Complete Works of RWE VI - Conduct of Life

I Fate

Delicate omens traced in air
To the lone bard true witness bare;
Birds with auguries on their wings
Chanted undeceiving things
Him to beckon, him to warn;
Well might then the poet scorn
To learn of scribe or courier
Hints writ in vaster character;
And on his mind, at dawn of day,
Soft shadows of the evening lay.
For the prevision is allied
Unto the thing so signified;
Or say, the foresight that awaits
Is the same Genius that creates.

It chanced during one winter, a few years ago, that our cities were bent on discussing the theory of the Age. By an odd coincidence, four or five noted men were each reading a discourse to the citizens of Boston or New York, on the Spirit of the Times. It so happened that the subject had the same prominence in some remarkable pamphlets and journals issued in London in the same season. To me, however, the question of the times resolved itself into a practical question of the conduct of life. How shall I live? We are incompetent to solve the times. Our geometry cannot span the huge orbits of the prevailing ideas, behold their return, and reconcile their opposition. We can only obey our own polarity. 'Tis fine for us to speculate and elect our course, if we must accept an irresistible dictation.

In our first steps to gain our wishes, we come upon immovable limitations. We are fired with the hope to reform men. After many experiments, we find that we must begin earlier, — at school. But the boys and girls are not docile; we can make nothing of them. We decide that they are not of good stock. We must begin our reform earlier still, — at generation: that is to say, there is Fate, or laws of the world.

But if there be irresistible dictation, this dictation understands itself. If we must accept Fate, we are not less compelled to affirm liberty, the significance of the individual, the grandeur of duty, the power of character. This is true, and that other is true. But our geometry cannot span these extreme points, and reconcile them. What to do? By obeying each thought frankly, by harping, or, if you will, pounding on each string, we learn at last its power. By the same obedience to other thoughts, we learn theirs, and then comes some reasonable hope of harmonizing them. We are sure, that, though we know not how, necessity does comport with liberty, the individual with the world, my polarity with the spirit of the times. The riddle of the age has for each a private solution. If one would study his own time, it must be by this method of taking up in turn each of the leading topics which belong to our scheme of human life, and, by firmly stating all that is agreeable to experience on one, and doing the same justice to the opposing facts in the others, the true limitations will appear. Any excess of emphasis, on one part, would be corrected, and a just balance would be made.

But let us honestly state the facts. Our America has a bad name for superficialness. Great men, great nations, have not been boasters and buffoons, but perceivers of the terror of life, and have manned themselves to face it. The Spartan, embodying his religion in his country, dies before its majesty without a question. The Turk, who believes his doom is written on the iron leaf in the moment when he entered the world, rushes on the enemy's sabre with undivided will. The Turk, the Arab, the Persian, accepts the foreordained fate.

"On two days, it steads not to run from thy grave,
The appointed, and the unappointed day;
On the first, neither balm nor physician can save,
Nor thee, on the second, the Universe slay."

The Hindoo, under the wheel, is as firm. Our Calvinists, in the last generation, had something of the same dignity. They felt that the weight of the Universe held them down to their place. What could they do? Wise men feel that there is something which cannot be talked or voted away, — a strap or belt which girds the world.

"The Destiny, minister general,
That executeth in the world o'er all,
The purveyance which God hath seen beforne,
So strong it is, that tho' the world had sworn
The contrary of a thing by yea or nay,
Yet sometime it shall fallen on a day
That falleth not oft in a thousand year;
For, certainly, our appetites here,
Be it of war, or peace, or hate, or love,
All this is ruled by the sight above."
               Chaucer: The Knighte's Tale.

The Greek Tragedy expressed the same sense: "Whatever is fated, that will take place. The great immense mind of Jove is not to be transgressed." Savages cling to a local god of one tribe or town. The broad ethics of Jesus were quickly narrowed to village theologies, which preach an election or favoritism. And, now and then, an amiable parson, like Jung Stilling, or Robert Huntington, believes in a pistareen-Providence, which, whenever the good man wants a dinner, makes that somebody shall knock at his door, and leave a half-dollar. But Nature is no sentimentalist, — does not cosset or pamper us. We must see that the world is rough and surly, and will not mind drowning a man or a woman; but swallows your ship like a grain of dust. The cold, inconsiderate of persons, tingles your blood, benumbs your feet, freezes a man like an apple. The diseases, the elements, fortune, gravity, lightning, respect no persons. The way of Providence is a little rude. The habit of snake and spider, the snap of the tiger and other leapers and bloody jumpers, the crackle of the bones of his prey in the coil of the anaconda, — these are in the system, and our habits are like theirs. You have just dined, and, however scrupulously the slaughter-house is concealed in the graceful distance of miles, there is complicity, — expensive races, — race living at the expense of race. The planet is liable to shocks from comets, perturbations from planets, rendings from earthquake and volcano, alterations of climate, precessions of equinoxes. Rivers dry up by opening of the forest. The sea changes its bed. Towns and counties fall into it. At Lisbon, an earthquake killed men like flies. At Naples, three years ago, ten thousand persons were crushed in a few minutes. The scurvy at sea; the sword of the climate in the west of Africa, at Cayenne, at Panama, at New Orleans, cut off men like a massacre. Our western prairie shakes with fever and ague. The cholera, the small-pox, have proved as mortal to some tribes, as a frost to the crickets, which, having filled the summer with noise, are silenced by a fall of the temperature of one night. Without uncovering what does not concern us, or counting how many species of parasites hang on a bombyx; or groping after intestinal parasites, or infusory biters, or the obscurities of alternate generation; — the forms of the shark, the labrus, the jaw of the sea-wolf paved with crushing teeth, the weapons of the grampus, and other warriors hidden in the sea, — are hints of ferocity in the interiors of nature. Let us not deny it up and down. Providence has a wild, rough, incalculable road to its end, and it is of no use to try to whitewash its huge, mixed instrumentalities, or to dress up that terrific benefactor in a clean shirt and white neckcloth of a student in divinity.

Will you say, the disasters which threaten mankind are exceptional, and one need not lay his account for cataclysms every day? Aye, but what happens once, may happen again, and so long as these strokes are not to be parried by us, they must be feared.

But these shocks and ruins are less destructive to us, than the stealthy power of other laws which act on us daily. An expense of ends to means is fate; — organization tyrannizing over character. The menagerie, or forms and powers of the spine, is a book of fate: the bill of the bird, the skull of the snake, determines tyrannically its limits. So is the scale of races, of temperaments; so is sex; so is climate; so is the reaction of talents imprisoning the vital power in certain directions. Every spirit makes its house; but afterwards the house confines the spirit.

The gross lines are legible to the dull: the cabman is phrenologist so far: he looks in your face to see if his shilling is sure. A dome of brow denotes one thing; a pot-belly another; a squint, a pug-nose, mats of hair, the pigment of the epidermis, betray character. People seem sheathed in their tough organization. Ask Spurzheim, ask the doctors, ask Quetelet, if temperaments decide nothing? or if there be any-thing they do not decide? Read the description in medical books of the four temperaments, and you will think you are reading your own thoughts which you had not yet told. Find the part which black eyes, and which blue eyes, play severally in the company. How shall a man escape from his ancestors, or draw off from his veins the black drop which he drew from his father's or his mother's life? It often appears in a family, as if all the qualities of the progenitors were potted in several jars, — some ruling quality in each son or daughter of the house, — and sometimes the unmixed temperament, the rank unmitigated elixir, the family vice, is drawn off in a separate individual, and the others are proportionally relieved. We sometimes see a change of expression in our companion, and say, his father, or his mother, comes to the windows of his eyes, and sometimes a remote relative. In different hours, a man represents each of several of his ancestors, as if there were seven or eight of us rolled up in each man's skin,– seven or eight ancestors at least, — and they constitute the variety of notes for that new piece of music which his life is. At the corner of the street, you read the possibility of each passenger, in the facial angle, in the complexion, in the depth of his eye. His parentage determines it. Men are what their mothers made them. You may as well ask a loom which weaves huckaback, why it does not make cashmere, as expect poetry from this engineer, or a chemical discovery from that jobber. Ask the digger in the ditch to explain Newton's laws: the fine organs of his brain have been pinched by overwork and squalid poverty from father to son, for a hundred years. When each comes forth from his mother's womb, the gate of gifts closes behind him. Let him value his hands and feet, he has but one pair. So he has but one future, and that is already predetermined in his lobes, and described in that little fatty face, pig-eye, and squat form. All the privilege and all the legislation of the world cannot meddle or help to make a poet or a prince of him.

Jesus said, "When he looketh on her, he hath committed adultery." But he is an adulterer before he has yet looked on the woman, by the superfluity of animal, and the defect of thought, in his constitution. Who meets him, or who meets her, in the street, sees that they are ripe to be each other's victim.

In certain men, digestion and sex absorb the vital force, and the stronger these are, the individual is so much weaker. The more of these drones perish, the better for the hive. If, later, they give birth to some superior individual, with force enough to add to this animal a new aim, and a complete apparatus to work it out, all the ancestors are gladly forgotten. Most men and most women are merely one couple more. Now and then, one has a new cell or camarilla opened in his brain, — an architectural, a musical, or a philological knack, some stray taste or talent for flowers, or chemistry, or pigments, or story-telling, a good hand for drawing, a good foot for dancing, an athletic frame for wide journeying, &c. — which skill nowise alters rank in the scale of nature, but serves to pass the time, the life of sensation going on as before. At last, these hints and tendencies are fixed in one, or in a succession. Each absorbs so much food and force, as to become itself a new centre. The new talent draws off so rapidly the vital force, that not enough remains for the animal functions, hardly enough for health; so that, in the second generation, if the like genius appear, the health is visibly deteriorated, and the generative force impaired.

People are born with the moral or with the material bias; — uterine brothers with this diverging destination: and I suppose, with high magnifiers, Mr. Frauenhofer or Dr. Carpenter might come to distinguish in the embryo at the fourth day, this is a Whig, and that a Free-soiler.

It was a poetic attempt to lift this mountain of Fate, to reconcile this despotism of race with liberty, which led the Hindoos to say, "Fate is nothing but the deeds committed in a prior state of existence." I find the coincidence of the extremes of eastern and western speculation in the daring statement of Schelling, "there is in every man a certain feeling, that he has been what he is from all eternity, and by no means became such in time." To say it less sublimely, — in the history of the individual is always an account of his condition, and he knows himself to be a party to his present estate.

A good deal of our politics is physiological. Now and then, a man of wealth in the heyday of youth adopts the tenet of broadest freedom. In England, there is always some man of wealth and large connection planting himself, during all his years of health, on the side of progress, who, as soon as he begins to die, checks his forward play, calls in his troops, and becomes conservative. All conservatives are such from personal defects. They have been effeminated by position or nature, born halt and blind, through luxury of their parents, and can only, like invalids, act on the defensive. But strong natures, backwoodsmen, New Hampshire giants, Napoleons, Burkes, Broughams, Websters, Kossuths, are inevitable patriots, until their life ebbs, and their defects and gout, palsy and money, warp them.

The strongest idea incarnates itself in majorities and nations, in the healthiest and strongest. Probably, the election goes by avoirdupois weight, and, if you could weigh bodily the tonnage of any hundred of the Whig and the Democratic party in a town, on the Dearborn balance, as they passed the hayscales, you could predict with certainty which party would carry it. On the whole, it would be rather the speediest way of deciding the vote, to put the selectmen or the mayor and aldermen at the hayscales.

In science, we have to consider two things: power and circumstance. All we know of the egg, from each successive discovery, is, another vesicle; and if, after five hundred years, you get a better observer, or a better glass, he finds within the last observed another. In vegetable and animal tissue, it is just alike, and all that the primary power or spasm operates, is, still, vesicles, vesicles. Yes, — but the tyrannical Circumstance! A vesicle in new circumstances, a vesicle lodged in darkness, Oken thought, became animal; in light, a plant. Lodged in the parent animal, it suffers changes, which end in unsheathing miraculous capability in the unaltered vesicle, and it unlocks itself to fish, bird, or quadruped, head and foot, eye and claw. The Circumstance is Nature. Nature is, what you may do. There is much you may not. We have two things, — the circumstance, and the life. Once we thought, positive power was all. Now we learn, that negative power, or circumstance, is half. Nature is the tyrannous circumstance, the thick skull, the sheathed snake, the ponderous, rock-like jaw; necessitated activity; violent direction; the conditions of a tool, like the locomotive, strong enough on its track, but which can do nothing but mischief off of it; or skates, which are wings on the ice, but fetters on the ground.

The book of Nature is the book of Fate. She turns the gigantic pages, — leaf after leaf, — never returning one. One leaf she lays down, a floor of granite; then a thousand ages, and a bed of slate; a thousand ages, and a measure of coal; a thousand ages, and a layer of marl and mud: vegetable forms appear; her first misshapen animals, zoophyte, trilobium, fish; then, saurians, — rude forms, in which she has only blocked her future statue, concealing under these unwieldly monsters the fine type of her coming king. The face of the planet cools and dries, the races meliorate, and man is born. But when a race has lived its term, it comes no more again.

The population of the world is a conditional population not the best, but the best that could live now; and the scale of tribes, and the steadiness with which victory adheres to one tribe, and defeat to another, is as uniform as the superposition of strata. We know in history what weight belongs to race. We see the English, French, and Germans planting themselves on every shore and market of America and Australia, and monopolizing the commerce of these countries. We like the nervous and victorious habit of our own branch of the family. We follow the step of the Jew, of the Indian, of the Negro. We see how much will has been expended to extinguish the Jew, in vain. Look at the unpalatable conclusions of Knox, in his "Fragment of Races," — a rash and unsatisfactory writer, but charged with pungent and unforgetable truths. "Nature respects race, and not hybrids." "Every race has its own habitat." "Detach a colony from the race, and it deteriorates to the crab." See the shades of the picture. The German and Irish millions, like the Negro, have a great deal of guano in their destiny. They are ferried over the Atlantic, and carted over America, to ditch and to drudge, to make corn cheap, and then to lie down prematurely to make a spot of green grass on the prairie.

One more fagot of these adamantine bandages, is, the new science of Statistics. It is a rule, that the most casual and extraordinary events — if the basis of population is broad enough — become matter of fixed calculation. It would not be safe to say when a captain like Bonaparte, a singer like Jenny Lind, or a navigator like Bowditch, would be born in Boston: but, on a population of twenty or two hundred millions, something like accuracy may be had. (*)

(*) "Everything which pertains to the human species, considered as a whole, belongs to the order of physical facts. The greater the number of individuals, the more does the influence of the individual will disappear, leaving predominance to a series of general facts dependent on causes by which society exists, and is preserved." — Quetelet.

'Tis frivolous to fix pedantically the date of particular inventions. They have all been invented over and over fifty times. Man is the arch machine, of which all these shifts drawn from himself are toy models. He helps himself on each emergency by copying or duplicating his own structure, just so far as the need is. 'Tis hard to find the right Homer Zoroaster, or Menu; harder still to find the Tubal Cain, or Vulcan, or Cadmus, or Copernicus, or Fust, or Fulton, the indisputable inventor. There are scores and centuries of them. "The air is full of men." This kind of talent so abounds, this constructive tool-making efficiency, as if it adhered to the chemic atoms, as if the air he breathes were made of Vaucansons, Franklins, and Watts.

Doubtless, in every million there will be an astronomer, a mathematician, a comic poet, a mystic. No one can read the history of astronomy, without perceiving that Copernicus, Newton, Laplace, are not new men, or a new kind of men, but that Thales, Anaximenes, Hipparchus, Empedocles, Aristarchus, Pythagoras, ;Oenipodes, had anticipated them; each had the same tense geometrical brain, apt for the same vigorous computation and logic, a mind parallel to the movement of the world. The Roman mile probably rested on a measure of a degree of the meridian. Mahometan and Chinese know what we know of leap-year, of the Gregorian calendar, and of the precession of the equinoxes. As, in every barrel of cowries, brought to New Bedford, there shall be one orangia, so there will, in a dozen millions of Malays and Mahometans, be one or two astronomical skulls. In a large city, the most casual things, and things whose beauty lies in their casualty, are produced as punctually and to order as the baker's muffin for breakfast. Punch makes exactly one capital joke a week; and the journals contrive to furnish one good piece of news every day.

And not less work the laws of repression, the penalties of violated functions. Famine, typhus, frost, war, suicide, and effete races, must be reckoned calculable parts of the system of the world.

These are pebbles from the mountain, hints of the terms by which our life is walled up, and which show a kind of mechanical exactness, as of a loom or mill, in what we call casual or fortuitous events.

The force with which we resist these torrents of tendency looks so ridiculously inadequate, that it amounts to little more than a criticism or a protest made by a minority of one, under compulsion of millions. I seemed, in the height of a tempest, to see men overboard struggling in the waves, and driven about here and there. They glanced intelligently at each other, but 'twas little they could do for one another; 'twas much if each could keep afloat alone. Well, they had a right to their eye-beams, and all the rest was Fate.

We cannot trifle with this reality, this cropping-out in our planted gardens of the core of the world. No picture of life can have any veracity that does not admit the odious facts. A man's power is hooped in by a necessity, which, by many experiments, he touches on every side, until he learns its arc.

The element running through entire nature, which we popularly call Fate, is known to us as limitation. Whatever limits us, we call Fate. If we are brute and barbarous, the fate takes a brute and dreadful shape. As we refine, our checks become finer. If we rise to spiritual culture, the antagonism takes a spiritual form. In the Hindoo fables, Vishnu follows Maya through all her ascending changes, from insect and crawfish up to elephant; whatever form she took, he took the male form of that kind, until she became at last woman and goddess, and he a man and a god. The limitations refine as the soul purifies, but the ring of necessity is always perched at the top.

When the gods in the Norse heaven were unable to bind the Fenris Wolf with steel or with weight of mountains, — the one he snapped and the other he spurned with his heel,–they put round his foot a limp band softer than silk or cobweb, and this held him: the more he spurned it, the stiffer it drew. So soft and so stanch is the ring of Fate. Neither brandy, nor nectar, nor sulphuric ether, nor hell-fire, nor ichor, nor poetry, nor genius, can get rid of this limp band. For if we give it the high sense in which the poets use it, even thought itself is not above Fate: that too must act according to eternal laws, and all that is wilful and fantastic in it is in opposition to its fundamental essence.

And, last of all, high over thought, in the world of morals, Fate appears as vindicator, levelling the high, lifting the low, requiring justice in man, and always striking soon or late, when justice is not done. What is useful will last; what is hurtful will sink. "The doer must suffer," said the Greeks: "you would soothe a Deity not to be soothed." "God himself cannot procure good for the wicked," said the Welsh triad. "God may consent, but only for a time," said the bard of Spain. The limitation is impassable by any insight of man. In its last and loftiest ascensions, insight itself, and the freedom of the will, is one of its obedient members. But we must not run into generalizations too large, but show the natural bounds or essential distinctions, and seek to do justice to the other elements as well.

Thus we trace Fate, in matter, mind, and morals, — in race, in retardations of strata, and in thought and character as well. It is everywhere bound or limitation. But Fate has its lord; limitation its limits; is different seen from above and from below; from within and from without. For, though Fate is immense, so is power, which is the other fact in the dual world, immense. If Fate follows and limits power, power attends and antagonizes Fate. We must respect Fate as natural history, but there is more than natural history. For who and what is this criticism that pries into the matter? Man is not order of nature, sack and sack, belly and members, link in a chain, nor any ignominious baggage, but a stupendous antagonism, a dragging together of the poles of the Universe. He betrays his relation to what is below him, — thick-skulled, small-brained, fishy, quadrumanous, — quadruped ill-disguised, hardly escaped into biped, and has paid for the new powers by loss of some of the old ones. But the lightning which explodes and fashions planets, maker of planets and suns, is in him. On one side, elemental order, sandstone and granite, rock-ledges, peat-bog, forest, sea and shore; and, on the other part, thought, the spirit which composes and decomposes nature, — here they are, side by side, god and devil, mind and matter, king and conspirator, belt and spasm, riding peacefully together in the eye and brain of every man.

Nor can he blink the freewill. To hazard the contradiction, — freedom is necessary. If you please to plant yourself on the side of Fate, and say, Fate is all; then we say, a part of Fate is the freedom of man. Forever wells up the impulse of choosing and acting in the soul. Intellect annuls Fate. So far as a man thinks, he is free. And though nothing is more disgusting than the crowing about liberty by slaves, as most men are, and the flippant mistaking for freedom of some paper preamble like a "Declaration of Independence," or the statute right to vote, by those who have never dared to think or to act, yet it is wholesome to man to look not at Fate, but the other way: the practical view is the other. His sound relation to these facts is to use and command, not to cringe to them. "Look not on nature, for her name is fatal," said the oracle. The too much contemplation of these limits induces meanness. They who talk much of destiny, their birth-star, &c., are in a lower dangerous plane, and invite the evils they fear.

I cited the instinctive and heroic races as proud believers in Destiny. They conspire with it; a loving resignation is with the event. But the dogma makes a different impression, when it is held by the weak and lazy. 'Tis weak and vicious people who cast the blame on Fate. The right use of Fate is to bring up our conduct to the loftiness of nature. Rude and invincible except by themselves are the elements. So let man be. Let him empty his breast of his windy conceits, and show his lordship by manners and deeds on the scale of nature. Let him hold his purpose as with the tug of gravitation. No power, no persuasion, no bribe shall make him give up his point. A man ought to compare advantageously with a river, an oak, or a mountain. He shall have not less the flow, the expansion, and the resistance of these.

'Tis the best use of Fate to teach a fatal courage. Go face the fire at sea, or the cholera in your friend's house, or the burglar in your own, or what danger lies in the way of duty, knowing you are guarded by the cherubim of Destiny. If you believe in Fate to your harm, believe it, at least, for your good.

For, if Fate is so prevailing, man also is part of it, and can confront fate with fate. If the Universe have these savage accidents, our atoms are as savage in resistance. We should be crushed by the atmosphere, but for the reaction of the air within the body. A tube made of a film of glass can resist the shock of the ocean, if filled with the same water. If there be omnipotence in the stroke, there is omnipotence of recoil.

1. But Fate against Fate is only parrying and defence: there are, also, the noble creative forces. The revelation of Thought takes man out of servitude into freedom. We rightly say of ourselves, we were born, and afterward we were born again, and many times. We have successive experiences so important, that the new forgets the old, and hence the mythology of the seven or the nine heavens. The day of days, the great day of the feast of life, is that in which the inward eye opens to the Unity in things, to the omnipresence of law; — sees that what is must be, and ought to be, or is the best. This beatitude dips from on high down on us, and we see. It is not in us so much as we are in it. If the air come to our lungs, we breathe and live; if not, we die. If the light come to our eyes, we see; else not. And if truth come to our mind, we suddenly expand to its dimensions, as if we grew to worlds. We are as lawgivers; we speak for Nature; we prophesy and divine.

This insight throws us on the party and interest of the Universe, against all and sundry; against ourselves, as much as others. A man speaking from insight affirms of himself what is true of the mind: seeing its immortality, he says, I am immortal; seeing its invincibility, he says, I am strong. It is not in us, but we are in it. It is of the maker, not of what is made. All things are touched and changed by it. This uses, and is not used. It distances those who share it, from those who share it not. Those who share it not are flocks and herds. It dates from itself; — not from former men or better men, — gospel, or constitution, or college, or custom. Where it shines, Nature is no longer intrusive, but all things make a musical or pictorial impression. The world of men show like a comedy without laughter: — populations, interests, government, history; — 'tis all toy figures in a toy house. It does not overvalue particular truths. We hear eagerly every thought and word quoted from an intellectual man. But, in his presence, our own mind is roused to activity, and we forget very fast what he says, much more interested in the new play of our own thought, than in any thought of his. 'Tis the majesty into which we have suddenly mounted, the impersonality, the scorn of egotisms, the sphere of laws, that engage us. Once we were stepping a little this way, and a little that way; now, we are as men in a balloon, and do not think so much of the point we have left, or the point we would make, as of the liberty and glory of the way.

Just as much intellect as you add, so much organic power. He who sees through the design, presides over it, and must will that which must be. We sit and rule, and, though we sleep, our dream will come to pass. Our thought, though it were only an hour old, affirms an oldest necessity, not to be separated from thought, and not to be separated from will. They must always have coexisted. It apprises us of its sovereignty and godhead, which refuse to be severed from it. It is not mine or thine, but the will of all mind. It is poured into the souls of all men, as the soul itself which constitutes them men. I know not whether there be, as is alleged, in the upper region of our atmosphere, a permanent westerly current, which carries with it all atoms which rise to that height, but I see, that when souls reach a certain clearness of perception, they accept a knowledge and motive above selfishness. A breath of will blows eternally through the universe of souls in the direction of the Right and Necessary. It is the air which all intellects inhale and exhale, and it is the wind which blows the worlds into order and orbit.

Thought dissolves the material universe, by carrying the mind up into a sphere where all is plastic. Of two men, each obeying his own thought, he whose thought is deepest will be the strongest character. Always one man more than another represents the will of Divine Providence to the period.

2. If thought makes free, so does the moral sentiment. The mixtures of spiritual chemistry refuse to be analyzed. Yet we can see that with the perception of truth is joined the desire that it shall prevail. That affection is essential to will. Moreover, when a strong will appears, it usually results from a certain unity of organization, as if the whole energy of body and mind flowed in one direction. All great force is real and elemental. There is no manufacturing a strong will. There must be a pound to balance a pound. Where power is shown in will, it must rest on the universal force. Alaric and Bonaparte must believe they rest on a truth, or their will can be bought or bent. There is a bribe possible for any finite will. But the pure sympathy with universal ends is an infinite force, and cannot be bribed or bent. Whoever has had experience of the moral sentiment cannot choose but believe in unlimited power. Each pulse from that heart is an oath from the Most High. I know not what the word sublime means, if it be not the intimations in this infant of a terrific force. A text of heroism, a name and anecdote of courage, are not arguments, but sallies of freedom. One of these is the verse of the Persian Hafiz, "'Tis written on the gate of Heaven, `Wo unto him who suffers himself to be betrayed by Fate!'" Does the reading of history make us fatalists? What courage does not the opposite opinion show! A little whim of will to be free gallantly contending against the universe of chemistry.

But insight is not will, nor is affection will. Perception is cold, and goodness dies in wishes; as Voltaire said, 'tis the misfortune of worthy people that they are cowards; "un des plus grands malheurs des honnetes gens c'est qu'ils sont des lafaches." There must be a fusion of these two to generate the energy of will. There can be no driving force, except through the conversion of the man into his will, making him the will, and the will him. And one may say boldly, that no man has a right perception of any truth, who has not been reacted on by it, so as to be ready to be its martyr.

The one serious and formidable thing in nature is a will. Society is servile from want of will, and therefore the world wants saviours and religions. One way is right to go: the hero sees it, and moves on that aim, and has the world under him for root and support. He is to others as the world. His approbation is honor; his dissent, infamy. The glance of his eye has the force of sunbeams. A personal influence towers up in memory only worthy, and we gladly forget numbers, money, climate, gravitation, and the rest of Fate.

We can afford to allow the limitation, if we know it is the meter of the growing man. We stand against Fate, as children stand up against the wall in their father's house, and notch their height from year to year. But when the boy grows to man, and is master of the house, he pulls down that wall, and builds a new and bigger. 'Tis only a question of time. Every brave youth is in training to ride and rule this dragon. His science is to make weapons and wings of these passions and retarding forces. Now whether, seeing these two things, fate and power, we are permitted to believe in unity? The bulk of mankind believe in two gods. They are under one dominion here in the house, as friend and parent, in social circles, in letters, in art, in love, in religion: but in mechanics, in dealing with steam and climate, in trade, in politics, they think they come under another; and that it would be a practical blunder to transfer the method and way of working of one sphere, into the other. What good, honest, generous men at home, will be wolves and foxes on change! What pious men in the parlor will vote for what reprobates at the polls! To a certain point, they believe themselves the care of a Providence. But, in a steamboat, in an epidemic, in war, they believe a malignant energy rules.

But relation and connection are not somewhere and sometimes, but everywhere and always. The divine order does not stop where their sight stops. The friendly power works on the same rules, in the next farm, and the next planet. But, where they have not experience, they run against it, and hurt themselves. Fate, then, is a name for facts not yet passed under the fire of thought; — for causes which are unpenetrated.

But every jet of chaos which threatens to exterminate us, is convertible by intellect into wholesome force. Fate is unpenetrated causes. The water drowns ship and sailor, like a grain of dust. But learn to swim, trim your bark, and the wave which drowned it, will be cloven by it, and carry it, like its own foam, a plume and a power. The cold is inconsiderate of persons, tingles your blood, freezes a man like a dew-drop. But learn to skate, and the ice will give you a graceful, sweet, and poetic motion. The cold will brace your limbs and brain to genius, and make you foremost men of time. Cold and sea will train an imperial Saxon race, which nature cannot bear to lose, and, after cooping it up for a thousand years in yonder England, gives a hundred Englands, a hundred Mexicos. All the bloods it shall absorb and domineer: and more than Mexicos, — the secrets of water and steam, the spasms of electricity, the ductility of metals, the chariot of the air, the ruddered balloon are awaiting you.

The annual slaughter from typhus far exceeds that of war; but right drainage destroys typhus. The plague in the sea-service from scurvy is healed by lemon juice and other diets portable or procurable: the depopulation by cholera and small-pox is ended by drainage and vaccination; and every other pest is not less in the chain of cause and effect, and may be fought off. And, whilst art draws out the venom, it commonly extorts some benefit from the vanquished enemy. The mischievous torrent is taught to drudge for man: the wild beasts he makes useful for food, or dress, or labor; the chemic explosions are controlled like his watch. These are now the steeds on which he rides. Man moves in all modes, by legs of horses, by wings of wind, by steam, by gas of balloon, by electricity, and stands on tiptoe threatening to hunt the eagle in his own element. There's nothing he will not make his carrier.

Steam was, till the other day, the devil which we dreaded. Every pot made by any human potter or brazier had a hole in its cover, to let off the enemy, lest he should lift pot and roof, and carry the house away. But the Marquis of Worcester, Watt, and Fulton bethought themselves, that, where was power, was not devil, but was God; that it must be availed of, and not by any means let off and wasted. Could he lift pots and roofs and houses so handily? he was the workman they were in search of. He could be used to lift away, chain, and compel other devils, far more reluctant and dangerous, namely, cubic miles of earth, mountains, weight or resistance of water, machinery, and the labors of all men in the world; and time he shall lengthen, and shorten space.

It has not fared much otherwise with higher kinds of steam. The opinion of the million was the terror of the world, and it was attempted, either to dissipate it, by amusing nations, or to pile it over with strata of society, — a layer of soldiers; over that, a layer of lords; and a king on the top; with clamps and hoops of castles, garrisons, and police. But, sometimes, the religious principle would get in, and burst the hoops, and rive every mountain laid on top of it. The Fultons and Watts of politics, believing in unity, saw that it was a power, and, by satisfying it, (as justice satisfies everybody,) through a different disposition of society, — grouping it on a level, instead of piling it into a mountain, — they have contrived to make of his terror the most harmless and energetic form of a State.

Very odious, I confess, are the lessons of Fate. Who likes to have a dapper phrenologist pronouncing on his fortunes? Who likes to believe that he has hidden in his skull, spine, and pelvis, all the vices of a Saxon or Celtic race, which will be sure to pull him down, — with what grandeur of hope and resolve he is fired, — into a selfish, huckstering, servile, dodging animal? A learned physician tells us, the fact is invariable with the Neapolitan, that, when mature, he assumes the forms of the unmistakable scoundrel. That is a little overstated, — but may pass.

But these are magazines and arsenals. A man must thank his defects, and stand in some terror of his talents. A transcendent talent draws so largely on his forces, as to lame him; a defect pays him revenues on the other side. The sufferance, which is the badge of the Jew, has made him, in these days, the ruler of the rulers of the earth. If Fate is ore and quarry, if evil is good in the making, if limitation is power that shall be, if calamities, oppositions, and weights are wings and means, — we are reconciled.

Fate involves the melioration. No statement of the Universe can have any soundness, which does not admit its ascending effort. The direction of the whole, and of the parts, is toward benefit, and in proportion to the health. Behind every individual, closes organization: before him, opens liberty, — the Better, the Best. The first and worst races are dead. The second and imperfect races are dying out, or remain for the maturing of higher. In the latest race, in man, every generosity, every new perception, the love and praise he extorts from his fellows, are certificates of advance out of fate into freedom. Liberation of the will from the sheaths and clogs of organization which he has outgrown, is the end and aim of this world. Every calamity is a spur and valuable hint; and where his endeavors do not yet fully avail, they tell as tendency. The whole circle of animal life, — tooth against tooth, — devouring war, war for food, a yelp of pain and a grunt of triumph, until, at last, the whole menagerie, the whole chemical mass is mellowed and refined for higher use, — pleases at a sufficient perspective.

But to see how fate slides into freedom, and freedom into fate, observe how far the roots of every creature run, or find, if you can, a point where there is no thread of connection. Our life is consentaneous and far-related. This knot of nature is so well tied, that nobody was ever cunning enough to find the two ends. Nature is intricate, overlapped, interweaved, and endless. Christopher Wren said of the beautiful King's College chapel, "that, if anybody would tell him where to lay the first stone, he would build such another." But where shall we find the first atom in this house of man, which is all consent, inosculation, and balance of parts?

The web of relation is shown in habitat, shown in hybernation. When hybernation was observed, it was found, that, whilst some animals became torpid in winter, others were torpid in summer: hybernation then was a false name. The long sleep is not an effect of cold, but is regulated by the supply of food proper to the animal. It becomes torpid when the fruit or prey it lives on is not in season, and regains its activity when its food is ready.

Eyes are found in light; ears in auricular air; feet on land; fins in water; wings in air; and, each creature where it was meant to be, with a mutual fitness. Every zone has its own Fauna. There is adjustment between the animal and its food, its parasite, its enemy. Balances are kept. It is not allowed to diminish in numbers, nor to exceed. The like adjustments exist for man. His food is cooked, when he arrives; his coal in the pit; the house ventilated; the mud of the deluge dried; his companions arrived at the same hour, and awaiting him with love, concert, laughter, and tears. These are coarse adjustments, but the invisible are not less. There are more belongings to every creature than his air and his food. His instincts must be met, and he has predisposing power that bends and fits what is near him to his use. He is not possible until the invisible things are right for him, as well as the visible. Of what changes, then, in sky and earth, and in finer skies and earths, does the appearance of some Dante or Columbus apprise us!

How is this effected? Nature is no spendthrift, but takes the shortest way to her ends. As the general says to his soldiers, "if you want a fort, build a fort," so nature makes every creature do its own work and get its living, — is it planet, animal, or tree. The planet makes itself. The animal cell makes itself; — then, what it wants. Every creature, — wren or dragon, — shall make its own lair. As soon as there is life, there is self-direction, and absorbing and using of material. Life is freedom, — life in the direct ratio of its amount. You may be sure, the new-born man is not inert. Life works both voluntarily and supernaturally in its neighborhood. Do you suppose, he can be estimated by his weight in pounds, or, that he is contained in his skin, — this reaching, radiating, jaculating fellow? The smallest candle fills a mile with its rays, and the papillae of a man run out to every star.

When there is something to be done, the world knows how to get it done. The vegetable eye makes leaf, pericarp, root, bark, or thorn, as the need is; the first cell converts itself into stomach, mouth, nose, or nail, according to the want: the world throws its life into a hero or a shepherd; and puts him where he is wanted. Dante and Columbus were Italians, in their time: they would be Russians or Americans to-day. Things ripen, new men come. The adaptation is not capricious. The ulterior aim, the purpose beyond itself, the correlation by which planets subside and crystallize, then animate beasts and men, will not stop, but will work into finer particulars, and from finer to finest.

The secret of the world is, the tie between person and event. Person makes event, and event person. The "times," "the age," what is that, but a few profound persons and a few active persons who epitomize the times? — Goethe, Hegel, Metternich, Adams, Calhoun, Guizot, Peel, Cobden, Kossuth, Rothschild, Astor, Brunel, and the rest. The same fitness must be presumed between a man and the time and event, as between the sexes, or between a race of animals and the food it eats, or the inferior races it uses. He thinks his fate alien, because the copula is hidden. But the soul contains the event that shall befall it, for the event is only the actualization of its thoughts; and what we pray to ourselves for is always granted. The event is the print of your form. It fits you like your skin. What each does is proper to him. Events are the children of his body and mind. We learn that the soul of Fate is the soul of us, as Hafiz sings,

Alas! till now I had not known,
My guide and fortune's guide are one.

All the toys that infatuate men, and which they play for, — houses, land, money, luxury, power, fame, are the selfsame thing, with a new gauze or two of illusion overlaid. And of all the drums and rattles by which men are made willing to have their heads broke, and are led out solemnly every morning to parade, — the most admirable is this by which we are brought to believe that events are arbitrary, and independent of actions. At the conjuror's, we detect the hair by which he moves his puppet, but we have not eyes sharp enough to descry the thread that ties cause and effect.

Nature magically suits the man to his fortunes, by making these the fruit of his character. Ducks take to the water, eagles to the sky, waders to the sea margin, hunters to the forest, clerks to counting-rooms, soldiers to the frontier. Thus events grow on the same stem with persons; are sub-persons. The pleasure of life is according to the man that lives it, and not according to the work or the place. Life is an ecstasy. We know what madness belongs to love, — what power to paint a vile object in hues of heaven. As insane persons are indifferent to their dress, diet, and other accommodations, and, as we do in dreams, with equanimity, the most absurd acts, so, a drop more of wine in our cup of life will reconcile us to strange company and work. Each creature puts forth from itself its own condition and sphere, as the slug sweats out its slimy house on the pear-leaf, and the woolly aphides on the apple perspire their own bed, and the fish its shell. In youth, we clothe ourselves with rainbows, and go as brave as the zodiac. In age, we put out another sort of perspiration, — gout, fever, rheumatism, caprice, doubt, fretting, and avarice.

A man's fortunes are the fruit of his character. A man's friends are his magnetisms. We go to Herodotus and Plutarch for examples of Fate; but we are examples. "Quisque suos patimur manes." The tendency of every man to enact all that is in his constitution is expressed in the old belief, that the efforts which we make to escape from our destiny only serve to lead us into it: and I have noticed, a man likes better to be complimented on his position, as the proof of the last or total excellence, than on his merits.

A man will see his character emitted in the events that seem to meet, but which exude from and accompany him. Events expand with the character. As once he found himself among toys, so now he plays a part in colossal systems, and his growth is declared in his ambition, his companions, and his performance. He looks like a piece of luck, but is a piece of causation; — the mosaic, angulated and ground to fit into the gap he fills. Hence in each town there is some man who is, in his brain and performance, an explanation of the tillage, production, factories, banks, churches, ways of living, and society, of that town. If you do not chance to meet him, all that you see will leave you a little puzzled: if you see him, it will become plain. We know in Massachusetts who built New Bedford, who built Lynn, Lowell, Lawrence, Clinton, Fitchburg, Holyoke, Portland, and many another noisy mart. Each of these men, if they were transparent, would seem to you not so much men, as walking cities, and, wherever you put them, they would build one.

History is the action and reaction of these two, — Nature and Thought; — two boys pushing each other on the curb-stone of the pavement. Everything is pusher or pushed: and matter and mind are in perpetual tilt and balance, so. Whilst the man is weak, the earth takes up him. He plants his brain and affections. By and by he will take up the earth, and have his gardens and vineyards in the beautiful order and productiveness of his thought. Every solid in the universe is ready to become fluid on the approach of the mind, and the power to flux it is the measure of the mind. If the wall remain adamant, it accuses the want of thought. To a subtler force, it will stream into new forms, expressive of the character of the mind. What is the city in which we sit here, but an aggregate of incongruous materials, which have obeyed the will of some man? The granite was reluctant, but his hands were stronger, and it came. Iron was deep in the ground, and well combined with stone; but could not hide from his fires. Wood, lime, stuffs, fruits, gums, were dispersed over the earth and sea, in vain. Here they are, within reach of every man's day-labor, — what he wants of them. The whole world is the flux of matter over the wires of thought to the poles or points where it would build. The races of men rise out of the ground preoccupied with a thought which rules them, and divided into parties ready armed and angry to fight for this metaphysical abstraction. The quality of the thought differences the Egyptian and the Roman, the Austrian and the American. The men who come on the stage at one period are all found to be related to each other. Certain ideas are in the air. We are all impressionable, for we are made of them; all impressionable, but some more than others, and these first express them. This explains the curious contemporaneousness of inventions and discoveries. The truth is in the air, and the most impressionable brain will announce it first, but all will announce it a few minutes later. So women, as most susceptible, are the best index of the coming hour. So the great man, that is, the man most imbued with the spirit of the time, is the impressionable man, — of a fibre irritable and delicate, like iodine to light. He feels the infinitesimal attractions. His mind is righter than others, because he yields to a current so feeble as can be felt only by a needle delicately poised.

The correlation is shown in defects. Moller, in his Essay on Architecture, taught that the building which was fitted accurately to answer its end, would turn out to be beautiful, though beauty had not been intended. I find the like unity in human structures rather virulent and pervasive; that a crudity in the blood will appear in the argument; a hump in the shoulder will appear in the speech and handiwork. If his mind could be seen, the hump would be seen. If a man has a seesaw in his voice, it will run into his sentences, into his poem, into the structure of his fable, into his speculation, into his charity. And, as every man is hunted by his own daemon, vexed by his own disease, this checks all his activity.

So each man, like each plant, has his parasites. A strong, astringent, bilious nature has more truculent enemies than the slugs and moths that fret my leaves. Such an one has curculios, borers, knife-worms: a swindler ate him first, then a client, then a quack, then smooth, plausible gentlemen, bitter and selfish as Moloch.

This correlation really existing can be divined. If the threads are there, thought can follow and show them. Especially when a soul is quick and docile; as Chaucer sings,

"Or if the soul of proper kind
Be so perfect as men find,
That it wot what is to come,
And that he warneth all and some
Of every of their aventures,
By previsions or figures;
But that our flesh hath not might
It to understand aright
For it is warned too darkly." —

Some people are made up of rhyme, coincidence, omen, periodicity, and presage: they meet the person they seek; what their companion prepares to say to them, they first say to him; and a hundred signs apprise them of what is about to befall.

Wonderful intricacy in the web, wonderful constancy in the design this vagabond life admits. We wonder how the fly finds its mate, and yet year after year we find two men, two women, without legal or carnal tie, spend a great part of their best time within a few feet of each other. And the moral is, that what we seek we shall find; what we flee from flees from us; as Goethe said, "what we wish for in youth, comes in heaps on us in old age," too often cursed with the granting of our prayer: and hence the high caution, that, since we are sure of having what we wish, we beware to ask only for high things.

One key, one solution to the mysteries of human condition, one solution to the old knots of fate, freedom, and foreknowledge, exists, the propounding, namely, of the double consciousness. A man must ride alternately on the horses of his private and his public nature, as the equestrians in the circus throw themselves nimbly from horse to horse, or plant one foot on the back of one, and the other foot on the back of the other. So when a man is the victim of his fate, has sciatica in his loins, and cramp in his mind; a club-foot and a club in his wit; a sour face, and a selfish temper; a strut in his gait, and a conceit in his affection; or is ground to powder by the vice of his race; he is to rally on his relation to the Universe, which his ruin benefits. Leaving the daemon who suffers, he is to take sides with the Deity who secures universal benefit by his pain.

To offset the drag of temperament and race, which pulls down, learn this lesson, namely, that by the cunning copresence of two elements, which is throughout nature, whatever lames or paralyzes you, draws in with it the divinity, in some form, to repay. A good intention clothes itself with sudden power. When a god wishes to ride, any chip or pebble will bud and shoot out winged feet, and serve him for a horse.

Let us build altars to the Blessed Unity which holds nature and souls in perfect solution, and compels every atom to serve an universal end. I do not wonder at a snow-flake, a shell, a summer landscape, or the glory of the stars; but at the necessity of beauty under which the universe lies; that all is and must be pictorial; that the rainbow, and the curve of the horizon, and the arch of the blue vault are only results from the organism of the eye. There is no need for foolish amateurs to fetch me to admire a garden of flowers, or a sun-gilt cloud, or a waterfall, when I cannot look without seeing splendor and grace. How idle to choose a random sparkle here or there, when the indwelling necessity plants the rose of beauty on the brow of chaos, and discloses the central intention of Nature to be harmony and joy.

Let us build altars to the Beautiful Necessity. If we thought men were free in the sense, that, in a single exception one fantastical will could prevail over the law of things, it were all one as if a child's hand could pull down the sun. If, in the least particular, one could derange the order of nature, — who would accept the gift of life?

Let us build altars to the Beautiful Necessity, which secures that all is made of one piece; that plaintiff and defendant, friend and enemy, animal and planet, food and eater, are of one kind. In astronomy, is vast space, but no foreign system; in geology, vast time, but the same laws as to-day. Why should we be afraid of Nature, which is no other than "philosophy and theology embodied"? Why should we fear to be crushed by savage elements, we who are made up of the same elements? Let us build to the Beautiful Necessity, which makes man brave in believing that he cannot shun a danger that is appointed, nor incur one that is not; to the Necessity which rudely or softly educates him to the perception that there are no contingencies; that Law rules throughout existence, a Law which is not intelligent but intelligence, — not personal nor impersonal, — it disdains words and passes understanding; it dissolves persons; it vivifies nature; yet solicits the pure in heart to draw on all its omnipotence.

Complete Works of RWE V - English Traits

Chapter I First Visit to England


Chapter I

First Visit to England

I have been twice in England. In 1833, on my return from a short tour in Sicily, Italy, and France, I crossed from Boulogne, and landed in London at the Tower stairs. It was a dark Sunday morning; there were few people in the streets; and I remember the pleasure of that first walk on English ground, with my companion, an American artist, from the Tower up through Cheapside and the Strand, to a house in Russell Square, whither we had been recommended to good chambers. For the first time for many months we were forced to check the saucy habit of travellers’ criticism, as we could no longer speak aloud in the streets without being understood. The shop signs spoke our language; our country names were on the door plates; and the public and private buildings wore a more native and wonted front.

Like most young men at that time, I was much indebted to the men of Edinburgh, and of the Edinburgh Review, to Jeffrey, Mackintosh, Hallam, and to Scott, Playfair, and De Quincey; and my narrow and desultory reading had inspired the wish to see the faces of three or four writers, Coleridge, Wordsworth, Landor, De Quincey, and the latest and strongest contributor to the critical journals, Carlyle; and I suppose if I had sifted the reasons that led me to Europe, when I was ill and was advised to travel, it was mainly the attraction of these persons. If Goethe had been still living, I might have wandered into Germany also. Besides those I have named, (for Scott was dead,) there was not in Britain the man living whom I cared to behold, unless it were the Duke of Wellington, whom I afterwards saw at Westminster Abbey, at the funeral of Wilberforce. The young scholar fancies it happiness enough to live with people who can give an inside to the world; without reflecting that they are prisoners, too, of their own thought, and cannot apply themselves to yours. The conditions of literary success are almost destructive of the best social power, as they do not leave that frolic liberty which only can encounter a companion on the best terms. It is probable you left some obscure comrade at a tavern, or in the farms, with right mother wit, and equality to life, when you crossed sea and land to play bo peep with celebrated scribes. I have, however, found writers superior to their books, and I cling to my first belief, that a strong head will dispose fast enough of these impediments, and give one the satisfaction of reality, the sense of having been met, and a larger horizon.

On looking over the diary of my journey in 1833, I find nothing to publish in my memoranda of visits to places. But I have copied the few notes I made of visits to persons, as they respect parties quite too good and too transparent to the whole world to make it needful to affect any prudery of suppression about a few hints of those bright personalities.

At Florence, chief among artists I found Horatio Greenough, the American sculptor. His face was so handsome, and his person so well formed, that he might be pardoned, if, as was alleged, the face of his Medora, and the figure of a colossal Achilles in clay, were idealizations of his own. Greenough was a superior man, ardent and eloquent, and all his opinions had elevation and magnanimity. He believed that the Greeks had wrought in schools or fraternities, the genius of the master imparting his design to his friends, and inflaming them with it, and when his strength was spent, a new hand, with equal heat, continued the work; and so by relays, until it was finished in every part with equal fire. This was necessary in so refractory a material as stone; and he thought art would never prosper until we left our shy jealous ways, and worked in society as they. All his thoughts breathed the same generosity. He was an accurate and a deep man. He was a votary of the Greeks, and impatient of Gothic art. His paper on Architecture, published in 1843, announced in advance the leading thoughts of Mr. Ruskin on the _morality_ in architecture, notwithstanding the antagonism in their views of the history of art. I have a private letter from him, later, but respecting the same period, in which he roughly sketches his own theory. “Here is my theory of structure: A scientific arrangement of spaces and forms to functions and to site; an emphasis of features proportioned to their _gradated_ importance in function; color and ornament to be decided and arranged and varied by strictly organic laws, having a distinct reason for each decision; the entire and immediate banishment of all make shift and make believe.”

Greenough brought me, through a common friend, an invitation from Mr. Landor, who lived at San Domenica di Fiesole. On the 15th May I dined with Mr. Landor. I found him noble and courteous, living in a cloud of pictures at his Villa Gherardesca, a fine house commanding a beautiful landscape. I had inferred from his books, or magnified from some anecdotes, an impression of Achillean wrath, an untamable petulance. I do not know whether the imputation were just or not, but certainly on this May day his courtesy veiled that haughty mind, and he was the most patient and gentle of hosts. He praised the beautiful cyclamen which grows all about Florence; he admired Washington; talked of Wordsworth, Byron, Massinger, Beaumont and Fletcher. To be sure, he is decided in his opinions, likes to surprise, and is well content to impress, if possible, his English whim upon the immutable past. No great man ever had a great son, if Philip and Alexander be not an exception; and Philip he calls the greater man. In art, he loves the Greeks, and in sculpture, them only. He prefers the Venus to every thing else, and, after that, the head of Alexander, in the gallery here. He prefers John of Bologna to Michael Angelo; in painting, Raffaelle; and shares the growing taste for Perugino and the early masters. The Greek histories he thought the only good; and after them, Voltaire’s. I could not make him praise Mackintosh, nor my more recent friends; Montaigne very cordially, and Charron also, which seemed undiscriminating. He thought Degerando indebted to “Lucas on Happiness” and “Lucas on Holiness”! He pestered me with Southey; but who is Southey?

He invited me to breakfast on Friday. On Friday I did not fail to go, and this time with Greenough. He entertained us at once with reciting half a dozen hexameter lines of Julius Caesar’s! from Donatus, he said. He glorified Lord Chesterfield more than was necessary, and undervalued Burke, and undervalued Socrates; designated as three of the greatest of men, Washington, Phocion, and Timoleon; much as our pomologists, in their lists, select the three or the six best pears “for a small orchard;” and did not even omit to remark the similar termination of their names. “A great man,” he said, “should make great sacrifices, and kill his hundred oxen, without knowing whether they would be consumed by gods and heroes, or whether the flies would eat them.” I had visited Professor Amici, who had shown me his microscopes, magnifying (it was said) two thousand diameters; and I spoke of the uses to which they were applied. Landor despised entomology, yet, in the same breath, said, “the sublime was in a grain of dust.” I suppose I teased him about recent writers, but he professed never to have heard of Herschel, _not even by name._ One room was full of pictures, which he likes to show, especially one piece, standing before which, he said “he would give fifty guineas to the man that would swear it was a Domenichino.” I was more curious to see his library, but Mr. H , one of the guests, told me that Mr. Landor gives away his books, and has never more than a dozen at a time in his house.

Mr. Landor carries to its height the love of freak which the English delight to indulge, as if to signalize their commanding freedom. He has a wonderful brain, despotic, violent, and inexhaustible, meant for a soldier, by what chance converted to letters, in which there is not a style nor a tint not known to him, yet with an English appetite for action and heroes. The thing done avails, and not what is said about it. An original sentence, a step forward, is worth more than all the censures. Landor is strangely undervalued in England; usually ignored; and sometimes savagely attacked in the Reviews. The criticism may be right, or wrong, and is quickly forgotten; but year after year the scholar must still go back to Landor for a multitude of elegant sentences for wisdom, wit, and indignation that are unforgetable.

From London, on the 5th August, I went to Highgate, and wrote a note to Mr. Coleridge, requesting leave to pay my respects to him. It was near noon. Mr. Coleridge sent a verbal message, that he was in bed, but if I would call after one o’clock, he would see me. I returned at one, and he appeared, a short, thick old man, with bright blue eyes and fine clear complexion, leaning on his cane. He took snuff freely, which presently soiled his cravat and neat black suit. He asked whether I knew Allston, and spoke warmly of his merits and doings when he knew him in Rome; what a master of the Titianesque he was, &c., &c. He spoke of Dr. Channing. It was an unspeakable misfortune that he should have turned out a Unitarian after all. On this, he burst into a declamation on the folly and ignorance of Unitarianism, its high unreasonableness; and taking up Bishop Waterland’s book, which lay on the table, he read with vehemence two or three pages written by himself in the fly leaves, passages, too, which, I believe, are printed in the “Aids to Reflection.” When he stopped to take breath, I interposed, that, “whilst I highly valued all his explanations, I was bound to tell him that I was born and bred a Unitarian.” “Yes,” he said, “I supposed so;” and continued as before. `It was a wonder, that after so many ages of unquestioning acquiescence in the doctrine of St. Paul, the doctrine of the Trinity, which was also, according to Philo Judaeus, the doctrine of the Jews before Christ, this handful of Priestleians should take on themselves to deny it, &c., &c. He was very sorry that Dr. Channing, a man to whom he looked up, no, to say that he looked _up_ to him would be to speak falsely; but a man whom he looked _at_ with so much interest, should embrace such views. When he saw Dr. Channing, he had hinted to him that he was afraid he loved Christianity for what was lovely and excellent, he loved the good in it, and not the true; and I tell you, sir, that I have known ten persons who loved the good, for one person who loved the true; but it is a far greater virtue to lovethe true for itself alone, than to love the good for itself alone. He (Coleridge) knew all about Unitarianism perfectly well, because he had once been a Unitarian, and knew what quackery it was. He had been called “the rising star of Unitarianism.”‘ He went on defining, or rather refining: `The Trinitarian doctrine was realism; the idea of God was not essential, but superessential;’ talked of _trinism_ and _tetrakism_, and much more, of which I only caught this, `that the will was that by which a person is a person; because, if one should push me in the street, and so I should force the man next me into the kennel, I should at once exclaim, “I did not do it, sir,” meaning it was not my will.’ And this also, `that if you should insist on your faith here in England, and I on mine, mine would be the hotter side of the fagot.’

I took advantage of a pause to say, that he had many readers of all religious opinions in America, and I proceeded to inquire if the “extract” from the Independent’s pamphlet, in the third volume of the Friend, were a veritable quotation. He replied, that it was really taken from a pamphlet in his possession, entitled “A Protest of one of the Independents,” or something to that effect. I told him how excellent I thought it, and how much I wished to see the entire work. “Yes,” he said, “the man was a chaos of truths, but lacked the knowledge that God was a God of order. Yet the passage would no doubt strike you more in the quotation than in the original, for I have filtered it.”

When I rose to go, he said, “I do not know whether you care about poetry, but I will repeat some verses I lately made on my baptismal anniversary,” and he recited with strong emphasis, standing, ten or twelve lines, beginning,

“Born unto God in Christ ”

He inquired where I had been travelling; and on learning that I had been in Malta and Sicily, he compared one island with the other, `repeating what he had said to the Bishop of London when he returned from that country, that Sicily was an excellent school of political economy; for, in any town there, it only needed to ask what the government enacted, and reverse that to know what ought to be done; it was the most felicitously opposite legislation to any thing good and wise. There were only three things which the government had brought into that garden of delights, namely, itch, pox, and famine. Whereas, in Malta, the force of law and mind was seen, in making that barren rock of semi Saracen inhabitants the seat of population and plenty.’ Going out, he showed me in the next apartment a picture of Allston’s, and told me `that Montague, a picture dealer, once came to see him, and, glancing towards this, said, “Well, you have got a picture!” thinking it the work of an old master; afterwards, Montague, still talking with his back to the canvas, put up his hand and touched it, and exclaimed, “By Heaven! this picture is not ten years old:” so delicate and skilful was that man’s touch.’

I was in his company for about an hour, but find it impossible to recall the largest part of his discourse, which was often like so many printed paragraphs in his book, perhaps the same, so readily did he fall into certain commonplaces. As I might have foreseen, the visit was rather a spectacle than a conversation, of no use beyond the satisfaction of my curiosity. He was old and preoccupied, and could not bend to a new companion and think with him.

From Edinburgh I went to the Highlands. On my return, I came from Glasgow to Dumfries, and being intent on delivering a letter which I had brought from Rome, inquired for Craigenputtock. It was a farm in Nithsdale, in the parish of Dunscore, sixteen miles distant. No public coach passed near it, so I took a private carriage from the inn. I found the house amid desolate heathery hills, where the lonely scholar nourished his mighty heart. Carlyle was a man from his youth, an author who did not need to hide from his readers, and as absolute a man of the world, unknown and exiled on that hill farm, as if holding on his own terms what is best in London. He was tall and gaunt, with a cliff like brow, self possessed, and holding his extraordinary powers of conversation in easy command; clinging to his northern accent with evident relish; full of lively anecdote, and with a streaming humor, which floated every thing he looked upon. His talk playfully exalting the familiar objects, put the companion at once into an acquaintance with his Lars and Lemurs, and it was very pleasant to learn what was predestined to be a pretty mythology. Few were the objects and lonely the man, “not a person to speak to within sixteen miles except the minister of Dunscore;” so that books inevitably made his topics.

He had names of his own for all the matters familiar to his discourse. “Blackwood’s” was the “sand magazine;” “Fraser’s” nearer approach to possibility of life was the “mud magazine;” a piece of road near by that marked some failed enterprise was the “grave of the last sixpence.” When too much praise of any genius annoyed him, he professed hugely to admire the talent shown by his pig. He had spent much time and contrivance in confining the poor beast to one enclosure in his pen, but pig, by great strokes of judgment, had found out how to let a board down, and had foiled him. For all that, he still thought man the most plastic little fellow in the planet, and he liked Nero’s death, _”Qualis artifex pereo!”_ better than most history. He worships a man that will manifest any truth to him. At one time he had inquired and read a good deal about America. Landor’s principle was mere rebellion, and _that_ he feared was the American principle. The best thing he knew of that country was, that in it a man can have meat for his labor. He had read in Stewart’s book, that when he inquired in a New York hotel for the Boots, he had been shown across the street and had found Mungo in his own house dining on roast turkey.

We talked of books. Plato he does not read, and he disparaged Socrates; and, when pressed, persisted in making Mirabeau a hero. Gibbon he called the splendid bridge from the old world to the new. His own reading had been multifarious. Tristram Shandy was one of his first books after Robinson Crusoe, and Robertson’s America an early favorite. Rousseau’s Confessions had discovered to him that he was not a dunce; and it was now ten years since he had learned German, by the advice of a man who told him he would find in that language what he wanted.

He took despairing or satirical views of literature at this moment; recounted the incredible sums paid in one year by the great booksellers for puffing. Hence it comes that no newspaper is trusted now, no books are bought, and the booksellers are on the eve of bankruptcy.

He still returned to English pauperism, the crowded country, the selfish abdication by public men of all that public persons should perform. `Government should direct poor men what to do. Poor Irish folk come wandering over these moors. My dame makes it a rule to give to every son of Adam bread to eat, and supplies his wants to the next house. But here are thousands of acres which might give them all meat, and nobody to bid these poor Irish go to the moor and till it. They burned the stacks, and so found a way to force the rich people to attend to them.’

We went out to walk over long hills, and looked at Criffel then without his cap, and down into Wordsworth’s country. There we sat down, and talked of the immortality of the soul. It was not Carlyle’s fault that we talked on that topic, for he had the natural disinclination of every nimble spirit to bruise itself against walls, and did not like to place himself where no step can be taken. But he was honest and true, and cognizant of the subtile links that bind ages together, and saw how every event affects all the future. `Christ died on the tree: that built Dunscore kirk yonder: that brought you and me together. Time has only a relative existence.’

He was already turning his eyes towards London with a scholar’s appreciation. London is the heart of the world, he said, wonderful only from the mass of human beings. He liked the huge machine. Each keeps its own round. The baker’s boy brings muffins to the window at a fixed hour every day, and that is all the Londoner knows or wishes to know on the subject. But it turned out good men. He named certain individuals, especially one man of letters, his friend, the best mind he knew, whom London had well served.

On the 28th August, I went to Rydal Mount, to pay my respects to Mr. Wordsworth. His daughters called in their father, a plain, elderly, white haired man, not prepossessing, and disfigured by green goggles. He sat down, and talked with great simplicity. He had just returned from a journey. His health was good, but he had broken a tooth by a fall, when walking with two lawyers, and had said, that he was glad it did not happen forty years ago; whereupon they had praised his philosophy.

He had much to say of America, the more that it gave occasion for his favorite topic, that society is being enlightened by a superficial tuition, out of all proportion to its being restrained by moral culture. Schools do no good. Tuition is not education. He thinks more of the education of circumstances than of tuition. ‘Tis not question whether there are offences of which the law takes cognizance, but whether there are offences of which the law does not take cognizance. Sin is what he fears, and how society is to escape without gravest mischiefs from this source ? He has even said, what seemed a paradox, that they needed a civil war in America, to teach the necessity of knitting the social ties stronger. `There may be,’ he said, `in America some vulgarity in manner, but that’s not important. That comes of the pioneer state of things. But I fear they are too much given to the making of money; and secondly, to politics; that they make political distinction the end, and not the means. And I fear they lack a class of men of leisure, in short, of gentlemen, to give a tone of honor to the community. I am told that things are boasted of in the second class of society there, which, in England, God knows, are done in England every day, but would never be spoken of. In America I wish to know not how many churches or schools, but what newspapers? My friend, Colonel Hamilton, at the foot of the hill, who was a year in America, assures me that the newspapers are atrocious, and accuse members of Congress of stealing spoons!’ He was against taking off the tax on newspapers in England, which the reformers represent as a tax upon knowledge, for this reason, that they would be inundated with base prints. He said, he talked on political aspects, for he wished to impress on me and all good Americans to cultivate the moral, the conservative, &c., &c., and never to call into action the physical strength of the people, as had just now been done in England in the Reform Bill, a thing prophesied by Delolme. He alluded once or twice to his conversation with Dr. Channing, who had recently visited him, (laying his hand on a particular chair in which the Doctor had sat.)

The conversation turned on books. Lucretius he esteems a far higher poet than Virgil: not in his system, which is nothing, but in his power of illustration. Faith is necessary to explain any thing, and to reconcile the foreknowledge of God with human evil. Of Cousin, (whose lectures we had all been reading in Boston,) he knew only the name.

I inquired if he had read Carlyle’s critical articles and translations. He said, he thought him sometimes insane. He proceeded to abuse Goethe’s Wilhelm Meister heartily. It was full of all manner of fornication. It was like the crossing of flies in the air. He had never gone farther than the first part; so disgusted was he that he threw the book across the room. I deprecated this wrath, and said what I could for the better parts of the book; and he courteously promised to look at it again. Carlyle, he said, wrote most obscurely. He was clever and deep, but he defied the sympathies of every body. Even Mr. Coleridge wrote more clearly, though he had always wished Coleridge would write more to be understood. He led me out into his garden, and showed me the gravel walk in which thousands of his lines were composed. His eyes are much inflamed. This is no loss, except for reading, because he never writes prose, and of poetry he carries even hundreds of lines in his head before writing them. He had just returned from a visit to Staffa, and within three days had made three sonnets on Fingal’s Cave, and was composing a fourth, when he was called in to see me. He said, “If you are interested in my verses, perhaps you will like to hear these lines.” I gladly assented; and he recollected himself for a few moments, and then stood forth and repeated, one after the other, the three entire sonnets with great animation. I fancied the second and third more beautiful than his poems are wont to be. The third is addressed to the flowers, which, he said, especially the oxeye daisy, are very abundant on the top of the rock. The second alludes to the name of the cave, which is “Cave of Music;” the first to the circumstance of its being visited by the promiscuous company of the steamboat.

This recitation was so unlooked for and surprising, he, the old Wordsworth, standing apart, and reciting to me in a garden walk, like a schoolboy declaiming, that I at first was near to laugh; but recollecting myself, that I had come thus far to see a poet, and he was chanting poems to me, I saw that he was right and I was wrong, and gladly gave myself up to hear. I told him how much the few printed extracts had quickened the desire to possess his unpublished poems. He replied, he never was in haste to publish; partly, because he corrected a good deal, and every alteration is ungraciously received after printing; but what he had written would be printed, whether he lived or died. I said, “Tintern Abbey” appeared to be the favorite poem with the public, but more contemplative readers preferred the first books of the “Excursion,” and the Sonnets. He said, “Yes, they are better.” He preferred such of his poems as touched the affections, to any others; for whatever is didactic, what theories of society, and so on, might perish quickly; but whatever combined a truth with an affection was {ktema es aei}, good to day and good forever. He cited the sonnet “On the feelings of a high minded Spaniard,” which he preferred to any other, (I so understood him,) and the “Two Voices;” and quoted, with evident pleasure, the verses addressed “To the Skylark.” In this connection, he said of the Newtonian theory, that it might yet be superseded and forgotten; and Dalton’s atomic theory.

When I prepared to depart, he said he wished to show me what a common person in England could do, and he led me into the enclosure of his clerk, a young man, to whom he had given this slip of ground, which was laid out, or its natural capabilities shown, with much taste. He then said he would show me a better way towards the inn; and he walked a good part of a mile, talking, and ever and anon stopping short to impress the word or the verse, and finally parted from me with great kindness, and returned across the fields.

Wordsworth honored himself by his simple adherence to truth, and was very willing not to shine; but he surprised by the hard limits of his thought. To judge from a single conversation, he made the impression of a narrow and very English mind; of one who paid for his rare elevation by general tameness and conformity. Off his own beat, his opinions were of no value. It is not very rare to find persons loving sympathy and ease, who expiate their departure from the common, in one direction, by their conformity in every other.

Complete Works of RWE IV - Representative Men

Uses of Great Men

IT IS NATURAL to believe in great men. If the companions of our childhood should turn out to be heroes, and their condition regal it would not surprise us. All mythology opens with demigods, and the circumstance is high and poetic; that is, their genius is paramount. In the legends of the Gautama, the first men ate the earth and found it deliciously sweet.

Nature seems to exist for the excellent. The world is upheld by the veracity of good men: they make the earth wholesome. They who lived with them found life glad and nutritious. Life is sweet and tolerable only in our belief in such society; and, actually or ideally, we manage to live with superiors. We call our children and our lands by their names. Their names are wrought into the verbs of language, their works and effigies are in our houses, and every circumstance of the day recalls an anecdote of them.

The search after the great man is the dream of youth and the most serious occupation of manhood. We travel into foreign parts to find his works,- if possible, to get a glimpse of him. But we are put off with fortune instead. You say, the English are practical; the Germans are hospitable; in Valencia the climate is delicious; and in the hills of the Sacramento there is gold for the gathering. Yes, but I do not travel to find comfortable, rich and hospitable people, or clear sky, or ingots that cost too much. But if there were any magnet that would point to the countries and houses where are the persons who are intrinsically rich and powerful, I would sell all and buy it, and put myself on the road today.

The race goes with us on their credit. The knowledge that in the city is a man who invented the railroad, raises the credit of all the citizens. But enormous populations, if they be beggars, are disgusting, like moving cheese, like hills of ants or of fleas,- the more, the worse.

Our religion is the love and cherishing of these patrons. The gods of fable are the shining moments of great men. We run all our vessels into one mould. Our colossal theologies of Judaism, Christism, Buddhism, Mahometism, are the necessary and structural action of the human mind. The student of history is like a man going into a warehouse to buy cloths or carpets. He fancies he has a new article. If he go to the factory, he shall find that his new stuff still repeats the scrolls and rosettes which are found on the interior walls of the pyramids of Thebes. Our theism is the purification of the human mind. Man can paint, or make, or think, nothing but man. He believes that the great material elements had their origin from his thought. And our philosophy finds one essence collected or distributed.

If now we proceed to inquire into the kinds of service we derive from others, let us be warned of the danger of modern studies, and begin low enough. We must not contend against love, or deny the substantial existence of other people. I know not what would happen to us. We have social strengths. Our affection toward others creates a sort of vantage or purchase which nothing will supply. I can do that by another which I cannot do alone. I can say to you what I cannot first say to myself. Other men are lenses through which we read our own minds. Each man seeks those of different quality from his own, and such as are good of their kind; that is, he seeks other men, and the otherest. The stronger the nature, the more it is reactive. Let us have the quality pure. A little genius let us leave alone. A main difference betwixt men is, whether they attend their own affair or not. Man is that noble endogenous plant which grows, like the palm, from within outward. His own affair, though impossible to others, he can open with celerity and in sport. It is easy to sugar to be sweet and to nitre to be salt. We take a great deal of pains to waylay and entrap that which of itself will fall into our hands. I count him a great man who inhabits a higher sphere of thought, into which other men rise with labor and difficulty; he has but to open his eyes to see things in a true light and in large relations, whilst they must make painful corrections and keep a vigilant eye on many sources of error. His service to us is of like sort. It costs a beautiful person no exertion to paint her image on our eyes; yet how splendid is that benefit! It costs no more for a wise soul to convey his quality to other men. And every one can do his best thing easiest. “Peu de moyens, beaucoup d’effet.” He is great who is what he is from nature, and who never reminds us of others.

But he must be related to us, and our life receive from him some promise of explanation. I cannot tell what I would know; but I have observed there are persons who, in their character and actions, answer questions which I have not skill to put. One man answers some question which none of his contemporaries put, and is isolated. The past and passing religions and philosophies answer some other questions. Certain men affect us as rich possibilities, but helpless to themselves and to their times,- the sport perhaps of some instinct that rules in the air;- they do not speak to our want. But the great are near; we know them at sight. They satisfy expectation and fall into place. What is good is effective, generative; makes for itself room, food and allies. A sound apple produces seed,- a hybrid does not. Is a man in his place, he is constructive, fertile, magnetic, inundating armies with his purpose, which is thus executed. The river makes its own shores, and each legitimate idea makes its own channels and welcome,- harvests for food, institutions for expression, weapons to fight with and disciples to explain it. The true artist has the planet for his pedestal; the adventurer, after years of strife, has nothing broader than his own shoes.

Our common discourse respects two kinds of use or service from superior men. Direct giving is agreeable to the early belief of men; direct giving of material or metaphysical aid, as of health, eternal youth, fine senses, arts of healing, magical power and prophecy. The boy believes there is a teacher who can sell him wisdom. Churches believe in imputed merit. But, in strictness, we are not much cognizant of direct serving. Man is endogenous, and education is his unfolding. The aid we have from others is mechanical compared with the discoveries of nature in us. What is thus learned is delightful in the doing, and the effect remains. Right ethics are central and go from the soul outward. Gift is contrary to the law of the universe. Serving others is serving us. I must absolve me to myself. “Mind thy affair,” says the spirit:- “coxcomb, would you meddle with the skies, or with other people?” Indirect service is left. Men have a pictorial or representative quality, and serve us in the intellect. Behmen* and Swedenborg saw that things were representative. Men are also representative; first, of things, and secondly, of ideas.

As plants convert the minerals into food for animals, so each man converts some raw material in nature to human use. The inventors of fire, electricity, magnetism, iron, lead, glass, linen, silk, cotton; the makers of tools; the inventor of decimal notation; the geometer; the engineer; the musician,- severally make an easy way for all, through unknown and impossible confusions. Each man is by secret liking connected with some district of nature, whose agent and interpreter he is; as Linnaeus, of plants; Huber, of bees; Fries, of lichens; Van Mons, of pears; Dalton, of atomic forms; Euclid, of lines; Newton, of fluxions.

A man is a centre for nature, running out threads of relation through every thing, fluid and solid, material and elemental. The earth rolls; every clod and stone comes to the meridian: so every organ, function, acid, crystal, grain of dust, has its relation to the brain. It waits long, but its turn comes. Each plant has its parasite, and each created thing its lover and poet. Justice has already been done to steam, to iron, to wood, to coal, to loadstone, to iodine, to corn and cotton; but how few materials are yet used by our arts The mass of creatures and of qualities are still hid and expectant. It would seem as if each waited, like the enchanted princess in fairy tales, for a destined human deliverer. Each must be disenchanted and walk forth to the day in human shape. In the history of discovery, the ripe and latent truth seems to have fashioned a brain for itself. A magnet must be made man in some Gilbert, or Swedenborg, or Oerstad, before the general mind can come to entertain its powers.

If we limit ourselves to the first advantages, a sober grace adheres to the mineral and botanic kingdoms, which, in the highest moments, comes up as the charm of nature,- the glitter of the spar, the sureness of affinity, the veracity of angles. Light and darkness, heat and cold, hunger and food, sweet and sour, solid, liquid and gas, circle us round in a wreath of pleasures, and, by their agreeable quarrel, beguile the day of life. The eye repeats every day the first eulogy on things,- “He saw that they were good.” We know where to find them; and these performers are relished all the more, after a little experience of the pretending races. We are entitled also to higher advantages. Something is wanting to science until it has been humanized. The table of logarithms is one thing, and its vital play in botany, music, optics and architecture, another. There are advancements to numbers, anatomy, architecture, astronomy, little suspected at first, when, by union with intellect and will, they ascend into the life and reappear in conversation, character and politics.

But this comes later. We speak now only of our acquaintance with them in their own sphere and the way in which they seem to fascinate and draw to them some genius who occupies himself with one thing, all his life long. The possibility of interpretation lies in the identity of the observer with the observed. Each material thing has its celestial side; has its translation, through humanity, into the spiritual and necessary sphere where it plays a part as indestructible as any other. And to these, their ends, all things continually ascend. The gases gather to the solid firmament: the chemic lump arrives at the plant, and grows; arrives at the quadruped, and walks; arrives at the man, and thinks. But also the constituency determines the vote of the representative. He is not only representative, but participant. Like can only be known by like. The reason why he knows about them is that he is of them; he has just come out of nature, or from being a part of that thing. Animated chlorine knows of chlorine, and incarnate zinc, of zinc. Their quality makes his career; and he can variously publish their virtues, because they compose him. Man, made of the dust of the world, does not forget his origin; and all that is yet inanimate will one day speak and reason. Unpublished nature will have its whole secret told. Shall we say that quartz mountains will pulverize into innumerable Werners, Von Buchs and Beaumonts, and the laboratory of the atmosphere holds in solution I know not what Berzeliuses and Davys?

Thus we sit by the fire and take hold on the poles of the earth. This quasi omnipresence supplies the imbecility of our condition. In one of those celestial days when heaven and earth meet and adorn each other, it seems a poverty that we can only spend it once: we wish for a thousand heads, a thousand bodies, that we might celebrate its immense beauty in many ways and places. Is this fancy? Well, in good faith, we are multiplied by our proxies. How easily we adopt their labors! Every ship that comes to America got its chart from Columbus. Every novel is a debtor to Homer. Every carpenter who shaves with a fore-plane borrows the genius of a forgotten inventor. Life is girt all round with a zodiac of sciences, the contributions of men who have perished to add their point of light to our sky. Engineer, broker, jurist, physician, moralist, theologian, and every man, inasmuch as he has any science,- is a definer and map-maker of the latitudes and longitudes of our condition. These roadmakers on every hand enrich us. We must extend the area of life and multiply our relations. We are as much gainers by finding a new property in the old earth as by acquiring a new planet.

We are too passive in the reception of these material or semi-material aids. We must not be sacks and stomachs. To ascend one step,- we are better served through our sympathy. Activity is contagious. Looking where others look, and conversing with the same things, we catch the charm which lured them. Napoleon said, “You must not fight too often with one enemy, or you will teach him all your art of war.” Talk much with any man of vigorous mind, and we acquire very fast the habit of looking at things in the same light, and on each occurrence we anticipate his thought.

Men are helpful through the intellect and the affections. Other help I find a false appearance. If you affect to give me bread and fire, I perceive that I pay for it the full price, and at last it leaves me as it found me, neither better nor worse: but all mental and moral force is a positive good. It goes out from you, whether you will or not, and profits me whom you never thought of. I cannot even hear of personal vigor of any kind, great power of performance, without fresh resolution. We are emulous of all that man can do. Cecil’s saying of Sir Walter Raleigh, “I know that he can toil terribly,” is an electric touch. So are Clarendon’s portraits,- of Hampden, “who was of an industry and vigilance not to be tired out or wearied by the most laborious, and of parts not to be imposed on by the most subtle and sharp, and of a personal courage equal to his best parts”;- of Falkland, “who was so severe an adorer of truth, that he could as easily have given himself leave to steal, as to dissemble.” We cannot read Plutarch without a tingling of the blood; and I accept the saying of the Chinese Mencius: “A sage is the instructor of a hundred ages. When the manners of Loo are heard of, the stupid become intelligent, and the wavering, determined.”

This is the moral of biography; yet it is hard for departed men to touch the quick like our own companions, whose names may not last as long. What is he whom I never think of? Whilst in every solitude are those who succor our genius and stimulate us in wonderful manners. There is a power in love to divine another’s destiny better than that other can, and, by heroic encouragements, hold him to his task. What has friendship so signal as its sublime attraction to whatever virtue is in us? We will never more think cheaply of ourselves, or of life. We are piqued to some purpose, and the industry of the diggers on the railroad will not again shame us.

Under this head too falls that homage, very pure as I think, which all ranks pay to the hero of the day, from Coriolanus and Gracchus down to Pitt, Lafayette, Wellington, Webster, Lamartine. Hear the shouts in the street! The people cannot see him enough. They delight in a man. Here is a head and a trunk! What a front! what eyes! Atlantean shoulders, and the whole carriage heroic, with equal inward force to guide the great machine! This pleasure of full expression to that which, in their private experience, is usually cramped and obstructed, runs also much higher, and is the secret of the reader’s joy in literary genius. Nothing is kept back. There is fire enough to fuse the mountain of ore. Shakespeare’s principal merit may be conveyed in saying that he of all men best understands the English language, and can say what he will. Yet these unchoked channels and floodgates of expression are only health or fortunate constitution. Shakespeare’s name suggests other and purely intellectual benefits.

Senates and sovereigns have no compliment, with their medals, swords and armorial coats, like the addressing to a human being thoughts out of a certain height, and presupposing his intelligence. This honor, which is possible in personal intercourse scarcely twice in a lifetime, genius perpetually pays; contented if now and then in a century the proffer is accepted. The indicators of the values of matter are degraded to a sort of cooks and confectioners, on the appearance of the indicators of ideas. Genius is the naturalist or geographer of the supersensible regions, and draws their map; and, by acquainting us with new fields of activity, cools our affection for the old. These are at once accepted as the reality, of which the world we have conversed with is the show.

We go to the gymnasium and the swimming-school to see the power and beauty of the body; there is the like pleasure and a higher benefit from witnessing intellectual feats of all kinds; as feats of memory, of mathematical combination, great power of abstraction, the transmutings of the imagination, even versatility and concentration,- as these acts expose the invisible organs and members of the mind, which respond, member for member, to the parts of the body. For we thus enter a new gymnasium, and learn to choose men by their truest marks, taught, with Plato, “to choose those who can, without aid from the eyes or any other sense, proceed to truth and to being.” Foremost among these activities are the summersaults, spells and resurrections wrought by the imagination. When this wakes, a man seems to multiply ten times or a thousand times his force. It opens the delicious sense of indeterminate size and inspires an audacious mental habit. We are as elastic as the gas of gunpowder, and a sentence in a book, or a word dropped in conversation, sets free our fancy, and instantly our heads are bathed with galaxies, and our feet tread the floor of the Pit. And this benefit is real because we are entitled to these enlargements, and once having passed the bounds shall never again be quite the miserable pedants we were.

The high functions of the intellect are so allied that some imaginative power usually appears in all eminent minds, even in arithmeticians of the first class, but especially in meditative men of an intuitive habit of thought. This class serve us, so that they have the perception of identity and the perception of reaction. The eyes of Plato, Shakespeare, Swedenborg, Goethe, never shut on either of these laws. The perception of these laws is a kind of metre of the mind. Little minds are little through failure to see them.

Even these feasts have their surfeit. Our delight in reason degenerates into idolatry of the herald. Especially when a mind of powerful method has instructed men, we find the examples of oppression. The dominion of Aristotle, the Ptolemaic astronomy, the credit of Luther, of Bacon, of Locke;- in religion the history of hierarchies, of saints, and the sects which have taken the name of each founder, are in point. Alas! every man is such a victim. The imbecility of men is always inviting the impudence of power. It is the delight of vulgar talent to dazzle and to blind the beholder. But true genius seeks to defend us from itself. True genius will not impoverish, but will liberate, and add new senses. If a wise man should appear in our village he would create, in those who conversed with him, a new consciousness of wealth, by opening their eyes to unobserved advantages; he would establish a sense of immovable equality, calm us with assurances that we could not be cheated; as every one would discern the checks and guaranties of condition. The rich would see their mistakes and poverty, the poor their escapes and their resources.

But nature brings all this about in due time. Rotation is her remedy. The soul is impatient of masters and eager for change. Housekeepers say of a domestic who has been valuable, “She had lived with me long enough.” We are tendencies, or rather, symptoms, and none of us complete. We touch and go, and sip the foam of many lives. Rotation is the law of nature. When nature removes a great man, people explore the horizon for a successor; but none comes, and none will. His class is extinguished with him. In some other and quite different field the next man will appear; not Jefferson, not Franklin, but now a great salesman, then a road-contractor, then a student of fishes, then a buffalo-hunting explorer, or a semi-savage Western general. Thus we make a stand against our rougher masters; but against the best there is a finer remedy. The power which they communicate is not theirs. When we are exalted by ideas, we do not owe this to Plato, but to the idea, to which also Plato was debtor.

I must not forget that we have a special debt to a single class. Life is a scale of degrees. Between rank and rank of our great men are wide intervals. Mankind have in all ages attached themselves to a few persons who either by the quality of that idea they embodied or by the largeness of their reception were entitled to the position of leaders and law-givers. These teach us the qualities of primary nature,- admit us to the constitution of things. We swim, day by day, on a river of delusions and are effectually amused with houses and towns in the air, of which the men about us are dupes. But life is a sincerity. In lucid intervals we say, “Let there be an entrance opened for me into realities. I have worn the fool’s cap too long.” We will know the meaning of our economies and politics. Give us the cipher, and if persons and things are scores of a celestial music, let us read off the strains. We have been cheated of our reason; yet there have been sane men, who enjoyed a rich and related existence. What they know, they know for us. With each new mind, a new secret of nature transpires; nor can the Bible be closed until the last great man is born. These men correct the delirium of the animal spirits, make us considerate and engage us to new aims and powers. The veneration of mankind selects these for the highest place. Witness the multitude of statues, pictures and memorials which recall their genius in every city, village, house and ship:-

“Ever their phantoms arise before us,
Our loftier brothers, but one in blood;
At bed and table they lord it o’er us
With looks of beauty and words of good.”

How to illustrate the distinctive benefit of ideas, the service rendered by those who introduce moral truths into the general mind?- I am plagued, in all my living, with a perpetual tariff of prices. If I work in my garden and prune an apple-tree, I am well enough entertained, and could continue indefinitely in the like occupation. But it comes to mind that a day is gone, and I have got this precious nothing done. I go to Boston or New York and run up and down on my affairs: they are sped, but so is the day. I am vexed by the recollection of this price I have paid for a trifling advantage. I remember the peau d’ane on which whoso sat should have his desire, but a piece of the skin was gone for every wish. I go to a convention of philanthropists. Do what I can, I cannot keep my eyes off the clock. But if there should appear in the company some gentle soul who knows little of persons or parties, of Carolina or Cuba, but who announces a law that disposes these particulars, and so certifies me of the equity which checkmates every false player, bankrupts every self-seeker, and apprises me of my independence on any conditions of country, or time, or human body,- that man liberates me; I forget the clock. I pass out of the sore relation to persons. I am healed of my hurts. I am made immortal by apprehending my possession of incorruptible goods. Here is great competition of rich and poor. We live in a market, where is only so much wheat, or wool, or land; and if I have so much more, every other must have so much less. I seem to have no good without breach of good manners. Nobody is glad in the gladness of another, and our system is one of war, of an injurious superiority. Every child of the Saxon race is educated to wish to be first. It is our system; and a man comes to measure his greatness by the regrets, envies and hatreds of his competitors. But in these new fields there is room: here are no self-esteems, no exclusions.

I admire great men of all classes, those who stand for facts, and for thoughts; I like rough and smooth, “Scourges of God,” and “Darlings of the human race.” I like the first Caesar; and Charles V, of Spain; and Charles XII, of Sweden; Richard Plantagenet; and Bonaparte, in France. I applaud a sufficient man, an officer equal to his office; captains, ministers, senators. I like a master standing firm on legs of iron, wellborn, rich, handsome, eloquent, loaded with advantages, drawing all men by fascination into tributaries and supporters of his power. Sword and staff, or talents sword-like or staff-like, carry on the work of the world. But I find him greater when he can abolish himself and all heroes, by letting in this element of reason, irrespective of persons, this subtilizer and irresistible upward force, into our thought, destroying individualism; the power so great that the potentate is nothing. Then he is a monarch who gives a constitution to his people; a pontiff who preaches the equality of souls and releases his servants from their barbarous homages; an emperor who can spare his empire.

But I intended to specify, with a little minuteness, two or three points of service. Nature never spares the opium or nepenthe, but wherever she mars her creature with some deformity or defect, lays her poppies plentifully on the bruise, and the sufferer goes joyfully through life, ignorant of the ruin and incapable of seeing it, though all the world point their finger at it every day. The worthless and offensive members of society, whose existence is a social pest, invariably think themselves the most ill-used people alive, and never get over their astonishment at the ingratitude and selfishness of their contemporaries. Our globe discovers its hidden virtues, not only in heroes and archangels, but in gossips and nurses. Is it not a rare contrivance that lodged the due inertia in every creature, the conserving, resisting energy, the anger at being waked or changed? Altogether independent of the intellectual force in each is the pride of opinion, the security that we are right. Not the feeblest grandame, not a mowing idiot, but uses what spark of perception and faculty is left, to chuckle and triumph in his or her opinion over the absurdities of all the rest. Difference from me is the measure of absurdity. Not one has a misgiving of being wrong. Was it not a bright thought that made things cohere with this bitumen, fastest of cements? But, in the midst of this chuckle of self-gratulation, some figure goes by which Thersites too can love and admire. This is he that should marshal us the way we were going. There is no end to his aid. Without Plato we should almost lose our faith in the possibility of a reasonable book. We seem to want but one, but we want one. We love to associate with heroic persons, since our receptivity is unlimited; and, with the great, our thoughts and manners easily become great. We are all wise in capacity, though so few in energy. There needs but one wise man in a company and all are wise, so rapid is the contagion.

Great men are thus a collyrium to clear our eyes from egotism and enable us to see other people and their works. But there are vices and follies incident to whole populations and ages. Men resemble their contemporaries even more than their progenitors. It is observed in old couples, or in persons who have been housemates for a course of years, that they grow like, and if they should live long enough we should not be able to know them apart. Nature abhors these complaisances which threaten to melt the world into a lump, and hastens to break up such maudlin agglutinations. The like assimilation goes on between men of one town, of one sect, of one political party; and the ideas of the time are in the air, and infect all who breathe it. Viewed from any high point, this city of New York, yonder city of London, the Western civilization, would seem a bundle of insanities. We keep each other in countenance and exasperate by emulation the frenzy of the time. The shield against the stingings of conscience is the universal practice, or our contemporaries. Again, it is very easy to be as wise and good as your companions. We learn of our contemporaries what they know without effort, and almost through the pores of the skin. We catch it by sympathy, or as a wife arrives at the intellectual and moral elevations of her husband. But we stop where they stop. Very hardly can we take another step. The great, or such as hold of nature and transcend fashions by their fidelity to universal ideas, are saviors from these federal errors,*(4) and defend us from our contemporaries. They are the exceptions which we want, where all grows like. A foreign greatness is the antidote for cabalism.

Thus we feed on genius, and refresh ourselves from too much conversation with our mates, and exult in the depth of nature in that direction in which he leads us. What indemnification is one great man for populations of pigmies! Every mother wishes one son a genius, though all the rest should be mediocre. But a new danger appears in the excess of influence of the great man. His attractions warp us from our place. We have become underlings and intellectual suicides. Ah! yonder in the horizon is our help;- other great men, new qualities, counterweights and checks on each other. We cloy of the honey of each peculiar greatness. Every hero becomes a bore at last. Perhaps Voltaire was not bad-hearted, yet he said of the good Jesus, even, “I pray you, let me never hear that man’s name again.” They cry up the virtues of George Washington,- “Damn George Washington!” is the poor Jacobin’s whole speech and confutation. But it is human nature’s indispensable defence. The centripetence augments the centrifugence. We balance one man with his opposite, and the health of the state depends on the see-saw.

There is however a speedy limit to the use of heroes. Every genius is defended from approach by quantities of unavailableness. They are very attractive, and seem at a distance our own: but we are hindered on all sides from approach. The more we are drawn, the more we are repelled. There is something not solid in the good that is done for us. The best discovery the discoverer makes for himself. It has something unreal for his companion until he too has substantiated it. It seems as if the Deity dressed each soul which he sends into nature in certain virtues and powers not communicable to other men, and sending it to perform one more turn through the circle of beings, wrote, “Not transferable” and “Good for this trip only,” on these garments of the soul. There is somewhat deceptive about the intercourse of minds. The boundaries are invisible, but they are never crossed. There is such good will to impart, and such good will to receive, that each threatens to become the other; but the law of individuality collects its secret strength: you are you, and I am I, and so we remain.

For nature wishes every thing to remain itself; and whilst every individual strives to grow and exclude and to exclude and grow, to the extremities of the universe, and to impose the law of its being on every other creature, Nature steadily aims to protect each against every other. Each is self-defended. Nothing is more marked than the power by which individuals are guarded from individuals, in a world where every benefactor becomes so easily a malefactor only by continuation of his activity into places where it is not due; where children seem so much at the mercy of their foolish parents, and where almost all men are too social and interfering. We rightly speak of the guardian angels of children. How superior in their security from infusions of evil persons, from vulgarity and second thought! They shed their own abundant beauty on the objects they behold. Therefore they are not at the mercy of such poor educators as we adults. If we huff and chide them they soon come not to mind it and get a self-reliance; and if we indulge them to folly, they learn the limitation elsewhere.

We need not fear excessive influence. A more generous trust is permitted. Serve the great. Stick at no humiliation. Grudge no office thou canst render. Be the limb of their body, the breath of their mouth. Compromise thy egotism. Who cares for that, so thou gain aught wider and nobler? Never mind the taunt of Boswellism: the devotion may easily be greater than the wretched pride which is guarding its own skirts. Be another: not thyself, but a Platonist; not a soul, but a Christian; not a naturalist, but a Cartesian; not a poet, but a Shakespearean. In vain, the wheels of tendency will not stop, nor will all the forces of inertia, fear, or of love itself hold thee there. On, and forever onward! The microscope observes a monad or wheel-insect among the infusories circulating in water. Presently a dot appears on the animal, which enlarges to a slit, and it becomes two perfect animals. The ever-proceeding detachment appears not less in all thought and in society. Children think they cannot live without their parents. But, long before they are aware of it, the black dot has appeared and the detachment taken place. Any accident will now reveal to them their independence.

But great men:- the word is injurious. Is there caste? Is there fate? What becomes of the promise to virtue? The thoughtful youth laments the superfoetation of nature. “Generous and handsome,” he says, “is your hero; but look at yonder poor Paddy, whose country is his wheelbarrow; look at his whole nation of Paddies.” Why are the masses, from the dawn of history down, food for knives and powder? The idea dignifies a few leaders, who have sentiment, opinion, love, self-devotion; and they make war and death sacred;- but what for the wretches whom they hire and kill? The cheapness of man is every day’s tragedy. It is as real a loss that others should be as low as that we should be low; for we must have society.

Is it a reply to these suggestions to say, Society is a Pestalozzian school: all are teachers and pupils in turn? We are equally served by receiving and by imparting. Men who know the same things are not long the best company for each other. But bring to each an intelligent person of another experience, and it is as if you let off water from a lake by cutting a lower basin. It seems a mechanical advantage, and great benefit it is to each speaker, as he can now paint out his thought to himself. We pass very fast, in our personal moods, from dignity to dependence. And if any appear never to assume the chair, but always to stand and serve, it is because we do not see the company in a sufficiently long period for the whole rotation of parts to come about. 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. Fair play and an open field and freshest laurels to all who have won them! But heaven reserves an equal scope for every creature. Each is uneasy until he has produced his private ray unto the concave sphere and beheld his talent also in its last nobility and exaltation.

The heroes of the hour are relatively great; of a faster growth; or they are such in whom, at the moment of success, a quality is ripe which is then in request. Other days will demand other qualities. Some rays escape the common observer, and want a finely adapted eye. Ask the great man if there be none greater. His companions are; and not the less great but the more that society cannot see them. Nature never sends a great man into the planet without confiding the secret to another soul.

One gracious fact emerges from these studies,- that there is true ascension in our love. The reputations of the nineteenth century will one day be quoted to prove its barbarism. The genius of humanity is the real subject whose biography is written in our annals. We must infer much, and supply many chasms in the record. The history of the universe is symptomatic, and life is mnemonical. No man, in all the procession of famous men, is reason or illumination or that essence we were looking for; but is an exhibition, in some quarter, of new possibilities. Could we one day complete the immense figure which these flagrant points compose! The study of many individuals leads us to an elemental region wherein the individual is lost, or wherein all touch by their summits. Thought and feeling that break out there cannot be impounded by any fence of personality. This is the key to the power of the greatest men,- their spirit diffuses itself. A new quality of mind travels by night and by day, in concentric circles from its origin, and publishes itself by unknown methods: the union of all minds appears intimate; what gets admission to one, cannot be kept out of any other; the smallest acquisition of truth or of energy, in any quarter, is so much good to the commonwealth of souls. If the disparities of talent and position vanish when the individuals are seen in the duration which is necessary to complete the career of each, even more swiftly the seeming injustice disappears when we ascend to the central identity of all the individuals, and know that they are made of the substance which ordaineth and doeth.

The genius of humanity is the right point of view of history. The qualities abide; the men who exhibit them have now more, now less, and pass away; the qualities remain on another brow. No experience is more familiar. Once you saw phoenixes: they are gone; the world is not therefore disenchanted. The vessels on which you read sacred emblems turn out to be common pottery; but the sense of the pictures is sacred, and you may still read them transferred to the walls of the world. For a time our teachers serve us personally, as metres or milestones of progress. Once they were angels of knowledge and their figures touched the sky. Then we drew near, saw their means, culture and limits; and they yielded their place to other geniuses. Happy, if a few names remain so high that we have not been able to read them nearer, and age and comparison have not robbed them of a ray. But at last we shall cease to look in men for completeness, and shall content ourselves with their social and delegated quality. All that respects the individual is temporary and prospective, like the individual himself, who is ascending out of his limits into a catholic existence. We have never come at the true and best benefit of any genius so long as we believe him an original force. In the moment when he ceases to help us as a cause, he begins to help us more as an effect. Then he appears as an exponent of a vaster mind and will. The opaque self becomes transparent with the light of the First Cause.

Yet, within the limits of human education and agency, we may say great men exist that there may be greater men. The destiny of organized nature is amelioration, and who can tell its limits? It is for man to tame the chaos; on every side, whilst he lives, to scatter the seeds of science and of song, that climate, corn, animals, men, may be milder, and the germs of love and benefit may be multiplied.

Complete Works of RWE III - Essays II

I The Poet

A moody child and wildly wise
Pursued the game with joyful eyes,
Which chose, like meteors, their way,
And rived the dark with private ray:
They overleapt the horizon’s edge,
Searched with Apollo’s privilege;
Through man, and woman, and sea, and star,
Saw the dance of nature forward far;
Through worlds, and races, and terms, and times,
Saw musical order, and pairing rhymes.

Olympian bards who sung
Divine ideas below,
Which always find us young,
And always keep us so.

ESSAY I The Poet
Those who are esteemed umpires of taste are often persons who have acquired some knowledge of admired pictures or sculptures, and have an inclination for whatever is elegant; but if you inquire whether they are beautiful souls, and whether their own acts are like fair pictures, you learn that they are selfish and sensual. Their cultivation is local, as if you should rub a log of dry wood in one spot to produce fire, all the rest remaining cold. Their knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form, which is exercised for amusement or for show. It is a proof of the shallowness of the doctrine of beauty, as it lies in the minds of our amateurs, that men seem to have lost the perception of the instant dependence of form upon soul. There is no doctrine of forms in our philosophy. We were put into our bodies, as fire is put into a pan, to be carried about; but there is no accurate adjustment between the spirit and the organ, much less is the latter the germination of the former. So in regard to other forms, the intellectual men do not believe in any essential dependence of the material world on thought and volition. Theologians think it a pretty air-castle to talk of the spiritual meaning of a ship or a cloud, of a city or a contract, but they prefer to come again to the solid ground of historical evidence; and even the poets are contented with a civil and conformed manner of living, and to write poems from the fancy, at a safe distance from their own experience. But the highest minds of the world have never ceased to explore the double meaning, or, shall I say, the quadruple, or the centuple, or much more manifold meaning, of every sensuous fact: Orpheus, Empedocles, Heraclitus, Plato, Plutarch, Dante, Swedenborg, and the masters of sculpture, picture, and poetry. For we are not pans and barrows, nor even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we know least about it. And this hidden truth, that the fountains whence all this river of Time, and its creatures, floweth, are intrinsically ideal and beautiful, draws us to the consideration of the nature and functions of the Poet, or the man of Beauty, to the means and materials he uses, and to the general aspect of the art in the present time.

The breadth of the problem is great, for the poet is representative. He stands among partial men for the complete man, and apprises us not of his wealth, but of the common-wealth. The young man reveres men of genius, because, to speak truly, they are more himself than he is. They receive of the soul as he also receives, but they more. Nature enhances her beauty, to the eye of loving men, from their belief that the poet is beholding her shows at the same time. He is isolated among his contemporaries, by truth and by his art, but with this consolation in his pursuits, that they will draw all men sooner or later. For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.

Notwithstanding this necessity to be published, adequate expression is rare. I know not how it is that we need an interpreter; but the great majority of men seem to be minors, who have not yet come into possession of their own, or mutes, who cannot report the conversation they have had with nature. There is no man who does not anticipate a supersensual utility in the sun, and stars, earth, and water. These stand and wait to render him a peculiar service. But there is some obstruction, or some excess of phlegm in our constitution, which does not suffer them to yield the due effect. Too feeble fall the impressions of nature on us to make us artists. Every touch should thrill. Every man should be so much an artist, that he could report in conversation what had befallen him. Yet, in our experience, the rays or appulses have sufficient force to arrive at the senses, but not enough to reach the quick, and compel the reproduction of themselves in speech. The poet is the person in whom these powers are in balance, the man without impediment, who sees and handles that which others dream of, traverses the whole scale of experience, and is representative of man, in virtue of being the largest power to receive and to impart.

For the Universe has three children, born at one time, which reappear, under different names, in every system of thought, whether they be called cause, operation, and effect; or, more poetically, Jove, Pluto, Neptune; or, theologically, the Father, the Spirit, and the Son; but which we will call here, the Knower, the Doer, and the Sayer. These stand respectively for the love of truth, for the love of good, and for the love of beauty. These three are equal. Each is that which he is essentially, so that he cannot be surmounted or analyzed, and each of these three has the power of the others latent in him, and his own patent.

The poet is the sayer, the namer, and represents beauty. He is a sovereign, and stands on the centre. For the world is not painted, or adorned, but is from the beginning beautiful; and God has not made some beautiful things, but Beauty is the creator of the universe. Therefore the poet is not any permissive potentate, but is emperor in his own right. Criticism is infested with a cant of materialism, which assumes that manual skill and activity is the first merit of all men, and disparages such as say and do not, overlooking the fact, that some men, namely, poets, are natural sayers, sent into the world to the end of expression, and confounds them with those whose province is action, but who quit it to imitate the sayers. But Homer’s words are as costly and admirable to Homer, as Agamemnon’s victories are to Agamemnon. The poet does not wait for the hero or the sage, but, as they act and think primarily, so he writes primarily what will and must be spoken, reckoning the others, though primaries also, yet, in respect to him, secondaries and servants; as sitters or models in the studio of a painter, or as assistants who bring building materials to an architect.

For poetry was all written before time was, and whenever we are so finely organized that we can penetrate into that region where the air is music, we hear those primal warblings, and attempt to write them down, but we lose ever and anon a word, or a verse, and substitute something of our own, and thus miswrite the poem. The men of more delicate ear write down these cadences more faithfully, and these transcripts, though imperfect, become the songs of the nations. For nature is as truly beautiful as it is good, or as it is reasonable, and must as much appear, as it must be done, or be known. Words and deeds are quite indifferent modes of the divine energy. Words are also actions, and actions are a kind of words.

The sign and credentials of the poet are, that he announces that which no man foretold. He is the true and only doctor; he knows and tells; he is the only teller of news, for he was present and privy to the appearance which he describes. He is a beholder of ideas, and an utterer of the necessary and causal. For we do not speak now of men of poetical talents, or of industry and skill in metre, but of the true poet. I took part in a conversation the other day, concerning a recent writer of lyrics, a man of subtle mind, whose head appeared to be a music-box of delicate tunes and rhythms, and whose skill, and command of language, we could not sufficiently praise. But when the question arose, whether he was not only a lyrist, but a poet, we were obliged to confess that he is plainly a contemporary, not an eternal man. He does not stand out of our low limitations, like a Chimborazo under the line, running up from the torrid base through all the climates of the globe, with belts of the herbage of every latitude on its high and mottled sides; but this genius is the landscape-garden of a modern house, adorned with fountains and statues, with well-bred men and women standing and sitting in the walks and terraces. We hear, through all the varied music, the ground-tone of conventional life. Our poets are men of talents who sing, and not the children of music. The argument is secondary, the finish of the verses is primary.

For it is not metres, but a metre-making argument, that makes a poem, — a thought so passionate and alive, that, like the spirit of a plant or an animal, it has an architecture of its own, and adorns nature with a new thing. The thought and the form are equal in the order of time, but in the order of genesis the thought is prior to the form. The poet has a new thought: he has a whole new experience to unfold; he will tell us how it was with him, and all men will be the richer in his fortune. For, the experience of each new age requires a new confession, and the world seems always waiting for its poet. I remember, when I was young, how much I was moved one morning by tidings that genius had appeared in a youth who sat near me at table. He had left his work, and gone rambling none knew whither, and had written hundreds of lines, but could not tell whether that which was in him was therein told: he could tell nothing but that all was changed, — man, beast, heaven, earth, and sea. How gladly we listened! how credulous! Society seemed to be compromised. We sat in the aurora of a sunrise which was to put out all the stars. Boston seemed to be at twice the distance it had the night before, or was much farther than that. Rome, — what was Rome? Plutarch and Shakspeare were in the yellow leaf, and Homer no more should be heard of. It is much to know that poetry has been written this very day, under this very roof, by your side. What! that wonderful spirit has not expired! these stony moments are still sparkling and animated! I had fancied that the oracles were all silent, and nature had spent her fires, and behold! all night, from every pore, these fine auroras have been streaming. Every one has some interest in the advent of the poet, and no one knows how much it may concern him. We know that the secret of the world is profound, but who or what shall be our interpreter, we know not. A mountain ramble, a new style of face, a new person, may put the key into our hands. Of course, the value of genius to us is in the veracity of its report. Talent may frolic and juggle; genius realizes and adds. Mankind, in good earnest, have availed so far in understanding themselves and their work, that the foremost watchman on the peak announces his news. It is the truest word ever spoken, and the phrase will be the fittest, most musical, and the unerring voice of the world for that time.

All that we call sacred history attests that the birth of a poet is the principal event in chronology. Man, never so often deceived, still watches for the arrival of a brother who can hold him steady to a truth, until he has made it his own. With what joy I begin to read a poem, which I confide in as an inspiration! And now my chains are to be broken; I shall mount above these clouds and opaque airs in which I live, — opaque, though they seem transparent, — and from the heaven of truth I shall see and comprehend my relations. That will reconcile me to life, and renovate nature, to see trifles animated by a tendency, and to know what I am doing. Life will no more be a noise; now I shall see men and women, and know the signs by which they may be discerned from fools and satans. This day shall be better than my birth-day: then I became an animal: now I am invited into the science of the real. Such is the hope, but the fruition is postponed. Oftener it falls, that this winged man, who will carry me into the heaven, whirls me into the clouds, then leaps and frisks about with me from cloud to cloud, still affirming that he is bound heavenward; and I, being myself a novice, am slow in perceiving that he does not know the way into the heavens, and is merely bent that I should admire his skill to rise, like a fowl or a flying fish, a little way from the ground or the water; but the all-piercing, all-feeding, and ocular air of heaven, that man shall never inhabit. I tumble down again soon into my old nooks, and lead the life of exaggerations as before, and have lost my faith in the possibility of any guide who can lead me thither where I would be.

But leaving these victims of vanity, let us, with new hope, observe how nature, by worthier impulses, has ensured the poet’s fidelity to his office of announcement and affirming, namely, by the beauty of things, which becomes a new, and higher beauty, when expressed. Nature offers all her creatures to him as a picture-language. Being used as a type, a second wonderful value appears in the object, far better than its old value, as the carpenter’s stretched cord, if you hold your ear close enough, is musical in the breeze. “Things more excellent than every image,” says Jamblichus, “are expressed through images.” Things admit of being used as symbols, because nature is a symbol, in the whole, and in every part. Every line we can draw in the sand, has expression; and there is no body without its spirit or genius. All form is an effect of character; all condition, of the quality of the life; all harmony, of health; (and, for this reason, a perception of beauty should be sympathetic, or proper only to the good.) The beautiful rests on the foundations of the necessary. The soul makes the body, as the wise Spenser teaches: —

“So every spirit, as it is most pure,
And hath in it the more of heavenly light,
So it the fairer body doth procure
To habit in, and it more fairly dight,
With cheerful grace and amiable sight.
For, of the soul, the body form doth take,
For soul is form, and doth the body make.”

Here we find ourselves, suddenly, not in a critical speculation, but in a holy place, and should go very warily and reverently. We stand before the secret of the world, there where Being passes into Appearance, and Unity into Variety.

The Universe is the externisation of the soul. Wherever the life is, that bursts into appearance around it. Our science is sensual, and therefore superficial. The earth, and the heavenly bodies, physics, and chemistry, we sensually treat, as if they were self-existent; but these are the retinue of that Being we have. “The mighty heaven,” said Proclus, “exhibits, in its transfigurations, clear images of the splendor of intellectual perceptions; being moved in conjunction with the unapparent periods of intellectual natures.” Therefore, science always goes abreast with the just elevation of the man, keeping step with religion and metaphysics; or, the state of science is an index of our self-knowledge. Since everything in nature answers to a moral power, if any phenomenon remains brute and dark, it is that the corresponding faculty in the observer is not yet active.

No wonder, then, if these waters be so deep, that we hover over them with a religious regard. The beauty of the fable proves the importance of the sense; to the poet, and to all others; or, if you please, every man is so far a poet as to be susceptible of these enchantments of nature: for all men have the thoughts whereof the universe is the celebration. I find that the fascination resides in the symbol. Who loves nature? Who does not? Is it only poets, and men of leisure and cultivation, who live with her? No; but also hunters, farmers, grooms, and butchers, though they express their affection in their choice of life, and not in their choice of words. The writer wonders what the coachman or the hunter values in riding, in horses, and dogs. It is not superficial qualities. When you talk with him, he holds these at as slight a rate as you. His worship is sympathetic; he has no definitions, but he is commanded in nature, by the living power which he feels to be there present. No imitation, or playing of these things, would content him; he loves the earnest of the northwind, of rain, of stone, and wood, and iron. A beauty not explicable, is dearer than a beauty which we can see to the end of. It is nature the symbol, nature certifying the supernatural, body overflowed by life, which he worships, with coarse, but sincere rites.

The inwardness, and mystery, of this attachment, drives men of every class to the use of emblems. The schools of poets, and philosophers, are not more intoxicated with their symbols, than the populace with theirs. In our political parties, compute the power of badges and emblems. See the great ball which they roll from Baltimore to Bunker hill! In the political processions, Lowell goes in a loom, and Lynn in a shoe, and Salem in a ship. Witness the cider-barrel, the log-cabin, the hickory-stick, the palmetto, and all the cognizances of party. See the power of national emblems. Some stars, lilies, leopards, a crescent, a lion, an eagle, or other figure, which came into credit God knows how, on an old rag of bunting, blowing in the wind, on a fort, at the ends of the earth, shall make the blood tingle under the rudest, or the most conventional exterior. The people fancy they hate poetry, and they are all poets and mystics!

Beyond this universality of the symbolic language, we are apprised of the divineness of this superior use of things, whereby the world is a temple, whose walls are covered with emblems, pictures, and commandments of the Deity, in this, that there is no fact in nature which does not carry the whole sense of nature; and the distinctions which we make in events, and in affairs, of low and high, honest and base, disappear when nature is used as a symbol. Thought makes every thing fit for use. The vocabulary of an omniscient man would embrace words and images excluded from polite conversation. What would be base, or even obscene, to the obscene, becomes illustrious, spoken in a new connexion of thought. The piety of the Hebrew prophets purges their grossness. The circumcision is an example of the power of poetry to raise the low and offensive. Small and mean things serve as well as great symbols. The meaner the type by which a law is expressed, the more pungent it is, and the more lasting in the memories of men: just as we choose the smallest box, or case, in which any needful utensil can be carried. Bare lists of words are found suggestive, to an imaginative and excited mind; as it is related of Lord Chatham, that he was accustomed to read in Bailey’s Dictionary, when he was preparing to speak in Parliament. The poorest experience is rich enough for all the purposes of expressing thought. Why covet a knowledge of new facts? Day and night, house and garden, a few books, a few actions, serve us as well as would all trades and all spectacles. We are far from having exhausted the significance of the few symbols we use. We can come to use them yet with a terrible simplicity. It does not need that a poem should be long. Every word was once a poem. Every new relation is a new word. Also, we use defects and deformities to a sacred purpose, so expressing our sense that the evils of the world are such only to the evil eye. In the old mythology, mythologists observe, defects are ascribed to divine natures, as lameness to Vulcan, blindness to Cupid, and the like, to signify exuberances.

For, as it is dislocation and detachment from the life of God, that makes things ugly, the poet, who re-attaches things to nature and the Whole, — re-attaching even artificial things, and violations of nature, to nature, by a deeper insight, — disposes very easily of the most disagreeable facts. Readers of poetry see the factory-village, and the railway, and fancy that the poetry of the landscape is broken up by these; for these works of art are not yet consecrated in their reading; but the poet sees them fall within the great Order not less than the beehive, or the spider’s geometrical web. Nature adopts them very fast into her vital circles, and the gliding train of cars she loves like her own. Besides, in a centred mind, it signifies nothing how many mechanical inventions you exhibit. Though you add millions, and never so surprising, the fact of mechanics has not gained a grain’s weight. The spiritual fact remains unalterable, by many or by few particulars; as no mountain is of any appreciable height to break the curve of the sphere. A shrewd country-boy goes to the city for the first time, and the complacent citizen is not satisfied with his little wonder. It is not that he does not see all the fine houses, and know that he never saw such before, but he disposes of them as easily as the poet finds place for the railway. The chief value of the new fact, is to enhance the great and constant fact of Life, which can dwarf any and every circumstance, and to which the belt of wampum, and the commerce of America, are alike.

The world being thus put under the mind for verb and noun, the poet is he who can articulate it. For, though life is great, and fascinates, and absorbs, — and though all men are intelligent of the symbols through which it is named, — yet they cannot originally use them. We are symbols, and inhabit symbols; workman, work, and tools, words and things, birth and death, all are emblems; but we sympathize with the symbols, and, being infatuated with the economical uses of things, we do not know that they are thoughts. The poet, by an ulterior intellectual perception, gives them a power which makes their old use forgotten, and puts eyes, and a tongue, into every dumb and inanimate object. He perceives the independence of the thought on the symbol, the stability of the thought, the accidency and fugacity of the symbol. As the eyes of Lyncaeus were said to see through the earth, so the poet turns the world to glass, and shows us all things in their right series and procession. For, through that better perception, he stands one step nearer to things, and sees the flowing or metamorphosis; perceives that thought is multiform; that within the form of every creature is a force impelling it to ascend into a higher form; and, following with his eyes the life, uses the forms which express that life, and so his speech flows with the flowing of nature. All the facts of the animal economy, sex, nutriment, gestation, birth, growth, are symbols of the passage of the world into the soul of man, to suffer there a change, and reappear a new and higher fact. He uses forms according to the life, and not according to the form. This is true science. The poet alone knows astronomy, chemistry, vegetation, and animation, for he does not stop at these facts, but employs them as signs. He knows why the plain, or meadow of space, was strewn with these flowers we call suns, and moons, and stars; why the great deep is adorned with animals, with men, and gods; for, in every word he speaks he rides on them as the horses of thought.

By virtue of this science the poet is the Namer, or Language-maker, naming things sometimes after their appearance, sometimes after their essence, and giving to every one its own name and not another’s, thereby rejoicing the intellect, which delights in detachment or boundary. The poets made all the words, and therefore language is the archives of history, and, if we must say it, a sort of tomb of the muses. For, though the origin of most of our words is forgotten, each word was at first a stroke of genius, and obtained currency, because for the moment it symbolized the world to the first speaker and to the hearer. The etymologist finds the deadest word to have been once a brilliant picture. Language is fossil poetry. As the limestone of the continent consists of infinite masses of the shells of animalcules, so language is made up of images, or tropes, which now, in their secondary use, have long ceased to remind us of their poetic origin. But the poet names the thing because he sees it, or comes one step nearer to it than any other. This expression, or naming, is not art, but a second nature, grown out of the first, as a leaf out of a tree. What we call nature, is a certain self-regulated motion, or change; and nature does all things by her own hands, and does not leave another to baptise her, but baptises herself; and this through the metamorphosis again. I remember that a certain poet described it to me thus:

Genius is the activity which repairs the decays of things, whether wholly or partly of a material and finite kind. Nature, through all her kingdoms, insures herself. Nobody cares for planting the poor fungus: so she shakes down from the gills of one agaric countless spores, any one of which, being preserved, transmits new billions of spores to-morrow or next day. The new agaric of this hour has a chance which the old one had not. This atom of seed is thrown into a new place, not subject to the accidents which destroyed its parent two rods off. She makes a man; and having brought him to ripe age, she will no longer run the risk of losing this wonder at a blow, but she detaches from him a new self, that the kind may be safe from accidents to which the individual is exposed. So when the soul of the poet has come to ripeness of thought, she detaches and sends away from it its poems or songs, — a fearless, sleepless, deathless progeny, which is not exposed to the accidents of the weary kingdom of time: a fearless, vivacious offspring, clad with wings (such was the virtue of the soul out of which they came), which carry them fast and far, and infix them irrecoverably into the hearts of men. These wings are the beauty of the poet’s soul. The songs, thus flying immortal from their mortal parent, are pursued by clamorous flights of censures, which swarm in far greater numbers, and threaten to devour them; but these last are not winged. At the end of a very short leap they fall plump down, and rot, having received from the souls out of which they came no beautiful wings. But the melodies of the poet ascend, and leap, and pierce into the deeps of infinite time.

So far the bard taught me, using his freer speech. But nature has a higher end, in the production of new individuals, than security, namely, ascension, or, the passage of the soul into higher forms. I knew, in my younger days, the sculptor who made the statue of the youth which stands in the public garden. He was, as I remember, unable to tell directly, what made him happy, or unhappy, but by wonderful indirections he could tell. He rose one day, according to his habit, before the dawn, and saw the morning break, grand as the eternity out of which it came, and, for many days after, he strove to express this tranquillity, and, lo! his chisel had fashioned out of marble the form of a beautiful youth, Phosphorus, whose aspect is such, that, it is said, all persons who look on it become silent. The poet also resigns himself to his mood, and that thought which agitated him is expressed, but alter idem, in a manner totally new. The expression is organic, or, the new type which things themselves take when liberated. As, in the sun, objects paint their images on the retina of the eye, so they, sharing the aspiration of the whole universe, tend to paint a far more delicate copy of their essence in his mind. Like the metamorphosis of things into higher organic forms, is their change into melodies. Over everything stands its daemon, or soul, and, as the form of the thing is reflected by the eye, so the soul of the thing is reflected by a melody. The sea, the mountain-ridge, Niagara, and every flower-bed, pre-exist, or super-exist, in pre-cantations, which sail like odors in the air, and when any man goes by with an ear sufficiently fine, he overhears them, and endeavors to write down the notes, without diluting or depraving them. And herein is the legitimation of criticism, in the mind’s faith, that the poems are a corrupt version of some text in nature, with which they ought to be made to tally. A rhyme in one of our sonnets should not be less pleasing than the iterated nodes of a sea-shell, or the resembling difference of a group of flowers. The pairing of the birds is an idyl, not tedious as our idyls are; a tempest is a rough ode, without falsehood or rant: a summer, with its harvest sown, reaped, and stored, is an epic song, subordinating how many admirably executed parts. Why should not the symmetry and truth that modulate these, glide into our spirits, and we participate the invention of nature?

This insight, which expresses itself by what is called Imagination, is a very high sort of seeing, which does not come by study, but by the intellect being where and what it sees, by sharing the path, or circuit of things through forms, and so making them translucid to others. The path of things is silent. Will they suffer a speaker to go with them? A spy they will not suffer; a lover, a poet, is the transcendency of their own nature, — him they will suffer. The condition of true naming, on the poet’s part, is his resigning himself to the divine aura which breathes through forms, and accompanying that.

It is a secret which every intellectual man quickly learns, that, beyond the energy of his possessed and conscious intellect, he is capable of a new energy (as of an intellect doubled on itself), by abandonment to the nature of things; that, beside his privacy of power as an individual man, there is a great public power, on which he can draw, by unlocking, at all risks, his human doors, and suffering the ethereal tides to roll and circulate through him: then he is caught up into the life of the Universe, his speech is thunder, his thought is law, and his words are universally intelligible as the plants and animals. The poet knows that he speaks adequately, then, only when he speaks somewhat wildly, or, “with the flower of the mind;” not with the intellect, used as an organ, but with the intellect released from all service, and suffered to take its direction from its celestial life; or, as the ancients were wont to express themselves, not with intellect alone, but with the intellect inebriated by nectar. As the traveller who has lost his way, throws his reins on his horse’s neck, and trusts to the instinct of the animal to find his road, so must we do with the divine animal who carries us through this world. For if in any manner we can stimulate this instinct, new passages are opened for us into nature, the mind flows into and through things hardest and highest, and the metamorphosis is possible.

This is the reason why bards love wine, mead, narcotics, coffee, tea, opium, the fumes of sandal-wood and tobacco, or whatever other species of animal exhilaration. All men avail themselves of such means as they can, to add this extraordinary power to their normal powers; and to this end they prize conversation, music, pictures, sculpture, dancing, theatres, travelling, war, mobs, fires, gaming, politics, or love, or science, or animal intoxication, which are several coarser or finer quasi-mechanical substitutes for the true nectar, which is the ravishment of the intellect by coming nearer to the fact. These are auxiliaries to the centrifugal tendency of a man, to his passage out into free space, and they help him to escape the custody of that body in which he is pent up, and of that jail-yard of individual relations in which he is enclosed. Hence a great number of such as were professionally expressors of Beauty, as painters, poets, musicians, and actors, have been more than others wont to lead a life of pleasure and indulgence; all but the few who received the true nectar; and, as it was a spurious mode of attaining freedom, as it was an emancipation not into the heavens, but into the freedom of baser places, they were punished for that advantage they won, by a dissipation and deterioration. But never can any advantage be taken of nature by a trick. The spirit of the world, the great calm presence of the creator, comes not forth to the sorceries of opium or of wine. The sublime vision comes to the pure and simple soul in a clean and chaste body. That is not an inspiration which we owe to narcotics, but some counterfeit excitement and fury. Milton says, that the lyric poet may drink wine and live generously, but the epic poet, he who shall sing of the gods, and their descent unto men, must drink water out of a wooden bowl. For poetry is not `Devil’s wine,’ but God’s wine. It is with this as it is with toys. We fill the hands and nurseries of our children with all manner of dolls, drums, and horses, withdrawing their eyes from the plain face and sufficing objects of nature, the sun, and moon, the animals, the water, and stones, which should be their toys. So the poet’s habit of living should be set on a key so low and plain, that the common influences should delight him. His cheerfulness should be the gift of the sunlight; the air should suffice for his inspiration, and he should be tipsy with water. That spirit which suffices quiet hearts, which seems to come forth to such from every dry knoll of sere grass, from every pine-stump, and half-imbedded stone, on which the dull March sun shines, comes forth to the poor and hungry, and such as are of simple taste. If thou fill thy brain with Boston and New York, with fashion and covetousness, and wilt stimulate thy jaded senses with wine and French coffee, thou shalt find no radiance of wisdom in the lonely waste of the pinewoods.

If the imagination intoxicates the poet, it is not inactive in other men. The metamorphosis excites in the beholder an emotion of joy. The use of symbols has a certain power of emancipation and exhilaration for all men. We seem to be touched by a wand, which makes us dance and run about happily, like children. We are like persons who come out of a cave or cellar into the open air. This is the effect on us of tropes, fables, oracles, and all poetic forms. Poets are thus liberating gods. Men have really got a new sense, and found within their world, another world, or nest of worlds; for, the metamorphosis once seen, we divine that it does not stop. I will not now consider how much this makes the charm of algebra and the mathematics, which also have their tropes, but it is felt in every definition; as, when Aristotle defines space to be an immovable vessel, in which things are contained; — or, when Plato defines a line to be a flowing point; or, figure to be a bound of solid; and many the like. What a joyful sense of freedom we have, when Vitruvius announces the old opinion of artists, that no architect can build any house well, who does not know something of anatomy. When Socrates, in Charmides, tells us that the soul is cured of its maladies by certain incantations, and that these incantations are beautiful reasons, from which temperance is generated in souls; when Plato calls the world an animal; and Timaeus affirms that the plants also are animals; or affirms a man to be a heavenly tree, growing with his root, which is his head, upward; and, as George Chapman, following him, writes, —

“So in our tree of man, whose nervie root
Springs in his top;”

when Orpheus speaks of hoariness as “that white flower which marks extreme old age;” when Proclus calls the universe the statue of the intellect; when Chaucer, in his praise of `Gentilesse,’ compares good blood in mean condition to fire, which, though carried to the darkest house betwixt this and the mount of Caucasus, will yet hold its natural office, and burn as bright as if twenty thousand men did it behold; when John saw, in the apocalypse, the ruin of the world through evil, and the stars fall from heaven, as the figtree casteth her untimely fruit; when Aesop reports the whole catalogue of common daily relations through the masquerade of birds and beasts; — we take the cheerful hint of the immortality of our essence, and its versatile habit and escapes, as when the gypsies say, “it is in vain to hang them, they cannot die.”

The poets are thus liberating gods. The ancient British bards had for the title of their order, “Those who are free throughout the world.” They are free, and they make free. An imaginative book renders us much more service at first, by stimulating us through its tropes, than afterward, when we arrive at the precise sense of the author. I think nothing is of any value in books, excepting the transcendental and extraordinary. If a man is inflamed and carried away by his thought, to that degree that he forgets the authors and the public, and heeds only this one dream, which holds him like an insanity, let me read his paper, and you may have all the arguments and histories and criticism. All the value which attaches to Pythagoras, Paracelsus, Cornelius Agrippa, Cardan, Kepler, Swedenborg, Schelling, Oken, or any other who introduces questionable facts into his cosmogony, as angels, devils, magic, astrology, palmistry, mesmerism, and so on, is the certificate we have of departure from routine, and that here is a new witness. That also is the best success in conversation, the magic of liberty, which puts the world, like a ball, in our hands. How cheap even the liberty then seems; how mean to study, when an emotion communicates to the intellect the power to sap and upheave nature: how great the perspective! nations, times, systems, enter and disappear, like threads in tapestry of large figure and many colors; dream delivers us to dream, and, while the drunkenness lasts, we will sell our bed, our philosophy, our religion, in our opulence.

There is good reason why we should prize this liberation. The fate of the poor shepherd, who, blinded and lost in the snow-storm, perishes in a drift within a few feet of his cottage door, is an emblem of the state of man. On the brink of the waters of life and truth, we are miserably dying. The inaccessibleness of every thought but that we are in, is wonderful. What if you come near to it, — you are as remote, when you are nearest, as when you are farthest. Every thought is also a prison; every heaven is also a prison. Therefore we love the poet, the inventor, who in any form, whether in an ode, or in an action, or in looks and behavior, has yielded us a new thought. He unlocks our chains, and admits us to a new scene.

This emancipation is dear to all men, and the power to impart it, as it must come from greater depth and scope of thought, is a measure of intellect. Therefore all books of the imagination endure, all which ascend to that truth, that the writer sees nature beneath him, and uses it as his exponent. Every verse or sentence, possessing this virtue, will take care of its own immortality. The religions of the world are the ejaculations of a few imaginative men.

But the quality of the imagination is to flow, and not to freeze. The poet did not stop at the color, or the form, but read their meaning; neither may he rest in this meaning, but he makes the same objects exponents of his new thought. Here is the difference betwixt the poet and the mystic, that the last nails a symbol to one sense, which was a true sense for a moment, but soon becomes old and false. For all symbols are fluxional; all language is vehicular and transitive, and is good, as ferries and horses are, for conveyance, not as farms and houses are, for homestead. Mysticism consists in the mistake of an accidental and individual symbol for an universal one. The morning-redness happens to be the favorite meteor to the eyes of Jacob Behmen, and comes to stand to him for truth and faith; and he believes should stand for the same realities to every reader. But the first reader prefers as naturally the symbol of a mother and child, or a gardener and his bulb, or a jeweller polishing a gem. Either of these, or of a myriad more, are equally good to the person to whom they are significant. Only they must be held lightly, and be very willingly translated into the equivalent terms which others use. And the mystic must be steadily told, — All that you say is just as true without the tedious use of that symbol as with it. Let us have a little algebra, instead of this trite rhetoric, — universal signs, instead of these village symbols, — and we shall both be gainers. The history of hierarchies seems to show, that all religious error consisted in making the symbol too stark and solid, and, at last, nothing but an excess of the organ of language.

Swedenborg, of all men in the recent ages, stands eminently for the translator of nature into thought. I do not know the man in history to whom things stood so uniformly for words. Before him the metamorphosis continually plays. Everything on which his eye rests, obeys the impulses of moral nature. The figs become grapes whilst he eats them. When some of his angels affirmed a truth, the laurel twig which they held blossomed in their hands. The noise which, at a distance, appeared like gnashing and thumping, on coming nearer was found to be the voice of disputants. The men, in one of his visions, seen in heavenly light, appeared like dragons, and seemed in darkness: but, to each other, they appeared as men, and, when the light from heaven shone into their cabin, they complained of the darkness, and were compelled to shut the window that they might see.

There was this perception in him, which makes the poet or seer, an object of awe and terror, namely, that the same man, or society of men, may wear one aspect to themselves and their companions, and a different aspect to higher intelligences. Certain priests, whom he describes as conversing very learnedly together, appeared to the children, who were at some distance, like dead horses: and many the like misappearances. And instantly the mind inquires, whether these fishes under the bridge, yonder oxen in the pasture, those dogs in the yard, are immutably fishes, oxen, and dogs, or only so appear to me, and perchance to themselves appear upright men; and whether I appear as a man to all eyes. The Bramins and Pythagoras propounded the same question, and if any poet has witnessed the transformation, he doubtless found it in harmony with various experiences. We have all seen changes as considerable in wheat and caterpillars. He is the poet, and shall draw us with love and terror, who sees, through the flowing vest, the firm nature, and can declare it.

I look in vain for the poet whom I describe. We do not, with sufficient plainness, or sufficient profoundness, address ourselves to life, nor dare we chaunt our own times and social circumstance. If we filled the day with bravery, we should not shrink from celebrating it. Time and nature yield us many gifts, but not yet the timely man, the new religion, the reconciler, whom all things await. Dante’s praise is, that he dared to write his autobiography in colossal cipher, or into universality. We have yet had no genius in America, with tyrannous eye, which knew the value of our incomparable materials, and saw, in the barbarism and materialism of the times, another carnival of the same gods whose picture he so much admires in Homer; then in the middle age; then in Calvinism. Banks and tariffs, the newspaper and caucus, methodism and unitarianism, are flat and dull to dull people, but rest on the same foundations of wonder as the town of Troy, and the temple of Delphos, and are as swiftly passing away. Our logrolling, our stumps and their politics, our fisheries, our Negroes, and Indians, our boasts, and our repudiations, the wrath of rogues, and the pusillanimity of honest men, the northern trade, the southern planting, the western clearing, Oregon, and Texas, are yet unsung. Yet America is a poem in our eyes; its ample geography dazzles the imagination, and it will not wait long for metres. If I have not found that excellent combination of gifts in my countrymen which I seek, neither could I aid myself to fix the idea of the poet by reading now and then in Chalmers’s collection of five centuries of English poets. These are wits, more than poets, though there have been poets among them. But when we adhere to the ideal of the poet, we have our difficulties even with Milton and Homer. Milton is too literary, and Homer too literal and historical.

But I am not wise enough for a national criticism, and must use the old largeness a little longer, to discharge my errand from the muse to the poet concerning his art.

Art is the path of the creator to his work. The paths, or methods, are ideal and eternal, though few men ever see them, not the artist himself for years, or for a lifetime, unless he come into the conditions. The painter, the sculptor, the composer, the epic rhapsodist, the orator, all partake one desire, namely, to express themselves symmetrically and abundantly, not dwarfishly and fragmentarily. They found or put themselves in certain conditions, as, the painter and sculptor before some impressive human figures; the orator, into the assembly of the people; and the others, in such scenes as each has found exciting to his intellect; and each presently feels the new desire. He hears a voice, he sees a beckoning. Then he is apprised, with wonder, what herds of daemons hem him in. He can no more rest; he says, with the old painter, “By God, it is in me, and must go forth of me.” He pursues a beauty, half seen, which flies before him. The poet pours out verses in every solitude. Most of the things he says are conventional, no doubt; but by and by he says something which is original and beautiful. That charms him. He would say nothing else but such things. In our way of talking, we say, `That is yours, this is mine;’ but the poet knows well that it is not his; that it is as strange and beautiful to him as to you; he would fain hear the like eloquence at length. Once having tasted this immortal ichor, he cannot have enough of it, and, as an admirable creative power exists in these intellections, it is of the last importance that these things get spoken. What a little of all we know is said! What drops of all the sea of our science are baled up! and by what accident it is that these are exposed, when so many secrets sleep in nature! Hence the necessity of speech and song; hence these throbs and heart-beatings in the orator, at the door of the assembly, to the end, namely, that thought may be ejaculated as Logos, or Word.

Doubt not, O poet, but persist. Say, `It is in me, and shall out.’ Stand there, baulked and dumb, stuttering and stammering, hissed and hooted, stand and strive, until, at last, rage draw out of thee that dream-power which every night shows thee is thine own; a power transcending all limit and privacy, and by virtue of which a man is the conductor of the whole river of electricity. Nothing walks, or creeps, or grows, or exists, which must not in turn arise and walk before him as exponent of his meaning. Comes he to that power, his genius is no longer exhaustible. All the creatures, by pairs and by tribes, pour into his mind as into a Noah’s ark, to come forth again to people a new world. This is like the stock of air for our respiration, or for the combustion of our fireplace, not a measure of gallons, but the entire atmosphere if wanted. And therefore the rich poets, as Homer, Chaucer, Shakspeare, and Raphael, have obviously no limits to their works, except the limits of their lifetime, and resemble a mirror carried through the street, ready to render an image of every created thing.

O poet! a new nobility is conferred in groves and pastures, and not in castles, or by the sword-blade, any longer. The conditions are hard, but equal. Thou shalt leave the world, and know the muse only. Thou shalt not know any longer the times, customs, graces, politics, or opinions of men, but shalt take all from the muse. For the time of towns is tolled from the world by funereal chimes, but in nature the universal hours are counted by succeeding tribes of animals and plants, and by growth of joy on joy. God wills also that thou abdicate a manifold and duplex life, and that thou be content that others speak for thee. Others shall be thy gentlemen, and shall represent all courtesy and worldly life for thee; others shall do the great and resounding actions also. Thou shalt lie close hid with nature, and canst not be afforded to the Capitol or the Exchange. The world is full of renunciations and apprenticeships, and this is thine: thou must pass for a fool and a churl for a long season. This is the screen and sheath in which Pan has protected his well-beloved flower, and thou shalt be known only to thine own, and they shall console thee with tenderest love. And thou shalt not be able to rehearse the names of thy friends in thy verse, for an old shame before the holy ideal. And this is the reward: that the ideal shall be real to thee, and the impressions of the actual world shall fall like summer rain, copious, but not troublesome, to thy invulnerable essence. Thou shalt have the whole land for thy park and manor, the sea for thy bath and navigation, without tax and without envy; the woods and the rivers thou shalt own; and thou shalt possess that wherein others are only tenants and boarders. Thou true land-lord! sea-lord! air-lord! Wherever snow falls, or water flows, or birds fly, wherever day and night meet in twilight, wherever the blue heaven is hung by clouds, or sown with stars, wherever are forms with transparent boundaries, wherever are outlets into celestial space, wherever is danger, and awe, and love, there is Beauty, plenteous as rain, shed for thee, and though thou shouldest walk the world over, thou shalt not be able to find a condition inopportune or ignoble.

Complete Works of RWE II - Essays I

I History

There is no great and no small
To the Soul that maketh all:
And where it cometh, all things are;
And it cometh everywhere.

I am owner of the sphere,
Of the seven stars and the solar year,
Of Caesar’s hand, and Plato’s brain,
Of Lord Christ’s heart, and Shakspeare’s strain.

ESSAY I History

There is one mind common to all individual men. Every man is an inlet to the same and to all of the same. He that is once admitted to the right of reason is made a freeman of the whole estate. What Plato has thought, he may think; what a saint has felt, he may feel; what at any time has be-fallen any man, he can understand. Who hath access to this universal mind is a party to all that is or can be done, for this is the only and sovereign agent.

Of the works of this mind history is the record. Its genius is illustrated by the entire series of days. Man is explicable by nothing less than all his history. Without hurry, without rest, the human spirit goes forth from the beginning to embody every faculty, every thought, every emotion, which belongs to it in appropriate events. But the thought is always prior to the fact; all the facts of history preexist in the mind as laws. Each law in turn is made by circumstances predominant, and the limits of nature give power to but one at a time. A man is the whole encyclopaedia of facts. The creation of a thousand forests is in one acorn, and Egypt, Greece, Rome, Gaul, Britain, America, lie folded already in the first man. Epoch after epoch, camp, kingdom, empire, republic, democracy, are merely the application of his manifold spirit to the manifold world.

This human mind wrote history, and this must read it. The Sphinx must solve her own riddle. If the whole of history is in one man, it is all to be explained from individual experience. There is a relation between the hours of our life and the centuries of time. As the air I breathe is drawn from the great repositories of nature, as the light on my book is yielded by a star a hundred millions of miles distant, as the poise of my body depends on the equilibrium of centrifugal and centripetal forces, so the hours should be instructed by the ages, and the ages explained by the hours. Of the universal mind each individual man is one more incarnation. All its properties consist in him. Each new fact in his private experience flashes a light on what great bodies of men have done, and the crises of his life refer to national crises. Every revolution was first a thought in one man’s mind, and when the same thought occurs to another man, it is the key to that era. Every reform was once a private opinion, and when it shall be a private opinion again, it will solve the problem of the age. The fact narrated must correspond to something in me to be credible or intelligible. We as we read must become Greeks, Romans, Turks, priest and king, martyr and executioner, must fasten these images to some reality in our secret experience, or we shall learn nothing rightly. What befell Asdrubal or Caesar Borgia is as much an illustration of the mind’s powers and depravations as what has befallen us. Each new law and political movement has meaning for you. Stand before each of its tablets and say, `Under this mask did my Proteus nature hide itself.’ This remedies the defect of our too great nearness to ourselves. This throws our actions into perspective: and as crabs, goats, scorpions, the balance, and the waterpot lose their meanness when hung as signs in the zodiac, so I can see my own vices without heat in the distant persons of Solomon, Alcibiades, and Catiline.

It is the universal nature which gives worth to particular men and things. Human life as containing this is mysterious and inviolable, and we hedge it round with penalties and laws. All laws derive hence their ultimate reason; all express more or less distinctly some command of this supreme, illimitable essence. Property also holds of the soul, covers great spiritual facts, and instinctively we at first hold to it with swords and laws, and wide and complex combinations. The obscure consciousness of this fact is the light of all our day, the claim of claims; the plea for education, for justice, for charity, the foundation of friendship and love, and of the heroism and grandeur which belong to acts of self-reliance. It is remarkable that involuntarily we always read as superior beings. Universal history, the poets, the romancers, do not in their stateliest pictures — in the sacerdotal, the imperial palaces, in the triumphs of will or of genius — anywhere lose our ear, anywhere make us feel that we intrude, that this is for better men; but rather is it true, that in their grandest strokes we feel most at home. All that Shakspeare says of the king, yonder slip of a boy that reads in the corner feels to be true of himself. We sympathize in the great moments of history, in the great discoveries, the great resistances, the great prosperities of men; — because there law was enacted, the sea was searched, the land was found, or the blow was struck for us, as we ourselves in that place would have done or applauded.

We have the same interest in condition and character. We honor the rich, because they have externally the freedom, power, and grace which we feel to be proper to man, proper to us. So all that is said of the wise man by Stoic, or oriental or modern essayist, describes to each reader his own idea, describes his unattained but attainable self. All literature writes the character of the wise man. Books, monuments, pictures, conversation, are portraits in which he finds the lineaments he is forming. The silent and the eloquent praise him and accost him, and he is stimulated wherever he moves as by personal allusions. A true aspirant, therefore, never needs look for allusions personal and laudatory in discourse. He hears the commendation, not of himself, but more sweet, of that character he seeks, in every word that is said concerning character, yea, further, in every fact and circumstance, — in the running river and the rustling corn. Praise is looked, homage tendered, love flows from mute nature, from the mountains and the lights of the firmament.

These hints, dropped as it were from sleep and night, let us use in broad day. The student is to read history actively and not passively; to esteem his own life the text, and books the commentary. Thus compelled, the Muse of history will utter oracles, as never to those who do not respect themselves. I have no expectation that any man will read history aright, who thinks that what was done in a remote age, by men whose names have resounded far, has any deeper sense than what he is doing to-day.

The world exists for the education of each man. There is no age or state of society or mode of action in history, to which there is not somewhat corresponding in his life. Every thing tends in a wonderful manner to abbreviate itself and yield its own virtue to him. He should see that he can live all history in his own person. He must sit solidly at home, and not suffer himself to be bullied by kings or empires, but know that he is greater than all the geography and all the government of the world; he must transfer the point of view from which history is commonly read, from Rome and Athens and London to himself, and not deny his conviction that he is the court, and if England or Egypt have any thing to say to him, he will try the case; if not, let them for ever be silent. He must attain and maintain that lofty sight where facts yield their secret sense, and poetry and annals are alike. The instinct of the mind, the purpose of nature, betrays itself in the use we make of the signal narrations of history. Time dissipates to shining ether the solid angularity of facts. No anchor, no cable, no fences, avail to keep a fact a fact. Babylon, Troy, Tyre, Palestine, and even early Rome, are passing already into fiction. The Garden of Eden, the sun standing still in Gibeon, is poetry thenceforward to all nations. Who cares what the fact was, when we have made a constellation of it to hang in heaven an immortal sign? London and Paris and New York must go the same way. “What is History,” said Napoleon, “but a fable agreed upon?” This life of ours is stuck round with Egypt, Greece, Gaul, England, War, Colonization, Church, Court, and Commerce, as with so many flowers and wild ornaments grave and gay. I will not make more account of them. I believe in Eternity. I can find Greece, Asia, Italy, Spain, and the Islands, — the genius and creative principle of each and of all eras in my own mind.

We are always coming up with the emphatic facts of history in our private experience, and verifying them here. All history becomes subjective; in other words, there is properly no history; only biography. Every mind must know the whole lesson for itself, — must go over the whole ground. What it does not see, what it does not live, it will not know. What the former age has epitomized into a formula or rule for manipular convenience, it will lose all the good of verifying for itself, by means of the wall of that rule. Somewhere, sometime, it will demand and find compensation for that loss by doing the work itself. Ferguson discovered many things in astronomy which had long been known. The better for him.

History must be this or it is nothing. Every law which the state enacts indicates a fact in human nature; that is all. We must in ourselves see the necessary reason of every fact, — see how it could and must be. So stand before every public and private work; before an oration of Burke, before a victory of Napoleon, before a martyrdom of Sir Thomas More, of Sidney, of Marmaduke Robinson, before a French Reign of Terror, and a Salem hanging of witches, before a fanatic Revival, and the Animal Magnetism in Paris, or in Providence. We assume that we under like influence should be alike affected, and should achieve the like; and we aim to master intellectually the steps, and reach the same height or the same degradation, that our fellow, our proxy, has done.

All inquiry into antiquity, — all curiosity respecting the Pyramids, the excavated cities, Stonehenge, the Ohio Circles, Mexico, Memphis, — is the desire to do away this wild, savage, and preposterous There or Then, and introduce in its place the Here and the Now. Belzoni digs and measures in the mummy-pits and pyramids of Thebes, until he can see the end of the difference between the monstrous work and himself. When he has satisfied himself, in general and in detail, that it was made by such a person as he, so armed and so motived, and to ends to which he himself should also have worked, the problem is solved; his thought lives along the whole line of temples and sphinxes and catacombs, passes through them all with satisfaction, and they live again to the mind, or are now.

A Gothic cathedral affirms that it was done by us, and not done by us. Surely it was by man, but we find it not in our man. But we apply ourselves to the history of its production. We put ourselves into the place and state of the builder. We remember the forest-dwellers, the first temples, the adherence to the first type, and the decoration of it as the wealth of the nation increased; the value which is given to wood by carving led to the carving over the whole mountain of stone of a cathedral. When we have gone through this process, and added thereto the Catholic Church, its cross, its music, its processions, its Saints’ days and image-worship, we have, as it were, been the man that made the minster; we have seen how it could and must be. We have the sufficient reason.

The difference between men is in their principle of association. Some men classify objects by color and size and other accidents of appearance; others by intrinsic likeness, or by the relation of cause and effect. The progress of the intellect is to the clearer vision of causes, which neglects surface differences. To the poet, to the philosopher, to the saint, all things are friendly and sacred, all events profitable, all days holy, all men divine. For the eye is fastened on the life, and slights the circumstance. Every chemical substance, every plant, every animal in its growth, teaches the unity of cause, the variety of appearance.

Upborne and surrounded as we are by this all-creating nature, soft and fluid as a cloud or the air, why should we be such hard pedants, and magnify a few forms? Why should we make account of time, or of magnitude, or of figure? The soul knows them not, and genius, obeying its law, knows how to play with them as a young child plays with graybeards and in churches. Genius studies the causal thought, and, far back in the womb of things, sees the rays parting from one orb, that diverge ere they fall by infinite diameters. Genius watches the monad through all his masks as he performs the metempsychosis of nature. Genius detects through the fly, through the caterpillar, through the grub, through the egg, the constant individual; through countless individuals, the fixed species; through many species, the genus; through all genera, the steadfast type; through all the kingdoms of organized life, the eternal unity. Nature is a mutable cloud, which is always and never the same. She casts the same thought into troops of forms, as a poet makes twenty fables with one moral. Through the bruteness and toughness of matter, a subtle spirit bends all things to its own will. The adamant streams into soft but precise form before it, and, whilst I look at it, its outline and texture are changed again. Nothing is so fleeting as form; yet never does it quite deny itself. In man we still trace the remains or hints of all that we esteem badges of servitude in the lower races; yet in him they enhance his nobleness and grace; as Io, in Aeschylus, transformed to a cow, offends the imagination; but how changed, when as Isis in Egypt she meets Osiris-Jove, a beautiful woman, with nothing of the metamorphosis left but the lunar horns as the splendid ornament of her brows!

The identity of history is equally intrinsic, the diversity equally obvious. There is at the surface infinite variety of things; at the centre there is simplicity of cause. How many are the acts of one man in which we recognize the same character! Observe the sources of our information in respect to the Greek genius. We have the _civil history_ of that people, as Herodotus, Thucydides, Xenophon, and Plutarch have given it; a very sufficient account of what manner of persons they were, and what they did. We have the same national mind expressed for us again in their _literature_, in epic and lyric poems, drama, and philosophy; a very complete form. Then we have it once more in their _architecture_, a beauty as of temperance itself, limited to the straight line and the square, — a builded geometry. Then we have it once again in sculpture, the “tongue on the balance of expression,” a multitude of forms in the utmost freedom of action, and never transgressing the ideal serenity; like votaries performing some religious dance before the gods, and, though in convulsive pain or mortal combat, never daring to break the figure and decorum of their dance. Thus, of the genius of one remarkable people, we have a fourfold representation: and to the senses what more unlike than an ode of Pindar, a marble centaur, the peristyle of the Parthenon, and the last actions of Phocion?

Every one must have observed faces and forms which, without any resembling feature, make a like impression on the beholder. A particular picture or copy of verses, if it do not awaken the same train of images, will yet superinduce the same sentiment as some wild mountain walk, although the resemblance is nowise obvious to the senses, but is occult and out of the reach of the understanding. Nature is an endless combination and repetition of a very few laws. She hums the old well-known air through innumerable variations.

Nature is full of a sublime family likeness throughout her works; and delights in startling us with resemblances in the most unexpected quarters. I have seen the head of an old sachem of the forest, which at once reminded the eye of a bald mountain summit, and the furrows of the brow suggested the strata of the rock. There are men whose manners have the same essential splendor as the simple and awful sculpture on the friezes of the Parthenon, and the remains of the earliest Greek art. And there are compositions of the same strain to be found in the books of all ages. What is Guido’s Rospigliosi Aurora but a morning thought, as the horses in it are only a morning cloud. If any one will but take pains to observe the variety of actions to which he is equally inclined in certain moods of mind, and those to which he is averse, he will see how deep is the chain of affinity.

A painter told me that nobody could draw a tree without in some sort becoming a tree; or draw a child by studying the outlines of its form merely, — but, by watching for a time his motions and plays, the painter enters into his nature, and can then draw him at will in every attitude. So Roos “entered into the inmost nature of a sheep.” I knew a draughtsman employed in a public survey, who found that he could not sketch the rocks until their geological structure was first explained to him. In a certain state of thought is the common origin of very diverse works. It is the spirit and not the fact that is identical. By a deeper apprehension, and not primarily by a painful acquisition of many manual skills, the artist attains the power of awakening other souls to a given activity.

It has been said, that “common souls pay with what they do; nobler souls with that which they are.” And why? Because a profound nature awakens in us by its actions and words, by its very looks and manners, the same power and beauty that a gallery of sculpture, or of pictures, addresses.

Civil and natural history, the history of art and of literature, must be explained from individual history, or must remain words. There is nothing but is related to us, nothing that does not interest us, — kingdom, college, tree, horse, or iron shoe, the roots of all things are in man. Santa Croce and the Dome of St. Peter’s are lame copies after a divine model. Strasburg Cathedral is a material counterpart of the soul of Erwin of Steinbach. The true poem is the poet’s mind; the true ship is the ship-builder. In the man, could we lay him open, we should see the reason for the last flourish and tendril of his work; as every spine and tint in the sea-shell preexist in the secreting organs of the fish. The whole of heraldry and of chivalry is in courtesy. A man of fine manners shall pronounce your name with all the ornament that titles of nobility could ever add.

The trivial experience of every day is always verifying some old prediction to us, and converting into things the words and signs which we had heard and seen without heed. A lady, with whom I was riding in the forest, said to me, that the woods always seemed to her to wait, as if the genii who inhabit them suspended their deeds until the wayfarer has passed onward: a thought which poetry has celebrated in the dance of the fairies, which breaks off on the approach of human feet. The man who has seen the rising moon break out of the clouds at midnight has been present like an archangel at the creation of light and of the world. I remember one summer day, in the fields, my companion pointed out to me a broad cloud, which might extend a quarter of a mile parallel to the horizon, quite accurately in the form of a cherub as painted over churches, — a round block in the centre, which it was easy to animate with eyes and mouth, supported on either side by wide-stretched symmetrical wings. What appears once in the atmosphere may appear often, and it was undoubtedly the archetype of that familiar ornament. I have seen in the sky a chain of summer lightning which at once showed to me that the Greeks drew from nature when they painted the thunderbolt in the hand of Jove. I have seen a snow-drift along the sides of the stone wall which obviously gave the idea of the common architectural scroll to abut a tower.

By surrounding ourselves with the original circumstances, we invent anew the orders and the ornaments of architecture, as we see how each people merely decorated its primitive abodes. The Doric temple preserves the semblance of the wooden cabin in which the Dorian dwelt. The Chinese pagoda is plainly a Tartar tent. The Indian and Egyptian temples still betray the mounds and subterranean houses of their forefathers. “The custom of making houses and tombs in the living rock,” says Heeren, in his Researches on the Ethiopians, “determined very naturally the principal character of the Nubian Egyptian architecture to the colossal form which it assumed. In these caverns, already prepared by nature, the eye was accustomed to dwell on huge shapes and masses, so that, when art came to the assistance of nature, it could not move on a small scale without degrading itself. What would statues of the usual size, or neat porches and wings, have been, associated with those gigantic halls before which only Colossi could sit as watchmen, or lean on the pillars of the interior?”

The Gothic church plainly originated in a rude adaptation of the forest trees with all their boughs to a festal or solemn arcade, as the bands about the cleft pillars still indicate the green withes that tied them. No one can walk in a road cut through pine woods, without being struck with the architectural appearance of the grove, especially in winter, when the bareness of all other trees shows the low arch of the Saxons. In the woods in a winter afternoon one will see as readily the origin of the stained glass window, with which the Gothic cathedrals are adorned, in the colors of the western sky seen through the bare and crossing branches of the forest. Nor can any lover of nature enter the old piles of Oxford and the English cathedrals, without feeling that the forest overpowered the mind of the builder, and that his chisel, his saw, and plane still reproduced its ferns, its spikes of flowers, its locust, elm, oak, pine, fir, and spruce.

The Gothic cathedral is a blossoming in stone subdued by the insatiable demand of harmony in man. The mountain of granite blooms into an eternal flower, with the lightness and delicate finish, as well as the aerial proportions and perspective, of vegetable beauty.

In like manner, all public facts are to be individualized, all private facts are to be generalized. Then at once History becomes fluid and true, and Biography deep and sublime. As the Persian imitated in the slender shafts and capitals of his architecture the stem and flower of the lotus and palm, so the Persian court in its magnificent era never gave over the nomadism of its barbarous tribes, but travelled from Ecbatana, where the spring was spent, to Susa in summer, and to Babylon for the winter.

In the early history of Asia and Africa, Nomadism and Agriculture are the two antagonist facts. The geography of Asia and of Africa necessitated a nomadic life. But the nomads were the terror of all those whom the soil, or the advantages of a market, had induced to build towns. Agriculture, therefore, was a religious injunction, because of the perils of the state from nomadism. And in these late and civil countries of England and America, these propensities still fight out the old battle in the nation and in the individual. The nomads of Africa were constrained to wander by the attacks of the gad-fly, which drives the cattle mad, and so compels the tribe to emigrate in the rainy season, and to drive off the cattle to the higher sandy regions. The nomads of Asia follow the pasturage from month to month. In America and Europe, the nomadism is of trade and curiosity; a progress, certainly, from the gad-fly of Astaboras to the Anglo and Italo-mania of Boston Bay. Sacred cities, to which a periodical religious pilgrimage was enjoined, or stringent laws and customs, tending to invigorate the national bond, were the check on the old rovers; and the cumulative values of long residence are the restraints on the itineracy of the present day. The antagonism of the two tendencies is not less active in individuals, as the love of adventure or the love of repose happens to predominate. A man of rude health and flowing spirits has the faculty of rapid domestication, lives in his wagon, and roams through all latitudes as easily as a Calmuc. At sea, or in the forest, or in the snow, he sleeps as warm, dines with as good appetite, and associates as happily, as beside his own chimneys. Or perhaps his facility is deeper seated, in the increased range of his faculties of observation, which yield him points of interest wherever fresh objects meet his eyes. The pastoral nations were needy and hungry to desperation; and this intellectual nomadism, in its excess, bankrupts the mind, through the dissipation of power on a miscellany of objects. The home-keeping wit, on the other hand, is that continence or content which finds all the elements of life in its own soil; and which has its own perils of monotony and deterioration, if not stimulated by foreign infusions.

Every thing the individual sees without him corresponds to his states of mind, and every thing is in turn intelligible to him, as his onward thinking leads him into the truth to which that fact or series belongs.

The primeval world, — the Fore-World, as the Germans say, — I can dive to it in myself as well as grope for it with researching fingers in catacombs, libraries, and the broken reliefs and torsos of ruined villas.

What is the foundation of that interest all men feel in Greek history, letters, art, and poetry, in all its periods, from the Heroic or Homeric age down to the domestic life of the Athenians and Spartans, four or five centuries later? What but this, that every man passes personally through a Grecian period. The Grecian state is the era of the bodily nature, the perfection of the senses, — of the spiritual nature unfolded in strict unity with the body. In it existed those human forms which supplied the sculptor with his models of Hercules, Ph;oebus, and Jove; not like the forms abounding in the streets of modern cities, wherein the face is a confused blur of features, but composed of incorrupt, sharply defined, and symmetrical features, whose eye-sockets are so formed that it would be impossible for such eyes to squint, and take furtive glances on this side and on that, but they must turn the whole head. The manners of that period are plain and fierce. The reverence exhibited is for personal qualities, courage, address, self-command, justice, strength, swiftness, a loud voice, a broad chest. Luxury and elegance are not known. A sparse population and want make every man his own valet, cook, butcher, and soldier, and the habit of supplying his own needs educates the body to wonderful performances. Such are the Agamemnon and Diomed of Homer, and not far different is the picture Xenophon gives of himself and his compatriots in the Retreat of the Ten Thousand. “After the army had crossed the river Teleboas in Armenia, there fell much snow, and the troops lay miserably on the ground covered with it. But Xenophon arose naked, and, taking an axe, began to split wood; whereupon others rose and did the like.” Throughout his army exists a boundless liberty of speech. They quarrel for plunder, they wrangle with the generals on each new order, and Xenophon is as sharp-tongued as any, and sharper-tongued than most, and so gives as good as he gets. Who does not see that this is a gang of great boys, with such a code of honor and such lax discipline as great boys have?

The costly charm of the ancient tragedy, and indeed of all the old literature, is, that the persons speak simply, — speak as persons who have great good sense without knowing it, before yet the reflective habit has become the predominant habit of the mind. Our admiration of the antique is not admiration of the old, but of the natural. The Greeks are not reflective, but perfect in their senses and in their health, with the finest physical organization in the world. Adults acted with the simplicity and grace of children. They made vases, tragedies, and statues, such as healthy senses should,—- that is, in good taste. Such things have continued to be made in all ages, and are now, wherever a healthy physique exists; but, as a class, from their superior organization, they have surpassed all. They combine the energy of manhood with the engaging unconsciousness of childhood. The attraction of these manners is that they belong to man, and are known to every man in virtue of his being once a child; besides that there are always individuals who retain these characteristics. A person of childlike genius and inborn energy is still a Greek, and revives our love of the Muse of Hellas. I admire the love of nature in the Philoctetes. In reading those fine apostrophes to sleep, to the stars, rocks, mountains, and waves, I feel time passing away as an ebbing sea. I feel the eternity of man, the identity of his thought. The Greek had, it seems, the same fellow-beings as I. The sun and moon, water and fire, met his heart precisely as they meet mine. Then the vaunted distinction between Greek and English, between Classic and Romantic schools, seems superficial and pedantic. When a thought of Plato becomes a thought to me, — when a truth that fired the soul of Pindar fires mine, time is no more. When I feel that we two meet in a perception, that our two souls are tinged with the same hue, and do, as it were, run into one, why should I measure degrees of latitude, why should I count Egyptian years?

The student interprets the age of chivalry by his own age of chivalry, and the days of maritime adventure and circumnavigation by quite parallel miniature experiences of his own. To the sacred history of the world, he has the same key. When the voice of a prophet out of the deeps of antiquity merely echoes to him a sentiment of his infancy, a prayer of his youth, he then pierces to the truth through all the confusion of tradition and the caricature of institutions.

Rare, extravagant spirits come by us at intervals, who disclose to us new facts in nature. I see that men of God have, from time to time, walked among men and made their commission felt in the heart and soul of the commonest hearer. Hence, evidently, the tripod, the priest, the priestess inspired by the divine afflatus.

Jesus astonishes and overpowers sensual people. They cannot unite him to history, or reconcile him with themselves. As they come to revere their intuitions and aspire to live holily, their own piety explains every fact, every word.

How easily these old worships of Moses, of Zoroaster, of Menu, of Socrates, domesticate themselves in the mind. I cannot find any antiquity in them. They are mine as much as theirs.

I have seen the first monks and anchorets without crossing seas or centuries. More than once some individual has appeared to me with such negligence of labor and such commanding contemplation, a haughty beneficiary, begging in the name of God, as made good to the nineteenth century Simeon the Stylite, the Thebais, and the first Capuchins.

The priestcraft of the East and West, of the Magian, Brahmin, Druid, and Inca, is expounded in the individual’s private life. The cramping influence of a hard formalist on a young child in repressing his spirits and courage, paralyzing the understanding, and that without producing indignation, but only fear and obedience, and even much sympathy with the tyranny, — is a familiar fact explained to the child when he becomes a man, only by seeing that the oppressor of his youth is himself a child tyrannized over by those names and words and forms, of whose influence he was merely the organ to the youth. The fact teaches him how Belus was worshipped, and how the Pyramids were built, better than the discovery by Champollion of the names of all the workmen and the cost of every tile. He finds Assyria and the Mounds of Cholula at his door, and himself has laid the courses.

Again, in that protest which each considerate person makes against the superstition of his times, he repeats step for step the part of old reformers, and in the search after truth finds like them new perils to virtue. He learns again what moral vigor is needed to supply the girdle of a superstition. A great licentiousness treads on the heels of a reformation. How many times in the history of the world has the Luther of the day had to lament the decay of piety in his own household! “Doctor,” said his wife to Martin Luther, one day, “how is it that, whilst subject to papacy, we prayed so often and with such fervor, whilst now we pray with the utmost coldness and very seldom?”

The advancing man discovers how deep a property he has in literature, — in all fable as well as in all history. He finds that the poet was no odd fellow who described strange and impossible situations, but that universal man wrote by his pen a confession true for one and true for all. His own secret biography he finds in lines wonderfully intelligible to him, dotted down before he was born. One after another he comes up in his private adventures with every fable of Aesop, of Homer, of Hafiz, of Ariosto, of Chaucer, of Scott, and verifies them with his own head and hands.

The beautiful fables of the Greeks, being proper creations of the imagination and not of the fancy, are universal verities. What a range of meanings and what perpetual pertinence has the story of Prometheus! Beside its primary value as the first chapter of the history of Europe, (the mythology thinly veiling authentic facts, the invention of the mechanic arts, and the migration of colonies,) it gives the history of religion with some closeness to the faith of later ages. Prometheus is the Jesus of the old mythology. He is the friend of man; stands between the unjust “justice” of the Eternal Father and the race of mortals, and readily suffers all things on their account. But where it departs from the Calvinistic Christianity, and exhibits him as the defier of Jove, it represents a state of mind which readily appears wherever the doctrine of Theism is taught in a crude, objective form, and which seems the self-defence of man against this untruth, namely, a discontent with the believed fact that a God exists, and a feeling that the obligation of reverence is onerous. It would steal, if it could, the fire of the Creator, and live apart from him, and independent of him. The Prometheus Vinctus is the romance of skepticism. Not less true to all time are the details of that stately apologue. Apollo kept the flocks of Admetus, said the poets. When the gods come among men, they are not known. Jesus was not; Socrates and Shakspeare were not. Antaeus was suffocated by the gripe of Hercules, but every time he touched his mother earth, his strength was renewed. Man is the broken giant, and, in all his weakness, both his body and his mind are invigorated by habits of conversation with nature. The power of music, the power of poetry to unfix, and, as it were, clap wings to solid nature, interprets the riddle of Orpheus. The philosophical perception of identity through endless mutations of form makes him know the Proteus. What else am I who laughed or wept yesterday, who slept last night like a corpse, and this morning stood and ran? And what see I on any side but the transmigrations of Proteus? I can symbolize my thought by using the name of any creature, of any fact, because every creature is man agent or patient. Tantalus is but a name for you and me. Tantalus means the impossibility of drinking the waters of thought which are always gleaming and waving within sight of the soul. The transmigration of souls is no fable. I would it were; but men and women are only half human. Every animal of the barn-yard, the field, and the forest, of the earth and of the waters that are under the earth, has contrived to get a footing and to leave the print of its features and form in some one or other of these upright, heaven-facing speakers. Ah! brother, stop the ebb of thy soul, — ebbing downward into the forms into whose habits thou hast now for many years slid. As near and proper to us is also that old fable of the Sphinx, who was said to sit in the road-side and put riddles to every passenger. If the man could not answer, she swallowed him alive. If he could solve the riddle, the Sphinx was slain. What is our life but an endless flight of winged facts or events! In splendid variety these changes come, all putting questions to the human spirit. Those men who cannot answer by a superior wisdom these facts or questions of time, serve them. Facts encumber them, tyrannize over them, and make the men of routine the men of sense, in whom a literal obedience to facts has extinguished every spark of that light by which man is truly man. But if the man is true to his better instincts or sentiments, and refuses the dominion of facts, as one that comes of a higher race, remains fast by the soul and sees the principle, then the facts fall aptly and supple into their places; they know their master, and the meanest of them glorifies him.

See in Goethe’s Helena the same desire that every word should be a thing. These figures, he would say, these Chirons, Griffins, Phorkyas, Helen, and Leda, are somewhat, and do exert a specific influence on the mind. So far then are they eternal entities, as real to-day as in the first Olympiad. Much revolving them, he writes out freely his humor, and gives them body tohis own imagination. And although that poem be as vague and fantastic as a dream, yet is it much more attractive than the more regular dramatic pieces of the same author, for the reason that it operates a wonderful relief to the mind from the routine of customary images, — awakens the reader’s invention and fancy by the wild freedom of the design, and by the unceasing succession of brisk shocks of surprise.

The universal nature, too strong for the petty nature of the bard, sits on his neck and writes through his hand; so that when he seems to vent a mere caprice and wild romance, the issue is an exact allegory. Hence Plato said that “poets utter great and wise things which they do not themselves understand.” All the fictions of the Middle Age explain themselves as a masked or frolic expression of that which in grave earnest the mind of that period toiled to achieve. Magic, and all that is ascribed to it, is a deep presentiment of the powers of science. The shoes of swiftness, the sword of sharpness, the power of subduing the elements, of using the secret virtues of minerals, of understanding the voices of birds, are the obscure efforts of the mind in a right direction. The preternatural prowess of the hero, the gift of perpetual youth, and the like, are alike the endeavour of the human spirit “to bend the shows of things to the desires of the mind.”

In Perceforest and Amadis de Gaul, a garland and a rose bloom on the head of her who is faithful, and fade on the brow of the inconstant. In the story of the Boy and the Mantle, even a mature reader may be surprised with a glow of virtuous pleasure at the triumph of the gentle Genelas; and, indeed, all the postulates of elfin annals, — that the fairies do not like to be named; that their gifts are capricious and not to be trusted; that who seeks a treasure must not speak; and the like, — I find true in Concord, however they might be in Cornwall or Bretagne.

Is it otherwise in the newest romance? I read the Bride of Lammermoor. Sir William Ashton is a mask for a vulgar temptation, Ravenswood Castle a fine name for proud poverty, and the foreign mission of state only a Bunyan disguise for honest industry. We may all shoot a wild bull that would toss the good and beautiful, by fighting down the unjust and sensual. Lucy Ashton is another name for fidelity, which is always beautiful and always liable to calamity in this world. ———–

But along with the civil and metaphysical history of man, another history goes daily forward, — that of the external world, –in which he is not less strictly implicated. He is the compend of time; he is also the correlative of nature. His power consists in the multitude of his affinities, in the fact that his life is intertwined with the whole chain of organic and inorganic being. In old Rome the public roads beginning at the Forum proceeded north, south, east, west, to the centre of every province of the empire, making each market-town of Persia, Spain, and Britain pervious to the soldiers of the capital: so out of the human heart go, as it were, highways to the heart of every object in nature, to reduce it under the dominion of man. A man is a bundle of relations, a knot of roots, whose flower and fruitage is the world. His faculties refer to natures out of him, and predict the world he is to inhabit, as the fins of the fish foreshow that water exists, or the wings of an eagle in the egg presuppose air. He cannot live without a world. Put Napoleon in an island prison, let his faculties find no men to act on, no Alps to climb, no stake to play for, and he would beat the air and appear stupid. Transport him to large countries, dense population, complex interests, and antagonist power, and you shall see that the man Napoleon, bounded, that is, by such a profile and outline, is not the virtual Napoleon. This is but Talbot’s shadow;

“His substance is not here: For what you see is but the smallest part And least proportion of humanity; But were the whole frame here, It is of such a spacious, lofty pitch, Your roof were not sufficient to contain it.”    Henry VI.

Columbus needs a planet to shape his course upon. Newton and Laplace need myriads of ages and thick-strewn celestial areas. One may say a gravitating solar system is already prophesied in the nature of Newton’s mind. Not less does the brain of Davy or of Gay-Lussac, from childhood exploring the affinities and repulsions of particles, anticipate the laws of organization. Does not the eye of the human embryo predict the light? the ear of Handel predict the witchcraft of harmonic sound? Do not the constructive fingers of Watt, Fulton, Whittemore, Arkwright, predict the fusible, hard, and temperable texture of metals, the properties of stone, water, and wood? Do not the lovely attributes of the maiden child predict the refinements and decorations of civil society? Here also we are reminded of the action of man on man. A mind might ponder its thought for ages, and not gain so much self-knowledge as the passion of love shall teach it in a day. Who knows himself before he has been thrilled with indignation at an outrage, or has heard an eloquent tongue, or has shared the throb of thousands in a national exultation or alarm? No man can antedate his experience, or guess what faculty or feeling a new object shall unlock, any more than he can draw to-day the face of a person whom he shall see to-morrow for the first time.

I will not now go behind the general statement to explore the reason of this correspondency. Let it suffice that in the light of these two facts, namely, that the mind is One, and that nature is its correlative, history is to be read and written.

Thus in all ways does the soul concentrate and reproduce its treasures for each pupil. He, too, shall pass through the whole cycle of experience. He shall collect into a focus the rays of nature. History no longer shall be a dull book. It shall walk incarnate in every just and wise man. You shall not tell me by languages and titles a catalogue of the volumes you have read. You shall make me feel what periods you have lived. A man shall be the Temple of Fame. He shall walk, as the poets have described that goddess, in a robe painted all over with wonderful events and experiences; — his own form and features by their exalted intelligence shall be that variegated vest. I shall find in him the Foreworld; in his childhood the Age of Gold; the Apples of Knowledge; the Argonautic Expedition; the calling of Abraham; the building of the Temple; the Advent of Christ; Dark Ages; the Revival of Letters; the Reformation; the discovery of new lands; the opening of new sciences, and new regions in man. He shall be the priest of Pan, and bring with him into humble cottages the blessing of the morning stars and all the recorded benefits of heaven and earth.

Is there somewhat overweening in this claim? Then I reject all I have written, for what is the use of pretending to know what we know not? But it is the fault of our rhetoric that we cannot strongly state one fact without seeming to belie some other. I hold our actual knowledge very cheap. Hear the rats in the wall, see the lizard on the fence, the fungus under foot, the lichen on the log. What do I know sympathetically, morally, of either of these worlds of life? As old as the Caucasian man, — perhaps older, — these creatures have kept their counsel beside him, and there is no record of any word or sign that has passed from one to the other. What connection do the books show between the fifty or sixty chemical elements, and the historical eras? Nay, what does history yet record of the metaphysical annals of man? What light does it shed on those mysteries which we hide under the names Death and Immortality? Yet every history should be written in a wisdom which divined the range of our affinities and looked at facts as symbols. I am ashamed to see what a shallow village tale our so-called History is. How many times we must say Rome, and Paris, and Constantinople! What does Rome know of rat and lizard? What are Olympiads and Consulates to these neighbouring systems of being? Nay, what food or experience or succour have they for the Esquimaux seal-hunter, for the Kanaka in his canoe, for the fisherman, the stevedore, the porter?

Broader and deeper we must write our annals, — from an ethical reformation, from an influx of the ever new, ever sanative conscience, — if we would trulier express our central and wide-related nature, instead of this old chronology of selfishness and pride to which we have too long lent our eyes. Already that day exists for us, shines in on us at unawares, but the path of science and of letters is not the way into nature. The idiot, the Indian, the child, and unschooled farmer’s boy, stand nearer to the light by which nature is to be read, than the dissector or the antiquary.

Complete Works of RWE I - Nature, Addresses & Lectures

Nature: Introduction

A subtle chain of countless rings
The next unto the farthest brings;
The eye reads omens where it goes,
And speaks all languages the rose;
And, striving to be man, the worm
Mounts through all the spires of form.

Our age is retrospective. It builds the sepulchres of the fathers. It writes biographies, histories, and criticism. The foregoing generations beheld God and nature face to face; we, through their eyes. Why should not we also enjoy an original relation to the universe? Why should not we have a poetry and philosophy of insight and not of tradition, and a religion by revelation to us, and not the history of theirs? Embosomed for a season in nature, whose floods of life stream around and through us, and invite us by the powers they supply, to action proportioned to nature, why should we grope among the dry bones of the past, or put the living generation into masquerade out of its faded wardrobe? The sun shines to-day also. There is more wool and flax in the fields. There are new lands, new men, new thoughts. Let us demand our own works and laws and worship.

Undoubtedly we have no questions to ask which are unanswerable. We must trust the perfection of the creation so far, as to believe that whatever curiosity the order of things has awakened in our minds, the order of things can satisfy. Every man’s condition is a solution in hieroglyphic to those inquiries he would put. He acts it as life, before he apprehends it as truth. In like manner, nature is already, in its forms and tendencies, describing its own design. Let us interrogate the great apparition, that shines so peacefully around us. Let us inquire, to what end is nature?

All science has one aim, namely, to find a theory of nature. We have theories of races and of functions, but scarcely yet a remote approach to an idea of creation. We are now so far from the road to truth, that religious teachers dispute and hate each other, and speculative men are esteemed unsound and frivolous. But to a sound judgment, the most abstract truth is the most practical. Whenever a true theory appears, it will be its own evidence. Its test is, that it will explain all phenomena. Now many are thought not only unexplained but inexplicable; as language, sleep, madness, dreams, beasts, sex.

Philosophically considered, the universe is composed of Nature and the Soul. Strictly speaking, therefore, all that is separate from us, all which Philosophy distinguishes as the NOT ME, that is, both nature and art, all other men and my own body, must be ranked under this name, NATURE. In enumerating the values of nature and casting up their sum, I shall use the word in both senses; — in its common and in its philosophical import. In inquiries so general as our present one, the inaccuracy is not material; no confusion of thought will occur. Nature, in the common sense, refers to essences unchanged by man; space, the air, the river, the leaf. Art is applied to the mixture of his will with the same things, as in a house, a canal, a statue, a picture. But his operations taken together are so insignificant, a little chipping, baking, patching, and washing, that in an impression so grand as that of the world on the human mind, they do not vary the result.

Complete Works of RWE VIII - Letters and Social Aims

Poetry and Imagination

THE perception of matter is made the common-sense, and for cause. This was the cradle, this the go-cart, of the human child. We must learn the homely laws of fire and water ; we must feed, wash, plant, build. These are ends of necessity, and first in the order of nature. Poverty, frost, famine, disease, debt, are the beadles and guardsmen that hold us to common-sense. The intellect, yielded up to itself, cannot supersede this tyrannic necessity. The restraining grace of common-sense is the mark of all the valid minds, – of A sop, Aristotle, Alfred, Luther, Shakspeare, Cervantes, Franklin, Napoleon. The common-sense which does not meddle with the absolute, but takes things at their word, – things as they appear, – believes in the existence of mat-ter, not because we can touch it, or conceive of it, but because it agrees with ourselves, and the universe does not jest with us, but is in earnest, – is the house of health and life. In spite of all the joys of poets and the joys of saints, the most imaginative and abstracted person never makes, with impunity, the least mistake in this particular, – never tries to kindle his oven with water, nor carries a torch into a powder-mill, nor seizes his wild charger by the tail. We should not pardon the blunder in another, nor endure it in ourselves.

But whilst we deal with this as finality, early hints are given that we are not to stay here ; that we must be making ready to go; – a warning that this magnificent hotel and conveniency we call Nature is not final. First innuendoes, then broad hints, then smart taps, are given, suggesting that nothing stands still in nature but death ; that the creation is on wheels, in transit, always passing into something else, streaming into something higher; that matter is not what it appears ;- that chemistry can blow it all into gas. Faraday, the most exact of natural philosophers, taught that when we should arrive at the monads, or primordial elements (the supposed little cubes or prisms of which all matter was built up), we should not find cubes, or prisms, or atoms, at all, but spherules of force. It was whispered that the globes of the universe were precipitates of something more subtle ; nay, somewhat was murmured in our ear that dwindled astronomy into a toy ; – that too was no finality ; – only provisional, – a makeshift ; – that under chemistry was power and purpose : power and purpose ride on matter to the last atom. It was steeped in thought, – did everywhere express thought ; that, as great conquerors have burned their ships when once they were landed on the wished-for shore, so the noble house of Nature we inhabit has temporary uses, and we can afford to leave it one day. The ends of all are moral, and therefore the beginnings are such. Thin or solid, everything is in flight. I believe this conviction makes the charm of chemistry, – that we have the same avoirdupois matter in an alembic, without a vestige of the old form ; and in animal transformation not less, as in grub and fly, in egg and bird, in embryo and man ; everything undressing and stealing away from its old into new form, and nothing fast but those in-visible cords which we call laws, on which all is strung. Then we see that things wear different names and faces, but belong to one family ; that the secret cords, or laws, show their well-known virtue through every variety, – be it animal, or plant, or planet, – and the interest is gradually transferred from the forms to the lurking method.

This hint, however conveyed, upsets our politics, trade, customs, marriages, nay, the common-sense side of religion and literature, which are all founded on low nature, – on the clearest and most economical mode of administering the material world, considered as final. The admission, never so covertly, that this is a makeshift, sets the dullest brain in ferment ;- our little sir, from his first tottering steps, – as soon as he can crow, – does not like to be practised upon, suspects that some one is ” doing ” him, – and, at this alarm, everything is compromised ; – gunpowder is laid under every man’s breakfast-table.

But whilst the man is startled by this closer inspection of the laws of matter, his attention is called to the independent action of the mind, – its strange suggestions and laws, – a certain tyranny which springs up in his own thoughts, which have an order, method, and beliefs of their own, very different from the order which this common-sense uses.

Suppose there were in the ocean certain strong currents which drove a ship, caught in them, with a force that no skill of sailing with the best wind, and no strength of oars, or sails, or steam, could make any head against, any more than against the current of Niagara: such currents – so tyrannical – exist in thoughts, those finest and subtilest of all waters, -that, as soon as once thought begins, it refuses to remember whose brain it be-longs to,-what country,. tradition, or religion,-and goes whirling off-swim we merrily-in a direction self-chosen, by law of thought, and not by law of kitchen clock or county committee. It has its own polarity. One of these vortices or self-directions of thought is the impulse to search re-semblance, affrnity, identity, in all its objects, and hence our science, from its rudest to its most refined theories.

The electric word pronounced by John Hunter a hundred years ago, -arrested and progressive development, – indicating the way upward from the invisible protoplasm to the highest organisms, – gave the poetic key to Natural Science, -of which the theories of Geoffroy St. Hilaire, of Oken, of Goethe, of Agassiz, and Owen, and Darwin, in zoology and botany, are the fruits, – a hint whose power is not yet exhausted, showing unity and perfect order in physics.

The hardest chemist, the severest analyzer, scornful of all but dryest fact, is forced to keep the poetic curve of nature, and his result is like a myth of Theocritus. All multiplicity rushes to be resolved into unity. Anatomy, osteology, exhibit arrested or progressive ascent in each kind; the lower pointing to the higher forms, the higher to the highest, from the fluid in an elastic sack, from radiate, mollusk, articulate, vertebrate, – up to man ; as if the whole animal world were only a Hunterian museum to exhibit the genesis of man-kind.

Identity of law, perfect order in physics, perfect parallelism between the laws of Nature and the laws of thought exist. In botany we have the like, the poetic perception of metamorphosis, – that the same vegetable point or eye which is the unit of the plant can be transformed at pleasure into every part, as bract, leaf, petal, stamen, pistil, or seed.

In geology, what a useful hint was given to the early inquirers on seeing in the possession of Professor Playfair a bough of a fossil tree which was perfect wood at one end, and perfect mineral coal at the other. Natural objects, if individually de-scribed, and out of connection, are not yet known, since they are really parts of a symmetrical universe, like words, of a sentence ; and if their true order is found, the poet can read their divine significance orderly as in a Bible. Each animal or vegetable form remembers the next inferior, and predicts the next higher.

There is one animal, one plant, one matter, and one force. The laws of light and of heat trans-late each other ; – so do the laws of sound and of color ; and so galvanism, electricity, and magnetism are varied forms of the selfsame energy. While the student ponders this immense unity, he observes that all things in nature, the animals, the mountain, the river, the seasons, wood, iron, stone, vapor, – have a mysterious relation to his thoughts and his life ; their growths, decays, quality, and use so curiously resemble himself, in parts and in wholes, that he is compelled to speak by means of them. His words and his thoughts are framed by their help. Every noun is an image. Nature gives him, sometimes in a flattered likeness, sometimes in caricature, a copy of every humor and shade in his character and mind. The world is an immense picture-book of every passage in human life. Every object he beholds is the mask of a man.

” The privates of man’s heart
They speken and sound in his car
As tho’ they loud winds were; “
for the universe is full of their echoes.

Every correspondence we observe in mind and matter suggests a substance older and deeper than either of these old nobilities. We see the law gleaming through, like the sense of a half-translated ode of Hafiz. The poet who plays with it with most boldness best justifies himself, – is most pro-found and most devout. Passion adds eyes, – is a magnifying-glass. Sonnets of lovers are mad enough, but are valuable to the philosopher, as are prayers of saints, for their potent symbolism.

Science was false by being unpoetical. It assumed to explain a reptile or mollusk, and isolated it, – which is hunting for life in graveyards. Rep-tile or mollusk or man or angel only exists in sys- tem, in relation. The metaphysician, the poet, only sees each animal form as an inevitable step in the path of the creating mind. The Indian, the hunter, the boy with his pets, have sweeter knowledge of these than the savant. We use semblances of logic until experience puts us in possession of real logic. The poet knows the missing link by the joy it gives. The poet gives us the eminent experiences only, – a god stepping from, peak to peak, nor planting his foot but on a mountain.

Science does not know its debt to imagination. Goethe did not believe that a great naturalist could exist without this faculty. He was himself conscious of its help, which made him a prophet among the doctors. From this vision he gave brave hints to. the zoologist, the botanist, and the optician.

Poetry. – The primary use of a fact is low: the secondary use, as it is a figure or illustration of my thought, is the real worth. First, the fact ; second, its impression, or what I think of it. Hence Nature was called ” a kind of adulterated reason.” Seas, forests, metals, diamonds, and fossils interest the eye, but ‘t is only with some preparatory or predicting charm. Their value to the intellect appears only when I hear their meaning made plain in the spiritual truth they cover. The mind, penetrated with its sentiment or its thought, projects it out-ward on whatever it beholds. The lover sees re-minders of his mistress in every beautiful object ; the saint, an argument for devotion in every natural process ; and the facility with which Nature lends itself to the thoughts of man, the aptness with which a river, a flower, a bird, fire, day, or night, can express his fortunes, is as if the world were only a disguised man, and, with a change of form, rendered to him all his experience. We cannot utter a sentence in sprightly conversation without a similitude. Note our incessant use of the word like,- like fire, like a rock, like thunder, like a bee, ” like a year without a spring.” Conversation is not permitted without tropes ; nothing but great weight in things can afford a quite literal speech. It is ever enlivened by inversion and trope. God himself does not speak prose, but communicates with us by hints, omens, inference, and dark resemblances in objects lying all around us.

Nothing so marks a man as imaginative expressions. A figurative statement arrests attention, and is remembered and repeated. How often has a phrase of this kind made a reputation. Pythagoras’s Golden Sayings were such, and Socrates’s, and Mirabeau’s, and Burke’s, and Bonaparte’s. Genius thus makes the transfer from one part of Nature to a remote part, and betrays the rhymes and echoes that pole makes with pole. Imaginative minds cling to their images, and do not wish them rashly rendered into prose reality, as children re-sent your showing them that their doll Cinderella is nothing but pine wood and rags : and my young scholar does not wish to know what the leopard, the wolf, or Lucia, signify in Dante’s Inferno, but prefers to keep their veils on. Mark the delight of an audience in an image. When some familiar truth or fact appears in a new dress, mounted as on a fine horse, equipped with a grand pair of ballooning wings, we cannot enough testify our surprise and pleasure. It is like the new virtue shown in some unprized old property, as when a boy finds that his pocket-knife will attract steel filings and take up a needle ; or when the old horse-block in the yard is found to be a Torso Hercules of the Phidian age. Vivacity of expression may indicate this high gift, even when the thought is of no great scope, as when Michel Angelo, praising the terra cottas, said, ” If this earth were to become marble, woe to the antiques!” A happy symbol is a sort of evidence that your thought is just. I had rather have a good symbol of my thought, or a good analogy, than the suffrage of Kant or Plato. If you agree with me, or if Locke or Montesquieu agree, I may yet be wrong ; but if the elm-tree thinks the same thing, if running water, if burning coal, if crystals, if alkalies, in their several fashions, say what I say, it must be true. Thus, a good symbol is the best argument, and is a missionary to persuade thousands. The Vedas, the Edda, the Koran, are each remembered by their happiest figure. There is no more welcome gift to men than a new symbol. That satiates, transports, converts them. They assimilate themselves to it, – deal with it in all ways, and it will last a hundred years. Then comes a new genius, and brings an-other. Thus the Greek mythology called the sea “the tear of Saturn.” The return of the soul to God was described as ” a flask of water broken in the sea.” Saint John gave us the Christian figure of ” souls washed in the blood of Christ.” The aged Michel Angelo indicates his perpetual study as in boyhood, -“I carry my satchel still.” Machiavel described the papacy as “a stone inserted in the body of Italy to keep the wound open.” To the Parliament debating how to tax America, Burke exclaimed, ” Shear the wolf.” Our Kentuckian orator said of his dissent from his companion, ” I showed him the back of my hand.” And our proverb of the courteous soldier reads : ” An iron hand in a velvet glove.”

This belief that the higher use of the material world is to furnish us types or pictures to express the thoughts of the mind is carried to its logical extreme by the Hindoos, who, following Buddha, have made it the central doctrine of their religion, that what we call Nature, the external world, has no real existence,-is only phenomenal. Youth, age, property, condition, events, persons, – self, even, – are successive maias (deceptions) through which Vishnu mocks and instructs the soul. I think Hindoo books the best gymnastics for the mind, as showing treatment. All European libraries might almost be read without the swing of this gigantic arm being suspected. But these Orientals deal with worlds and pebbles freely.

For the value of a trope is that the hearer is one ; and indeed Nature itself is a vast trope, and all particular natures are tropes. As the bird alights on the bough, – then plunges into the air again, so the thoughts of God pause but for a moment in any form. All thinking is analogizing, and ‘t is the use of life to learn metonomy. The endless passing of one element into new forms, the incessant metamorphosis, explains the rank which the imagination holds in our catalogue of mental powers. The imagination is the reader of these forms. The poet accounts all productions and changes of Nature as the nouns of language, uses them representatively, too well pleased with their ulterior to value much their primary meaning. Every new object so seen gives a shock of agreeable surprise. The impressions on the imagination make the great days of life : the book, the landscape, or the personality which did not stay on the surface of the eye or ear, but penetrated to the inward sense, agitates us, and is not forgotten. `Walking, working, or talking, the sole question is how many strokes vibrate on this mystic string, – how many diameters are drawn quite through from matter to spirit ; for, whenever you enunciate a natural law, you discover that you have enunciated a law of the mind. Chemistry, geology, hydraulics, are secondary science. The atomic theory is only an interior process produced, as geometers say, or the effect of a foregone metaphysical theory. Swedenborg saw gravity to be only an external of the irresistible attractions of affection and faith. Mountains and oceans we think we understand : – yes, so long as they are contented to be such, and are safe with the geologist, – but when they are melted in Promethean alembics, and come out men, and then, melted again, come out words, without any abatement, but with an exaltation of power ! –

In poetry we say we require the miracle. The bee flies among the flowers, and gets mint and marjoram, and generates a new product, which is not mint and marjoram, but honey ; the chemist mixes hydrogen and oxygen to yield a new product, which is not these, but water ; and the poet listens to conversation, and beholds all objects in nature, to give back, not them, but a new and transcendent whole.

Poetry is the perpetual endeavor to express the spirit of the thing, to pass the brute body, and search the life and reason which causes it to exist ; – to see that the object is always flowing away, whilst the spirit or necessity which causes it subsists. Its essential mark is that it betrays in every word instant activity of mind, shown in new uses of every fact and image, – in preternatural quickness or perception of relations. All its words are poems. It is a presence of mind that gives a miraculous command of all means of uttering the thought and feeling of the moment. The poet squanders on the hour an amount of life that would more than furnish the seventy years of the man that stands next him.

The term “genius,” when used with emphasis, implies imagination ; use of symbols, figurative speech. A deep insight will always, like Nature, ultimate its thought in a thing. As soon as a man masters a principle, and sees his facts in relation to it, fields, waters, skies, offer to clothe his thoughts in images. Then all men understand him : Parthian, Mede, Chinese, Spaniard, and Indian hear their own tongue. For he can now find symbols of universal significance, which are readily rendered into any dialect ; as a painter, a sculptor, a musician, can in their several ways express the same sentiment of anger, or love, or religion.

The thoughts are few ; the forms many ; the large vocabulary or many-colored coat of the indigent unity. The savans are chatty and vain, – but hold them hard to principle and definition, and they become mute and near-sighted. What is motion ? what is beauty ? what is matter ? what is life ? what is force ? Push them hard, and they will not be loquacious. They will come to Plato, Proclus, and Swedenborg. The invisible and imponderable is the sole fact. ” Why changes not the violet earth into musk ? ” What is the term of the ever-flowing metamorphosis ? I do not know what are the stoppages, but I see that a devouring unity changes all into that which changes not.

The act of imagination is ever attended by pure delight. It infuses a certain volatility and intoxication into all nature. It has a flute which sets the atoms of our frame in a dance. Our indeterminate size is a delicious secret which it reveals to us. The mountains begin to dislimn, and float in the air. In the presence and conversation of a true poet, teeming with images to express his enlarging thought, his person, his form, grows larger to our fascinated eyes. And thus begins that deification which all nations have made of their heroes in every kind, – saints, poets, lawgivers, and warriors.

Imagination. – Whilst common-sense looks at things or visible nature as real and final facts, poetry, or the imagination which dictates it, is a second sight, looking through these, and using them as types or words for thoughts which they signify. Or is this belief a metaphysical whim of modern times, and quite too refined ? On the contrary, it is as old as the human mind. Our best definition of poetry is one of the oldest sentences, and claims to come down to us from the Chaldean Zoroaster, who wrote it thus : “Poets are standing transporters, whose employment consists in speaking to the Father and to matter ; in producing apparent imitations of unapparent natures, and inscribing things unapparent in the apparent fabrication of the world ” ; in other words, the world exists for thought : it is to make appear things which hide : mountains, crystals, plants, animals, are seen ; that which makes them is not seen : these, then, are ” apparent copies of unapparent natures.” Bacon expressed the same sense in his definition, ” Poetry accommodates the shows of things to the desires of the mind”; and Swedenborg, when he said, ” There is nothing existing in human thought, even though relating to the most mysterious tenet of faith, but has combined with it a natural and sensuous image.” And again : ” Names, countries, nations, and the like are not at all known to those who are in heaven ; they have no idea of such things, but of the realities signified thereby.” A symbol always stimulates the intellect ; therefore is poetry ever the best reading. The very design of imagination is to domesticate us in another, in a celestial, nature.

This power is in the image because this power is in nature. It so affects, because it so is. All that is wondrous in Swedenborg is not his invention, but his extraordinary perception ; – that he was necessitated so- to see. The world realizes the mind. Better than images is seen through them. The selection of the image is no more arbitrary than the power and significance of the image. The selection must follow fate. Poetry, if perfected, is the only verity ; is the speech of man after the real, and not after the apparent.

Or, shall we say that the imagination exists by sharing the ethereal currents ? The poet contemplates the central identity, sees it undulate and roll this way and that, with divine flowings, through remotest things ; and, following it, can detect essential resemblances in natures never before compared. He can class them so audaciously, because he is sensible of the sweep of the celestial stream, from which nothing is exempt. His own body is a fleeing apparition, – his personality as fugitive as the trope he employs. In certain hours we can almost pass our hand through our own body. I think the use or value of poetry to be the suggestion it affords of the flux or fugaciousness of the poet. The mind delights in measuring itself thus with matter, with history, and flouting both. A thought, any thought, pressed, followed, opened, dwarfs matter, custom, and all but itself. But this second sight does not necessarily impair the primary or common sense. Pindar and Dante, yes, and the gray and timeworn sentences of Zoroaster, may all be parsed, though we do not parse them. The poet has a logic, though it be subtile. He observes higher laws than he transgresses. ” Poetry must first be good sense, though it is something better.”

This union of first and second sight reads nature to the end of delight and of moral use. Men are imaginative, but not overpowered by it to the ex-tent of confounding its suggestions with external facts. We live in both spheres, and must not mix them. Genius certifies its entire possession of its thought, by translating it into a fact which perfectly represents it, and is hereby education. Charles James Fox thought ” Poetry the great refreshment of the human mind, – the only thing, after all ; that men first found out they had minds, by making and tasting poetry.”

Man runs about restless and in pain when his condition or the objects about him do not fully match his thought. He wishes to be rich, to be old, to be young, that things may obey him. In the ocean, in fire, in the .sky, in the forest, he finds facts adequate and as large as he. As his thoughts are deeper than he can fathom, so also are these. ‘T is easier to read Sanscrit, to decipher the arrowhead character, than to interpret these familiar sights. ‘T is even much to name them. Thus Thomson’s ” Seasons ” and the best parts of many old and many new poets are simply enumeratious by a person who felt the beauty of the common sights and sounds, without any at-tempt to draw a moral or affix a meaning.

The poet discovers that what men value as substances have a higher value as symbols ; that Nature is the immense shadow of man. A man’s action is only a picture-book of his creed. He does after what he believes. Your condition, your employment, is the fable of you. The world is thoroughly anthropomorphized, as if it had passed through the body and mind of man, and taken his mould and form. Indeed, good poetry is always personification, and heightens every species of force in nature by giving it a human volition. We are advertised that there is nothing to which he is not related ; that everything is convertible into every other. The staff in this hand is the radius vector of the sun. The chemistry of this is the chemistry of that. Whatever one act we do, what-ever one thing we learn, we are doing and learning all things, – marching in the direction of universal power. Every healthy mind is a true Alexander or Sesostris, building a universal monarchy.

The senses imprison us, and we help them with metres as limitary, – with a pair of scales and a foot-rule, and a clock. How long it took to find out what a day was, or what this sun, that makes days ! It cost thousands of years only to make the motion of the earth suspected. Slowly, by comparing thousands of observations, there dawned on some mind a theory of the sun, – and we found the astronomical fact. But the astronomy is in the mind : the senses affirm that the earth stands still and the sun moves. The senses collect the surface facts of matter. The intellect acts on these brute reports, and obtains from them results which are the essence or intellectual form of the experiences. It compares, distributes, generalizes, and uplifts them into its own sphere. It knows that these transfigured results are not the brute experiences, just as souls in heaven are not the red bodies they once animated. Many transfigurations have be-fallen them. The atoms of the body were once nebula, then rock, then loam, then corn, then chyme, then chyle, then blood ; and now the be-holding and co-energizing mind sees the same refining and ascent to the third, the seventh, or the tenth power of the daily accidents which the senses re-port, and which make the raw material of knowledge. It was sensation ; when memory came, it was experience ; when mind acted, it was knowledge ; when mind acted on it as knowledge, it was thought.

This metonymy, or seeing the same sense in things so diverse, gives a pure pleasure. Every one of a million times we find a charm in the meta-morphosis. It makes us dance and sing. All men are so far poets. When people tell me they do not relish poetry, and bring me Shelley, or Aikin’s Poets, or I know not what volumes of rhymed English, to show that it has no charm, I am quite of their mind. But this dislike of the books only proves their liking of poetry. For they relish Aesop, – cannot forget him, or not use him ; bring them Homer’s Iliad, and they like that ; or the Cid, and that rings well : read to them from Chaucer, and they reckon him an honest fellow. ” Lear ” and ” Macbeth” and “Richard III.” they know pretty well without guide. Give them Robin Hood’s ballads, or ” Griselda,” or ” Sir Andrew Bar-ton,” or ” Sir Patrick Spense,” or ” Chevy Chase,” or ” Tam O’Shanter,” and they like these well enough. They like to see statues ; they like to name the stars ; they like to talk and hear of Jove, Apollo, Minerva, Venus, and the Nine. See how tenacious we are of the old names. They like poetry without knowing it as such. They like to go to the theatre and be made to weep ; to Faneuil Hall, and be taught by Otis, Webster, or Kossuth, or Phillips; what great hearts they have, what tears, what new possible enlargements to their narrow horizons. They like to see sunsets on the hills or on a lake shore. Now, a cow does not gaze at the rainbow, or show or affect any interest in the landscape, or a peacock, or the song of thrushes.

Nature is the true idealist. When she serves us best, when, on rare days, she speaks to the imagination, we feel that the huge heaven and earth are but a web drawn around us, that the light, skies, and mountains are but the painted vicissitudes of the soul. Who has heard our hymn in the churches without accepting the truth, –

“As o’er our heads the seasons roll,
And soothe with change of bliss the soul” ?

Of course, when we describe man as poet, and credit him with the triumphs of the art, we speak of the potential or ideal man, – not found now in any one person. You must go through a city or a nation, and find one faculty here, one there, to build the true poet withal. Yet all men know the portrait when it is drawn, and it is part of religion to believe its possible incarnation.

He is the healthy, the wise, the fundamental, the manly man, seer of the secret; against all the appearance, he sees and reports the truth, namely, that the soul generates matter. And poetry is the only verity, – the expression of a sound mind speaking after the ideal, and not after the apparent. As a power, it is the perception of the symbolic character of things, and the treating them as representative : as a talent, it is a magnetic tenaciousness of an image, and by the treatment demonstrating that this pigment of thought is as palpable and objective to the poet as is the ground on which he stands, or the walls of houses about him. And this power appears in Dante and Shakspeare. In some individuals this insight, or second sight, has an extraordinary reach which compels our wonder, as in Behmen, Swedenborg, and William Blake, the painter.

William Blake, whose abnormal genius, Wordsworth said, interested him more than the conversation of Scott or of Byron, writes thus : ” He who does not imagine in stronger and better lineaments, and in stronger and better light than his perishing mortal eye can see, does not imagine at all. The painter of this work asserts that all his imaginations appear to him infinitely more perfect and more minutely organized, than anything seen by his mortal eye I assert for myself that I do not behold the outward creation, and that to me it would be a hindrance, and not action. 1 question not my corporeal eye any more than I would question a window concerning a sight. I look through it, and not with it.”

‘T is a problem of metaphysics to define the province of Fancy and Imagination. The words are often used, and the things confounded. Imagination respects the cause. It is the vision of an inspired soul reading arguments and affirmations in all nature of that which it is driven to say. But as soon as this soul is released a little from its passion, and at leisure plays with the resemblances and types for amusement, and not for its moral end, we call its action Fancy. Lear, mad with his affliction, thinks every man who suffers must have the like cause with his own. What, have his daughters brought him to this pass?” But when, his attention being diverted, his mind rests front this thought, he becomes fanciful with Tom, playing with the superficial resemblances of objects. Bunyan, in pain for his soul, wrote ” Pilgrim’s Progress ;” Quarles, after he was quite cool, wrote ” Emblems.”

Imagination is central; fancy, superfrcial. Fancy relates to surface, in which a great part of life lies. The lover is rightly said to fancy the hair, eyes, complexion of the maid. Fancy is a wilful, imagination a spontaneous act; fancy, a play as with dolls and puppets which we choose to call men and women ; imagination, a perception and affirming of a real relation between a thought and some material fact. Fancy amuses ; imagination expands and exalts us. Imagination uses an organic classification. Fancy joins by accidental resemblance, surprises and amuses the idle, but is silent in the presence of great passion and action. Fancy aggregates ; imagination animates. Fancy is related to color ; imagination, to form. Fancy paints ; imagination sculptures.

Veracity.-I do not wish, therefore, to find that my poet is not partaker of the feast he spreads, or that he would kindle or amuse me with that which does not kindle or amuse him. He must believe in his poetry. Homer, Milton, Hafiz, Herbert, Swedenborg, Wordsworth, are heartily enamored of their sweet thoughts. Moreover, they know that this correspondence of things to thoughts is far deeper than they can penetrate, – defying adequate expression ; that it is elemental, or in the core of things. Veracity, therefore, is that which we require in poets, – that they shall say how it was with them, and not what might be said. And the fault of our popular poetry is that it is not sincere.

“What news?” asks man of man everywhere. The only teller of news is the poet. When he sings, the world listens with the assurance that now a secret of God is to be spoken. The right poetic mood is or makes a more complete sensibility, – piercing the outward fact to the meaning of the fact ; shows a sharper insight : and the perception creates the strong expression of it, as the man who sees his way walks in it.

‘T is a rule in eloquence, that the moment the orator loses command of his audience, the audience commands him. So, in poetry, the master rushes to deliver his thought, and the words and images fly to him to express it; whilst colder moods are forced to respect the ways of saying it, and insinuate, or, as it were, muffle the fact, to suit the poverty or caprice of their expression, so that they only hint the matter, or allude to it, being unable to fuse and mould their words and images to fluid obedience. See how Shakspeare grapples at once with the main problem of the tragedy, as in “Lear” and ” Macbeth,” and the opening of ” The Merchant of Venice.” All writings must be in a degree exoteric, written to a human should or would, instead of to the fatal is : this holds even of the bravest and sincerest writers. Every writer is a skater, and must go partly where he would, and partly where the skates cariy him; or a sailor, who can only land where sails can be blown. And yet it is to be added, that high poetry exceeds the fact, or nature itself, just as skates allow the good skater far more grace than his best walking would show, or sails more than riding. The poet writes from a real experience, the amateur feigns one. Of course, one draws the bow with his fingers, and the other with the strength of his body ; one speaks with his lips, and the other with a chest voice. Talent amuses, but if your verse has not a necessary and autobiographic basis, though under whatever gay poetic veils, it shall not waste my time.

For poetry is faith. To the poet the world is virgin soil : all is practicable ; the men are ready for virtue ; it is always time to do right. He is a true re-commencer, or Adam in the garden again. He affirms the applicability of the ideal law to this moment and the present knot of affairs. Parties, lawyers, and men of the world will invariably dispute such an application as romantic and dangerous : they admit the general truth, but they and their affair always constitute a case in bar of the statute. Free-trade, they concede, is very well as a principle, but it is never quite the time for its adoption without prejudicing actual interests. Chastity, they admit, is very well, – but then think of Mirabeau’s passion and temperament ! – Eternal laws are very well, which admit no violation, – but so extreme were the times and manners of mankind, that you must admit miracles, – for the times constituted a case. Of course, we know what you say, that legends are found in all tribes, – but this legend is different. And so, throughout, the poet affirms the laws ; prose busies itself with exceptions, – with the local and individual.

I require that the poem should impress me, so that after I have shut the book, it shall recall me to itself, or that passages should. And inestimable is the criticism of memory as a corrective to fiist impressions. We are dazzled at first by new words and brilliancy of color, which occupy the fancy and deceive the judgment. But all this is easily forgotten. Later, the thought, the happy image which expressed it, and which was a true experience of the poet, recurs to mind, and sends me back in search of the book. And I wish that the poet should foresee this habit of readers, and omit all but the important passages. Shakspeare is made up of important passages, like Damascus steel made up of old nails. Homer has his own, –

“Oue omen is good, to die for one’s country “;
and again, –
“They heal their griefs, for curable are the hearts of the noble.”

Write, that I may know you. Style betrays you, as your eyes do. We detect at once by it whether the writer has a firm grasp on his fact or thought, – exists at the moment for that alone, or Whether he has one eye apologizing, deprecatory, turned on his reader. In proportion always to his possession of his thought is his defiance of his readers. There is no choice of words for him who clearly sees the truth. That provides him with the best word.

Great design belongs to a poem, and is better than any skill of execution, – but how rare ! I find it in the poems of Wordsworth,-” Laodamia,” and the ” Ode to Dion,” and the plan of ” The Recluse.” We want design, and do not forgive the bards if they have only the art of enamelling. We want an architect, and they bring us an upholsterer.

If your subject do not appear to you the flower of the world at this moment, you have not rightly chosen it. No matter what it is, grand or gay, national or private, if it has a natural prominence to you, work away until you come to the heart of it: then it will, though it were a sparrow or a spider-web, as fully represent the central law, and draw all tragic or joyful illustration, as if it were the book of Genesis or the book of Doom. The subject – we must so often say it – is indifferent. Any word, every word in language, every circumstance, becomes poetic in the hands of a higher thought.

The test or measure of poetic genius is the power to read the poetry of affairs, – to fuse the circumstance of to-day; not to use Scott’s antique superstitions, or Shakspeare’s, but to convert those of the nineteenth century, and of the existing nations, into universal symbols. ‘T is easy to re-paint the mythology of the Greeks, or of the Catholic Church, the feudal castle, the crusade, the martyrdoms of medieval Europe ; but to point out where the same creative force is now working in our own houses and public assemblies, to convert the vivid energies acting at this hour, in New York and Chicago and San Francisco, into universal symbols, requires a subtile and commanding thought. ‘T is boyish in Swedenborg to cumber himself with the dead scurf of Hebrew antiquity, as if the Divine creative energy had fainted in his own century. American life storms about us daily, and is slow to find a tongue. This contemporary in-sight is transubstantiation, the conversion of daily bread into the holiest symbols ; and every man would be a poet, if his intellectual digestion were perfect. The test of the poet is the power to take the passing day, with its news, its cares, its fears, as he shares them, and hold it up to a divine reason, till he sees it to have a purpose and beauty, and to be related to astronomy and history, and the eternal order of the world. Then the dry twig blossoms in his hand. He is calmed and elevated.

The use of ” occasional poems ” is to give leave to originality. Every one delights in the felicity frequently shown in our drawing-rooms. In a game-party or picnic poem each writer is released from the solemn rhythmic traditions which alarm and suffocate his fancy, and the result is that one of the partners offers a poem in a new style that hints at a new literature. Yet the writer holds it cheap, and could do the like all day. On the stage, the farce is commonly far better given than the tragedy, as the stock actors understand the farce, and do not understand the tragedy. The writer in the parlor has more presence of mind, more wit and fancy, more play of thought, on the incidents that occur at table, or about the house, than in the politics of Germany or Rome. Many of the fine poems of Herrick, Jonson, and their contemporaries had this casual origin.

I know there is entertainment and room for talent in the artist’s selection of ancient or remote subjects ; as when the poet goes to India, or to Rome, or Persia, for his fable. But I believe no-body knows better than he, that herein lie consults his ease, rather than his strength or his desire. He is very well convinced that the great moments of life are those in which his own house, his own body, the tritest and nearest ways and words and things, have been illuminated into prophets and teachers. What else is it to be a poet ? What are his garland and singing robes ? What but a sensibility so keen that the scent of an elder-blow, or the timber-yard and corporation-works of a nest of pis-mires is event enough for him, – all emblems and personal appeals to him. His wreath and robe is to do what he enjoys ; emancipation from other men’s questions, and glad study of his own ; escape from the gossip and routine of society, and the allowed right and practice of making’ better. He does not give his hand, but in sign of giving his heart; he is not affable with all, but silent, uncommitted, or in love, as his heart leads him. There is no subject that does not belong to him, – politics, economy, manufactures, and stock-brokerage, as much as sun-sets and souls; only, these things, placed in their true order, are poetry ; displaced, or put in kitchen order, they are unpoetic. Malthus is the right organ of the English proprietors ; but we shall never understand political economy, until Burns or Beranger or some poet shall teach it in songs, and he will not teach Malthusianism.

Poetry is the gai science. The trait and test of the poet is that he builds, adds, and affirms. The critic destroys : the poet says nothing but what helps somebody ; let others be distracted with cares, he is exempt. All their pleasures are tinged with pain. All his pains are edged with pleasure. The gladness he imparts he shares. As one of the old Minnesingers sung,?

” Oft have I heard, and now believe it true, whom man delights in, God delights in too.”

Poetry is the consolation of mortal men. They live cabined, cribbed, confined, in a narrow and trivial lot, – in wants, pains, anxieties, and superstitions, in profligate politics, in personal animosities, in mean employments, – and victims of these ; and the nobler powers untried, unknown. A poet comes, who lifts the veil ; gives them glimpses of the laws of the universe ; shows them the circumstance as illusion ; shows that nature is only a language to express the laws, which are grand and beautiful,- and lets them, by his songs, into some of the realities. Socrates ; the Indian teachers of the Maia ; the Bibles of the nations; Shakspeare, Milton, Hafiz, Ossian, the ‘Welsh Bards, – these all deal with nature and history as means and symbols, and not as ends. With such guides they begin to see that what they had called pictures are realities, and the mean life is pictures. And this is achieved by words; for it is a few oracles spoken by perceiving men that are the texts on which religions and states are founded. And this perception has at once its moral sequence. Ben Jonson said, ” The principal end of poetry is to inform men in the just reason of living.”

Creation. – But there is a third step which poetry takes, and which seems higher than the others, namely, creation, or ideas taking forms of their own, – when the poet invents the fable, and invents the language which his heroes speak. He reads in the word or action of the man its yet untold results. His inspiration is power to carry out and complete the metamorphosis, which, in the imperfect kinds, arrested for ages, – in the perfecter, proceeds rapidly in the same individual. For poetry is science, and the poet a truer logician. Men in the courts or in the street think themselves logical, and the poet whimsical. Do they think there is chance or wilfulness in what he sees and tells ? To be sure, we demand of him what he demands of himself, – veracity, first of all. But with that, he is the law-giver, as being an exact reporter of the essential law. He knows that he did not make his thought, – no, his thought made him, and made the sun and the stars. Is the solar system good art and architecture ? the same wise achievement is in the human brain also, can you only wile it from interference and marring. We cannot look at works of art but they teach us how near man is to creating. Michel Angelo is largely filled with the Creator that made and makes men. How much of the original craft remains in him, and he a mortal man In him and the like perfecter brains the instinct is resistless, knows the right way, is melodious, and at all points divine. The reason we set so high a value on any poetry, – as often on a line or a phrase as on a poem, – is, that it is a new work of Nature, as a man is. It must be as new as foam and as old as the rock. But a new verse comes once in a hundred years; therefore Pindar, Hafiz, Dante, speak so proudly of what seems to the clown a jingle.

The writer, like the priest, must be exempted from secular labor. His work needs a frolic health ; he must be at the top of his condition. In that prosperity he is sometimes caught up into a perception of means and materials, of feats and flue arts, of fairy machineries and funds of power hitherto utterly unknown to him, whereby he can tiansfer his visions to mortal canvas, or reduce them into iambic or trochaic, into lyric or heroic rhyme. These successes are not less admirable and astonishing to the poet than they are to his audience. He has seen something which all the mathematics and the best industry could never bring him unto. Now at this rare elevation above his usual sphere, he has come into new circulations, the marrow of the world is in his bones, the opulence of forms begins to pour into his intellect, and he is permitted to dip his brush into the old paint-pot with which birds, flowers, the human cheek, the living rock, the broad landscape, the ocean, and the eternal sky were painted.

These fine fruits of judgment, poesy, and sentiment, when once their hour is struck, and the world is ripe for them, know as well as coarser how to feed and replenish themselves, and maintain their stock alive, and multiply ; for roses and violets renew their race like oaks, and flights of painted moths are as old as the Alleghanies. The balance of the world is kept, and dewdrop and haze and the pencil of light are as long-lived as chaos and darkness.

Our science is always abreast of our self-knowledge. Poetry begins, or all becomes poetry, when we look from the centre outward, and are using all as if the mind made it. That only can we see which we are, and which we make. The weaver sees gingham ; the broker sees the stock-list; the politician, the waid and county votes; the poet sees the horizon, and the shores of matter lying on the sky, the interaction of the elements, – the large effect of laws which correspond to the inward laws which he knows, and so are but a kind of extension of himself. ” The attractions are proportional to the destinies.” Events or things are only the fulfilment of the prediction of the faculties. Bet-ter men saw heavens and earths ; saw noble instruments of noble souls. We see railroads, mills, and banks, and we pity the poverty of these dreaming Buddhists.. There was as much creative force then as now, but it made globes, and astronomic heavens, instead of broadcloth and wine-glasses.

The poet is enamored of thoughts and laws. These know their way, and, guided by them, he is ascending from an interest in visible things to an interest in that which they signify, and from the part of a spectator to the part of a maker. And as everything streams and advances, as every faculty and every desire is procreant, and every perception is a destiny, there is no limit to his hope. ” Any-thing, child, that the mind covets, from the milk of a cocoa to the throne of the three worlds, thou mayest obtain, by keeping the law of thy members and the law of thy mind.” It suggests that there is higher poetiy than we write or read.

Rightly, poetry is organic. We cannot know things by words and writing, but only by taking a central position in the universe, and living in its forms. We sink to rise.–

“None any work can frame,
Unless himself become the same.”

All the parts and forms of nature are the expression or production of divine faculties, and the same are in us. And the fascination of genius for us is this awful nearness to Nature’s creations.

I have heard that the Germans think the creator of Trim and Uncle Toby, though he never wrote a veise, a greater poet than Cowper, and that Gold-smith’s title to the name is not from his ” Deserted Village,” but derived from the “Vicar of Wake-field.” Better examples are Shakspeare’s Ariel, his Caliban, and his fairies in the ” Midsummer Night’s Dream.” Barthold Niebuhr said well, ” There is little merit in inventing a happy idea, or attractive situation, so long as it is only the author’s voice which we hear. As a being whom we have called into life by magic arts, as soon as it has received existence acts independently of the master’s impulse, so the poet creates his persons, and then watches and relates what they do and say. Such creation is poetry, in the literal sense of the term, and its possibility is an unfathomable enigma. The gushing fulness of speech belongs to the poet, and it flows from the lips of each of his magic beings in the thoughts and words peculiar to its nature.”1

This force of representation so plants. his figures before him that he treats them as real ; talks to them as if they were bodily there ; puts words in their mouth such as they should have spoken, and is affected by them as by persons. Vast is the difference between writing clean verses for magazines, and creating these new persons and situations, – new language with emphasis and reality. The humor of Falstaff, the terror of Macbeth, have each their swarm of fit thoughts and images, as if Shakspeare had known and reported the men, instead of inventing them at his desk. This power appears not only in the outline or portrait of his actors, but also in the bearing and behavior and style of each individual. Ben Jonson told Drummond “that Sidney did not keep a decorum in making every one speak as well as himself.”

This reminds me that we all have one key to this miracle of the poet, and the dunce has experiences that may explain Shakspeare to him,-one key, namely, dreams. In dreams we are true poets ; we create the persons of the drama ; we give them appropriate figures, faces, costume ; they are perfect in their organs, attitude, manners : more-over, they speak after their own characters, not ours ;- they speak to us, and we listen with surprise to what they say. Indeed, I doubt if the best poet has yet written any five-act play that can compare in thoroughness of invention with this unwritten play in fifty acts, composed by the dull-est snorer on the floor of the watch-house.

Melody, Rhyme, Form.- Music and rhyme are among the earliest pleasures of the child, and, in the history of literature, poetry precedes prose. Every one may see, as he rides on the highway -through an uninteresting landscape, how a little water instantly relieves the monotony : no matter what objects are near it, – a gray rock, a grass-patch, an alder-bush, or a stake, – they become beautiful by being reflected. It is rhyme to the eye, and explains the charm of rhyme to the ear. Shadows please us as still finer rhymes. Architecture gives the like pleasure by the repetition of equal parts in a colonnade, in a row of windows, or in wings ; gardens, by the symmetric contrasts of the beds and walks. In society, you have this figure in a bridal company, where a choir of white-robed maidens give the charm of living statues; in a funeral procession, where all wear black; in a regiment of soldiers in uniform.

The universality of this taste is proved by our habit of casting our facts into rhyme to remember them better, as so many proverbs may show. Who would hold the order of the almanac so fast but for the ding dong,

“Thirty days hath September,” etc. ;
or of the Zodiac, but for
“The Ram, the Bull, the heavenly Twins,” etc.

We are lovers of rhyme and return, period and musical reflection. The babe is lulled to sleep by the nurse’s song. Sailors can work better for their yo-heave-o. Soldiers can march better and fight better for the drum and trumpet. Metre begins with pulse-beat, and the length of lines in songs and poems is determined by the inhalation and ex-halation of the lungs. If you hum or whistle the rhythm of the common English metres, – of the decasyllabic quatrain, or the octosyllabic with alternate sexisyllabic, or other rhythms, you can easily believe these metres to be organic, derived from the human pulse, and to be therefore not proper to one nation, but to mankind. I think you will also find a charm heroic, plaintive, pathetic, in these cadences, and be at once set on searching for the words that can rightly fill these vacant beats. Young people like rhyme, drum-beat, tune, things in pairs and alternatives ; and, in higher degrees, we know the instant power of music upon our temperaments to change our mood, and give us its own : and human passion, seizing these constitutional tunes, aims to fill them with appropriate words, or marry music to thought, believing, as we believe of all marriage, that matches are made in heaven, and that for every thought its proper melody or rhyme exists, though the odds are immense against our finding it, and only genius can rightly say the banns.

Another form of rhyme is iterations of phrase, as the record of the death of Sisera: –

” At her feet he bowed, he fell, he lay down : at her feet he bowed, he fell : where he bowed, there he fell down dead.”

The fact is made conspicuous, nay, colossal, by this simple rhetoric.

” They shall perish, but thou shalt endure : yea, all of them shall wax old like a garment; as a vesture shalt thou change them, and they shall be changed : but thou art the same, and thy years shall have no end.”

Milton delights in these iterations: –

” Though fallen on evil days,
On evil days though fallen, and evil tongues.”

“Was I deceived, or did a sable cloud Turn forth its silver lining on the night ? I did not err, there does a sable cloud Turn forth its silver lining on the night.”

“A little onward lend thy guiding hand, To these dark steps a little farther on.”

So in our songs and ballads the refrain skilfully used, and deriving some novelty or better sense in each of many verses : –

“Busk thee, busk thee, my bonny bonny bride, Busk thee, busk thee, my winsome marrow.”

Of course rhyme soars and refines with the growth of the mind. The boy liked the drum, the people liked an overpowering jewsharp tune. Later they like to transfer that rhyme to life, and to detect a melody as prompt and perfect in their daily affairs. Omen and coincidence show the rhythmical structure of man; hence the taste for signs, sortilege, prophecy and fulfilment, anniversaries, etc. By and by, when they apprehend real rhymes, namely, the correspondence of parts in nature, – acid and alkali, body and mind, man and maid, character and history, action and reaction,- they do not longer value rattles and ding-dongs, or barbaric word-jingle. Astronomy, Botany, Chemistry, Hydraulics and the elemental forces have their own periods and returns, their own grand strains of harmony not less exact, up to the primeval apothegm ” that there is nothing on earth which is not in the heavens in a heavenly form, and nothing in the heavens which is not on the earth in an earthly form.” They furnish the poet with grander pairs and alternations, and will require an equal expansion in his metres.

There is under the seeming poverty of metres an infinite variety, as every artist knows. A right ode (however nearly it may adopt conventional metre, as the Spenserian, or the heroic blank-verse, or one of the fixed lyric metres) will by any sprightliness be at once lifted out of conventionality, and will modify the metre. Every good poem that I know I recall by its rhythm also. Rhyme is a pretty good measure of the latitude and opulence of a writer. If unskilful, he is at once detected by the poverty of his chimes. A small, well-worn, sprucely brushed vocabulary serves him. Now try Spenser, Marlow, Chapman, and see how wide they fly for weapons, and how rich and lavish their profusion. In their rhythm is no manufacture, but a vortex, or musical tornado, which falling on words and the experience of a learned mind, whirls these materials into the same grand order as planets and moons obey, and seasons, and monsoons.
There are also prose poets. Thomas Taylor, the Platonist, for instance, is really a better man of imagination, a better poet, or perhaps I should say a better feeder to a poet, than any man between Milton and Wordsworth. Thomas Moore had the magnanimity to say, ” If Burke and Bacon were not poets (measured lines not being necessary to constitute one), he did not know what poetry meant.” And every good reader will easily recall expressions or passages in works of pure science which have given him the same pleasure which he seeks in professed poets. Richard Owen, the eminent paleontologist, said :

” All hitherto observed causes of extirpation point either to continuous slowly operating geologic changes,
or to no greater sudden cause than the, so to speak, spectral appearance of mankind on a limited tract of land not before inhabited.”

St. Augustine complains to God of his friends offering him the books of the philosophers : –

” And these were the dishes in which they brought to me, being hungry, the Sun and the Moon instead of Thee.”

It would not be easy to refuse to Sir Thomas
Browne’s. ” Fragment on Mummies ” the claim of poetry:

” Of their living habitations they made little account, conceiving of them but as hospitia, or inns, while they
adorned the sepulchres of the dead, and, planting there-
on lasting bases, defied the crumbling touches of time, and the misty vaporousness of oblivion. Yet all were but Babel vanities. Time sadly overcometh all things, and is now dominant, and sitteth upon a Sphinx, and looketh unto Memphis and old Thebes, while his sister Oblivion reclineth semi-somnous on a pyramid, gloriously triumphing, making puzzles of Titanian erections, and turning old glories into dreams. History sinketh beneath her cloud. The traveller as he paceth through those deserts asketh of her, Who builded them 1 and she mumbleth something, but what it is he heareth not.”

Rhyme, being a kind of music, shares this advantage with music, that it has a privilege of speaking truth which all Philistia is unable to challenge. Music is the poor man’s Parnassus. With the first note of the flute or horn, or the first strain of a song, we quit the world of common-sense, and launch on the sea of ideas and emotions : we pour contempt on the prose you so magnify ; yet the sturdiest Philistine is silent. The like allowance is the prescriptive right of poetry. You shall not speak ideal truth in prose uncontradicted : you may in verse. The best thoughts run into the best words ; imaginative and affectionate thoughts into music and metre. We ask for food and fire, we talk of our work, our tools, and material necessities in prose, that is, without any elevation or aim at beauty ; but when we rise into the world of thought, and think of these things only for what they signify, speech refines into order and harmony. I know what you say of medieval barbarism and sleighbell-rhyme, but we have not done with music, no, nor with rhyme, nor must console ourselves with prose poets so long as boys whistle and girls sing.

Let Poetry then pass, if it will, into music and rhyme. That is the form which itself puts on. We do not enclose watches in wooden, but in crystal cases, and rhyme is the transparent frame that allows almost the pure architecture of thought to become visible to the mental eye. Substance is much, but so are mode and form much. The poet, like a delighted boy, brings you heaps of rainbow bubbles, opaline, air-borne, spherical as the world, instead of a few drops of soap and water. Victor Hugo says well, ” An idea steeped in verse becomes suddenly more incisive and more brilliant : the iron becomes steel.” Lord Bacon, we are told, “loved not to see poesy go on other feet than poetical dactyls and spondees “; and Ben Jonson said, ” that Donne, for not keeping of accent, deserved banging.”

Poetry being an attempt to express, not the common-sense, as the avoirdupois of the hero, or his structure in feet and inches, but the beauty and soul in his aspect as it shines to fancy and feeling, – and so of all other objects in nature, – runs into fable, personifies every fact : – ” the clouds clapped their hands,” – “the hills skipped,” -“the sky spoke.” This is the substance, and this treatment always attempts a metrical grace. Outside of the nursery the beginning of literature is the prayers of a people, and they are always hymns, poetic, – the mind allowing itself range, and therewith is ever a corresponding freedom in the style which becomes lyrical. The prayers of nations are rhythmic, – have iterations, and alliterations, like the marriage-service and burial-service in our liturgies.

Poetry will never be a simple means, as when history or philosophy is rhymed, or laureate odes on state occasions are written. Itself must be its own end, or it is nothing. The difference between poetry and stock-poetry is this, that in the latter the rhythm is given, and the sense adapted to it ; while in the former the sense dictates the rhythm. I might even say that the rhyme is there in the theme, thought, and image themselves. Ask the fact for the form. For a verse is not a vehicle to carry a sentence as a jewel is carried in a case : the verse must be alive, and inseparable from its con-tents, as the soul of man inspires and directs the body ; and we measure the inspiration by the music. In reading prose, I am sensitive as soon as a sentence drags ; but in poetry, as soon as one word drags. Ever as the thought mounts, the expression mounts. ‘T is cumulative also ; the poem is made up of lines each of which filled the ear of the poet

Indeed, the masters sometimes rise above them-selves to strains which charm their readers, and which neither any competitor could outdo, nor the bard himself again equal. Try this strain of Beaumont and Fletcher : –

“Hence, all ye vain delights,
As short as are the nights
In which you spend your folly 1
There’s naught in this life sweet,
If men were wise to see’t,
But only melancholy.
Oh ! sweetest melancholy I
Welcome, folded arms and fixed eyes,
A sigh that piercing mortifies,
A look that’s fastened to the ground,
A tongue chained up, without a sound ;
Fountain-heads and pathless groves,
Places which pale Passion loves,
Midnight walks, when all the fowls
Are warmly housed, save bats and owls ;
A midnight bell, a passing groan,
These are the sounds we feed upon,
Then stretch our bones in a still, gloomy valley.
Nothing’s so dainty sweet as lovely melancholy.”

Keats disclosed by certain lines in his ” Hyperion ” this inward skull; and Coleridge showed at least his love and appetency for it. It appears in Ben Jon-son’s songs, including certainly ” The faery beam upon you,” etc., Waller’s ” Go lovely rose ” Herbert’s ” Virtue ” and ” Easter,” and Lovelace’s lines “To Althea ” and ” To Lucasta,” and Collins’s ” Ode, to Evening,” all but the last verse, which is academical. Perhaps this dainty styli of poetry is not producible to-day, any more than a right Gothic cathedral. It belonged to a time and taste which is not in the world.

As the imagination is not a talent of some men, but is the health of every man, so also is this joy of musical expression. I know the pride of mathematicians and materialists, but they cannot conceal from me their capital want. The critic, the philosopher, is a failed poet. Gray avows ” that he thinks even a bad verse as good a thing or better than the best observation that was ever made on it.” I honor the naturalist ; I honor the geometer, but he has before him higher power and happiness than he knows. Yet we will leave to the masters their own forms. Newton may be permitted to call Terence a play-book, and to wonder at the frivolous taste for rhymers; he only predicts, one would say, a grander poetry : he only shows that he is not yet reached ; that the poetry which satisfies more youthful souls is not such to a mind like his, accustomed to grander harmonies ; – this being a child’s whistle to his ear ; that the music must rise to a loftier strain, up to Handel, up to Beethoven, up to the thorough-bass of the sea-shore, up to the largeness of astronomy : at last that great heart will hear in the music beats like its own: the waves of melody will wash and float him also, and set him into concert and harmony.

Bards and Trouveurs. – The metallic force of primitive words makes the superiority of the remains of the rude ages. It costs the early bard little talent to chant more impressively than the later, more cultivated poets. His advantage is that his words are things, each the lucky sound which described the fact, and we listen to him as we do to the Indian, or the hunter, or miner, each of whom represents his facts as accurately as the cry of the wolf or the eagle tells of the forest or the air they inhabit. The original force, the direct smell of the earth or the sea, rs in these ancient poems, the Sagas of the North, the Nibelungen Lied, the songs and ballads of the English and Scotch.

I find or fancy more true poetry, the love of the vast and the ideal, in the Welsh and bardic fragments of Taliessin and his successors than in many volumes of British Classics. An intrepid magniloquence appears in all the bards, as : –

” The whole ocean flamed as one wound.”
King Regner Lodbook.

“God himself cannot procure good for the wicked.”
Welsh Triad.

A favorable specimen is Taliessin’s “Invocation of the Wind” at the door of Castle Teganwy.

“Discover thou what it is, –
The strong creature from before the flood,
Without flesh, without bone, without head, without feet,
It will neither be younger nor older than at the beginning;
It has no fear, nor the rude wants of created things. Great God ! how the sea whitens when it comes ! It is in the field, it is in the wood,
Without hand, without foot,
Without ago, without season,
It is always of the same age with the ages of ages, And of equal breadth with the surface of the earth.
It was not born, it sees not,
And is not seen ; it does not come when desired ; It has no form, it bears no burden,
For it is void of sin.
It makes no perturbation in the place where God wills it, On the sea, on the land.”

In one of his poems he asks : –

” Is there but one course to the wind 1 But one to the water of the sea Y
Is there but one spark in the fire of boundless energy ? “

He says of his hero, Cunedda, –
” He will assimilate, he will agree with the deep and the shallow.”

To another,

” When I lapse to a sinful word, May neither you, nor others hear.”

Of an enemy, –
” The caldron of the sea was bordered round by his land, but it would not boil the food of a coward.”

To an exile on an island he says,
” The heavy blue chain of the sea didst thou, 0 just man, endure.”

Another bard in like tone says,-

” I am possessed of songs such as no son of man can repeat ; one of them is called the ‘Helper’ ; it will help thee at thy need in sickness, grief, and all adversities. I know a song which I need only to sing when men have loaded me with bonds : when I sing it, my chains fall in pieces and I walk forth at liberty.”

The Norsemen have no less faith in poetry and its power, when they describe it thus : –

“Odin spoke everything in rhyme. He and his temple-gods were called song-smiths. He could make his enemies in battle blind or deaf, and their weapons so blunt that they could no more cut than a willow-twig. Odin taught these arts in runes or songs, which are called incantations.”*

The Crusades brought out the genius of France, in the twelfth century, when Pierre d’Auvergne said,

There is in every poem a height which attracts more than other parts, and is best remembered. Thus, in ” Morte d’Arthur,” I remember nothing so well as Sir Gawain’s, parley with Merlin in his wonderful prison:

” After the disappearance of Merlin from King Arthur’s court he was seriously missed, and many knights set out in search of him. Among others was Sir Gawain, who pursued his search till it was time to return to the court. He came into the forest of Broceliande, lamenting as he went along. Presently, ho heard the voice of one groaning on his right hand ; looking that way, he could see _nothing save a kind of smoke which seemed like air, and through which he could not pass ; and this impediment made him so wrathful that it deprived him of speech. Presently he heard a voice which said, ‘Gawain, Gawain, be not out of heart, for everything which must happen will come to pass.’ And when he heard the voice which thus called him by his right name, he replied, ‘ `Who can this be who bath spoken to me ?’ ‘ How,’ said the voice, ‘ Sir Gawain, know you me not 1 You were wont to know me well, but thus things are interwoven and thus the proverb says true, ” Leave the court and the court will leave you.” So is it with me. Whilst I served King Arthur, I was well known by you and by other barons, but because I have left the court, I am known no longer, and put in forgetfulness, which I ought not to be if faith reigned in the world.’ When Sir Gawain heard the voice which spoke to him thus, he thought it was Merlin, and he answered, ‘ Sir, certes I ought to know you well, for many times I have heard your words. I pray you appear before me so that I may be able to recognize you.’ ‘Ah, sir,’ said Merlin, ‘ you will never see me more, and that grieves me, but I cannot remedy it, and when you shall have departed from this place, I shall nevermore speak to you nor to any other person, save only my mistress ; for never other person will be able to discover this place for anything which may befall ; neither shall I ever go out from hence, for in the world there is no such strong tower as this wherein I am confined ; and it is neither of wood, nor of iron, nor of stone, but of air, without anything else ; and made by enchantment so strong, that it can never be demolished while the world lasts, neither can I go out, nor can any one come in, save she who hath enclosed me here, and who keeps me company when it pleaseth her : she cometh when she listeth, for her will is here.’ ‘ How, Merlin, my good friend,’ said Sir Gawain, ‘ are you restrained so strongly that you cannot deliver yourself nor make yourself visible unto me; how can this happen, seeing that you are the wisest man in the world I’ ‘ Rather,’ said Merlin, ‘ the greatest fool ; for I well knew that all this would befall me, and I have been fool enough to love another more than my-self, for I taught my mistress that whereby she hath imprisoned me in such manner that none can set me free.’ ‘ Certes, Merlin,’ replied Sir Gawain, ‘of that I am right sorrowful, and so will King Arthur, my uncle, be, when he shall know it, as one who is making search after you throughout all countries.’ ‘Well,’ said Merlin, ‘ it must be borne, for never will he see me, nor I him ; neither will any one speak with me again after you, it would be vain to attempt it ; for you yourself, when you have turned away, will never be able to find the place : but salute for me the king and the queen, and all the barons, and tell them of my condition. You will find the king at Carduel in Wales ; and when you arrive there you will find there all the companions who departed with you, and who at this day will return. Now then go in the name of God, who will protect and save the King Arthur, and the realm of Logres, and you also, as the best knights who are in the world.’ With that Sir Gawain departed joyful and sorrowful ; joyful because of what Merlin had assured him should happen to him, and sorrowful that Merlin had thus been lost.”

Morals. – We are sometimes apprised that there is a mental power and creation more excellent than anything which is commonly called philosophy and literature ; that the high poets, – that Homer, Mil-ton, Shakspeare, do not fully content us. How rarely they offer us the heavenly bread ! The most they have done is to intoxicate us once and again with its taste. They have touched this heaven and retain afterwards some sparkle of it : they betray their belief that such discourse is possible. There is something – our brothers on this or that side of the sea do not know it or own it ; the eminent scholars of England, historians and reviewers, romancers and poets included, might deny and blaspheme it – which is setting us and them aside and the whole world also, and planting itself. To true poetry we shall sit down as the result and justification of the age in which it appears, and think lightly of histories and statutes. None of your parlor or piano verse, – none of your carpet poets, who are content to amuse, will satisfy us. Power, new power, is the good which the soul seeks. The poetic gift we want, as the health and supremacy of man, – not rhymes and sonnetecring, not book-making and bookselling ; surely not cold spying and authorship.

Is not poetry the little chamber in the brain where is generated the explosive force which, by gentle shocks, sets in action the intellectual world ? Bring us the bards who shall sing all our old ideas out of our heads, and new ones in; men-making poets ; poetry which, like the verses inscribed on Balder’s columns in Breidablik, is capable of restoring the dead to life ;- poetry like that verse of Saadi, which the angels testified ” met the approbation of Allah in Heaven “; – poetry which finds its rhymes and cadences in the rhymes and iterations of nature, and is the gift to men of new images and symbols, each the ensign and oracle of an age ; that shall assimilate men to it, mould itself into religions and mythologies, and impart its quality to centuries ; – poetry which tastes the world and reports of it, upbuilding the world again in the thought;

” Not with tickling rhymes,
But high and noble matter, such as flies
From brains entranced, and filled with ecstasies.”

Poetry must be affirmative. It is the piety of the intellect. ” Thus saith the Lord,” should begin the song. The poet who shall use nature as his hieroglyphic must have an adequate message to convey thereby. Therefore, when we speak of the Poet in any high sense, we are driven to such examples as Zoroaster and Plato, St. John and Menu, with their moral burdens. The Muse shall be the counterpart of Nature, and equally rich. I find her not often in books. We know Nature, and figure her exuberant, tranquil, magnificent in her fertility, coherent; so that every creation is omen of every other. She is not proud of the sea, of the stars, of space or time, or man or woman. All her kinds share the attributes of the selectest extremes. But in current literature I do not find her. Literature warps away from life, though at first it seems to bind it. In the world of letters how few commanding oracles ! Homer did what he could, – Pindar, Aeschylus, and the Greek Gnomic poets and the tragedians. Dante was faithful when not carried away by his fierce hatreds. But in so many alcoves of English poetry I can count only nine or ten authors who are still inspirers and lawgivers to their race.

The supreme value of poetry is to educate us to a height beyond itself, or which it rarely reaches ; – the subduing mankind to order and virtue. He is the true Orpheus who writes his ode, not with syllables, but men. ” In poetry,” said Goethe, ” only the really great and pure advances us, and this exists as a second nature, either elevating us to itself, or rejecting us.” The poet must let Humanity sit with the Muse in his head, as the charioteer sits with the hero in the Iliad. ” Show me,” said Sarona in the novel, “one wicked man who has written poetry, and I will show you where his poetry is not poetry ; or rather, I will show you in his poetry no poetry at all.” *

I have heard that there is a hope which precedes and must precede all science of the visible or the invisible world ; and that science is the realization of that hope in either region. I count the genius of Swedenborg and Wordsworth as the agents of a reform in philosophy, the bringing poetry back to nature, – to the marrying of nature and mind, undoing the old divorce in which poetry had been famished and false, and nature had been suspected and pagan. The philosophy which a nation receives, rules its religion, poetry, politics, arts, trades, and whole history. A good poem – say Shakspeare’s ” Macbeth,” ‘or ” Hamlet,” or the ” Tempest ” -goes about the world offering itself to reasonable men, who read it with joy and carry it to their reason-able neighbors. Thus it draws to it the wise and generous souls, confirming their secret thoughts, and, through their sympathy, really publishing it-self. It affects the characters of its readers by formulating their opinions and feelings, and inevitably prompting their daily action. If they build ships, they write ” Ariel ” or ” Prospero ” or ” Ophelia ” on the ship’s stern, and impart a tenderness and mystery to matters of fact. The ballad and romance work on the hearts of boys, who recite the rhymes to their hoops or their skates if alone, and these heroic songs or lines are remembered and determine many practical choices which they make later. Do you think Burns has had no influence on the life of men and women in Scotland, – has opened no eyes and ears to the face of nature and the dignity of man and the charm and excellence of woman ?

We are a little civil, it must be owned, to Homer and Aeschylus, to Dante and Shakspeare, and give them the benefit of the largest interpretation. We must be a little strict also, and ask whether, if we sit down at home, and do not go to Hamlet, Ham-let will come to us ? whether we shall find our tragedy written in his, – our hopes, wants, pains, disgraces, described to the life, – and the way opened to the paradise which ever in the best hour beckons us ? But our overpraise and idealization of famous masters is not in its origin a poor Boswellism, but an impatience of mediocrity. The praise we now give to our heroes we shall unsay when we make larger demands. How fast we out-grow the books of the nursery, – then those that satisfied our youth. What we once admired as poetry has long since come to be a sound of tin pans; and many of our later books we have out-grown. Perhaps Homer and Milton will be tin pans yet. Better not to be easily pleased. The poet should rejoice if he has taught us to .despise his song ; if he has so moved us as to lift us, – to open the eye of the intellect to see farther and better.

In proportion as a man’s life comes into union with truth, his thoughts approach to a parallelism with the currents of natural laws, so that he easily expresses his meaning by natural symbols, or uses the ecstatic or poetic speech. By successive states of mind all the facts of nature are for the first time interpreted. In proportion as his life departs from this simplicity, he uses circumlocution, – by many words hoping to suggest what he cannot say. Vexatious to find poets, who are by excellence the thinking and feeling of the world, deficient in truth of intellect and of affection. Then is conscience unfaithful, and thought unwise. To know the merit of Shakspeare, read ” Faust.” I find ” Faust ” a little too modern and intelligible. We can find such a fabric at several mills, though a little inferior. ” Faust ” abounds in the disagreeable. The vice is prurient, learned, Parisian. In the presence of Jove, Priapus may be allowed as an offset, but here he is an equal hero. The egotism, the wit, is calculated. The book is undeniably written by a master, and stands unhappily related to the whole modern world ; but it is a very disagreeable chap-ter of literature, and accuses the author as well as the times. Shakspeare could, no doubt, have been disagreeable, had he less genius, and if ugliness had attracted him. In short, our English nature and genius has made us the worst critics of Goethe,

” We, who speak the tongue
That Shakspeare spake, the faith and manners hold Which Milton held.”

It is not style or rhymes, or a new image more or less, that imports, but sanity ; that life should not be mean ; that life should be an image in every part beautiful ; that the old forgotten splendors of the universe should glow again for us ;- that we should lose our wit, but gain our reason. And when life is true to the poles of nature, the streams of truth will roll through us in song.

Transcendency. – In a cotillon some persons dance and others await their turn when the music and the figure come to them. In the dance of God there is not one of the chorus but can and will begin to spin, monumental as he now looks, when-ever the music and figure reach his place and duty.

0 celestial Bacchus ! drive them mad, – this multitude of vagabonds, hungry for eloquence, hungry for poetry, starving for symbols, perishing for want of electricity to vitalize this too much pasture, and in the long delay indemnifying themselves with the false wine of alcohol, of politics, or of money.

Every man may be, and at some time a man is, lifted to a platform whence he looks beyond sense to moral and spiritual truth ; and in that mood deals sovereignly with matter, and strings worlds like beads upon his thought. The success with which this is done can alone determine how genuine is the inspiration. The poet is rare because he must be exquisitely vital and sympathetic, and, at the same time, immovably centred. In good society, nay, among the angels in heaven, is not everything spoken in fine parable, and not so servilely as it befell to the sense ? All is symbolized. Facts are not foreign, as they seem, but related: Wait a little and we see the return of the remote hyperbolic curve. The solid men complain that the idealist leaves out the fundamental facts; the poet complains that the solid men leave out the sky. To every plant there are two powers ; one shoots down as rootlet, and one upward as tree. You must have eyes of science to see in the seed its nodes; you must have the vivacity of the poet to perceive in the thought its futurities. The poet is representative, – whole man, diamond-merchant, symbolizer, little more or less skill in whistling is of no account. See those weary pentameter tales of Dry-den and others. Turnpike is one thing and blue sky another. Let the poet, of all men, stop with his inspiration. The inexorable rule in the muses’ court, either inspiration or silence, compels the bard to report only his supreme moments. It teaches the enormous force of a few words and in proportion to the inspiration checks loquacity. Much that we call poetry is but polite verse. The high poetry which shall thrill and agitate mankind, restore youth and health, dissipate the dreams under which men reel and stagger, and bring in the new thoughts, the sanity and heroic aims of nations, is deeper hid and longer postponed than was America or Australia, or the finding of steam or of the galvanic battery. We must not conclude against poetry from the defects of poets. They are, in our experience, men of every degree of skill, – some of them only once or twice receivers of an inspiration, and presently falling back on a low life. The drop of ichor that tingles in their veins has not yet refined their blood, and cannot lift the whole man to the digestion and function of ichor, – that is, to godlike nature. Time will be when ichor shall be their blood, when what are now glimpses and aspirations shall be the routine of the day. Yet even partial ascents to poetry and ideas are forerunners, and announce the dawn. In the mire of the sensual life, their religion, their poets, their admiration of heroes and benefactors, even their novel and newspaper, nay, their superstitions also, are hosts of ideals,-a cordage of ropes that hold them up out of the slough. Poetry is inestimable as a lonely faith, a lonely protest in the uproar of atheism.

But so many men are ill-born or ill-bred, – the brains are so marred, so imperfectly formed, unheroically, – brains of the sons of fallen men, – that the doctrine is imperfectly received. One man sees a spark or shimmer of the truth, and reports it, and his saying becomes a legend or golden proverb for ages, and other men report as much, but none wholly and well. Poems, – we have no poem. Whenever that angel shall be organized and appear on earth, the Iliad will be reckoned a poor ballad-grinding. I doubt never the riches of nature, the gifts of the future, the immense wealth of the mind. O yes, poets we shall have, mythology, symbols, religion, of our own. We, too, shall know how to take up all this industry and empire, this Western civilization, into thought, as easily as men did when arts were few ; but not by holding it high, but by holding it low. The intellect uses and is not used, – uses London and Paris and Berlin, east and west, to its end. The only heart that can help us is one that draws, not from our society, but from itself, a counterpoise to society. What if we find partiality and meanness in us ? The grandeur of our life exists in spite of us, – all over and under and with-in us, in what of us is inevitable and above our control. Men are facts as well as persons, and the involuntary part of their life so much as to fill the mind and leave them no countenance to say aught of what is so trivial as their selfish thinking and doing. Sooner or later that which is now life shall be poetry, and every fair and manly trait shall add a richer strain to the song.