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Essays (Emerson)

Ralph Waldo Emerson/1841 / 19th century
FriendshipGeniusIndividualismNature

Essays in the Transcendentalism tradition, oriented around friendship and genius.

Emerson's Essays and addresses helped define American Transcendentalism by arguing for intellectual independence, moral intuition, and the spiritual authority of the individual soul. The collection moves between scholarship, self-reliance, friendship, nature, and culture in a style that is aphoristic, exhortatory, and intensely idealist.

461 excerpts/5 sections

Chapters

The structural skeleton of the work

Section 1

THE AMERICAN SCHOLAR

59 excerpts

Section 2

COMPENSATION

134 excerpts

Section 3

FRIENDSHIP

197 excerpts

Women as Elemental Force

The open air and the fields, the street and public chambers, are the places where Man executes his will; let him yield or divide the scepter at the door of the house. Woman, with her instinct of behavior, instantly detects in man a love of trifles, any coldness or imbecility, or, in short, any want of that large, flowing, and magnanimous deportment, which is indispensable as an exterior in the hall. Our American institutions have been friendly to her, and at this moment I esteem it a chief felicity of this country, that it excels in women. A certain awkward consciousness of inferiority in the men, may give rise to the new chivalry in behalf of Woman's Rights. Certainly, let her be as much better placed in the laws and in social forms, as the most zealous reformer can ask, but I confide so entirely in her inspiring and musical nature, that I believe only herself can show us how she shall be served. The wonderful generosity of her sentiments raises her at times into heroical and godlike regions, and verifies the pictures of Minerva, Juno, or Polymnia; and, by the firmness with which she treads her upward path, she convinces the coarsest calculators that another road exists than that which their feet know. But besides those who make good in our imagination the place of muses and of Delphic Sibyls, are there not women who fill our vase with wine and roses to the brim, so that the wine runs over and fills the house with perfume; who inspire us with courtesy; who unloose our tongues, and we speak; who anoint our eyes, and we see? We say things we never thought to have said; for once, our walls of habitual reserve vanished, and left us at large; we were children playing with children in a wide field of flowers. Steep us, we cried, in these influences, for days, for weeks, and we shall be sunny poets, and will write out in many-colored words the romance that you are. Was it Hafiz or Firdousi that said of his Persian Lilla, “She was an elemental force, and astonished me by her amount of life, when I saw her day after day radiating, every instant, redundant joy and grace on all around her. She was a solvent powerful to reconcile all heterogeneous persons into one society; like air or water, an element of such a great range of affinities, that it combines readily with a thousand substances. Where she is present, all others will be more than they are wont.

Section 4

PRUDENCE

30 excerpts

Perpendicularity of Life's Figures

I have seen a criticism on some paintings, of which I am reminded when I see the shiftless and unhappy men who are not true to their senses. The last Grand Duke of Weimar, a man of superior understanding, said: “I have sometimes remarked in the presence of great works of art, and just now especially in Dresden, how much a certain property contributes to the effect which gives life to the figures, and to the life an irresistible truth. This property is the hitting, in all the figures we draw, the right centre of gravity. I mean the placing the figures firm upon their feet, making the hands grasp, and fastening the eyes on the spot where they should look. Even lifeless figures, as vessels and stools--let them be drawn ever so correctly--lose all effect so soon as they lack the resting upon their centre of gravity, and have a certain swimming and oscillating appearance. The Raphael in the Dresden gallery (the only great affecting picture which I have seen) is the quietest and most passionless piece you can imagine; a couple of saints who worship the Virgin and child. Nevertheless it awakens a deeper impression than the contortions of ten crucified martyrs. For, beside all the resistless beauty of form, it possesses in the highest degree the property of the perpendicularity of all the figures.” This perpendicularity we demand of all the figures in this picture of life. Let them stand on their feet, and not float and swing. Let us know where to find them. Let them discriminate between what they remember and what they dreamed. Let them call a spade a spade. Let them give us facts, and honor their own senses with trust.

Section 5

CIRCLES

41 excerpts