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Ralph Waldo Emerson (1803–1882).  The Complete Works.  1904.
Vol. VII. Society and Solitude: Twelve Chapters
 
III. Art
 
  I FRAMED his tongue to music,
  I armed his hand with skill,
I moulded his face to beauty
  And his heart the throne of Will.

ALL 1 departments of life at the present day—Trade, Politics, Letters, Science, or Religion—seem to feel, and to labor to express, the identity of their law. They are rays of one sun; they translate each into a new language the sense of the other. They are sublime when seen as emanations of a Necessity contradistinguished from the vulgar Fate by being instant and alive, and dissolving man as well as his works in its flowing beneficence. This influence is conspicuously visible in the principles and history of Art. 2
  1
  On one side in primary communication with absolute truth through thought and instinct, the human mind on the other side tends, by an equal necessity, to the publication and embodiment of its thought, modified and dwarfed by the impurity and untruth which in all our experience injure the individuality through which it passes. The child not only suffers, but cries; not only hungers, but eats. The man not only thinks, but speaks and acts. Every thought that arises in the mind, in its rising aims to pass out of the mind into act; just as every plant, in the moment of germination, struggles up to light. Thought is the seed of action; but action is as much its second form as thought is its first. It rises in thought, to the end that it may be uttered and acted. The more profound the thought, the more burdensome. Always in proportion to the depth of its sense does it knock importunately at the gates of the soul, to be spoken, to be done. What is in, will out. It struggles to the birth. Speech is a great pleasure, and action a great pleasure; they cannot be foreborne.  2
  The utterance of thought and emotion in speech and action may be conscious or unconscious. The sucking child is an unconscious actor. The man in an ecstasy of fear or anger is an unconscious actor. A large part of our habitual actions are unconsciously done, and most of our necessary words are unconsciously said.  3
  The conscious utterance of thought, by speech or action, to any end, is Art. 3 From the first imitative babble of a child to the despotism of eloquence; from his first pile of toys or chip bridge to the masonry of Minot Rock Lighthouse or the Pacific Railroad; from the tattooing of the Owhyhees to the Vatican Gallery; from the simplest expedient of private prudence to the American Constitution; from its first to its last works, Art is the spirit’s voluntary use and combination of things to serve its end. The Will distinguishes it as spiritual action. Relatively to themselves, the bee, the bird, the beaver, have no art; for what they do they do instinctively; but relatively to the Supreme Being, they have. And the same is true of all unconscious action: relatively to the doer, it is instinct; relatively to the First Cause, it is Art. In this sense, recognizing the Spirit which informs Nature, Plato rightly said, “Those things which are said to be done by Nature are indeed done by Divine Art.” Art, universally, is the spirit creative. It was defined by Aristotle, “The reason of the thing, without the matter.”  4
  If we follow the popular distinction of works according to their aim, we should say, the Spirit, in its creation, aims at use or at beauty, and hence Art divides itself into the Useful and the Fine Arts.  5
  The useful arts comprehend not only those that lie next to instinct, as agriculture, building, weaving, etc., but also navigation, practical chemistry and the construction of all the grand and delicate tools and instruments by which man serves himself; as language, the watch, the ship, the decimal cipher; and also the sciences, so far as they are made serviceable to political economy.  6
  When we reflect on the pleasure we receive from a ship, a railroad, a dry-dock; or from a picture, a dramatic representation, a statue, a poem,—we find that these have not a quite simple, but a blended origin. We find that the question, What is Art? leads us directly to another,—Who is the Artist? And the solution of this is the key to the history of Art.  7
  I hasten to state the principle which prescribes, through different means, its firm law to the useful and the beautiful arts. The law is this. The universal soul is the alone creator of the useful and the beautiful; therefore to make anything useful or beautiful, the individual must be submitted to the universal mind. 4  8
  In the first place let us consider this in reference to the useful arts. Here the omnipotent agent is Nature; all human acts are satellites to her orb. Nature is the representative of the universal mind, and the law becomes this,—that Art must be a complement to Nature, strictly subsidiary. It was said, in allusion to the great structures of the ancient Romans, the aqueducts and bridges, that “their Art was a Nature working to municipal ends.” That is a true account of all just works of useful art. Smeaton built Eddystone Lighthouse on the model of an oak-tree, as being the form in Nature best designed to resist a constant assailing force. Dollond formed his achromatic telescope on the model of the human eye. Duhamel built a bridge by letting in a piece of stronger timber for the middle of the under-surface, getting his hint from the structure of the shin-bone.  9
  The first and last lesson of the useful arts is that Nature tyrannizes over our works. They must be conformed to her law, or they will be ground to powder by her omnipresent activity. Nothing droll, nothing whimsical will endure. Nature is ever interfering with Art. You cannot build your house or pagoda as you will, but as you must. There is a quick bound set to your caprice. 5 The leaning tower can only lean so far. The veranda or pagoda roof can curve upward only to a certain point. The slope of your roof is determined by the weight of snow. It is only within narrow limits that the discretion of the architect may range: gravity, wind, sun, rain, the size of men and animals, and such like, have more to say than he. It is the law of fluids that prescribes the shape of the boat,—keel, rudder and bows,—and, in the finer fluid above, the form and tackle of the sails. Man seems to have no option about his tools, but merely the necessity to learn from Nature what will fit best, as if he were fitting a screw or a door. Beneath a necessity thus almighty, what is artificial in man’s life seems insignificant. He seems to take his task so minutely from intimations of Nature that his works become as it were hers, and he is no longer free.  10
  But if we work within this limit, she yields us all her strength. All powerful action is performed by bringing the forces of Nature to bear upon our objects. 6 We do not grind corn or lift the loom by our own strength, but we build a mill in such position as to set the north wind to play upon our instrument, or the elastic force of steam, or the ebb and flow of the sea. So in our handiwork, we do few things by muscular force, but we place ourselves in such attitudes as to bring the force of gravity, that is, the weight of the planet, to bear upon the spade or the axe we wield. In short, in all our operations we seek not to use our own, but to bring a quite infinite force to bear.  11
  Let us now consider this law as it affects the works that have beauty for their end, that is, the productions of the Fine Arts. Here again the prominent fact is subordination of man. His art is the least part of his work of art. A great deduction is to be made before we can know his proper contribution to it. 7  12
  Music, Eloquence, Poetry, Painting, Sculpture, Architecture. This is a rough enumeration of the Fine Arts. I omit Rhetoric, which only respects the form of eloquence and poetry. Architecture and eloquence are mixed arts, whose end is sometimes beauty and sometimes use.  13
  It will be seen that in each of these arts there is much which is not spiritual. Each has a material basis, and in each the creating intellect is crippled in some degree by the stuff on which it works. The basis of poetry is language, which is material only on one side. It is a demi-god. But being applied primarily to the common necessities of man, it is not new-created by the poet for his own ends.  14
  The basis of music is the qualities of the air and the vibrations of sonorous bodies. The pulsation of a stretched string or wire gives the ear the pleasure of sweet sound, before yet the musician has enhanced this pleasure by concords and combinations.  15
  Eloquence, as far as it is a fine art, is modified how much by the material organization of the orator, the tone of the voice, the physical strength, the play of the eye and countenance. All this is so much deduction from the purely spiritual pleasure, as so much deduction from the merit of Art, and is the attribute of Nature.  16
  In painting, bright colors stimulate the eye before yet they are harmonized into a landscape. In sculpture and in architecture the material, as marble or granite, and in architecture the mass, are sources of great pleasure quite independent of the artificial arrangement. The art resides in the model, in the plan; for it is on that the genius of the artist is expended, not on the statue or the temple. Just as much better as is the polished statue of dazzling marble than the clay model, or as much more impressive as is the granite cathedral or pyramid than the ground-plan or profile of them on paper, so much more beauty owe they to Nature than to Art.  17
  There is a still larger deduction to be made from the genius of the artist in favor of Nature than I have yet specified.  18
  A jumble of musical sounds on a viol or a flute, in which the rhythm of the tune is played without one of the notes being right, gives pleasure to the unskilful ear. A very coarse imitation of the human form on canvas, or in wax-work; a coarse sketch in colors of a landscape, in which imitation is all that is attempted,—these things give to unpractised eyes, to the uncultured, who do not ask a fine spiritual delight, almost as much pleasure as a statue of Canova or a picture of Titian. And in the statue of Canova or the picture of Titian, these give the great part of the pleasure; they are the basis on which the fine spirit rears a higher delight, but to which these are indispensable.  19
  Another deduction from the genius of the artist is what is conventional in his art, of which there is much in every work of art. Thus how much is there that is not original in every particular building, in every statue, in every tune, painting, poem or harangue!—whatever is national or usual; as the usage of building all Roman churches in the form of a cross, the prescribed distribution of parts of a theatre, the custom of draping a statue in classical costume. Yet who will deny that the merely conventional part of the performance contributes much to its effect?  20
  One consideration more exhausts I believe all the deductions from the genius of the artist in any given work. This is the adventitious. Thus the pleasure that a noble temple gives us is only in part owing to the temple. It is exalted by the beauty of sunlight, the play of the clouds, the landscape around it, its grouping with the houses, trees and towers in its vicinity. 8 The pleasure of eloquence is in greatest part owing often to the stimulus of the occasion which produces it,—to the magic of sympathy, which exalts the feeling of each by radiating on him the feeling of all.  21
  The effect of music belongs how much to the place, as the church, or the moonlight walk; or to the company; or, if on the stage, to what went before in the play, or to the expectation of what shall come after.  22
  In poetry, “It is tradition more than invention that helps the poet to a good fable.” 9 The adventitious beauty of poetry may be felt in the greater delight which a verse gives in happy quotation than in the poem.  23
  It is a curious proof of our conviction that the artist does not feel himself to be the parent of his work, and is as much surprised at the effect as we, that we are so unwilling to impute our best sense of any work of art to the author. The highest praise we can attribute to any writer, painter, sculptor, builder, is, that he actually possessed the thought or feeling with which he has inspired us. We hesitate at doing Spenser so great an honor as to think that he intended by his allegory the sense we affix to it. We grudge to Homer the wide human circumspection his commentators ascribe to him.  24
  Even Shakspeare, of whom we can believe everything, we think indebted to Goethe and to Coleridge for the wisdom they detect in his Hamlet and Antony. Especially have we this infirmity of faith in contemporary genius. We fear that Allston and Greenough did not foresee and design all the effect they produce on us. Our arts are happy hits. We are like the musician on the lake, whose melody is sweeter than he knows, or like a traveller surprised by a mountain echo, whose trivial word returns to him in romantic thunders.  25
  In view of these facts, I say that the power of Nature predominates over the human will in all works of even the fine arts, in all that respects their material and external circumstances. Nature paints the best part or the picture, carves the best part of the statue, builds the best part of the house, and speaks the best part of the oration. For all the advantages to which I have adverted are such as the artist did not consciously produce. He relied on their aid, he put himself in the way to receive aid from some of them; but he saw that his planting and his watering waited for the sunlight of Nature, or were vain. 10  26
  Let us proceed to the consideration of the law stated in the beginning of this essay, as it affects the purely spiritual part of a work of art.  27
  As, in useful art, so far as it is useful, the work must be strictly subordinated to the laws of Nature, so as to become a sort of continuation and in no wise a contradiction of Nature; so in art that aims at beauty must the parts be subordinated to Ideal Nature, and everything individual abstracted, so that it shall be the production of the universal soul. The artist who is to produce a work which is to be admired, not by his friends or his towns-people or his contemporaries, but by all men, and which is to be more beautiful to the eye in proportion to its culture, must disindividualize himself, and be a man of no party and no manner and no age, but one through whom the soul of all men circulates as the common air through his lungs. 11 He must work in the spirit in which we conceive a prophet to speak, or an angel of the Lord to act; that is, he is not to speak his own words, or do his own works, or think his own thoughts, but he is to be an organ through which the universal mind acts.  28
  In speaking of the useful arts, I pointed to the fact that we do not dig, or grind, or hew, by our muscular strength, but by bringing the weight of the planet to bear on the spade, axe or bar. Precisely analogous to this, in the fine arts, is the manner of our intellectual work. We aim to hinder our individuality from acting. So much as we can shove aside our egotism, our prejudice and will, and bring the omniscience of reason upon the subject before us, so perfect is the work. The wonders of Shakspeare are things which he saw whilst he stood aside, and then returned to record them. The poet aims at getting observations without aim; to subject to thought things seen without (voluntary) thought. 12  29
  In eloquence, the great triumphs of the art are when the orator is lifted above himself; when consciously he makes himself the mere tongue of the occasion and the hour, and says what cannot but be said. Hence the term abandonment, to describe the self-surrender of the orator. Not his will, but the principle on which he is horsed, the great connection and crisis of events, thunder in the ear of the crowd.  30
  In poetry, where every word is free, every word is necessary. Good poetry could not have been otherwise written than it is. The first time you hear it, it sounds rather as if copied out of some invisible tablet in the Eternal mind than as if arbitrarily composed by the poet. The feeling of all great poets has accorded with this. They found the verse, not made it. The muse brought it to them.  31
  In sculpture, did ever anybody call the Apollo a fancy piece? Or say of the Laocoön how it might be made different? A masterpiece of art has in the mind a fixed place in the chain of being, as much as a plant or a crystal. 13  32
  The whole language of men, especially of artists, in reference to this subject, points at the belief that every work of art, in proportion to its excellence, partakes of the precision of fate: no room was there for choice, no play for fancy; for in the moment or in the successive moments when that form was seen, the iron lids of Reason were unclosed, which ordinarily are heavy with slumber. The individual mind became for the moment the vent of the mind of humanity.  33
  There is but one Reason. The mind that made the world is not one mind, but the mind. And every work of art is a more or less pure manifestation of the same. Therefore we arrive at this conclusion, which I offer as a confirmation of the whole view, that the delight which a work of art affords, seems to arise from our recognizing in it the mind that formed Nature, again in active operation. It differs from the works of Nature in this, that they are organically reproductive. This is not, but spiritually it is prolific by its powerful action on the intellects of men.  34
  Hence it follows that a study of admirable works of art sharpens our perceptions of the beauty of Nature; that a certain analogy reigns throughout the wonders of both; that the contemplation of a work of great art draws us into a state of mind which may be called religious. It conspires with all exalted sentiments.  35
  Proceeding from absolute mind, whose nature is goodness as much as truth, the great works are always attuned to moral nature. If the earth and sea conspire with virtue more than vice,—so do the masterpieces of art. The galleries of ancient sculpture in Naples and Rome strike no deeper conviction into the mind than the contrast of the purity, the severity expressed in these fine old heads, with the frivolity and grossness of the mob that exhibits and the mob that gazes at them. These are the countenances of the first-born,—the face of man in the morning of the world. No mark is on these lofty features of sloth or luxury or meanness, and they surprise you with a moral admonition, as they speak of nothing around you, but remind you of the fragrant thoughts and the purest resolutions of your youth. 14  36
  Herein is the explanation of the analogies, which exist in all the arts. They are the reappearance of one mind, working in many materials to many temporary ends. Raphael paints wisdom, Handel sings it, Phidias carves it, Shakspeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it. Painting was called “silent poetry,” and poetry “speaking painting.” The laws of each art are convertible into the laws of every other.  37
  Herein we have an explanation of the necessity that reigns in all the kingdom of Art. Arising out of eternal Reason, one and perfect, whatever is beautiful rests on the foundation of the necessary. Nothing is arbitrary, nothing is insulated in beauty. It depends forever on the necessary and the useful. The plumage of the bird, the mimic plumage of the insect, has a reason for its rich colors in the constitution of the animal. Fitness is so inseparable an accompaniment of beauty that it has been taken for it. The most perfect form to answer an end is so far beautiful. We feel, in seeing a noble building, which rhymes well, as we do in hearing a perfect song, that it is spiritually organic; that is, had a necessity, in Nature, for being; was one of the possible forms in the Divine mind, and is now only discovered and executed by the artist, not arbitrarily composed by him.  38
  And so every genuine work of art has as much reason for being as the earth and the sun. The gayest charm of beauty has a root in the constitution of things. The Iliad of Homer, the songs of David, the odes of Pindar, the tragedies of Æschylus, the Doric temples, the Gothic cathedrals, the plays of Shakspeare, all and each were made not for sport but in grave earnest, in tears and smiles of suffering and loving men. 15  39
  Viewed from this point the history of Art becomes intelligible, and moreover one of the most agreeable studies. We see how each work of art sprang irresistibly from necessity, and, moreover, took its form from the broad hint of Nature. 16 Beautiful in this wise is the obvious origin of all the known orders of architecture; namely, that they were the idealizing of the primitive abodes of each people. 17 There was no wilfulness in the savages in this perpetuating of their first rude abodes. The first form in which they built a house would be the first form of their public and religious edifice also. This form becomes immediately sacred in the eyes of their children, and as more traditions cluster round it, is imitated with more splendor in each succeeding generation.  40
  In like manner it has been remarked by Goethe that the granite breaks into parallelopipeds, which broken in two, one part would be an obelisk; that in Upper Egypt the inhabitants would naturally mark a memorable spot by setting up so conspicuous a stone. Again, he suggested, we may see in any stone wall, on a fragment of rock, the projecting veins of harder stone which have resisted the action of frost and water which has decomposed the rest. This appearance certainly gave the hint of the hieroglyphics inscribed on their obelisk. The amphitheatre of the old Romans,—any one may see its origin who looks at the crowd running together to see any fight, sickness, or odd appearance in the street. The first comers gather round in a circle, those behind stand on tiptoe, and farther back they climb on fences or window-sills, and so make a cup of which the object of attention occupies the hollow area. The architect put benches in this, and enclosed the cup with a wall,—and behold a Coliseum!  41
  It would be easy to show of many fine things in the world—in the customs of nations, the etiquette of courts, the constitution of governments—the origin in quite simple local necessities. Heraldry, for example, and the ceremonies of a coronation, are a dignified repetition of the occurrences that might befall a dragoon and his footboy. The College of Cardinals were originally the parish priests of Rome. The leaning towers originated from the civil discords which induced every lord to build a tower. Then it became a point of family pride,—and for more pride the novelty of a leaning tower was built.  42
  This strict dependence of Art upon material and ideal Nature, this adamantine necessity which underlies it, has made all its past and may foreshow its future history. It never was in the power of any man or any community to call the arts into being. They come to serve his actual wants, never to please his fancy. These arts have their origin always in some enthusiasm, as love, patriotism or religion. Who carved marble? The believing man, who wished to symbolize their gods to the waiting Greeks.  43
  The Gothic cathedrals were built when the builder and the priest and the people were overpowered by their faith. Love and fear laid every stone. 18 The Madonnas of Raphael and Titian were made to be worshipped. Tragedy was instituted for the like purpose, and the miracles of music: all sprang out of some genuine enthusiasm, and never out of dilettanteism and holidays. Now they languish, because their purpose is merely exhibition. 19 Who cares, who knows what works of art our government have ordered to be made for the Capitol? They are a mere flourish to please the eye of persons who have associations with books and galleries. But in Greece, the Demos of Athens divided into political factions upon the merits of Phidias.  44
  In this country, at this time, other interests than religion and patriotism are predominant, and the arts, the daughters of enthusiasm, do not flourish. The genuine offspring of our ruling passions we behold. Popular institutions, the school, the reading-room, the telegraph, the post-office, the exchange, the insurance company, and the immense harvest of economical inventions, are the fruit of the equality and the boundless liberty of lucrative callings. These are superficial wants; and their fruits are these superficial institutions. But, as far as they accelerate the end of political freedom and national education, they are preparing the soil of man for fairer flowers and fruits in another age. For beauty, truth and goodness are not obsolete; they spring eternal in the breast of man; they are as indigenous in Massachusetts as in Tuscany or the Isles of Greece. And that Eternal Spirit whose triple face they are, moulds from them forever, for his mortal child, images to remind him of the Infinite and Fair. 20  45
 
Note 1. Mr. Emerson’s first lecture on Art seems to have been that given in Boston in December, 1836, in the course on the Philosophy of History. In that and the succeeding lecture Art and Literature were compared.
  “Art delights in carrying thought into action. Literature is the conversion of action into thought. The architect executes his dream in stone. The poet enchants you by idealizing your life and fortunes. In both the highest charm comes from that which is inevitable in the work, a divine necessity overpowering individual effort, and expressing the thought of mankind in the time and place.” The chapter on Art in the first series of Essays contains part of that lecture.
  The present essay is, with a few slight changes, mostly verbal, the paper called “Thoughts on Art,” printed in the Dial by Mr. Emerson in January, 1841. It is probable that it was essentially the second lecture in the course on Life and Literature given in Boston in April, 1861. It possibly contained some passages from a lecture on Art and Criticism, given in a course at Freeman Place Chapel in Boston in the spring of 1859.
  Mr. Emerson had never received any instruction in art. The heads which he carelessly drew on the margins and flyleaves of early journals show that he had a good eye and some native skill of hand. His poems everywhere show that, for him
  Ever the spell of beauty came
And turned the drowsy world to flame.
By lake and stream and gleaming hall
And modest copse and forest tall,
Where’er he went, the magic guide
Kept its place by the poet’s side.
  But he could express beauty only in life and words.
  Journal, 1841. “I frequently find the best part of my ride in the Concord coach from my house to Winthrop Place to be in Prince Street, Charter Street, Ann Street and the like places at the North End of Boston. The deshabille of both men and women, their unrestrained attitudes and manners make pictures greatly more interesting than the clean-shaved and silk-robed procession in Washington and Tremont streets. I often see that the attitudes of both men and women engaged in hard work are more picturesque than any which art and study could contrive, for the Heart is in these first. I say picturesque, because when I pass these groups I instantly know whence all the fine pictures I have seen had their origin; I feel the painter in me; these are the traits which make us feel the force and eloquence of form and the sting of color. But the painter is only in me, and does not come to the fingers’ ends.”
  In Greek sculpture he delighted, for its calm and temperate beauty. After this he cared most for the work of Michel Angelo in the Sistine Chapel, and Raphael’s works, especially his Transfiguration.
  He read what Goethe had to say on Art, and took pleasure in Vasari’s Lives and Winckelmann’s writings on Ancient Art, and read Ruskin and Haydon. Fergusson’s and Garbett’s works on Architecture were studied by him.
  He wrote to a friend in 1839: “There are fewer painters than poets. Ten men can awaken me by words to new hope and fruitful musing for one that can achieve the miracle of forms. Besides, I think the pleasure of the poem lasts me longer.”
  It is hard to realize that Art, except for portrait painting, was little more than a name in America in the first half of the nineteenth century. What opportunities Boston offered may be learned from Mr. Emerson’s own account in the Memoirs of Margaret Fuller Ossoli:
  “There are persons to whom a gallery is everywhere a home. In this country the antique is known only by plaster casts and by drawings. The Boston Athenæum,—on whose sunny roof and beautiful chambers may the benedictions of centuries of students rest with mine!—added to its library in 1823 a small but excellent museum of the antique sculpture in plaster;—the selection being dictated, it is said, by no less an adviser than Canova. The Apollo, Laocoön, the Venuses, Diana, the head of the Phidian Jove, Bacchus, Antinoüs, the Torso Hercules, the Discobolus, the Gladiator Borghese, the Apollino,—all these, and more, the sumptuous gift of Augustus Thorndike. It is much that one man should have power to confer on so many, who never saw him, a benefit so pure and enduring.
  “To these were soon added a heroic line of antique busts, and at last, by Horatio Greenough, the Night and Day of Michel Angelo. Here was old Greece and old Italy brought bodily to New England, and a verification given to all our dreams and readings. It was easy to collect from the drawing-rooms of the city a respectable picture-gallery for a summer exhibition. This was also done, and a new pleasure was invented for the studious, and a new home for the solitary. The Brimmer Donation, in 1838, added a costly series of engravings, chiefly of the French and Italian museums, and the drawings of Guercino, Salvator Rosa and other masters.” [back]
Note 2. Through this chapter and that on the same theme in the first book of Essays, what is best in the useful and the fine arts is shown to be that part which is inevitable, the working through the artist of the Universal Soul. In connection with this opening paragraph may be read the last page in the essay on Fate in Conduct of Life, where comes in the consoling doctrine of “the Beautiful Necessity” offsetting the drag of temperament and race. [back]
Note 3. Two other of his definitions may here be given:—
  1851.  “To describe adequately is the high power and one of the highest enjoyments of man. This is Art.”
  1863.  “My definition of Art is the inspiration of a just design working through all the details. Art is the path of the Creator to his work.” [back]
Note 4. Mr. Emerson expounds, better than in either of the essays on Art, the divine necessity of the best art in his early poem “The Problem.” [back]
Note 5. Mr. Emerson might have mentioned in connection with Smeaton’s (the third) Eddystone Lighthouse, that the first, built by Winstanley on that terrible reef, was, at the top, a whimsical and almost pagoda-like structure, unable long to resist the upward dash of the seas. [back]
Note 6. In one of the fragments in the Appendix to the Poems he makes Nature say,—
  He lives not who can refuse me;
All my force saith, Come and use me.
 [back]
Note 7. In his second poem on Nature Mr. Emerson wrote:—
  And what they call their city way
Is not their way, but hers,
And what they say they made to-day,
They learned of the oaks and firs.
*        *        *        *        *
What’s most theirs is not their own,
But borrowed in atoms from iron and stone,
And in their vaunted works of Art
The master-stroke is still her part.
 [back]
Note 8. This consideration is the theme of the poem “Each and All.” [back]
Note 9. Homer said of the ten years’ war around Troy,—
  “Thus the gods fated and such ruin wove
That song might flourish for posterity.”
 [back]
Note 10. “Thus to him, to this schoolboy under the bending dome of day, is suggested that he and it proceed from one root; one is leaf and one is flower; relation, sympathy, stirring in every vein…. He shall see that Nature is the opposite of the soul, answering to it part for part. One is seal and one is print. Its beauty is the beauty of his own mind.”—“The American Scholar,” Nature, Addresses and Lectures. [back]
Note 11. “The Genius of the Hour sets his ineffaceable seal on the work, and gives it an inexpressible charm for the imagination. As far as the spiritual character of the period overpowers the artist and finds expression in his work, so far will it retain a certain grandeur, and will represent to future beholders the Unknown, the Inevitable, the Divine.”—“Art,” Essays, First Series. [back]
Note 12. Journal, 1835. “The Arts languish now because all their scope is exhibition; when they originated it was to serve the Gods. The Catholic Religion has turned them to continual account in its service. Now they are mere flourishes. Is it strange they perish?
  “Poetry to be sterling must be more than a show, must have or be an earnest meaning. Chaucer, Wordsworth,—per contra, Moore and Byron.” [back]
Note 13. The following is from some loose sheets on Beauty (1866?):—
  “Beauty was never locked up in Vaticans. It is there, but it is not less here. The seat of beauty is in the truth and health of the Soul. It is the incessant creation of the spirit of man, whenever bad affections and falsehoods do not paralyze his plastic power; places and materials are indifferent to it, and subject to it; a beautiful soul dwells always in a beautiful world.” [back]
Note 14. The following extract is from Mr. Emerson’s journal in Florence, in April, 1834:—
  “I revisited the Tribune this morning to see the Venus and the Fornarina and the rest of that attractive company. I reserve my admiration as much as I can: I make a continual effort not to be pleased except by that which ought to please me, and I walked coolly round and round the marble lady, but, when I planted myself at the iron gate which leads into the chamber of Dutch paintings, and looked at the statue, I saw and felt that mankind had had good reason for their preference.”
  “There is anything but time in my idea of the antique.” From a lecture on Art and Criticism, 1839. [back]
Note 15. The first sentence of this paragraph is thus rendered in his poem “The Rhodora”:—
          If eyes were made for seeing,
Then Beauty is its own excuse for being;—
and the ideas of the remaining portion of this passage are found in “The Problem”:—
  The hand that rounded Peter’s dome
And groined the aisles of Christian Rome
Wrought in a sad sincerity;
Himself from God he could not free;
*        *        *        *        *
For out of Thought’s interior sphere
These wonders rose to upper air.
 [back]
Note 16. Also compare, in Essays, First Series, page 17 in “History,” and several passages in “Art.”
  How astonished Art may
  Mimic in slow structures, stone by stone,
*        *        *        *        *
The frolic architecture of the snow,—
is told by Mr. Emerson in his poem “The Snow-Storm.” [back]
Note 17. Here followed in the original lecture as printed in the Dial the paragraphs on the Gothic churches in “History,” pp. 20, 21, in the Essays, First Series. [back]
Note 18.
  Whilst love and terror laid the tiles.
“The Problem,” Poems.    
  Journal, 1848. “I believe in the admirableness of art. I expect it to be miraculous, and find it so. The combinations of the Gothic building are not now attainable, and the Phidian friezes with reason affect us as the forest does.”
  I copy from a later journal, as appropriate here, the definition of Beauty by Mr. Emerson’s friend, Mr. James Elliot Cabot: “The complete incarnation of spirit, which is the definition of Beauty, demands equally that there be no point it does not inhabit, and none in which it abides.” [back]
Note 19. Journal, 1863. “The measure in art and in intellect is one: To what end? Is it yours to do? Are you bound by character and conviction to that part you take?… But the forsaking the design to produce effects by showy details is the ruin of any work. Then begins shallowness of effect; intellectual bankruptcy of the artist. All goes wrong. Artist and public corrupt each other.” [back]
Note 20. Here Mr. Emerson states again the doctrine of the Trinity, older than the Christian Church. It appears in many places in his writings, especially in “The Transcendentalist,” page 354, in Nature, Addresses and Lectures, and in “The Poet,” page 6, in the second series of Essays.
  John Sterling, the friend and correspondent of Carlyle and Emerson, wrote a noble poem on Greek Art, under the title of “Dædalus.” It is included in Mr. Emerson’s Parnassus. Some lines from it might fitly end this chapter:—
  “Ever thy phantoms arise before us,
Our loftier brothers, but one in blood;
By bed and table they lord it o’er us,
With looks of beauty and words of good.
Calmly they show us mankind victorious
O’er all that’s aimless, blind and base;
Their presence has made our nature glorious,
Unveiling our night’s illumined face.”
 [back]
 
 
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