Uncollected Prose / Emerson, Ralph Waldo

        UNCOLLECTED PROSE
        by Ralph Waldo Emerson

        _The Lord's Supper_
        _The Editors to the Reader_
        _Thoughts on Modern Literature_
        _Two Years before the Mast._ A Personal Narrative of Life at
Sea.
        _Social Destiny of Man: or Association and Reorganization of
Industry._
        _Michael Angelo, considered as a Philosophic Poet, with
Translations._
        _Essays and Poems_. By JONES VERY.
        _Walter Savage Landor_
        _Transcendentalism_
        _The Senses and the Soul_
        _Prayers_
        _Fourierism and the Socialists_
        _Chardon Street and Bible Conventions_
        _Agriculture of Massachusetts_
        _The Zincali: or an Account of the Gypsies of Spain.
        _Ancient Spanish Ballads, Historical and Romantic.
        _Tecumseh; a Poem_. By GEORGE H. COLTON.
        _Intelligence_
        _Harvard University_.
        _English Reformers_
        _Poems_. By ALFRED TENNYSON.
        _A Letter to Rev. Wm. E. Channing, D. D._ By O. A. BROWNSON
        _Europe and European Books_
        _The Bible in Spain, or the Journeys, Adventures, and
Imprisonments of an Englishman in an attempt to circulate the
Scriptures in the Peninsula_.
        _Past and Present_      By Thomas Carlyle.
        _Antislavery Poems._    By JOHN PIERPONT. Boston: Oliver Johnson.  1843.
        _Sonnets and other Poems._      By WILLIAM LLOYD GARRISON.
        _America -- an Ode; and other Poems._  By N. W. COFFIN.
        _Poems by_      WILLIAM ELLERY CHANNING.
        _A Letter_
        _The Huguenots in France and America_
        _The Spanish Student. A Play in Three Acts_. By H. W.  Longfellow.
        _The Dream of a Day, and other Poems_. By JAMES G. PERCIVAL.
        _The Tragic_
------------------------------------------
 
        _The Lord's Supper_
 
        The Kingdom of God is not meat and drink, but righteousness,
and peace, and joy in the Holy Ghost. -- ROMANS XIV. 17.

        In the history of the Church no subject has been more fruitful
of controversy than the Lord's Supper.  There never has been any
unanimity in the understanding of its nature, nor any uniformity in
the mode of celebrating it.  Without considering the frivolous
questions which have been lately debated as to the posture in which
men should partake of it; whether mixed or unmixed wine should be
served; whether leavened or unleavened bread should be broken; the
questions have been settled differently in every church, who should
be admitted to the feast, and how often it should be prepared.  In
the Catholic Church, infants were at one time permitted and then
forbidden to partake; and, since the ninth century, the laity receive
the bread only, the cup being reserved to the priesthood.  So, as to
the time of the solemnity.  In the fourth Lateran Council, it was
decreed that any believer should communicate at least once in a year
-- at Easter.  Afterwards it was determined that this Sacrament
should be received three times in the year -- at Easter, Whitsuntide,
and Christmas.  But more important controversies have arisen
respecting its nature.  The famous question of the Real Presence was
the main controversy between the Church of England and the Church of
Rome.  The doctrine of the Consubstantiation taught by Luther was
denied by Calvin.  In the Church of England, Archbishops Laud and
Wake maintained that the elements were an Eucharist or sacrifice of
Thanksgiving to God; Cudworth and Warburton, that this was not a
sacrifice, but a sacrificial feast; and Bishop Hoadley, that it was
neither a sacrifice nor a feast after sacrifice, but a simple
commemoration.  And finally, it is now near two hundred years since
the Society of Quakers denied the authority of the rite altogether,
and gave good reasons for disusing it.

        I allude to these facts only to show that, so far from the
supper being a tradition in which men are fully agreed, there always
been the widest room for difference of opinion upon this particular.

        Having recently given particular attention to this subject, I
was led to the conclusion that Jesus did not intend to establish an
institution for perpetual observance when he ate the Passover with
his disciples; and, further, to the opinion, that it is not expedient
to celebrate it as we do.  I shall now endeavor to state distinctly
my reasons for these two opinions.

        I. The authority of the rite.

        An account of the last supper of Christ with his disciples is
given by the four Evangelists, Matthew, Mark, Luke, and John.

        In St. Matthew's Gospel (Matt. XXVI. 26-30) are recorded the
words of Jesus in giving bread and wine on that occasion to his
disciples, but no expression occurs intimating that this feast was
hereafter to be commemorated.

        In St. Mark (Mark XIV. 23) the same words are recorded, and
still with no intimation that the occasion was to be remembered.

        St. Luke (Luke XXII. 15), after relating the breaking of the
bread, has these words: This do in remembrance of me.

        In St. John, although other occurrences of the same evening are
related, this whole transaction is passed over without notice.

        Now observe the facts.  Two of the Evangelists, namely, Matthew
and John, were of the twelve disciples, and were present on that
occasion.  Neither of them drops the slightest intimation of any
intention on the part of Jesus to set up anything permanent.  John,
especially, the beloved disciple, who has recorded with minuteness
the conversation and the transactions of that memorable evening, has
quite omitted such a notice.  Neither does it appear to have come to
the knowledge of Mark who, though not an eye-witness, relates the
other facts.  This material fact, that the occasion was to be
remembered, is found in Luke alone, who was not present.  There is no
reason, however, that we know, for rejecting the account of Luke.  I
doubt not, the expression was used by Jesus.  I shall presently
consider its meaning.  I have only brought these accounts together,
that you may judge whether it is likely that a solemn institution, to
be continued to the end of time by all mankind, as they should come,
nation after nation, within the influence of the Christian religion,
would have been established in this slight manner -- in a manner so
slight, that the intention of commemorating it should not appear,
from their narrative, to have caught the ear or dwelt in the mind of
the only two among the twelve who wrote down what happened.

        Still we must suppose that the expression, _"This do in
remembrance of me,"_ had come to the ear of Luke from some disciple
who was present.  What did it really signify?  It is a prophetic and
an affectionate expression.  Jesus is a Jew, sitting with his
countrymen, celebrating their national feast.  He thinks of his own
impending death, and wishes the minds of his disciples to be prepared
for it.  "When hereafter," he says to them, "you shall keep the
Passover, it will have an altered aspect to your eyes.  It is now a
historical covenant of God with the Jewish nation.  Hereafter, it
will remind you of a new covenant sealed with my blood.  In years to
come, as long as your people shall come up to Jerusalem to keep this
feast, the connection which has subsisted between us will give a new
meaning in your eyes to the national festival, as the anniversary of
my death." I see natural feeling and beauty in the use of such
language from Jesus, a friend to his friends; I can readily imagine
that he was willing and desirous, when his disciples met, his memory
should hallow their intercourse; but I cannot bring myself to believe
that in the use of such an expression he looked beyond the living
generation, beyond the abolition of the festival he was celebrating,
and the scattering of the nation, and meant to impose a memorial
feast upon the whole world.

        Without presuming to fix precisely the purpose in the mind of
Jesus, you will see that many opinions may be entertained of his
intention, all consistent with the opinion that he did not design a
perpetual ordinance.  He may have foreseen that his disciples would
meet to remember him, and that with good effect.  It may have crossed
his mind that this would be easily continued a hundred or a thousand
years -- as men more easily transmit a form than a virtue -- and yet
have been altogether out of his purpose to fasten it upon men in all
times and all countries.

        But though the words, _Do this in remembrance of me_, do occur
in Matthew, Mark, or John, and although it should be granted us that,
taken alone, they do not necessarily import so much as is usually
thought, yet many persons are apt to imagine that the very striking
and personal manner in which this eating and drinking is described,
indicates a striking and formal purpose to found a festival.  And I
admit that this impression might probably be left upon the mind of
one who read only the passages under consideration in the New
Testament.  But this impression is removed by reading any narrative
of the mode in which the ancient or the modern Jews have kept the
Passover.  It is then perceived that the leading circumstances in the
Gospels are only a faithful account of that ceremony.  Jesus did not
celebrate the Passover, and afterwards the Supper, but the Supper
_was_ the Passover.  He did with his disciples exactly what every
master of a family in Jerusalem was doing at the same hour with his
household.  It appears that the Jews ate the lamb and the unleavened
bread, and drank wine after a prescribed manner.  It was the custom
for the master of the feast to break the bread and to bless it, using
this formula, which the Talmudists have preserved to us, "Blessed be
Thou, O Lord our God, the King of the world, who hast produced this
food from the earth," -- and to give it to every one at the table.
It was the custom of the master of the family to take the cup which
contained the wine, and to bless it, saying, "Blessed be Thou, O
Lord, who givest us the fruit of the vine," -- and then to give the
cup to all.  Among the modern Jews who in their dispersion retain the
Passover, a hymn is also sung after this ceremony, specifying the
twelve great works done by God for the deliverance of their fathers
out of Egypt.

        But still it may be asked, why did Jesus make expressions so
extraordinary and emphatic as these -- "This is my body which is
broken for you.  Take; eat.  This is my blood which is shed for you.
Drink it." -- I reply they are not extraordinary expressions from
him.  They were familiar in his mouth.  He always taught by parables
and symbols.  It was the national way of teaching and was largely
used by him.  Remember the readiness which he always showed to
spiritualize every occurrence.  He stooped and wrote on the sand.  He
admonished his disciples respecting the leaven of the Pharisees.  He
instructed the woman of Samaria respecting living water.  He
permitted himself to be anointed, declaring that it was for his
interment.  He washed the feet of his disciples.  These are admitted
to be symbolical actions and expressions.  Here, in like manner, he
calls the bread his body, and bids the disciples eat.  He had used
the same expression repeatedly before.  The reason why St. John does
not repeat his words on this occasion, seems to be that he had
reported a similar discourse of Jesus to the people of Capernaum more
at length already (John VI.  27).  He there tells the Jews, "Except
ye eat the flesh of the Son of Man and drink His blood, ye have no
life in you." And when the Jews on that occasion complained that they
did not comprehend what he meant, he added for their better
understanding, and as if for our understanding, that we might not
think his body was to be actually eaten, that he only meant, _we
should live by his commandment_.  He closed his discourse with these
explanatory expressions: "The flesh profiteth nothing; the _words_
that I speak to you, they are spirit and they are life."

        Whilst I am upon this topic, I cannot help remarking that it is
not a little singular that we should have preserved this rite and
insisted upon perpetuating one symbolical act of Christ whilst we
have totally neglected all others -- particularly one other which had
at least an equal claim to our observance.  Jesus washed the feet of
his disciples and told them that, as he had washed their feet, they
ought to wash one another's feet; for he had given them an example,
that they should do as he had done to them.  I ask any person who
believes the Supper to have been designed by Jesus to be commemorated
forever, to go and read the account of it in the other Gospels, and
then compare with it the account of this transaction in St. John, and
tell me if this be not much more explicitly authorized than the
Supper.  It only differs in this, that we have found the Supper used
in New England and the washing of the feet not.  But if we had found
it an established rite in our churches, on grounds of mere authority,
it would have been impossible to have argued against it.  That rite
is used by the Church of Rome, and by the Sandemanians.  It has been
very properly dropped by other Christians.  Why?  For two reasons:
(1) because it was a local custom, and unsuitable in western
countries; and (2) because it was typical, and all understand that
humility is the thing signified.  But the Passover was local too, and
does not concern us, and its bread and wine were typical, and do not
help us to understand the redemption which they signified.

        These views of the original account of the Lord's Supper lead
me to esteem it an occasion full of solemn and prophetic interest,
but never intended by Jesus to be the foundation of a perpetual
institution.

        It appears however in Christian history that the disciples had
very early taken advantage of these impressive words of Christ to
hold religious meetings, where they broke bread and drank wine as
symbols.

        I look upon this fact as very natural in the circumstances of
the church.  The disciples lived together; they threw all their
property into a common stock; they were bound together by the memory
of Christ, and nothing could be more natural than that this eventful
evening should be affectionately remembered by them; that they, Jews
like Jesus, should adopt his expressions and his types, and
furthermore, that what was done with peculiar propriety by them, his
personal friends, with less propriety should come to be extended to
their companions also.  In this way religious feasts grew up among
the early Christians.  They were readily adopted by the Jewish
converts who were familiar with religious feasts, and also by the
Pagan converts whose idolatrous worship had been made up of sacred
festivals, and who very readily abused these to gross riot, as
appears from the censures of St. Paul.  Many persons consider this
fact, the observance of such a memorial feast by the early disciples,
decisive of the question whether it ought to be observed by us.  For
my part I see nothing to wonder at in its originating with them; all
that is surprising is that it should exist among us.  There was good
reason for his personal friends to remember their friend and repeat
his words.  It was only too probable that among the half converted
Pagans and Jews, any rite, any form, would find favor, whilst yet
unable to comprehend the spiritual character of Christianity.

        The circumstance, however, that St. Paul adopts these views,
has seemed to many persons conclusive in favor of the institution.  I
am of opinion that it is wholly upon the epistle to the Corinthians,
and not upon the Gospels, that the ordinance stands.  Upon this
matter of St. Paul's view of the Supper, a few important
considerations must be stated.

        The end which he has in view, in the eleventh chapter of the
first epistle is, not to enjoin upon his friends to observe the
Supper, but to censure their abuse of it.  _We_ quote the passage
now-a-days as if it enjoined attendance upon the Supper; but he wrote
it merely to chide them for drunkenness.  To make their enormity
plainer he goes back to the origin of this religious feast to show
what sort of feast that was, out of which this riot of theirs came,
and so relates the transactions of the Last Supper.  _"I have
received of the Lord,"_ he says, _"that which I delivered to you."_
By this expression it is often thought that a miraculous
communication is implied; but certainly without good reason, if it is
remembered that St. Paul was living in the lifetime of all the
apostles who could give him an account of the transaction; and it is
contrary to all reason to suppose that God should work a miracle to
convey information that could so easily be got by natural means.  So
that the import of the expression is that he had received the story
of an eye-witness such as we also possess.

        But there is a material circumstance which diminishes our
confidence in the correctness of the Apostle's view; and that is, the
observation that his mind had not escaped the prevalent error of the
primitive church, the belief, namely, that the second coming of
Christ would shortly occur, until which time, he tells them, this
feast was to be kept.  Elsewhere he tells them, that, at that time
the world would be burnt up with fire, and a new government
established, in which the Saints would sit on thrones; so slow were
the disciples during the life, and after the ascension of Christ, to
receive the idea which we receive, that his second coming was a
spiritual kingdom, the dominion of his religion in the hearts of men,
to be extended gradually over the whole world.

        In this manner we may see clearly enough how this ancient
ordinance got its footing among the early Christians, and this single
expectation of a speedy reappearance of a temporal Messiah, which
kept its influence even over so spiritual a man as St. Paul, would
naturally tend to preserve the use of the rite when once established.

        We arrive then at this conclusion, _first_, that it does not
appear, from a careful examination of the account of the Last Supper
in the Evangelists, that it was designed by Jesus to be perpetual;
_secondly_, that it does not appear that the opinion of St. Paul, all
things considered, ought to alter our opinion derived from the
evangelists.

        One general remark before quitting this branch of the subject.
We ought to be cautious in taking even the best ascertained opinions
and practices of the primitive church, for our own.  If it could be
satisfactorily shown that they esteemed it authorized and to be
transmitted forever, that does not settle the question for us.  We
know how inveterately they were attached to their Jewish prejudices,
and how often even the influence of Christ failed to enlarge their
views.  On every other subject succeeding times have learned to form
a judgment more in accordance with the spirit of Christianity than
was the practice of the early ages.

        But it is said: "Admit that the rite was not designed to be
perpetual.  What harm doth it?  Here it stands, generally accepted,
under some form, by the Christian world, the undoubted occasion of
much good; is it not better it should remain?"

        II. This is the question of expediency.

        I proceed to state a few objections that in my judgment lie
against its use in its present form.

        1. If the view which I have taken of the history of the
institution be correct, then the claim of authority should be dropped
in administering it.  You say, every time you celebrate the rite,
that Jesus enjoined it; and the whole language you use conveys that
impression.  But if you read the New Testament as I do, you do not
believe he did.

        2. It has seemed to me that the use of this ordinance tends to
produce confusion in our views of the relation of the soul to God.
It is the old objection to the doctrine of the Trinity, -- that the
true worship was transferred from God to Christ, or that such
confusion was introduced into the soul, that an undivided worship was
given nowhere.  Is not that the effect of the Lord's Supper?  I
appeal now to the convictions of communicants -- and ask such persons
whether they have not been occasionally conscious of a painful
confusion of thought between the worship due to God and the
commemoration due to Christ.  For, the service does not stand upon
the basis of a voluntary act, but is imposed by authority.  It is an
expression of gratitude to Christ, enjoined by Christ.  There is an
endeavor to keep Jesus in mind, whilst yet the prayers are addressed
to God.  I fear it is the effect of this ordinance to clothe Jesus
with an authority which he never claimed and which distracts the mind
of the worshipper.  I know our opinions differ much respecting the
nature and offices of Christ, and the degree of veneration to which
he is entitled.  I am so much a Unitarian as this: that I believe the
human mind cannot admit but one God, and that every effort to pay
religious homage to more than one being, goes to take away all right
ideas.  I appeal, brethren, to your individual experience.  In the
moment when you make the least petition to God, though it be but a
silent wish that he may approve you, or add one moment to your life,
-- do you not, in the very act, necessarily exclude all other beings
from your thought?  In that act, the soul stands alone with God, and
Jesus is no more present to the mind than your brother or your child.

        But is not Jesus called in Scripture the Mediator?  He is the
mediator in that only sense in which possibly any being can mediate
between God and man -- that is an Instructor of man.  He teaches us
how to become like God.  And a true disciple of Jesus will receive
the light he gives most thankfully; but the thanks he offers, and
which an exalted being will accept, are not _compliments_ --
commemorations, -- but the use of that instruction.

        3. Passing other objections, I come to this, that the _use of
the elements_, however suitable to the people and the modes of
thought in the East, where it originated, is foreign and unsuited to
affect us.  Whatever long usage and strong association may have done
in some individuals to deaden this repulsion, I apprehend that their
use is rather tolerated than loved by any of us.  We are not
accustomed to express our thoughts or emotions by symbolical actions.
Most men find the bread and wine no aid to devotion and to some, it
is a painful impediment.  To eat bread is one thing; to love the
precepts of Christ and resolve to obey them is quite another.

        The statement of this objection leads me to say that I think
this difficulty, wherever it is felt, to be entitled to the greatest
weight.  It is alone a sufficient objection to the ordinance.  It is
my own objection.  This mode of commemorating Christ is not suitable
to me.  That is reason enough why I should abandon it.  If I believed
that it was enjoined by Jesus on his disciples, and that he even
contemplated making permanent this mode of commemoration, every way
agreeable to an eastern mind, and yet, on trial, it was disagreeable
to my own feelings, I should not adopt it.  I should choose other
ways which, as more effectual upon me, he would approve more.  For I
choose that my remembrances of him should be pleasing, affecting,
religious.  I will love him as a glorified friend, after the free way
of friendship, and not pay him a stiff sign of respect, as men do to
those whom they fear.  A passage read from his discourses, a moving
provocation to works like his, any act or meeting which tends to
awaken a pure thought, a flow of love, an original design of virtue,
I call a worthy, a true commemoration.

        4. Fourthly, the importance ascribed to this particular
ordinance is not consistent with the spirit of Christianity.  The
general object and effect of this ordinance is unexceptionable.  It
has been, and is, I doubt not, the occasion of indefinite good; but
an importance is given by Christians to it which never can belong to
any form.  My friends, the apostle well assures us that "the kingdom
of God is not meat and drink, but righteousness and peace and joy, in
the Holy Ghost." I am not so foolish as to declaim against forms.
Forms are as essential as bodies; but to exalt particular forms, to
adhere to one form a moment after it is out-grown, is unreasonable,
and it is alien to the spirit of Christ.  If I understand the
distinction of Christianity, the reason why it is to be preferred
over all other systems and is divine is this, that it is a moral
system; that it presents men with truths which are their own reason,
and enjoins practices that are their own justification; that if
miracles may be said to have been its evidence to the first
Christians, they are not its evidence to us, but the doctrines
themselves; that every practice is Christian which praises itself,
and every practice unchristian which condemns itself.  I am not
engaged to Christianity by decent forms, or saving ordinances; it is
not usage, it is not what I do not understand, that binds me to it --
let these be the sandy foundations of falsehoods.  What I revere and
obey in it is its reality, its boundless charity, its deep interior
life, the rest it gives to my mind, the echo it returns to my
thoughts, the perfect accord it makes with my reason through all its
representation of God and His Providence; and the persuasion and
courage that come out thence to lead me upward and onward.  Freedom
is the essence of this faith.  It has for its object simply to make
men good and wise.  Its institutions, then, should be as flexible as
the wants of men.  That form out of which the life and suitableness
have departed, should be as worthless in its eyes as the dead leaves
that are falling around us.

        And therefore, although for the satisfaction of others, I have
labored to show by the history that this rite was not intended to be
perpetual; although I have gone back to weigh the expressions of
Paul, I feel that here is the true point of view.  In the midst of
considerations as to what Paul thought, and why he so thought, I
cannot help feeling that it is time misspent to argue to or from his
convictions, or those of Luke and John, respecting any form.  I seem
to lose the substance in seeking the shadow.  That for which Paul
lived and died so gloriously; that for which Jesus gave himself to be
crucified; the end that animated the thousand martyrs and heroes who
have followed his steps, was to redeem us from a formal religion, and
teach us to seek our well-being in the formation of the soul.  The
whole world was full of idols and ordinances.  The Jewish was a
religion of forms.  The Pagan was a religion of forms; it was all
body -- it had no life -- and the Almighty God was pleased to qualify
and send forth a man to teach men that they must serve him with the
heart; that only that life was religious which was thoroughly good;
that sacrifice was smoke, and forms were shadows.  This man lived and
died true to this purpose; and now, with his blessed word and life
before us, Christians must contend that it is a matter of vital
importance -- really a duty, to commemorate him by a certain form,
whether that form be agreeable to their understandings or not.

        Is not this to make vain the gift of God?  Is not this to turn
back the hand on the dial?  Is not this to make men -- to make
ourselves -- forget that not forms, but duties; not names, but
righteousness and love are enjoined; and that in the eye of God there
is no other measure of the value of any one form than the measure of
its use?

        There remain some practical objections to the ordinance into
which I shall not now enter.  There is one on which I had intended to
say a few words; I mean the unfavorable relation in which it places
that numerous class of persons who abstain from it merely from
disinclination to the rite.

        Influenced by these considerations, I have proposed to the
brethren of the Church to drop the use of the elements and the claim
of authority in the administration of this ordinance, and have
suggested a mode in which a meeting for the same purpose might be
held free of objection.

        My brethren have considered my views with patience and candor,
and have recommended unanimously an adherence to the present form.  I
have, therefore, been compelled to consider whether it becomes me to
administer it.  I am clearly of opinion I ought not.  This discourse
has already been so far extended, that I can only say that the reason
of my determination is shortly this: -- It is my desire, in the
office of a Christian minister, to do nothing which I cannot do with
my whole heart.  Having said this, I have said all.  I have no
hostility to this institution; I am only stating my want of sympathy
with it.  Neither should I ever have obtruded this opinion upon other
people, had I not been called by my office to administer it.  That is
the end of my opposition, that I am not interested in it.  I am
content that it stand to the end of the world, if it please men and
please heaven, and I shall rejoice in all the good it produces.

        As it is the prevailing opinion and feeling in our religious
community, that it is an indispensable part of the pastoral office to
administer this ordinance, I am about to resign into your hands that
office which you have confided to me.  It has many duties for which I
am feebly qualified.  It has some which it will always be my delight
to discharge, according to my ability, wherever I exist.  And whilst
the recollection of its claims oppresses me with a sense of my
unworthiness, I am consoled by the hope that no time and no change
can deprive me of the satisfaction of pursuing and exercising its
highest functions.

        September 9, 1832.

 

        ESSAYS FROM "THE DIAL"
 
        _The Editors to the Reader_

        We invite the attention of our countrymen to a new design.
Probably not quite unexpected or unannounced will our Journal appear,
though small pains have been taken to secure its welcome.  Those, who
have immediately acted in editing the present Number, cannot accuse
themselves of any unbecoming forwardness in their undertaking, but
rather of a backwardness, when they remember how often in many
private circles the work was projected, how eagerly desired, and only
postponed because no individual volunteered to combine and
concentrate the free-will offerings of many cooperators.  With some
reluctance the present conductors of this work have yielded
themselves to the wishes of their friends, finding something sacred
and not to be withstood in the importunity which urged the production
of a Journal in a new spirit.

        As they have not proposed themselves to the work, neither can
they lay any the least claim to an option or determination of the
spirit in which it is conceived, or to what is peculiar in the
design.  In that respect, they have obeyed, though with great joy,
the strong current of thought and feeling, which, for a few years
past, has led many sincere persons in New England to make new demands
on literature, and to reprobate that rigor of our conventions of
religion and education which is turning us to stone, which renounces
hope, which looks only backward, which asks only such a future as the
past, which suspects improvement, and holds nothing so much in horror
as new views and the dreams of youth.

        With these terrors the conductors of the present Journal have
nothing to do, -- not even so much as a word of reproach to waste.
They know that there is a portion of the youth and of the adult
population of this country, who have not shared them; who have in
secret or in public paid their vows to truth and freedom; who love
reality too well to care for names, and who live by a Faith too
earnest and profound to suffer them to doubt the eternity of its
object, or to shake themselves free from its authority.  Under the
fictions and customs which occupied others, these have explored the
Necessary, the Plain, the True, the Human, -- and so gained a vantage
ground, which commands the history of the past and the present.

        No one can converse much with different classes of society in
New England, without remarking the progress of a revolution.  Those
who share in it have no external organization, no badge, no creed, no
name.  They do not vote, or print, or even meet together.  They do
not know each other's faces or names.  They are united only in a
common love of truth, and love of its work.  They are of all
conditions and constitutions.  Of these acolytes, if some are happily
born and well bred, many are no doubt ill dressed, ill placed, ill
made -- with as many scars of hereditary vice as other men.  Without
pomp, without trumpet, in lonely and obscure places, in solitude, in
servitude, in compunctions and privations, trudging beside the team
in the dusty road, or drudging a hireling in other men's cornfields,
schoolmasters, who teach a few children rudiments for a pittance,
ministers of small parishes of the obscurer sects, lone women in
dependent condition, matrons and young maidens, rich and poor,
beautiful and hard-favored, without concert or proclamation of any
kind, they have silently given in their several adherence to a new
hope, and in all companies do signify a greater trust in the nature
and resources of man, than the laws or the popular opinions will well
allow.

        This spirit of the time is felt by every individual with some
difference, -- to each one casting its light upon the objects nearest
to his temper and habits of thought; -- to one, coming in the shape
of special reforms in the state; to another, in modifications of the
various callings of men, and the customs of business; to a third,
opening a new scope for literature and art; to a fourth, in
philosophical insight; to a fifth, in the vast solitudes of prayer.
It is in every form a protest against usage, and a search for
principles.  In all its movements, it is peaceable, and in the very
lowest marked with a triumphant success.  Of course, it rouses the
opposition of all which it judges and condemns, but it is too
confident in its tone to comprehend an objection, and so builds no
outworks for possible defence against contingent enemies.  It has the
step of Fate, and goes on existing like an oak or a river, because it
must.

 
        In literature, this influence appears not yet in new books so
much as in the higher tone of criticism.  The antidote to all
narrowness is the comparison of the record with nature, which at once
shames the record and stimulates to new attempts.  Whilst we look at
this, we wonder how any book has been thought worthy to be preserved.
There is somewhat in all life untranslatable into language.  He who
keeps his eye on that will write better than others, and think less
of his writing, and of all writing.  Every thought has a certain
imprisoning as well as uplifting quality, and, in proportion to its
energy on the will, refuses to become an object of intellectual
contemplation.  Thus what is great usually slips through our fingers,
and it seems wonderful how a lifelike word ever comes to be written.
If our Journal share the impulses of the time, it cannot now
prescribe its own course.  It cannot foretell in orderly propositions
what it shall attempt.  All criticism should be poetic;
unpredictable; superseding, as every new thought does, all foregone
thoughts, and making a new light on the whole world.  Its brow is not
wrinkled with circumspection, but serene, cheerful, adoring.  It has
all things to say, and no less than all the world for its final
audience.

        Our plan embraces much more than criticism; were it not so, our
criticism would be naught.  Everything noble is directed on life, and
this is.  We do not wish to say pretty or curious things, or to
reiterate a few propositions in varied forms, but, if we can, to give
expression to that spirit which lifts men to a higher platform,
restores to them the religious sentiment, brings them worthy aims and
pure pleasures, purges the inward eye, makes life less desultory,
and, through raising man to the level of nature, takes away its
melancholy from the landscape, and reconciles the practical with the
speculative powers.

        But perhaps we are telling our little story too gravely.  There
are always great arguments at hand for a true action, even for the
writing of a few pages.  There is nothing but seems near it and
prompts it, -- the sphere in the ecliptic, the sap in the apple tree,
-- every fact, every appearance seem to persuade to it.

        Our means correspond with the ends we have indicated.  As we
wish not to multiply books, but to report life, our resources are
therefore not so much the pens of practised writers, as the discourse
of the living, and the portfolios which friendship has opened to us.
From the beautiful recesses of private thought; from the experience
and hope of spirits which are withdrawing from all old forms, and
seeking in all that is new somewhat to meet their inappeasable
longings; from the secret confession of genius afraid to trust itself
to aught but sympathy; from the conversation of fervid and mystical
pietists; from tear-stained diaries of sorrow and passion; from the
manuscripts of young poets; and from the records of youthful taste
commenting on old works of art; we hope to draw thoughts and
feelings, which being alive can impart life.

        And so with diligent hands and good intent we set down our Dial
on the earth.  We wish it may resemble that instrument in its
celebrated happiness, that of measuring no hours but those of
sunshine.  Let it be one cheerful rational voice amidst the din of
mourners and polemics.  Or to abide by our chosen image, let it be
such a Dial, not as the dead face of a clock, hardly even such as the
Gnomon in a garden, but rather such a Dial as is the Garden itself,
in whose leaves and flowers and fruits the suddenly awakened sleeper
is instantly apprised not what part of dead time, but what state of
life and growth is now arrived and arriving.

 
 
        _Thoughts on Modern Literature_

        There is no better illustration of the laws by which the world
is governed than Literature.  There is no luck in it.  It proceeds by
Fate.  Every scripture is given by the inspiration of God.  Every
composition proceeds out of a greater or less depth of thought, and
this is the measure of its effect.  The highest class of books are
those which express the moral element; the next, works of
imagination; and the next, works of science; -- all dealing in
realities, -- what ought to be, what is, and what appears.  These, in
proportion to the truth and beauty they involve, remain; the rest
perish.  They proceed out of the silent living mind to be heard again
by the living mind.  Of the best books it is hardest to write the
history.  Those books which are for all time are written
indifferently at any time.  For high genius is a day without night, a
Caspian Ocean which hath no tides.  And yet is literature in some
sort a creature of time.  Always the oracular soul is the source of
thought, but always the occasion is administered by the low
mediations of circumstance.  Religion, Love, Ambition, War, some
fierce antagonism, or it may be, some petty annoyance must break the
round of perfect circulation, or no spark, no joy, no event can be.
The poet rambling through the fields or the forest, absorbed in
contemplation to that degree, that his walk is but a pretty dream,
would never awake to precise thought, if the scream of an eagle, the
cries of a crow or curlew near his head did not break the sweet
continuity.  Nay the finest lyrics of the poet come of this unequal
parentage; the imps of matter beget such child on the soul, fair
daughter of God.  Nature mixes facts with thoughts to yield a poem.
But the gift of immortality is of the mother's side.  In the spirit
in which they are written is the date of their duration, and never in
the magnitude of the facts.  Everything lasts in proportion to its
beauty.  In proportion as it was not polluted by any wilfulness of
the writer, but flowed from his mind after the divine order of cause
and effect, it was not his but nature's, and shared the sublimity of
the sea and sky.  That which is truly told, nature herself takes in
charge against the whims and injustice of men.  For ages, Herodotus
was reckoned a credulous gossip in his descriptions of Africa, and
now the sublime silent desert testifies through the mouths of Bruce,
Lyons, Caillaud, Burckhardt, Belzoni, to the truth of the calumniated
historian.

        And yet men imagine that books are dice, and have no merit in
their fortune; that the trade and the favor of a few critics can get
one book into circulation, and defeat another; and that in the
production of these things the author has chosen and may choose to do
thus and so.  Society also wishes to assign subjects and methods to
its writers.  But neither reader nor author may intermeddle.  You
cannot reason at will in this and that other vein, but only as you
must.  You cannot make quaint combinations, and bring to the crucible
and alembic of truth things far fetched or fantastic or popular, but
your method and your subject are foreordained in all your nature, and
in all nature, or ever the earth was, or it has no worth.  All that
gives currency still to any book, advertised in the morning's
newspaper in London or Boston, is the remains of faith in the breast
of men that not adroit book makers, but the inextinguishable soul of
the universe reports of itself in articulate discourse to-day as of
old.  The ancients strongly expressed their sense of the
unmanageableness of these words of the spirit by saying, that the God
made his priest insane, took him hither and thither as leaves are
whirled by the tempest.  But we sing as we are bid.  Our inspirations
are very manageable and tame.  Death and sin have whispered in the
ear of the wild horse of Heaven, and he has become a dray and a hack.
And step by step with the entrance of this era of ease and
convenience, the belief in the proper Inspiration of man has
departed.

        Literary accomplishments, skill in grammar and rhetoric,
knowledge of books, can never atone for the want of things which
demand voice.  Literature is a poor trick when it busies itself to
make words pass for things.  The most original book in the world is
the Bible.  This old collection of the ejaculations of love and
dread, of the supreme desires and contritions of men proceeding out
of the region of the grand and eternal, by whatsoever different
mouths spoken, and through a wide extent of times and countries,
seems, especially if you add to our canon the kindred sacred writings
of the Hindoos, Persians, and Greeks, the alphabet of the nations, --
and all posterior literature either the chronicle of facts under very
inferior ideas, or, when it rises to sentiment, the combinations,
analogies, or degradations of this.  The elevation of this book may
be measured by observing, how certainly all elevation of thought
clothes itself in the words and forms of speech of that book.  For
the human mind is not now sufficiently erect to judge and correct
that scripture.  Whatever is majestically thought in a great moral
element, instantly approaches this old Sanscrit.  It is in the nature
of things that the highest originality must be moral.  The only
person, who can be entirely independent of this fountain of
literature and equal to it, must be a prophet in his own proper
person.  Shakspeare, the first literary genius of the world, the
highest in whom the moral is not the predominating element, leans on
the Bible: his poetry supposes it.  If we examine this brilliant
influence -- Shakspeare -- as it lies in our minds, we shall find it
reverent not only of the letter of this book, but of the whole frame
of society which stood in Europe upon it, deeply indebted to the
traditional morality, in short, compared with the tone of the
Prophets, _secondary_.  On the other hand, the Prophets do not imply
the existence of Shakspeare or Homer, -- advert to no books or arts,
only to dread ideas and emotions.  People imagine that the place,
which the Bible holds in the world, it owes to miracles.  It owes it
simply to the fact that it came out of a profounder depth of thought
than any other book, and the effect must be precisely proportionate.
Gibbon fancied that it was combinations of circumstances that gave
Christianity its place in history.  But in nature it takes an ounce
to balance an ounce.

        All just criticism will not only behold in literature the
action of necessary laws, but must also oversee literature itself.
The erect mind disparages all books.  What are books? it saith: they
can have no permanent value.  How obviously initial they are to their
authors.  The books of the nations, the universal books, are long ago
forgotten by those who wrote them, and one day we shall forget this
primer learning.  Literature is made up of a few ideas and a few
fables.  It is a heap of nouns and verbs enclosing an intuition or
two.  We must learn to judge books by absolute standards.  When we
are aroused to a life in ourselves, these traditional splendors of
letters grow very pale and cold.  Men seem to forget that all
literature is ephemeral, and unwillingly entertain the supposition of
its utter disappearance.  They deem not only letters in general, but
the best books in particular, parts of a preestablished harmony,
fatal, unalterable, and do not go behind Virgil and Dante, much less
behind Moses, Ezekiel, and St. John.  But no man can be a good critic
of any book, who does not read it in a wisdom which transcends the
instructions of any book, and treats the whole extant product of the
human intellect as only one age revisable and reversible by him.

        In our fidelity to the higher truth, we need not disown our
debt in our actual state of culture, in the twilights of experience
to these rude helpers.  They keep alive the memory and the hope of a
better day.  When we flout all particular books as initial merely, we
truly express the privilege of spiritual nature; but, alas, not the
fact and fortune of this low Massachusetts and Boston, of these
humble Junes and Decembers of mortal life.  Our souls are not
self-fed, but do eat and drink of chemical water and wheat.  Let us
not forget the genial miraculous force we have known to proceed from
a book.  We go musing into the vault of day and night; no
constellation shines, no muse descends, the stars are white points,
the roses brick-colored leaves, and frogs pipe, mice cheep, and
wagons creak along the road.  We return to the house and take up
Plutarch or Augustine, and read a few sentences or pages, and lo! the
air swarms with life; the front of heaven is full of fiery shapes;
secrets of magnanimity and grandeur invite us on every hand; life is
made up of them.  Such is our debt to a book.  Observe, moreover,
that we ought to credit literature with much more than the bare word
it gives us.  I have just been reading poems which now in my memory
shine with a certain steady, warm, autumnal light.  That is not in
their grammatical construction which they give me.  If I analyze the
sentences, it eludes me, but is the genius and suggestion of the
whole.  Over every true poem lingers a certain wild beauty,
immeasurable; a happiness lightsome and delicious fills the heart and
brain, -- as they say, every man walks environed by his proper
atmosphere, extending to some distance around him.  This beautiful
result must be credited to literature also in casting its account.

        In looking at the library of the Present Age we are first
struck with the fact of the immense miscellany.  It can hardly be
characterized by any species of book, for every opinion old and new,
every hope and fear, every whim and folly has an organ.  It prints a
vast carcass of tradition every year, with as much solemnity as a new
revelation.  Along with these it vents books that breathe of new
morning, that seem to heave with the life of millions, books for
which men and women peak and pine; books which take the rose out of
the cheek of him that wrote them, and give him to the midnight a sad,
solitary, diseased man; which leave no man where they found him, but
make him better or worse; and which work dubiously on society, and
seem to inoculate it with a venom before any healthy result appears.

        In order to any complete view of the literature of the present
age, an inquiry should include what it quotes, what it writes, and
what it wishes to write.  In our present attempt to enumerate some
traits of the recent literature, we shall have somewhat to offer on
each of these topics, but we cannot promise to set in very exact
order what we have to say.

        In the first place, it has all books.  It reprints the wisdom
of the world.  How can the age be a bad one, which gives me Plato and
Paul and Plutarch, St. Augustine, Spinoza, Chapman, Beaumont and
Fletcher, Donne and Sir Thomas Browne, beside its own riches?  Our
presses groan every year with new editions of all the select pieces
of the first of mankind, -- meditations, history, classifications,
opinions, epics, lyrics, which the age adopts by quoting them.  If we
should designate favorite studies in which the age delights more than
in the rest of this great mass of the permanent literature of the
human race, one or two instances would be conspicuous.  First; the
prodigious growth and influence of the genius of Shakspeare, in the
last one hundred and fifty years, is itself a fact of the first
importance.  It almost alone has called out the genius of the German
nation into an activity, which spreading from the poetic into the
scientific, religious, and philosophical domains, has made theirs now
at last the paramount intellectual influence of the world, reacting
with great energy on England and America.  And thus, and not by
mechanical diffusion, does an original genius work and spread
himself.  Society becomes an immense Shakspeare.  Not otherwise could
the poet be admired, nay, not even seen; -- not until his living,
conversing, and writing had diffused his spirit into the young and
acquiring class, so that he had multiplied himself into a thousand
sons, a thousand Shakspeares, and so understands himself.

        Secondly; the history of freedom it studies with eagerness in
civil, in religious, in philosophic history.  It has explored every
monument of Anglo-Saxon history and law, and mainly every scrap of
printed or written paper remaining from the period of the English
Commonwealth.  It has, out of England, devoted much thought and pains
to the history of philosophy.  It has groped in all nations where was
any literature for the early poetry not only the dramatic, but the
rudest lyric; for songs and ballads, the Nibelungen Lied, the poems
of Hans Sachs and Henry of Alckmaer in Germany, for the Cid in Spain,
for the rough-cast verse of the interior nations of Europe, and in
Britain for the ballads of Scotland and of Robinhood.

        In its own books also, our age celebrates its wants,
achievements, and hopes.  A wide superficial cultivation, often a
mere clearing and whitewashing, indicate the new taste in the
hitherto neglected savage, whether of the cities or the fields, to
know the arts and share the spiritual efforts of the refined.  The
time is marked by the multitude of writers.  Soldiers, sailors,
servants, nobles, princes, women, write books.  The progress of trade
and the facilities for locomotion have made the world nomadic again.
Of course it is well informed.  All facts are exposed.  The age is
not to be trifled with: it wishes to know who is who, and what is
what.  Let there be no ghost stories more.  Send Humboldt and
Bonpland to explore Mexico, Guiana, and the Cordilleras.  Let Captain
Parry learn if there be a northwest passage to America, and Mr.
Lander learn the true course of the Niger.  Puckler Muskau will go to
Algiers, and Sir Francis Head to the Pampas, to the Brunnens of
Nassau, and to Canada.  Then let us have charts true and Gazeteers
correct.  We will know where Babylon stood, and settle the topography
of the Roman Forum.  We will know whatever is to be known of
Australasia, of Japan, of Persia, of Egypt, of Timbuctoo, of
Palestine.

        Thus Christendom has become a great reading-room; and its books
have the convenient merits of the newspaper, its eminent propriety,
and its superficial exactness of information.  The age is well bred,
knows the world, has no nonsense, and herein is well distinguished
from the learned ages that preceded ours.  That there is no fool like
your learned fool, is a proverb plentifully illustrated in the
history and writings of the English and European scholars for the
half millenium that preceded the beginning of the eighteenth century.
The best heads of their time build or occupy such card-house theories
of religion, politics, and natural science, as a clever boy would now
blow away.  What stuff in Kepler, in Cardan, in Lord Bacon.
Montaigne, with all his French wit and downright sense, is little
better: a sophomore would wind him round his finger.  Some of the
Medical Remains of Lord Bacon in the book for his own use, "Of the
Prolongation of Life," will move a smile in the unpoetical
practitioner of the Medical College.  They remind us of the drugs and
practice of the leeches and enchanters of Eastern romance.  Thus we
find in his whimsical collection of astringents:

        "A stomacher of scarlet cloth; whelps or young healthy boys
applied to the stomach; hippocratic wines, so they be made of austere
materials.

        "8. To remember masticatories for the mouth.

        "9. And orange flower water to be smelled or snuffed up.

        "10. In the third hour after the sun is risen to take in air
from some high and open place with a ventilation of _rosae moschatae_
and fresh violets, and to stir the earth with infusion of wine and
mint.

        "17. To use once during supper time wine in which gold is
quenched.

        "26. Heroic desires.

        "28. To provide always an apt breakfast.

        "29. To do nothing against a man's genius."

        To the substance of some of these specifics we have no
objection.  We think we should get no better at the Medical College
to-day: and of all astringents we should reckon the best, "heroic
desires," and "doing nothing against one's genius." Yet the principle
of modern classification is different.  In the same place, it is
curious to find a good deal of pretty nonsense concerning the virtues
of the ashes of a hedgehog, the heart of an ape, the moss that
groweth upon the skull of a dead man unburied, and the comfort that
proceeds to the system from wearing beads of amber, coral, and
hartshorn; -- or from rings of sea horse teeth worn for cramp; -- to
find all these masses of moonshine side by side with the gravest and
most valuable observations.

        The good Sir Thomas Browne recommends as empirical cures for
the gout:

        "To wear shoes made of a lion's skin.

        "Try transplantation: Give poultices taken from the part to
dogs.

        "Try the magnified amulet of Muffetus, of spiders' legs worn in
a deer's skin, or of tortoises' legs cut off from the living tortoise
and wrapped up in the skin of a kid."

        Burton's Anatomy of Melancholy is an encyclopaedia of authors
and of opinions, where one who should forage for exploded theories
might easily load his panniers.  In daemonology, for example; "The
air," he says, "is not so full of flies in summer as it is at all
times of invisible devils.  They counterfeit suns and moons, and sit
on ships' masts.  They cause whirlwinds on a sudden and tempestuous
storms, which though our meteorologists generally refer to natural
causes, yet I am of Bodine's mind, they are more often caused by
those aerial devils in their several quarters.  Cardan gives much
information concerning them.  His father had one of them, an aerial
devil, bound to him for eight and twenty years; as Aggrippa's dog had
a devil tied to his collar.  Some think that Paracelsus had one
confined in his sword pommel.  Others wear them in rings.  At Hammel
in Saxony, the devil in the likeness of a pied piper carried away 130
children that were never after seen."

        All this sky-full of cobwebs is now forever swept clean away.
Another race is born.  Humboldt and Herschel, Davy and Arago, Malthus
and Bentham have arrived.  If Robert Burton should be quoted to
represent the army of scholars, who have furnished a contribution to
his moody pages, Horace Walpole, whose letters circulate in the
libraries, might be taken with some fitness to represent the spirit
of much recent literature.  He has taste, common sense, love of
facts, impatience of humbug, love of history, love of splendor, love
of justice, and the sentiment of honor among gentlemen; but no life
whatever of the higher faculties, no faith, no hope, no aspiration,
no question touching the secret of nature.

        The favorable side of this research and love of facts is the
bold and systematic criticism, which has appeared in every department
of literature.  From Wolf's attack upon the authenticity of the
Homeric Poems, dates a new epoch in learning.  Ancient history has
been found to be not yet settled.  It is to be subjected to common
sense.  It is to be cross examined.  It is to be seen, whether its
traditions will consist not with universal belief, but with universal
experience.  Niebuhr has sifted Roman history by the like methods.
Heeren has made good essays towards ascertaining the necessary facts
in the Grecian, Persian, Assyrian, Egyptian, Ethiopic, Carthaginian
nations.  English history has been analyzed by Turner, Hallam,
Brodie, Lingard, Palgrave.  Goethe has gone the circuit of human
knowledge, as Lord Bacon did before him, writing True or False on
every article.  Bentham has attempted the same scrutiny in reference
to Civil Law.  Pestalozzi out of a deep love undertook the reform of
education.  The ambition of Coleridge in England embraced the whole
problem of philosophy; to find, that is, a foundation in thought for
everything that existed in fact.  The German philosophers, Schelling,
Kant, Fichte, have applied their analysis to nature and thought with
an antique boldness.  There can be no honest inquiry, which is not
better than acquiescence.  Inquiries, which once looked grave and
vital no doubt, change their appearance very fast, and come to look
frivolous beside the later queries to which they gave occasion.

        This skeptical activity, at first directed on circumstances and
historical views deemed of great importance, soon penetrated deeper
than Rome or Egypt, than history or institutions, or the vocabulary
of metaphysics, namely, into the thinker himself, and into every
function he exercises.  The poetry and the speculation of the age are
marked by a certain philosophic turn, which discriminates them from
the works of earlier times.  The poet is not content to see how "fair
hangs the apple from the rock," "what music a sunbeam awoke in the
groves," nor of Hardiknute, how "stately steppes he east the way, and
stately steppes he west," but he now revolves, What is the apple to
me? and what the birds to me? and what is Hardiknute to me?  and what
am I?  And this is called _subjectiveness_, as the eye is withdrawn
from the object and fixed on the subject or mind.

        We can easily concede that a steadfast tendency of this sort
appears in modern literature.  It is the new consciousness of the one
mind which predominates in criticism.  It is the uprise of the soul
and not the decline.  It is founded on that insatiable demand for
unity -- the need to recognise one nature in all the variety of
objects, -- which always characterizes a genius of the first order.
Accustomed always to behold the presence of the universe in every
part, the soul will not condescend to look at any new part as a
stranger, but saith, -- "I know all already, and what art thou?  Show
me thy relations to me, to all, and I will entertain thee also."

        There is a pernicious ambiguity in the use of the term
_subjective_.  We say, in accordance with the general view I have
stated, that the single soul feels its right to be no longer
confounded with numbers, but itself to sit in judgment on history and
literature, and to summon all facts and parties before its tribunal.
And in this sense the age is subjective.

        But, in all ages, and now more, the narrow-minded have no
interest in anything but its relation to their personality.  What
will help them to be delivered from some burden, eased in some
circumstance, flattered, or pardoned, or enriched, what will help to
marry or to divorce them, to prolong or to sweeten life, is sure of
their interest, and nothing else.  Every form under the whole heaven
they behold in this most partial light or darkness of intense
selfishness, until we hate their being.  And this habit of
intellectual selfishness has acquired in our day the fine name of
subjectiveness.

        Nor is the distinction between these two habits to be found in
the circumstance of using the first person singular, or reciting
facts and feelings of personal history.  A man may say _I_, and never
refer to himself as an individual; and a man may recite passages of
his life with no feeling of egotism.  Nor need a man have a vicious
subjectiveness because he deals in abstract propositions.

        But the criterion, which discriminates these two habits in the
poet's mind, is the tendency of his composition; namely, whether it
leads us to nature, or to the person of the writer.  The great always
introduce us to facts; small men introduce us always to themselves.
The great man, even whilst he relates a private fact personal to him,
is really leading us away from him to an universal experience.  His
own affection is in nature, in _What is_, and, of course, all his
communication leads outward to it, starting from whatsoever point.
The great never with their own consent become a load on the minds
they instruct.  The more they draw us to them, the farther from them
or more independent of them we are, because they have brought us to
the knowledge of somewhat deeper than both them and us.  The great
never hinder us; for, as the Jews had a custom of laying their beds
north and south, founded on an opinion that the path of God was east
and west, and they would not desecrate by the infirmities of sleep
the Divine circuits, so the activity of the good is coincident with
the axle of the world, with the sun and moon, with the course of the
rivers and of the winds, with the stream of laborers in the street,
and with all the activity and well being of the race.  The great lead
us to nature, and, in our age, to metaphysical nature, to the
invisible awful facts, to moral abstractions, which are not less
nature than is a river or a coal mine; nay, they are far more nature,
but its essence and soul.

        But the weak and evil, led also to analyze, saw nothing in
thought but luxury.  Thought for the selfish became selfish.  They
invited us to contemplate nature, and showed us an abominable self.
Would you know the genius of the writer?  Do not enumerate his
talents or his feats, but ask thyself, What spirit is he of?  Do
gladness and hope and fortitude flow from his page into thy heart?
Has he led thee to nature because his own soul was too happy in
beholding her power and love; or is his passion for the wilderness
only the sensibility of the sick, the exhibition of a talent, which
only shines whilst you praise it; which has no root in the character,
and can thus minister to the vanity but not to the happiness of the
possessor; and which derives all its eclat from our conventional
education, but would not make itself intelligible to the wise man of
another age or country?  The water we wash with never speaks of
itself, nor does fire, or wind, or tree.  Neither does the noble
natural man: he yields himself to your occasion and use; but his act
expresses a reference to universal good.

        Another element of the modern poetry akin to this subjective
tendency, or rather the direction of that same on the question of
resources, is, the Feeling of the Infinite.  Of the perception now
fast becoming a conscious fact, -- that there is One Mind, and that
all the powers and privileges which lie in any, lie in all; that I as
a man may claim and appropriate whatever of true or fair or good or
strong has anywhere been exhibited; that Moses and Confucius,
Montaigne and Leibnitz are not so much individuals as they are parts
of man and parts of me, and my intelligence proves them my own, --
literature is far the best expression.  It is true, this is not the
only nor the obvious lesson it teaches.  A selfish commerce and
government have caught the eye and usurped the hand of the masses.
It is not to be contested that selfishness and the senses write the
laws under which we live, and that the street seems to be built, and
the men and women in it moving not in reference to pure and grand
ends, but rather to very short and sordid ones.  Perhaps no
considerable minority, perhaps no one man leads a quite clean and
lofty life.  What then?  We concede in sadness the fact.  But we say
that these low customary ways are not all that survives in human
beings.  There is that in us which mutters, and that which groans,
and that which triumphs, and that which aspires.  There are facts on
which men of the world superciliously smile, which are worth all
their trade and politics, the impulses, namely, which drive young men
into gardens and solitary places, and cause extravagant gestures,
starts, distortions of the countenance, and passionate exclamations;
sentiments, which find no aliment or language for themselves on the
wharves, in court, or market, but which are soothed by silence, by
darkness, by the pale stars, and the presence of nature.  All over
the modern world the educated and susceptible have betrayed their
discontent with the limits of our municipal life, and with the
poverty of our dogmas of religion and philosophy.  They betray this
impatience by fleeing for resource to a conversation with nature --
which is courted in a certain moody and exploring spirit, as if they
anticipated a more intimate union of man with the world than has been
known in recent ages.  Those who cannot tell what they desire or
expect, still sigh and struggle with indefinite thoughts and vast
wishes.  The very child in the nursery prattles mysticism, and doubts
and philosophizes.  A wild striving to express a more inward and
infinite sense characterizes the works of every art.  The music of
Beethoven is said by those who understand it, to labor with vaster
conceptions and aspirations than music has attempted before.  This
Feeling of the Infinite has deeply colored the poetry of the period.
This new love of the vast, always native in Germany, was imported
into France by De Stael, appeared in England in Coleridge,
Wordsworth, Byron, Shelley, Felicia Hemans, and finds a most genial
climate in the American mind.  Scott and Crabbe, who formed
themselves on the past, had none of this tendency; their poetry is
objective.  In Byron, on the other hand, it predominates; but in
Byron it is blind, it sees not its true end -- an infinite good,
alive and beautiful, a life nourished on absolute beatitudes,
descending into nature to behold itself reflected there.  His will is
perverted, he worships the accidents of society, and his praise of
nature is thieving and selfish.

        Nothing certifies the prevalence of this taste in the people
more than the circulation of the poems, -- one would say, most
incongruously united by some bookseller, -- of Coleridge, Shelley,
and Keats.  The only unity is in the subjectiveness and the
aspiration common to the three writers.  Shelley, though a poetic
mind, is never a poet.  His muse is uniformly imitative; all his
poems composite.  A good English scholar he is, with ear, taste, and
memory, much more, he is a character full of noble and prophetic
traits; but imagination, the original, authentic fire of the bard, he
has not.  He is clearly modern, and shares with Richter,
Chateaubriand, Manzoni, and Wordsworth, the feeling of the infinite,
which so labors for expression in their different genius.  But all
his lines are arbitrary, not necessary.  When we read poetry, the
mind asks, -- Was this verse one of twenty which the author might
have written as well; or is this what that man was created to say?
But, whilst every line of the true poet will be genuine, he is in a
boundless power and freedom to say a million things.  And the reason
why he can say one thing well, is because his vision extends to the
sight of all things, and so he describes each as one who knows many
and all.

        The fame of Wordsworth is a leading fact in modern literature,
when it is considered how hostile his genius at first seemed to the
reigning taste, and with what feeble poetic talents his great and
steadily growing dominion has been established.  More than any other
poet his success has been not his own, but that of the idea which he
shared with his coevals, and which he has rarely succeeded in
adequately expressing.  The Excursion awakened in every lover of
nature the right feeling.  We saw stars shine, we felt the awe of
mountains, we heard the rustle of the wind in the grass, and knew
again the ineffable secret of solitude.  It was a great joy.  It was
nearer to nature than anything we had before.  But the interest of
the poem ended almost with the narrative of the influences of nature
on the mind of the Boy, in the first book.  Obviously for that
passage the poem was written, and with the exception of this and of a
few strains of the like character in the sequel, the whole poem was
dull.  Here was no poem, but here was poetry, and a sure index where
the subtle muse was about to pitch her tent and find the argument of
her song.  It was the human soul in these last ages striving for a
just publication of itself.  Add to this, however, the great praise
of Wordsworth, that more than any other contemporary bard he is
pervaded with a reverence of somewhat higher than (conscious)
thought.  There is in him that property common to all great poets, a
wisdom of humanity, which is superior to any talents which they
exert.  It is the wisest part of Shakspeare and of Milton.  For they
are poets by the free course which they allow to the informing soul,
which through their eyes beholdeth again and blesseth the things
which it hath made.  The soul is superior to its knowledge, wiser
than any of its works.

        With the name of Wordsworth rises to our recollection the name
of his contemporary and friend, Walter Savage Landor -- a man working
in a very different and peculiar spirit, yet one whose genius and
accomplishments deserve a wiser criticism than we have yet seen
applied to them, and the rather that his name does not readily
associate itself with any school of writers.  Of Thomas Carlyle, also
we shall say nothing at this time, since the quality and the energy
of his influence on the youth of this country will require at our
hands ere long a distinct and faithful acknowledgment.

        But of all men he, who has united in himself and that in the
most extraordinary degree the tendencies of the era, is the German
poet, naturalist, and philosopher, Goethe.  Whatever the age
inherited or invented, he made his own.  He has owed to Commerce and
to the victories of the Understanding, all their spoils.  Such was
his capacity, that the magazines of the world's ancient or modern
wealth, which arts and intercourse and skepticism could command -- he
wanted them all.  Had there been twice so much, he could have used it
as well.  Geologist, mechanic, merchant, chemist, king, radical,
painter, composer, -- all worked for him, and a thousand men seemed
to look through his eyes.  He learned as readily as other men
breathe.  Of all the men of this time, not one has seemed so much at
home in it as he.  He was not afraid to live.  And in him this
encyclopaedia of facts, which it has been the boast of the age to
compile, wrought an equal effect.  He was knowing; he was brave; he
was clean from all narrowness; he has a perfect propriety and taste,
-- a quality by no means common to the German writers.  Nay, since
the earth, as we said, had become a reading-room, the new
opportunities seem to have aided him to be that resolute realist he
is, and seconded his sturdy determination to see things for what they
are.  To look at him, one would say, there was never an observer
before.  What sagacity, what industry of observation! to read his
record is a frugality of time, for you shall find no word that does
not stand for a thing, and he is of that comprehension, which can see
the value of truth.  His love of nature has seemed to give a new
meaning to that word.  There was never man more domesticated in this
world than he.  And he is an apology for the analytic spirit of the
period, because, of his analysis, always wholes were the result.  All
conventions, all traditions he rejected.  And yet he felt his entire
right and duty to stand before and try and judge every fact in
nature.  He thought it necessary to dot round with his own pen the
entire sphere of knowables; and for many of his stories, this seems
the only reason: Here is a piece of humanity I had hitherto omitted
to sketch; -- take this.  He does not say so in syllables, -- yet a
sort of conscientious feeling he had to be _up_ to the universe, is
the best account and apology for many of them.  He shared also the
subjectiveness of the age, and that too in both the senses I have
discriminated.  With the sharpest eye for form, color, botany,
engraving, medals, persons, and manners, he never stopped at surface,
but pierced the purpose of a thing, and studied to reconcile that
purpose with his own being.  What he could so reconcile was good;
what he could not, was false.  Hence a certain greatness encircles
every fact he treats; for to him it has a soul, an eternal reason why
it was so, and not otherwise.  This is the secret of that deep
realism, which went about among all objects he beheld, to find the
cause why they must be what they are.  It was with him a favorite
task to find a theory of every institution, custom, art, work of art,
which he observes.  Witness his explanation of the Italian mode of
reckoning the hours of the day, as growing out of the Italian
climate; of the obelisk of Egypt, as growing out of a common natural
fracture in the granite parallelopiped in Upper Egypt; of the Doric
architecture, and the Gothic; of the Venetian music of the gondolier
originating in the habit of the fishers' wives of the Lido singing to
their husbands on the sea; of the Amphitheatre, which is the
enclosure of the natural cup of heads that arranges itself round
every spectacle in the street; of the coloring of Titian and Paul
Veronese, which one may verify in the common daylight in Venice every
afternoon; of the Carnival at Rome; of the domestic rural
architecture in Italy; and many the like examples.

        But also that other vicious subjectiveness, that vice of the
time, infected him also.  We are provoked with his Olympian
self-complacency, the patronizing air with which he vouchsafes to
tolerate the genius and performances of other mortals, "the good
Hiller," "our excellent Kant," "the friendly Wieland," &c. &c.  There
is a good letter from Wieland to Merck, in which Wieland relates that
Goethe read to a select party his journal of a tour in Switzerland
with the Grand Duke, and their passage through Valois and over the
St. Gothard.  "It was," says Wieland, "as good as Xenophon's
Anabasis.  The piece is one of his most masterly productions, and is
thought and written with the greatness peculiar to him.  The fair
hearers were enthusiastic at the nature in this piece; I liked the
sly art in the composition, whereof they saw nothing, still better.
It is a true poem, so concealed is the art too.  But what most
remarkably in this as in all his other works distinguishes him from
Homer and Shakspeare, is, that the Me, the _Ille ego_, everywhere
glimmers through, although without any boasting and with an infinite
fineness." This subtle element of egotism in Goethe certainly does
not seem to deform his compositions, but to lower the moral influence
of the man.  He differs from all the great in the total want of
frankness.  Whoso saw Milton, whoso saw Shakspeare, saw them do their
best, and utter their whole heart manlike among their brethren.  No
man was permitted to call Goethe brother.  He hid himself, and worked
always to astonish, which is an egotism, and therefore little.

        If we try Goethe by the ordinary canons of criticism, we should
say that his thinking is of great altitude, and all level; -- not a
succession of summits, but a high Asiatic table land.  Dramatic
power, the rarest talent in literature, he has very little.  He has
an eye constant to the fact of life, and that never pauses in its
advance.  But the great felicities, the miracles of poetry, he has
never.  It is all design with him, just thought and instructed
expression, analogies, allusion, illustration, which knowledge and
correct thinking supply; but of Shakspeare and the transcendant muse,
no syllable.  Yet in the court and law to which we ordinarily speak,
and without adverting to absolute standards, we claim for him the
praise of truth, of fidelity to his intellectual nature.  He is the
king of all scholars.  In these days and in this country, where the
scholars are few and idle, where men read easy books and sleep after
dinner, it seems as if no book could so safely be put in the hands of
young men as the letters of Goethe, which attest the incessant
activity of this man to eighty years, in an endless variety of
studies with uniform cheerfulness and greatness of mind.  They cannot
be read without shaming us into an emulating industry.  Let him have
the praise of the love of truth.  We think, when we contemplate the
stupendous glory of the world, that it were life enough for one man
merely to lift his hands and cry with St. Augustine, "Wrangle who
pleases, I will wonder." Well, this he did.  Here was a man, who, in
the feeling that the thing itself was so admirable as to leave all
comment behind, went up and down from object to object, lifting the
veil from everyone, and did no more.  What he said of Lavater, may
trulier be said of him, that "it was fearful to stand in the presence
of one, before whom all the boundaries within which nature has
circumscribed our being were laid flat." His are the bright and
terrible eyes, which meet the modern student in every sacred chapel
of thought, in every public enclosure.

        But now, that we may not seem to dodge the question which all
men ask, nor pay a great man so ill a compliment as to praise him
only in the conventional and comparative speech, let us honestly
record our thought upon the total worth and influence of this genius.
Does he represent not only the achievement of that age in which he
lived, but that which it would be and is now becoming?  And what
shall we think of that absence of the moral sentiment, that singular
equivalence to him of good and evil in action, which discredits his
compositions to the pure?  The spirit of his biography, of his poems,
of his tales, is identical, and we may here set down by way of
comment on his genius the impressions recently awakened in us by the
story of Wilhelm Meister.

        All great men have written proudly, nor cared to explain.  They
knew that the intelligent reader would come at last, and would thank
them.  So did Dante, so did Machiavel.  Goethe has done this in
Meister.  We can fancy him saying to himself; -- There are poets
enough of the ideal; let me paint the Actual, as, after years of
dreams, it will still appear and reappear to wise men.  That all
shall right itself in the long Morrow, I may well allow, and my novel
may easily wait for the same regeneration.  The age, that can damn it
as false and falsifying, will see that it is deeply one with the
genius and history of all the centuries.  I have given my characters
a bias to error.  Men have the same.  I have let mischances befall
instead of good fortune.  They do so daily.  And out of many vices
and misfortunes, I have let a great success grow, as I had known in
my own and many other examples.  Fierce churchmen and effeminate
aspirants will chide and hate my name, but every keen beholder of
life will justify my truth, and will acquit me of prejudging the
cause of humanity by painting it with this morose fidelity.  To a
profound soul is not austere truth the sweetest flattery?

        Yes, O Goethe! but the ideal is truer than the actual.  That is
ephemeral, but this changes not.  Moreover, because nature is moral,
that mind only can see, in which the same order entirely obtains.  An
interchangeable Truth, Beauty, and Goodness, each wholly interfused
in the other, must make the humors of that eye, which would see
causes reaching to their last effect and reproducing the world
forever.  The least inequality of mixture, the excess of one element
over the other, in that degree diminishes the transparency of things,
makes the world opaque to the observer, and destroys so far the value
of his experience.  No particular gifts can countervail this defect.
In reading Meister, I am charmed with the insight; to use a phrase of
Ben Jonson's, "it is rammed with life." I find there actual men and
women even too faithfully painted.  I am, moreover, instructed in the
possibility of a highly accomplished society, and taught to look for
great talent and culture under a grey coat.  But this is all.  The
limits of artificial society are never quite out of sight.  The
vicious conventions, which hem us in like prison walls, and which the
poet should explode at his touch, stand for all they are worth in the
newspaper.  I am never lifted above myself.  I am not transported out
of the dominion of the senses, or cheered with an infinite
tenderness, or armed with a grand trust.

        Goethe, then, must be set down as the poet of the Actual, not
of the Ideal; the poet of limitation, not of possibility; of this
world, and not of religion and hope; in short, if I may say so, the
poet of prose, and not of poetry.  He accepts the base doctrine of
Fate, and gleans what straggling joys may yet remain out of its ban.
He is like a banker or a weaver with a passion for the country, he
steals out of the hot streets before sunrise, or after sunset, or on
a rare holiday, to get a draught of sweet air, and a gaze at the
magnificence of summer, but dares not break from his slavery and lead
a man's life in a man's relation to nature.  In that which should be
his own place, he feels like a truant, and is scourged back presently
to his task and his cell.  Poetry is with Goethe thus external, the
gilding of the chain, the mitigation of his fate; but the muse never
essays those thunder-tones, which cause to vibrate the sun and the
moon, which dissipate by dreadful melody all this iron network of
circumstance, and abolish the old heavens and the old earth before
the free-will or Godhead of man.  That Goethe had not a moral
perception proportionate to his other powers, is not then merely a
circumstance, as we might relate of a man that he had or had not the
sense of tune or an eye for colors; but it is the cardinal fact of
health or disease; since, lacking this, he failed in the high sense
to be a creator, and with divine endowments drops by irreversible
decree into the common history of genius.  He was content to fall
into the track of vulgar poets, and spend on common aims his splendid
endowments, and has declined the office proffered to now and then a
man in many centuries in the power of his genius -- of a Redeemer of
the human mind.  He has written better than other poets, only as his
talent was subtler, but the ambition of creation he refused.  Life
for him is prettier, easier, wiser, decenter, has a gem or two more
on its robe, but its old eternal burden is not relieved; no drop of
healthier blood flows yet in its veins.  Let him pass.  Humanity must
wait for its physician still at the side of the road, and confess as
this man goes out that they have served it better, who assured it out
of the innocent hope in their hearts that a Physician will come, than
this majestic Artist, with all the treasuries of wit, of science, and
of power at his command.

        The criticism, which is not so much spoken as felt in reference
to Goethe, instructs us directly in the hope of literature.  We feel
that a man gifted like him should not leave the world as he found it.
It is true, though somewhat sad, that every fine genius teaches us
how to blame himself.  Being so much, we cannot forgive him for not
being more.  When one of these grand monads is incarnated, whom
nature seems to design for eternal men and draw to her bosom, we
think that the old wearinesses of Europe and Asia, the trivial forms
of daily life will now end, and a new morning break on us all.  What
is Austria?  What is England?  What is our graduated and petrified
social scale of ranks and employments?  Shall not a poet redeem us
from these idolatries, and pale their legendary lustre before the
fires of the Divine Wisdom which burn in his heart?  All that in our
sovereign moments each of us has divined of the powers of thought,
all the hints of omnipresence and energy which we have caught, this
man should unfold and constitute facts.

        And this is the insatiable craving which alternately saddens
and gladdens men at this day.  The Doctrine of the Life of Man
established after the truth through all his faculties; -- this is the
thought which the literature of this hour meditates and labors to
say.  This is that which tunes the tongue and fires the eye and sits
in the silence of the youth.  Verily it will not long want articulate
and melodious expression.  There is nothing in the heart but comes
presently to the lips.  The very depth of the sentiment, which is the
author of all the cutaneous life we see, is guarantee for the riches
of science and of song in the age to come.  He, who doubts whether
this age or this country can yield any contribution to the literature
of the world, only betrays his own blindness to the necessities of
the human soul.  Has the power of poetry ceased, or the need?  Have
the eyes ceased to see that which they would have, and which they
have not?  Have they ceased to see other eyes?  Are there no lonely,
anxious, wondering children, who must tell their tale?  Are we not
evermore whipped by thoughts;

        "In sorrow steeped and steeped in love
        Of thoughts not yet incarnated?"
 
        The heart beats in this age as of old, and the passions are
busy as ever.  Nature has not lost one ringlet of her beauty, one
impulse of resistance and valor.  From the necessity of loving none
are exempt, and he that loves must utter his desires.  A charm as
radiant as beauty ever beamed, a love that fainteth at the sight of
its object, is new to-day.

                 "The world does not run smoother than of old,
                 There are sad haps that must be told."

         Man is not so far lost but that he suffers ever the great
Discontent, which is the elegy of his loss and the prediction of his
recovery.  In the gay saloon he laments that these figures are not
what Raphael and Guercino painted.  Withered though he stand and
trifler though he be, the august spirit of the world looks out from
his eyes.  In his heart he knows the ache of spiritual pain, and his
thought can animate the sea and land.  What then shall hinder the
Genius of the time from speaking its thought?  It cannot be silent,
if it would.  It will write in a higher spirit, and a wider
knowledge, and with a grander practical aim, than ever yet guided the
pen of poet.  It will write the annals of a changed world, and record
the descent of principles into practice, of love into Government, of
love into Trade.  It will describe the new heroic life of man, the
now unbelieved possibility of simple living and of clean and noble
relations with men.  Religion will bind again these that were
sometime frivolous, customary, enemies, skeptics, self-seekers, into
a joyful reverence for the circumambient Whole, and that which was
ecstasy shall become daily bread.

 

                       _New Poetry_

        The tendencies of the times are so democratical, that we shall
soon have not so much as a pulpit or raised platform in any church or
townhouse, but each person, who is moved to address any public
assembly, will speak from the floor.  The like revolution in
literature is now giving importance to the portfolio over the book.
Only one man in the thousand may print a book, but one in ten or one
in five may inscribe his thoughts, or at least with short commentary
his favorite readings in a private journal.  The philosophy of the
day has long since broached a more liberal doctrine of the poetic
faculty than our fathers held, and reckons poetry the right and power
of every man to whose culture justice is done.  We own that, though
we were trained in a stricter school of literary faith, and were in
all our youth inclined to the enforcement of the straitest
restrictions on the admission of candidates to the Parnassian
fraternity, and denied the name of poetry to every composition in
which the workmanship and the material were not equally excellent, in
our middle age we have grown lax, and have learned to find pleasure
in verses of a ruder strain, -- to enjoy _verses of society_, or
those effusions which in persons of a happy nature are the easy and
unpremeditated translation of their thoughts and feelings into rhyme.
This new taste for a certain private and household poetry, for
somewhat less pretending than the festal and solemn verses which are
written for the nations, really indicates, we suppose, that a new
style of poetry exists.  The number of writers has increased.  Every
child has been taught the tongues.  The universal communication of
the arts of reading and writing has brought the works of the great
poets into every house, and made all ears familiar with the poetic
forms.  The progress of popular institutions has favored
self-respect, and broken down that terror of the great, which once
imposed awe and hesitation on the talent of the masses of society.  A
wider epistolary intercourse ministers to the ends of sentiment and
reflection than ever existed before; the practice of writing diaries
is becoming almost general; and every day witnesses new attempts to
throw into verse the experiences of private life.

 
        What better omen of true progress can we ask than an increasing
intellectual and moral interest of men in each other?  What can be
better for the republic than that the Capitol, the White House, and
the Court House are becoming of less importance than the farm-house
and the book-closet?  If we are losing our interest in public men,
and finding that their spell lay in number and size only, and
acquiring instead a taste for the depths of thought and emotion as
they may be sounded in the soul of the citizen or the countryman,
does it not replace man for the state, and character for official
power?  Men should be treated with solemnity; and when they come to
chant their private griefs and doubts and joys, they have a new scale
by which to compute magnitude and relation.  Art is the noblest
consolation of calamity.  The poet is compensated for his defects in
the street and in society, if in his chamber he has turned his
mischance into noble numbers.

        Is there not room then for a new department in poetry, namely,
_Verses of the Portfolio_?  We have fancied that we drew greater
pleasure from some manuscript verses than from printed ones of equal
talent.  For there was herein the charm of character; they were
confessions; and the faults, the imperfect parts, the fragmentary
verses, the halting rhymes, had a worth beyond that of a high finish;
for they testified that the writer was more man than artist, more
earnest than vain; that the thought was too sweet and sacred to him,
than that he should suffer his ears to hear or his eyes to see a
superficial defect in the expression.

        The characteristic of such verses is, that being not written
for publication, they lack that finish which the conventions of
literature require of authors.  But if poetry of this kind has merit,
we conceive that the prescription which demands a rhythmical polish
may be easily set aside; and when a writer has outgrown the state of
thought which produced the poem, the interest of letters is served by
publishing it imperfect, as we preserve studies, torsos, and blocked
statues of the great masters.  For though we should be loath to see
the wholesome conventions, to which we have alluded, broken down by a
general incontinence of publication, and every man's and woman's
diary flying into the bookstores, yet it is to be considered, on the
other hand, that men of genius are often more incapable than others
of that elaborate execution which criticism exacts.  Men of genius in
general are, more than others, incapable of any perfect exhibition,
because however agreeable it may be to them to act on the public, it
is always a secondary aim.  They are humble, self-accusing, moody
men, whose worship is toward the Ideal Beauty, which chooses to be
courted not so often in perfect hymns, as in wild ear-piercing
ejaculations, or in silent musings.  Their face is forward, and their
heart is in this heaven.  By so much are they disqualified for a
perfect success in any particular performance to which they can give
only a divided affection.  But the man of talents has every advantage
in the competition.  He can give that cool and commanding attention
to the thing to be done, that shall secure its just performance.  Yet
are the failures of genius better than the victories of talent; and
we are sure that some crude manuscript poems have yielded us a more
sustaining and a more stimulating diet, than many elaborated and
classic productions.

        We have been led to these thoughts by reading some verses,
which were lately put into our hands by a friend with the remark,
that they were the production of a youth, who had long passed out of
the mood in which he wrote them, so that they had become quite dead
to him.  Our first feeling on reading them was a lively joy.  So then
the Muse is neither dead nor dumb, but has found a voice in these
cold Cisatlantic States.  Here is poetry which asks no aid of
magnitude or number, of blood or crime, but finds theatre enough in
the first field or brookside, breadth and depth enough in the flow of
its own thought.  Here is self-repose, which to our mind is stabler
than the Pyramids; here is self-respect which leads a man to date
from his heart more proudly than from Rome.  Here is love which sees
through surface, and adores the gentle nature and not the costume.
Here is religion, which is not of the Church of England, nor of the
Church of Boston.  Here is the good wise heart, which sees that the
end of culture is strength and cheerfulness.  In an age too which
tends with so strong an inclination to the philosophical muse, here
is poetry more purely intellectual than any American verses we have
yet seen, distinguished from all competition by two merits; the
fineness of perception; and the poet's trust in his own genius to
that degree, that there is an absence of all conventional imagery,
and a bold use of that which the moment's mood had made sacred to
him, quite careless that it might be sacred to no other, and might
even be slightly ludicrous to the first reader.

        We proceed to give our readers some selections, taken without
much order from this rich pile of manuscript.  We first find the poet
in his boat.

        BOAT SONG

                        THE RIVER calmly flows,
                Through shining banks, through lonely glen,
        Where the owl shrieks, though ne'er the cheer of men
                Has stirred its mute repose,
        Still if you should walk there, you would go there again.

                        The stream is well alive;
                Another passive world you see,
        Where downward grows the form of every tree;
                Like soft light clouds they thrive:
        Like them let us in our pure loves reflected be.

                        A yellow gleam is thrown
                Into the secrets of that maze
        Of tangled trees, which late shut out our gaze,
                Refusing to be known;
        It must its privacy unclose, -- its glories blaze.
 
                        Sweet falls the summer air
                Over her frame who sails with me:
        Her way like that is beautifully free,
                Her nature far more rare,
        And is her constant heart of virgin purity.

                        A quivering star is seen
                Keeping his watch above the hill,
        Though from the sun's retreat small light is still
                Poured on earth's saddening mien: --
        We all are tranquilly obeying Evening's will.

                        Thus ever love the POWER;
                To simplest  thoughts dispose the mind;
        In each obscure event a worship find
                Like that of this dim hour, --
        In lights, and airs, and trees, and in all human kind.

                        We smoothly glide below
                The faintly glimmering worlds of light:
        Day has a charm, and this deceptive night
                Brings a mysterious show; --
        He shadows our dear earth, -- but his cool stars are white.

        _Two Years before the Mast._ A Personal Narrative of Life at
Sea.
        New York: Harper and Brothers. 12mo. pp. 483.

        This is a voice from the forecastle.  Though a narrative of
literal, prosaic truth, it possesses something of the romantic charm
of Robinson Crusoe.  Few more interesting chapters of the literature
of the sea have ever fallen under our notice.  The author left the
halls of the University for the deck of a merchant vessel, exchanging
"the tight dress coat, silk cap, and kid gloves of an undergraduate
at Cambridge, for the loose entofDocumentsduck trowsers, checked
shirt, and tarpaulin hat of a sailor," and here presents us the
fruits of his voyage.  His book will have a wide circulation; it will
be praised in the public prints; we shall be told that it does honor
to his head and heart; but we trust that it will do much more than
this; that it will open the eyes of many to the condition of the
sailor, to the fearful waste of man, by which the luxuries of foreign
climes are made to increase the amount of commercial wealth.  This
simple narrative, stamped with deep sincerity, and often displaying
an unstudied, pathetic eloquence, may lead to reflections, which mere
argument and sentimental appeals do not call forth.  It will serve to
hasten the day of reckoning between society and the sailor, which,
though late, will not fail to come.

        _Social Destiny of Man: or Association and Reorganization of
Industry._
        By ALBERT BRISBANE. Philadelphia. 12mo. pp. 480.

        This work is designed to give a condensed view of the system of
M. Fourier, for the improvement and elevation of productive industry.
It will be read with deep interest by a large class of our
population.  The name of Fourier may be placed at the head of modern
thinkers, whose attention has been given to the practical evils of
society and the means of their removal.  His general principles
should be cautiously separated from the details which accompany their
exposition, many of which are so exclusively adapted to the French
character, as to prejudice their reception with persons of opposite
habits and associations.  The great question, which he brings up for
discussion, concerns the union of labor and capital in the same
individuals, by a system of combined and organized industry.  This
question, it is more than probable, will not be set aside at once,
whenever its importance is fully perceived, and those who are
interested in its decision will find materials of no small value in
the writings of M. Fourier.  They may be regarded, in some sense, as
the scientific analysis of the cooperative principle, which has,
within a few years past, engaged the public attention in England, and
in certain cases, received a successful, practical application.

 

        _Michael Angelo, considered as a Philosophic Poet, with
Translations._
        By JOHN EDWARD TAYLOR. London: Saunders & Otley, Conduit
Street. 1840.

        We welcome this little book with joy, and a hope that it may be
republished in Boston.  It would find, probably, but a small circle
of readers, but that circle would be more ready to receive and prize
it than the English public for whom it was intended, if we may judge
by the way in which Mr. Taylor, all through his prefatory essay, has
considered it necessary to apologize for, or, at least, explain views
very commonly received among ourselves.

        The essay is interesting from the degree of acquaintance it
exhibits with some of those great ones, who have held up the highest
aims to the soul, and from the degree of insight which reverence and
delicacy of mind have given to the author.  From every line comes the
soft breath of green pastures where "walk the good shepherds."

        Of the sonnets, we doubt the possibility of making good
translations into English.  No gift of the Muse is more injured by
change of form than the Italian sonnet.  As those of Petrarch will
not bear it, from their infinite grace, those of Dante from their
mystic and subtle majesty; so these of Angelo, from the rugged
naivete with which they are struck off from the mind, as huge
splinters of stone might be from some vast block, can never be "done
into English," as the old translators, with an intelligent modesty,
were wont to write of their work.  The grand thought is not quite
evaporated in the process, but the image of the stern and stately
writer is lost.  We do not know again such words as "concetto,"
"superna" in their English representatives.

        But since a knowledge of the Italian language is not so common
an attainment as could be wished, we ought to be grateful for this
attempt to extend the benefit of these noble expressions of the faith
which inspired one of the most full and noble lives that has ever
redeemed and encouraged man.

 
        Fidelity must be the highest merit of these translations; for
not even an Angelo could translate his peer.  This, so far as we have
looked at them, they seem to possess.  And even in the English dress,
we think none, to whom they are new, can read the sonnets, --

        "Veggio nel volto tuo col pensier mie."
        "S'un casto amor, s'una pieta superna."
        "La vita del mio amor non e cuor mio."
 
        and others of the same pure religion, without a delight which
shall
 
        "Cast a light upon the day,
        A light which will not go away,
        A sweet forewarning."

        We hope they may have the opportunity.  It is a very little
book with a great deal in it, and five hundred copies will sell in
two years.

        We add Mr. Taylor's little preface, which happily expresses his
design.

        "The remarks on the poetry and philosophy of Michael Angelo,
which are prefixed to these translations have been collected and are
now published in the hope that they may invite the student of
literature to trace the relation which unites the efforts of the pure
intelligence and the desires of the heart to their highest earthly
accomplishment under the complete forms of Art.  For the example of
so eminent a mind, watched and judged not only by its finished works,
but, as it were, in its growth and from its inner source of Love and
Knowledge cannot but enlarge the range of our sympathy for the best
powers and productions of man.  And if these pages should meet with
any readers inclined, like their writer, to seek and to admire the
veiled truth and solemn beauty of the eldertime, they will add their
humble testimony to the fact, that whatever be the purpose and
tendencies of the time we live in, we are not all unmindful of the
better part of our inheritance in this world."

 
 
        _Essays and Poems_. By JONES VERY. Boston: C. C. Little and
        James Brown.

        This little volume would have received an earlier notice, if we
had been at all careful to proclaim our favorite books.  The genius
of this book is religious, and reaches an extraordinary depth of
sentiment.  The author, plainly a man of a pure and kindly temper,
casts himself into the state of the high and transcendental obedience
to the inward Spirit.  He has apparently made up his mind to follow
all its leadings, though he should be taxed with absurdity or even
with insanity.  In this enthusiasm he writes most of these verses,
which rather flow through him than from him.  There is no
_composition_, no elaboration, no artifice in the structure of the
rhyme, no variety in the imagery; in short, no pretension to literary
merit, for this would be departure from his singleness, and followed
by loss of insight.  He is not at liberty even to correct these
unpremeditated poems for the press; but if another will publish them,
he offers no objection.  In this way they have come into the world,
and as yet have hardly begun to be known.  With the exception of the
few first poems, which appear to be of an earlier date, all these
verses bear the unquestionable stamp of grandeur.  They are the
breathings of a certain entranced devotion, which one would say,
should be received with affectionate and sympathizing curiosity by
all men, as if no recent writer had so much to show them of what is
most their own.  They are as sincere a litany as the Hebrew songs of
David or Isaiah, and only less than they, because indebted to the
Hebrew muse for their tone and genius.  This makes the singularity of
the book, namely, that so pure an utterance of the most domestic and
primitive of all sentiments should in this age of revolt and
experiment use once more the popular religious language, and so show
itself secondary and morbid.  These sonnets have little range of
topics, no extent of observation, no playfulness; there is even a
certain torpidity in the concluding lines of some of them, which
reminds one of church hymns; but, whilst they flow with great
sweetness, they have the sublime unity of the Decalogue or the Code
of Menu, and if as monotonous, yet are they almost as pure as the
sounds of Surrounding Nature.  We gladly insert from a newspaper the
following sonnet, which appeared since the volume was printed.

        THE BARBERRY BUSH.
 
        The bush that has most briers and bitter fruit,
        Wait till the frost has turned its green leaves red,
        Its sweetened berries will thy palate suit,
        And thou may'st find e'en there a homely bread.
        Upon the hills of Salem scattered wide,
        Their yellow blossoms gain the eye in Spring;
        And straggling e'en upon the turnpike's side,
        Their ripened branches to your hand they bring,
        I 've plucked them oft in boyhood's early hour,
        That then I gave such name, and thought it true;
        But now I know that other fruit as sour
        Grows on what now thou callest _Me_ and _You_;
        Yet, wilt thou wait the autumn that I see,
        Will sweeter taste than these red berries be.

 
        _Walter Savage Landor_

        We sometimes meet in a stage coach in New England an erect
muscular man, with fresh complexion and a smooth hat, whose nervous
speech instantly betrays the English traveller; -- a man nowise
cautious to conceal his name or that of his native country, or his
very slight esteem for the persons and the country that surround him.
When Mr. Bull rides in an American coach, he speaks quick and strong,
he is very ready to confess his ignorance of everything about him,
persons, manners, customs, politics, geography.  He wonders that the
Americans should build with wood, whilst all this stone is lying in
the roadside, and is astonished to learn that a wooden house may last
a hundred years; nor will he remember the fact as many minutes after
it has been told him; he wonders they do not make elder-wine and
cherry-bounce, since here are cherries, and every mile is crammed
with elder bushes.  He has never seen a good horse in America, nor a
good coach, nor a good inn.  Here is very good earth and water, and
plenty of them, -- that he is free to allow, -- to all others gifts
of nature or man, his eyes are sealed by the inexorable demand for
the precise conveniences to which he is accustomed in England.  Add
to this proud blindness the better quality of great downrightness in
speaking the truth, and the love of fair play, on all occasions, and,
moreover, the peculiarity which is alleged of the Englishman, that
his virtues do not come out until he quarrels.  Transfer these traits
to a very elegant and accomplished mind, and we shall have no bad
picture of Walter Savage Landor, who may stand as a favorable
impersonation of the genius of his countrymen at the present day.  A
sharp dogmatic man with a great deal of knowledge, a great deal of
worth, and a great deal of pride, with a profound contempt for all
that he does not understand, a master of all elegant learning and
capable of the utmost delicacy of sentiment, and yet prone to indulge
a sort of ostentation of coarse imagery and language.  His
partialities and dislikes are by no means calculable, but are often
whimsical and amusing; yet they are quite sincere, and, like those of
Johnson and Coleridge, are easily separable from the man.  What he
says of Wordsworth, is true of himself, that he delights to throw a
clod of dirt on the table, and cry, "Gentlemen, there is a better man
than all of you." Bolivar, Mina, and General Jackson will never be
greater soldiers than Napoleon and Alexander, let Mr. Landor think as
he will; nor will he persuade us to burn Plato and Xenophon, out of
our admiration of Bishop Patrick, or "Lucas on Happiness," or "Lucas
on Holiness," or even Barrow's Sermons.  Yet a man may love a
paradox, without losing either his wit or his honesty.  A less
pardonable eccentricity is the cold and gratuitous obtrusion of
licentious images, not so much the suggestion of merriment as of
bitterness.  Montaigne assigns as a reason for his license of speech,
that he is tired of seeing his Essays on the work-tables of ladies,
and he is determined they shall for the future put them out of sight.
In Mr. Landor's coarseness there is a certain air of defiance; and
the rude word seems sometimes to arise from a disgust at niceness and
over-refinement.  Before a well-dressed company he plunges his
fingers in a sess-pool, as if to expose the whiteness of his hands
and the jewels of his ring.  Afterward, he washes them in water, he
washes them in wine; but you are never secure from his freaks.  A
sort of Earl Peterborough in literature, his eccentricity is too
decided not to have diminished his greatness.  He has capital enough
to have furnished the brain of fifty stock authors, yet has written
no good book.

        But we have spoken all our discontent.  Possibly his writings
are open to harsher censure; but we love the man from sympathy, as
well as for reasons to be assigned; and have no wish, if we were
able, to put an argument in the mouth of his critics.  Now for twenty
years we have still found the "Imaginary Conversations" a sure
resource in solitude, and it seems to us as original in its form as
in its matter.  Nay, when we remember his rich and ample page,
wherein we are always sure to find free and sustained thought, a keen
and precise understanding, an affluent and ready memory familiar with
all chosen books, an industrious observation in every department of
life, an experience to which nothing has occurred in vain, honor for
every just and generous sentiment, and a scourge like that of the
Furies for every oppressor, whether public or private, we feel how
dignified is this perpetual Censor in his curule chair, and we wish
to thank a benefactor of the reading world.

        Mr. Landor is one of the foremost of that small class who make
good in the nineteenth-century the claims of pure literature.  In
these busy days of avarice and ambition, when there is so little
disposition to profound thought, or to any but the most superficial
intellectual entertainments, a faithful scholar receiving from past
ages the treasures of wit, and enlarging them by his own love, is a
friend and consoler of mankind.  When we pronounce the names of Homer
and Aeschylus, -- Horace, Ovid, and Plutarch, -- Erasmus, Scaliger,
and Montaigne, -- Ben Jonson and Isaak Walton, -- Dryden and Pope, --
we pass at once out of trivial associations, and enter into a region
of the purest pleasure accessible to human nature.  We have quitted
all beneath the moon, and entered that crystal sphere in which
everything in the world of matter reappears, but transfigured and
immortal.  Literature is the effort of man to indemnify himself for
the wrongs of his condition.  The existence of the poorest
play-wright and the humblest scrivener is a good omen.  A charm
attaches to the most inferior names which have in any manner got
themselves enrolled in the registers of the House of Fame, even as
porters and grooms in the courts, to Creech and Fenton, Theobald and
Dennis, Aubrey and Spence.  From the moment of entering a library and
opening a desired book, we cease to be citizens, creditors, debtors,
housekeepers, and men of care and fear.  What boundless leisure! what
original jurisdiction! the old constellations have set, new and
brighter have arisen; an elysian light tinges all objects.

        "In the afternoon we came unto a land
        In which it seemed always afternoon."

        And this sweet asylum of an intellectual life must appear to
have the sanction of nature, as long as so many men are born with so
decided an aptitude for reading and writing.  Let us thankfully allow
every faculty and art which opens new scope to a life so confined as
ours.  There are vast spaces in a thought; a slave, to whom the
religious sentiment is opened, has a freedom which makes his master's
freedom a slavery.  Let us not be so illiberal with our schemes for
the renovation of society and nature, as to disesteem or deny the
literary spirit.  Certainly there are heights in nature which command
this; there are many more which this commands.  It is vain to call it
a luxury, and as saints and reformers are apt to do, decry it as a
species of day-dreaming.  What else are sanctities, and reforms, and
all other things?  Whatever can make for itself an element, means,
organs, servants, and the most profound and permanent existence in
the hearts and heads of millions of men, must have a reason for its
being.  Its excellency is reason and vindication enough.  If rhyme
rejoices us, there should be rhyme, as much as if fire cheers us, we
should bring wood and coals.  Each kind of excellence takes place for
its hour, and excludes everything else.  Do not brag of your actions,
as if they were better than Homer's verses or Raphael's pictures.
Raphael and Homer feel that action is pitiful beside their
enchantments.  They could act too, if the stake was worthy of them;
but now all that is good in the universe urges them to their task.
Whoever writes for the love of truth and beauty, and not with
ulterior ends, belongs to this sacred class, and among these, few men
of the present age, have a better claim to be numbered than Mr.
Landor.  Wherever genius or taste has existed, wherever freedom and
justice are threatened, which he values as the element in which
genius may work, his interest is sure to be commanded.  His love of
beauty is passionate, and betrays itself in all petulant and
contemptuous expressions.

        But beyond his delight in genius, and his love of individual
and civil liberty, Mr. Landor has a perception that is much more
rare, the appreciation of character.  This is the more remarkable
considered with his intense nationality, to which we have already
alluded.  He is buttoned in English broadcloth to the chin.  He hates
the Austrians, the Italians, the French, the Scotch, and the Irish.
He has the common prejudices of the English landholder; values his
pedigree, his acres, and the syllables of his name; loves all his
advantages, is not insensible to the beauty of his watchseal, or the
Turk's head on his umbrella; yet with all this miscellaneous pride,
there is a noble nature within him, which instructs him that he is so
rich that he can well spare all his trappings, and, leaving to others
the painting of circumstance, aspire to the office of delineating
character.  He draws his own portrait in the costume of a village
schoolmaster, and a sailor, and serenely enjoys the victory of nature
over fortune.  Not only the elaborated story of Normanby, but the
whimsical selection of his heads prove this taste.  He draws with
evident pleasure the portrait of a man, who never said anything
right, and never did anything wrong.  But in the character of
Pericles, he has found full play for beauty and greatness of
behavior, where the circumstances are in harmony with the man.  These
portraits, though mere sketches, must be valued as attempts in the
very highest kind of narrative, which not only has very few examples
to exhibit of any success, but very few competitors in the attempt.
The word Character is in all mouths; it is a force which we all feel;
yet who has analyzed it?  What is the nature of that subtle, and
majestic principle which attaches us to a few persons, not so much by
personal as by the most spiritual ties?  What is the quality of the
persons who, without being public men, or literary men, or rich men,
or active men, or (in the popular sense) religious men, have a
certain salutary omnipresence in all our life's history, almost
giving their own quality to the atmosphere and the landscape?  A
moral force, yet wholly unmindful of creed and catechism,
intellectual, but scornful of books, it works directly and without
means, and though it may be resisted at any time, yet resistance to
it is a suicide.  For the person who stands in this lofty relation to
his fellow men is always the impersonation to them of their
conscience.  It is a sufficient proof of the extreme delicacy of this
element, evanescing before any but the most sympathetic vision, that
it has so seldom been employed in the drama and in novels.  Mr.
Landor, almost alone among living English writers, has indicated his
perception of it.

        These merits make Mr. Landor's position in the republic of
letters one of great mark and dignity.  He exercises with a grandeur
of spirit the office of writer, and carries it with an air of old and
unquestionable nobility.  We do not recollect an example of more
complete independence in literary history.  He has no clanship, no
friendships, that warp him.  He was one of the first to pronounce
Wordsworth the great poet of the age, yet he discriminates his faults
with the greater freedom.  He loves Pindar, Aeschylus, Euripides,
Aristophanes, Demosthenes, Virgil, yet with open eyes.  His position
is by no means the highest in literature; he is not a poet or a
philosopher.  He is a man full of thoughts, but not, like Coleridge,
a man of ideas.  Only from a mind conversant with the First
Philosophy can definitions be expected.  Coleridge has contributed
many valuable ones to modern literature.  Mr. Landor's definitions
are only enumerations of particulars; the generic law is not seized.
But as it is not from the highest Alps or Andes, but from less
elevated summits, that the most attractive landscape is commanded, so
is Mr. Landor the most useful and agreeable of critics.  He has
commented on a wide variety of writers, with a closeness and an
extent of view, which has enhanced the value of those authors to his
readers.  His Dialogue on the Epicurean philosophy is a theory of the
genius of Epicurus.  The Dialogue between Barrow and Newton is the
best of all criticisms on the Essays of Bacon.  His picture of
Demosthenes in three several Dialogues is new and adequate.  He has
illustrated the genius of Homer, Aeschylus, Pindar, Euripides,
Thucydides.  Then he has examined before he expatiated, and the
minuteness of his verbal criticism gives a confidence in his
fidelity, when he speaks the language of meditation or of passion.
His acquaintance with the English tongue is unsurpassed.  He "hates
false words, and seeks with care, difficulty, and moroseness, those
that fit the thing." He knows the value of his own words.  "They are
not," he says, "written on slate." He never stoops to explanation,
nor uses seven words where one will do.  He is a master of
condensation and suppression, and that in no vulgar way.  He knows
the wide difference between compression and an obscure elliptical
style.  The dense writer has yet ample room and choice of phrase, and
even a gamesome mood often between his valid words.  There is no
inadequacy or disagreeable contraction in his sentence, any more than
in a human face, where in a square space of a few inches is found
room for every possible variety of expression.

        Yet it is not as an artist, that Mr. Landor commends himself to
us.  He is not epic or dramatic, he has not the high, overpowering
method, by which the master gives unity and integrity to a work of
many parts.  He is too wilful, and never abandons himself to his
genius.  His books are a strange mixture of politics, etymology,
allegory, sentiment, and personal history, and what skill of
transition he may possess is superficial, not spiritual.  His merit
must rest at last, not on the spirit of the dialogue, or the symmetry
of any of his historical portraits, but on the value of his
sentences.  Many of these will secure their own immortality in
English literature; and this, rightly considered, is no mean merit.
These are not plants and animals, but the genetical atoms, of which
both are composed.  All our great debt to the oriental world is of
this kind, not utensils and statues of the precious metal, but
bullion and gold dust.  Of many of Mr. Landor's sentences we are fain
to remember what was said of those of Socrates, that they are cubes,
which will stand firm, place them how or where you will.

        We will enrich our pages with a few paragraphs, which we
hastily select from such of Mr. Landor's volumes as lie on our table.

                           ___________

        "The great man is he who hath nothing to fear and nothing to
hope from another.  It is he, who while he demonstrates the iniquity
of the laws, and is able to correct them, obeys them peaceably.  It
is he who looks on the ambitious, both as weak and fraudulent.  It is
he who hath no disposition or occasion for any kind of deceit, no
reason for being or for appearing different from what he is.  It is
he who can call together the most select company when it pleases him.
.. . . . . . . . .  Him I would call the powerful man who controls the
storms of his mind, and turns to good account the worst accidents of
his fortune.  The great man, I was going on to show thee, is somewhat
more.  He must be able to do this, and he must have that intellect
which puts into motion the intellect of others."

        "All titulars else must be produced by others; a knight by a
knight, a peer by a King, while a gentleman is self-existent."

        "Critics talk most about the _visible_ in sublimity . . the
Jupiter, the Neptune.  Magnitude and power are sublime, but in the
second degree, managed as they may be.  Where the heart is not
shaken, the gods thunder and stride in vain.  True sublimity is the
perfection of the pathetic, which has other sources than pity;
generosity, for instance, and self-devotion.  When the generous and
self-devoted man suffers, there comes Pity; the basis of the sublime
is then above the water, and the poet, with or without the gods, can
elevate it above the skies.  Terror is but the relic of a childish
feeling; pity is not given to children.  So said he; I know not
whether rightly, for the wisest differ on poetry, the knowledge of
which, like other most important truths, seems to be reserved for a
purer state of sensation and existence."

        "O Cyrus, I have observed that the authors of good make men
very bad as often as they talk much about them."

        "The habit of haranguing is in itself pernicious; I have known
even the conscientious and pious, the humane and liberal dried up by
it into egoism and vanity, and have watched the mind, growing black
and rancid in its own smoke."

        GLORY.
        "Glory is a light which shines from us on others, not from
others on us."