

--Civilization.--Art.--Eloquence.--Domestic Life.--Farming.

--Works and Days.--Books.--Clubs.--Courage.--Success.--Old Age.--Other Literary Labors.--Visit to California.--Burning of his House, and the Story of its Rebuilding.--Third Visit to Europe.--His Reception at Concord on his Return.

During three successive years, 1868, 1869, 1870, Emerson delivered a series of Lectures at Harvard University on the "Natural History of the Intellect." These Lectures, as I am told by Dr. Emerson, cost him a great deal of labor, but I am not aware that they have been collected or reported. They will be referred to in the course of this chapter, in an extract from Prof. Thayer's "Western Journey with Mr. Emerson." He is there reported as saying that he cared very little for metaphysics.

It is very certain that he makes hardly any use of the ordinary terms employed by metaphysicians. If he does not hold the words "subject and object" with their adjectives, in the same contempt that Mr. Ruskin shows for them, he very rarely employs either of these expressions.

Once he ventures on the _not me_, but in the main he uses plain English handles for the few metaphysical tools he has occasion to employ.

"Society and Solitude" was published in 1870. The first Essay in the volume bears the same name as the volume itself.

In this first Essay Emerson is very fair to the antagonistic claims of solitary and social life. He recognizes the organic necessity of solitude. We are driven "as with whips into the desert." But there is danger in this seclusion. "Now and then a man exquisitely made can live alone and must; but coop up most men and you undo them.--Here again, as so often, Nature delights to put us between extreme antagonisms, and our safety is in the skill with which we keep the diagonal line.--The conditions are met, if we keep our independence yet do not lose our sympathy."

The Essay on "Civilization" is pleasing, putting familiar facts in a very agreeable way. The framed or stone-house in place of the cave or the camp, the building of roads, the change from war, hunting, and pasturage to agriculture, the division of labor, the skilful combinations of civil government, the diffusion of knowledge through the press, are well worn subjects which he treats agreeably, if not with special brilliancy:--

"Right position of woman in the State is another index.--Place the s.e.xes in right relations of mutual respect, and a severe morality gives that essential charm to a woman which educates all that is delicate, poetic, and self-sacrificing; breeds courtesy and learning, conversation and wit, in her rough mate, so that I have thought a sufficient measure of civilization is the influence of good women."

My attention was drawn to one paragraph for a reason which my reader will readily understand, and I trust look upon good-naturedly:--

"The s.h.i.+p, in its latest complete equipment, is an abridgment and compend of a nation's arts: the s.h.i.+p steered by compa.s.s and chart, longitude reckoned by lunar observation and by chronometer, driven by steam; and in wildest sea-mountains, at vast distances from home,--

"'The pulses of her iron heart Go beating through the storm.'"

I cannot be wrong, it seems to me, in supposing those two lines to be an incorrect version of these two from a poem of my own called "The Steamboat:"

"The beating of her restless heart Still sounding through the storm."

It is never safe to quote poetry from memory, at least while the writer lives, for he is ready to "cavil on the ninth part of a hair" where his verses are concerned. But extreme accuracy was not one of Emerson's special gifts, and vanity whispers to the misrepresented versifier that

'tis better to be quoted wrong Than to be quoted not at all.

This Essay of Emerson's is irradiated by a single precept that is worthy to stand by the side of that which Juvenal says came from heaven. How could the man in whose thought such a meteoric expression suddenly announced itself fail to recognize it as divine? It is not strange that he repeats it on the page next the one where we first see it. Not having any golden letters to print it in, I will underscore it for italics, and doubly underscore it in the second extract for small capitals:--

"Now that is the wisdom of a man, in every instance of his labor, to _hitch his wagon to a star_, and see his ch.o.r.e done by the G.o.ds themselves."--

"'It was a great instruction,' said a saint in Cromwell's war, 'that the best courages are but beams of the Almighty.' HITCH YOUR WAGON TO A STAR. Let us not f.a.g in paltry works which serve our pot and bag alone. Let us not lie and steal. No G.o.d will help. We shall find all their teams going the other way,--Charles's Wain, Great Bear, Orion, Leo, Hercules: every G.o.d will leave us. Work rather for those interests which the divinities honor and promote,--justice, love, freedom, knowledge, utility."--

Charles's Wain and the Great Bear, he should have been reminded, are the same constellation; the _Dipper_ is what our people often call it, and the country folk all know "the pinters," which guide their eyes to the North Star.

I find in the Essay on "Art" many of the thoughts with which we are familiar in Emerson's poem, "The Problem." It will be enough to cite these pa.s.sages:--

"We feel in seeing a n.o.ble building which rhymes well, as we do in hearing a perfect song, that it is spiritually organic; that it had a necessity in nature for being; was one of the possible forms in the Divine mind, and is now only discovered and executed by the artist, not arbitrarily composed by him. And so every genuine work of art has as much reason for being as the earth and the sun.--

--"The Iliad of Homer, the songs of David, the odes of Pindar, the tragedies of Aeschylus, the Doric temples, the Gothic cathedrals, the plays of Shakspeare, all and each were made not for sport, but in grave earnest, in tears and smiles of suffering and loving men.--

--"The Gothic cathedrals were built when the builder and the priest and the people were overpowered by their faith. Love and fear laid every stone.--

"Our arts are happy hits. We are like the musician on the lake, whose melody is sweeter than he knows."

The discourse on "Eloquence" is more systematic, more professorial, than many of the others. A few brief extracts will give the key to its general purport:--

"Eloquence must be grounded on the plainest narrative. Afterwards, it may warm itself until it exhales symbols of every kind and color, speaks only through the most poetic forms; but, first and last, it must still be at bottom a biblical statement of fact.--

"He who will train himself to mastery in this science of persuasion must lay the emphasis of education, not on popular arts, but on character and insight.--

--"The highest platform of eloquence is the moral sentiment.--

--"Its great masters ... were grave men, who preferred their integrity to their talent, and esteemed that object for which they toiled, whether the prosperity of their country, or the laws, or a reformation, or liberty of speech, or of the press, or letters, or morals, as above the whole world and themselves also."

"Domestic Life" begins with a picture of childhood so charming that it sweetens all the good counsel which follows like honey round the rim of the goblet which holds some tonic draught:--

"Welcome to the parents the puny struggler, strong in his weakness, his little arms more irresistible than the soldier's, his lips touched with persuasion which Chatham and Pericles in manhood had not. His unaffected lamentations when he lifts up his voice on high, or, more beautiful, the sobbing child,--the face all liquid grief, as he tries to swallow his vexation,--soften all hearts to pity, and to mirthful and clamorous compa.s.sion. The small despot asks so little that all reason and all nature are on his side. His ignorance is more charming than all knowledge, and his little sins more bewitching than any virtue. His flesh is angels' flesh, all alive.--All day, between his three or four sleeps, he coos like a pigeon-house, sputters and spurs and puts on his faces of importance; and when he fasts, the little Pharisee fails not to sound his trumpet before him."

Emerson has favored his audiences and readers with what he knew about "Farming." Dr. Emerson tells me that this discourse was read as an address before the "Middles.e.x Agricultural Society," and printed in the "Transactions" of that a.s.sociation. He soon found out that the hoe and the spade were not the tools he was meant to work with, but he had some general ideas about farming which he expressed very happily:--

"The farmer's office is precise and important, but you must not try to paint him in rose-color; you cannot make pretty compliments to fate and gravitation, whose minister he is.--This hard work will always be done by one kind of man; not by scheming speculators, nor by soldiers, nor professors, nor readers of Tennyson; but by men of endurance, deep-chested, long-winded, tough, slow and sure, and timely."

Emerson's chemistry and physiology are not profound, but they are correct enough to make a fine richly colored poetical picture in his imaginative presentation. He tells the commonest facts so as to make them almost a surprise:--

"By drainage we went down to a subsoil we did not know, and have found there is a Concord under old Concord, which we are now getting the best crops from; a Middles.e.x under Middles.e.x; and, in fine, that Ma.s.sachusetts has a bas.e.m.e.nt story more valuable and that promises to pay a better rent than all the superstructure."

In "Works and Days" there is much good reading, but I will call attention to one or two points only, as having a slight special interest of their own. The first is the boldness of Emerson's a.s.sertions and predictions in matters belonging to science and art. Thus, he speaks of "the transfusion of the blood,--which, in Paris, it was claimed, enables a man to change his blood as often as his linen!" And once more,

"We are to have the balloon yet, and the next war will be fought in the air."

Possibly; but it is perhaps as safe to predict that it will be fought on wheels; the soldiers on bicycles, the officers on tricycles.

The other point I have marked is that we find in this Essay a prose version of the fine poem, printed in "May-Day" under the t.i.tle "Days." I shall refer to this more particularly hereafter.

It is wronging the Essay on "Books" to make extracts from it. It is all an extract, taken from years of thought in the lonely study and the public libraries. If I commit the wrong I have spoken of, it is under protest against myself. Every word of this Essay deserves careful reading. But here are a few sentences I have selected for the reader's consideration:--

"There are books; and it is practicable to read them because they are so few.--

"I visit occasionally the Cambridge Library, and I can seldom go there without renewing the conviction that the best of it all is already within the four walls of my study at home.--

"The three practical rules which I have to offer are, 1. Never read any book that is not a year old. 2. Never read any but famed books.

3. Never read any but what you like, or, in Shakspeare's phrase,--

"'No profit goes where is no pleasure ta'en; In brief, Sir, study what you most affect.'"

Emerson has a good deal to say about conversation in his Essay on "Clubs," but nothing very notable on the special subject of the Essay.

Perhaps his diary would have something of interest with reference to the "Sat.u.r.day Club," of which he was a member, which, in fact, formed itself around him as a nucleus, and which he attended very regularly. But he was not given to personalities, and among the men of genius and of talent whom he met there no one was quieter, but none saw and heard and remembered more. He was hardly what Dr. Johnson would have called a "clubable" man, yet he enjoyed the meetings in his still way, or he would never have come from Concord so regularly to attend them. He gives two good reasons for the existence of a club like that of which I have been speaking:--

"I need only hint the value of the club for bringing masters in their several arts to compare and expand their views, to come to an understanding on these points, and so that their united opinion shall have its just influence on public questions of education and politics."

"A princ.i.p.al purpose also is the hospitality of the club, as a means of receiving a worthy foreigner with mutual advantage."