Chapter I: Part 1

SOCIETY AND SOLITUDE.

TWELVE CHAPTERS.

BY

RALPH WALDO EMERSON.

BOSTON:
FIELDS, OSGOOD, & CO.
1870.

Entered according to Act of Congress, in the year 1870, by

RALPH WALDO EMERSON,

in the Clerk’s Office of the District Court of the District of
Massachusetts.

UNIVERSITY PRESS: WELCH, BIGELOW, & CO.,
CAMBRIDGE.

CONTENTS.

PAGE

SOCIETY AND SOLITUDE 1

CIVILIZATION 15

ART 31

ELOQUENCE 53

DOMESTIC LIFE 91

FARMING 121

WORKS AND DAYS 139

BOOKS 167

CLUBS 199

COURAGE 225

SUCCESS 251

OLD AGE 279

SOCIETY AND SOLITUDE.

SOCIETY AND SOLITUDE.

I fell in with a humorist, on my travels, who had in his chamber a cast of the Rondanini Medusa, and who assured me that the name which that fine work of art bore in the catalogues was a misnomer, as he was convinced that the sculptor who carved it intended it for Memory, the mother of the Muses. In the conversation that followed, my new friend made some extraordinary confessions. “Do you not see,” he said, “the penalty of learning, and that each of these scholars whom you have met at S----, though he were to be the last man, would, like the executioner in Hood’s poem, guillotine the last but one?” He added many lively remarks, but his evident earnestness engaged my attention, and, in the weeks that followed, we became better acquainted. He had good abilities, a genial temper, and no vices; but he had one defect,--he could not speak in the tone of the people. There was some paralysis on his will, such that, when he met men on common terms, he spoke weakly, and from the point, like a flighty girl. His consciousness of the fault made it worse. He envied every drover and lumberman in the tavern their manly speech. He coveted Mirabeau’s _don terrible de la familiarité_, believing that he whose sympathy goes lowest is the man from whom kings have the most to fear. For himself, he declared that he could not get enough alone to write a letter to a friend. He left the city; he hid himself in pastures. The solitary river was not solitary enough; the sun and moon put him out. When he bought a house, the first thing he did was to plant trees. He could not enough conceal himself. Set a hedge here; set oaks there,--trees behind trees; above all, set evergreens, for they will keep a secret all the year round. The most agreeable compliment you could pay him was, to imply that you had not observed him in a house or a street where you had met him. Whilst he suffered at being seen where he was, he consoled himself with the delicious thought of the inconceivable number of places where he was not. All he wished of his tailor was to provide that sober mean of color and cut which would never detain the eye for a moment. He went to Vienna, to Smyrna, to London. In all the variety of costumes, a carnival, a kaleidoscope of clothes, to his horror he could never discover a man in the street who wore anything like his own dress. He would have given his soul for the ring of Gyges. His dismay at his visibility had blunted the fears of mortality. “Do you think,” he said, “I am in such great terror of being shot,--I, who am only waiting to shuffle off my corporeal jacket, to slip away into the back stars, and put diameters of the solar system and sidereal orbits between me and all souls,--there to wear out ages in solitude, and forget memory itself, if it be possible?” He had a remorse running to despair, of his social _gaucheries_, and walked miles and miles to get the twitchings out of his face, the starts and shrugs out of his arms and shoulders. God may forgive sins, he said, but awkwardness has no forgiveness in heaven or earth. He admired in Newton, not so much his theory of the moon, as his letter to Collins, in which he forbade him to insert his name with the solution of the problem in the “Philosophical Transactions”: “It would perhaps increase my acquaintance, the thing which I chiefly study to decline.”

These conversations led me somewhat later to the knowledge of similar cases, and to the discovery that they are not of very infrequent occurrence. Few substances are found pure in nature. Those constitutions which can bear in open day the rough dealing of the world must be of that mean and average structure,--such as iron and salt, atmospheric air, and water. But there are metals, like potassium and sodium, which, to be kept pure, must be kept under naphtha. Such are the talents determined on some specialty, which a culminating civilization fosters in the heart of great cities and in royal chambers. Nature protects her own work. To the culture of the world, an Archimedes, a Newton is indispensable; so she guards them by a certain aridity. If these had been good fellows, fond of dancing, port, and clubs, we should have had no “Theory of the Sphere,” and no “Principia.” They had that necessity of isolation which genius feels. Each must stand on his glass tripod, if he would keep his electricity. Even Swedenborg, whose theory of the universe is based on affection, and who reprobates to weariness the danger and vice of pure intellect, is constrained to make an extraordinary exception: “There are also angels who do not live consociated, but separate, house and house; these dwell in the midst of heaven, because they are the best of angels.”

We have known many fine geniuses with that imperfection that they cannot do anything useful, not so much as write one clean sentence. ’Tis worse, and tragic, that no man is fit for society who has fine traits. At a distance, he is admired; but bring him hand to hand, he is a cripple. One protects himself by solitude, and one by courtesy, and one by an acid, worldly manner,--each concealing how he can the thinness of his skin and his incapacity for strict association. But there is no remedy that can reach the heart of the disease, but either habits of self-reliance that should go in practice to making the man independent of the human race, or else a religion of love. Now he hardly seems entitled to marry; for how can he protect a woman, who cannot protect himself?

We pray to be conventional. But the wary Heaven takes care you shall not be, if there is anything good in you. Dante was very bad company, and was never invited to dinner. Michel Angelo had a sad, sour time of it. The ministers of beauty are rarely beautiful in coaches and saloons. Columbus discovered no isle or key so lonely as himself. Yet each of these potentates saw well the reason of his exclusion. Solitary was he? Why, yes; but his society was limited only by the amount of brain Nature appropriated in that age to carry on the government of the world. “If I stay,” said Dante, when there was question of going to Rome, “who will go? and if I go, who will stay?”

But the necessity of solitude is deeper than we have said, and is organic. I have seen many a philosopher whose world is large enough for only one person. He affects to be a good companion; but we are still surprising his secret, that he means and needs to impose his system on all the rest. The determination of each is _from_ all the others, like that of each tree up into free space. ’Tis no wonder, when each has his whole head, our societies should be so small. Like President Tyler, our party falls from us every day, and we must ride in a sulky at last. Dear heart! take it sadly home to thee,--there is no co-operation. We begin with friendships, and all our youth is a reconnoitring and recruiting of the holy fraternity they shall combine for the salvation of men. But so the remoter stars seem a nebula of united light; yet there is no group which a telescope will not resolve, and the dearest friends are separated by impassable gulfs. The co-operation is involuntary, and is put upon us by the Genius of Life, who reserves this as a part of his prerogative. ’Tis fine for us to talk, we sit and muse, and are serene and complete; but the moment we meet with anybody, each becomes a fraction.

Though the stuff of tragedy and of romances is in a moral union of two superior persons, whose confidence in each other for long years, out of sight, and in sight, and against all appearances, is at last justified by victorious proof of probity to gods and men, causing joyful emotions, tears and glory,--though there be for heroes this _moral union_, yet, they, too, are as far off as ever from an intellectual union, and the moral union is for comparatively low and external purposes, like the co-operation of a ship’s company or of a fire-club. But how insular and pathetically solitary are all the people we know! Nor dare they tell what they think of each other, when they meet in the street. We have a fine right, to be sure, to taunt men of the world with superficial and treacherous courtesies!

Such is the tragic necessity which strict science finds underneath our domestic and neighborly life, irresistibly driving each adult soul as with whips into the desert, and making our warm covenants sentimental and momentary. We must infer that the ends of thought were peremptory, if they were to be secured at such ruinous cost. They are deeper than can be told, and belong to the immensities and eternities. They reach down to that depth where society itself originates and disappears,--where the question is, Which is first, man or men?--where the individual is lost in his source.

But this banishment to the rocks and echoes no metaphysics can make right or tolerable. This result is so against nature, such a half-view, that it must be corrected by a common sense and experience. “A man is born by the side of his father, and there he remains.” A man must be clothed with society, or we shall feel a certain bareness and poverty, as of a displaced and unfurnished member. He is to be dressed in arts and institutions, as well as in body-garments. Now and then a man exquisitely made can live alone, and must; but coop up most men, and you undo them. “The king lived and ate in his hall with men, and understood men,” said Selden. When a young barrister said to the late Mr. Mason, “I keep my chamber to read law,”--“Read law!” replied the veteran, “’tis in the court-room you must read law.” Nor is the rule otherwise for literature. If you would learn to write, ’tis in the street you must learn it. Both for the vehicle and for the aims of fine arts, you must frequent the public square. The people, and not the college, is the writer’s home. A scholar is a candle which the love and desire of all men will light. Never his lands or his rents, but the power to charm the disguised soul that sits veiled under this bearded and that rosy visage is his rent and ration. His products are as needful as those of the baker or the weaver. Society cannot do without cultivated men. As soon as the first wants are satisfied, the higher wants become imperative.

’Tis hard to mesmerize ourselves, to whip our own top; but through sympathy we are capable of energy and endurance. Concert fires people to a certain fury of performance they can rarely reach alone. Here is the use of society: it is so easy with the great to be great; so easy to come up to an existing standard;--as easy as it is to the lover to swim to his maiden through waves so grim before. The benefits of affection are immense; and the one event which never loses its romance is the encounter with superior persons on terms allowing the happiest intercourse.

It by no means follows that we are not fit for society, because _soirées_ are tedious, and because the _soirée_ finds us tedious. A backwoodsman, who had been sent to the university, told me that, when he heard the best-bred young men at the law-school talk together, he reckoned himself a boor; but whenever he caught them apart, and had one to himself alone, then they were the boors, and he the better man. And if we recall the rare hours when we encountered the best persons, we then found ourselves, and then first society seemed to exist. That was society, though in the transom of a brig, or on the Florida Keys.

A cold, sluggish blood thinks it has not facts enough to the purpose, and must decline its turn in the conversation. But they who speak have no more,--have less. ’Tis not new facts that avail, but the heat to dissolve everybody’s facts. Heat puts you in right relation with magazines of facts. The capital defect of cold, arid natures is the want of animal spirits. They seem a power incredible, as if God should raise the dead. The recluse witnesses what others perform by their aid, with a kind of fear. It is as much out of his possibility as the prowess of Cœur de Lion, or an Irishman’s day’s-work on the railroad. ’Tis said, the present and the future are always rivals. Animal spirits constitute the power of the present, and their feats are like the structure of a pyramid. Their result is a lord, a general, or a boon companion. Before these, what a base mendicant is Memory with his leathern badge! But this genial heat is latent in all constitutions, and is disengaged only by the friction of society. As Bacon said of manners, “To obtain them, it only needs not to despise them,” so we say of animal spirits, that they are the spontaneous product of health and of a social habit. “For behavior, men learn it, as they take diseases, one of another.”

But the people are to be taken in very small doses. If solitude is proud, so is society vulgar. In society, high advantages are set down to the individual as disqualifications. We sink as easily as we rise, through sympathy. So many men whom I know are degraded by their sympathies, their native aims being high enough, but their relation all too tender to the gross people about them. Men cannot afford to live together on their merits, and they adjust themselves by their demerits,--by their love of gossip, or by sheer tolerance and animal good-nature. They untune and dissipate the brave aspirant.

The remedy is, to reinforce each of these moods from the other. Conversation will not corrupt us, if we come to the assembly in our own garb and speech, and with the energy of health to select what is ours and reject what is not. Society we must have; but let it be society, and not exchanging news, or eating from the same dish. Is it society to sit in one of your chairs? I cannot go to the houses of my nearest relatives, because I do not wish to be alone. Society exists by chemical affinity, and not otherwise.

Put any company of people together with freedom for conversation, and a rapid self-distribution takes place, into sets and pairs. The best are accused of exclusiveness. It would be more true to say, they separate as oil from water, as children from old people, without love or hatred in the matter, each seeking his like; and any interference with the affinities would produce constraint and suffocation. All conversation is a magnetic experiment. I know that my friend can talk eloquently; you know that he cannot articulate a sentence: we have seen him in different company. Assort your party, or invite none. Put Stubbs and Coleridge, Quintilian and Aunt Miriam, into pairs, and you make them all wretched. ’Tis an extempore Sing-Sing built in a parlor. Leave them to seek their own mates, and they will be as merry as sparrows.

A higher civility will re-establish in our customs a certain reverence which we have lost. What to do with these brisk young men who break through all fences, and make themselves at home in every house? I find out in an instant if my companion does not want me, and ropes cannot hold me when my welcome is gone. One would think that the affinities would pronounce themselves with a surer reciprocity.

Here again, as so often, Nature delights to put us between extreme antagonisms, and our safety is in the skill with which we keep the diagonal line. Solitude is impracticable, and society fatal. We must keep our head in the one and our hands in the other. The conditions are met, if we keep our independence, yet do not lose our sympathy. These wonderful horses need to be driven by fine hands. We require such a solitude as shall hold us to its revelations when we are in the street and in palaces; for most men are cowed in society, and say good things to you in private, but will not stand to them in public. But let us not be the victims of words. Society and solitude are deceptive names. It is not the circumstance of seeing more or fewer people, but the readiness of sympathy, that imports; and a sound mind will derive its principles from insight, with ever a purer ascent to the sufficient and absolute right, and will accept society as the natural element in which they are to be applied.

CIVILIZATION.

CIVILIZATION.

A certain degree of progress from the rudest state in which man is found,--a dweller in caves, or on trees, like an ape,--a cannibal, and eater of pounded snails, worms, and offal,--a certain degree of progress from this extreme is called Civilization. It is a vague, complex name, of many degrees. Nobody has attempted a definition. Mr. Guizot, writing a book on the subject, does not. It implies the evolution of a highly organized man, brought to supreme delicacy of sentiment, as in practical power, religion, liberty, sense of honor, and taste. In the hesitation to define what it is, we usually suggest it by negations. A nation that has no clothing, no iron, no alphabet, no marriage, no arts of peace, no abstract thought, we call barbarous. And after many arts are invented or imported, as among the Turks and Moorish nations, it is often a little complaisant to call them civilized.

Each nation grows after its own genius, and has a civilization of its own. The Chinese and Japanese, though each complete in his way, is different from the man of Madrid or the man of New York. The term imports a mysterious progress. In the brutes is none; and in mankind to-day the savage tribes are gradually extinguished rather than civilized. The Indians of this country have not learned the white man’s work; and in Africa, the negro of to-day is the negro of Herodotus. In other races the growth is not arrested; but the like progress that is made by a boy “when he cuts his eye-teeth,” as we say,--childish illusions passing daily away, and he seeing things really and comprehensively,--is made by tribes. It is the learning the secret of cumulative power, of advancing on one’s self. It implies a facility of association, power to compare, the ceasing from fixed ideas. The Indian is gloomy and distressed when urged to depart from his habits and traditions. He is overpowered by the gaze of the white, and his eye sinks. The occasion of one of these starts of growth is always some novelty that astounds the mind, and provokes it to dare to change. Thus there is a Cadmus, a Pytheas, a Manco Capac at the beginning of each improvement,--some superior foreigner importing new and wonderful arts, and teaching them. Of course, he must not know too much, but must have the sympathy, language, and gods of those he would inform. But chiefly the sea-shore has been the point of departure to knowledge, as to commerce. The most advanced nations are always those who navigate the most. The power which the sea requires in the sailor makes a man of him very fast, and the change of shores and population clears his head of much nonsense of his wigwam.

Where shall we begin or end the list of those feats of liberty and wit, each of which feats made an epoch of history? Thus, the effect of a framed or stone house is immense on the tranquillity, power, and refinement of the builder. A man in a cave or in a camp, a nomad, will die with no more estate than the wolf or the horse leaves. But so simple a labor as a house being achieved, his chief enemies are kept at bay. He is safe from the teeth of wild animals, from frost, sun-stroke, and weather; and fine faculties begin to yield their fine harvest. Invention and art are born, manners and social beauty and delight. ’Tis wonderful how soon a piano gets into a log-hut on the frontier. You would think they found it under a pine-stump. With it comes a Latin grammar,--and one of those tow-head boys has written a hymn on Sunday. Now let colleges, now let senates take heed! for here is one who, opening these fine tastes on the basis of the pioneer’s iron constitution, will gather all their laurels in his strong hands.

When the Indian trail gets widened, graded, and bridged to a good road, there is a benefactor, there is a missionary, a pacificator, a wealth-bringer, a maker of markets, a vent for industry. Another step in civility is the change from war, hunting, and pasturage to agriculture. Our Scandinavian forefathers have left us a significant legend to convey their sense of the importance of this step. “There was once a giantess who had a daughter, and the child saw a husbandman ploughing in the field. Then she ran and picked him up with her finger and thumb, and put him and his plough and his oxen into her apron, and carried them to her mother, and said, ‘Mother, what sort of a beetle is this that I found wriggling in the sand?’ But the mother said, ‘Put it away, my child; we must begone out of this land, for these people will dwell in it.’” Another success is the post-office, with its educating energy augmented by cheapness and guarded by a certain religious sentiment in mankind; so that the power of a wafer or a drop of wax or gluten to guard a letter, as it flies over sea, over land, and comes to its address as if a battalion of artillery brought it, I look upon as a fine metre of civilization.

The division of labor, the multiplication of the arts of peace, which is nothing but a large allowance to each man to choose his work according to his faculty,--to live by his better hand,--fills the State with useful and happy laborers; and they, creating demand by the very temptation of their productions, are rapidly and surely rewarded by good sale: and what a police and ten commandments their work thus becomes. So true is Dr. Johnson’s remark that “men are seldom more innocently employed than when they are making money.”

The skilful combinations of civil government, though they usually follow natural leadings, as the lines of race, language, religion, and territory, yet require wisdom and conduct in the rulers, and in their result delight the imagination. “We see insurmountable multitudes obeying, in opposition to their strongest passions, the restraints of a power which they scarcely perceive, and the crimes of a single individual marked and punished at the distance of half the earth.”[A]

Right position of woman in the State is another index. Poverty and industry with a healthy mind read very easily the laws of humanity, and love them: place the sexes in right relations of mutual respect, and a severe morality gives that essential charm to woman which educates all that is delicate, poetic, and self-sacrificing, breeds courtesy and learning, conversation and wit, in her rough mate; so that I have thought a sufficient measure of civilization is the influence of good women.

Another measure of culture is the diffusion of knowledge, overrunning all the old barriers of caste, and, by the cheap press, bringing the university to every poor man’s door in the newsboy’s basket. Scraps of science, of thought, of poetry are in the coarsest sheet, so that in every house we hesitate to burn a newspaper until we have looked it through.

The ship, in its latest complete equipment, is an abridgment and compend of a nation’s arts: the ship steered by compass and chart,--longitude reckoned by lunar observation and by chronometer,--driven by steam; and in wildest sea-mountains, at vast distances from home,

“The pulses of her iron heart
Go beating through the storm.”

No use can lessen the wonder of this control, by so weak a creature, of forces so prodigious. I remember I watched, in crossing the sea, the beautiful skill whereby the engine in its constant working was made to produce two hundred gallons of fresh water out of salt-water, every hour,--thereby supplying all the ship’s want.

The skill that pervades complex details; the man that maintains himself; the chimney taught to burn its own smoke; the farm made to produce all that is consumed on it; the very prison compelled to maintain itself and yield a revenue, and, better still, made a reform school, and a manufactory of honest men out of rogues, as the steamer made fresh water out of salt,--all these are examples of that tendency to combine antagonisms, and utilize evil, which is the index of high civilization.

Civilization is the result of highly complex organization. In the snake, all the organs are sheathed; no hands, no feet, no fins, no wings. In bird and beast, the organs are released, and begin to play. In man, they are all unbound, and full of joyful action. With this unswaddling he receives the absolute illumination we call Reason, and thereby true liberty.

Climate has much to do with this melioration. The highest civility has never loved the hot zones. Wherever snow falls, there is usually civil freedom. Where the banana grows, the animal system is indolent and pampered at the cost of higher qualities: the man is sensual and cruel. But this scale is not invariable. High degrees of moral sentiment control the unfavorable influences of climate; and some of our grandest examples of men and of races come from the equatorial regions,--as the genius of Egypt, of India, and of Arabia.

These feats are measures or traits of civility; and temperate climate is an important influence, though not quite indispensable, for there have been learning, philosophy, and art in Iceland, and in the tropics. But one condition is essential to the social education of man, namely, morality. There can be no high civility without a deep morality, though it may not always call itself by that name, but sometimes the point of honor, as in the institution of chivalry; or patriotism, as in the Spartan and Roman republics; or the enthusiasm of some religious sect which imputes its virtue to its dogma; or the cabalism, or _esprit de corps_, of a masonic or other association of friends.

The evolution of a highly-destined society must be moral; it must run in the grooves of the celestial wheels. It must be catholic in aims. What is _moral_? It is the respecting in action catholic or universal ends. Hear the definition which Kant gives of moral conduct: “Act always so that the immediate motive of thy will may become a universal rule for all intelligent beings.”

Civilization depends on morality. Everything good in man leans on what is higher. This rule holds in small as in great. Thus, all our strength and success in the work of our hands depend on our borrowing the aid of the elements. You have seen a carpenter on a ladder with a broad-axe chopping upward chips from a beam. How awkward! at what disadvantage he works! But see him on the ground, dressing his timber under him. Now, not his feeble muscles, but the force of gravity brings down the axe; that is to say, the planet itself splits his stick. The farmer had much ill-temper, laziness, and shirking to endure from his hand-sawyers, until one day he bethought him to put his saw-mill on the edge of a waterfall; and the river never tires of turning his wheel: the river is good-natured, and never hints an objection.

We had letters to send: couriers could not go fast enough, nor far enough; broke their wagons, foundered their horses; bad roads in spring, snow-drifts in winter, heats in summer; could not get the horses out of a walk. But we found out that the air and earth were full of Electricity; and always going our way,--just the way we wanted to send. _Would he take a message?_ Just as lief as not; had nothing else to do; would carry it in no time. Only one doubt occurred, one staggering objection,--he had no carpet-bag, no visible pockets, no hands, not so much as a mouth, to carry a letter. But, after much thought and many experiments, we managed to meet the conditions, and to fold up the letter in such invisible compact form as he could carry in those invisible pockets of his, never wrought by needle and thread,--and it went like a charm.

I admire still more than the saw-mill the skill which, on the sea-shore, makes the tides drive the wheels and grind corn, and which thus engages the assistance of the moon, like a hired hand, to grind, and wind, and pump, and saw, and split stone, and roll iron.

Now that is the wisdom of a man, in every instance of his labor, to hitch his wagon to a star, and see his chore done by the gods themselves. That is the way we are strong, by borrowing the might of the elements. The forces of steam, gravity, galvanism, light, magnets, wind, fire, serve us day by day, and cost us nothing.

Our astronomy is full of examples of calling in the aid of these magnificent helpers. Thus, on a planet so small as ours, the want of an adequate base for astronomical measurements is early felt, as, for example, in detecting the parallax of a star. But the astronomer, having by an observation fixed the place of a star, by so simple an expedient as waiting six months, and then repeating his observation, contrived to put the diameter of the earth’s orbit, say two hundred millions of miles, between his first observation and his second, and this line afforded him a respectable base for his triangle.

All our arts aim to win this vantage. We cannot bring the heavenly powers to us, but, if we will only choose our jobs in directions in which they travel, they will undertake them with the greatest pleasure. It is a peremptory rule with them, that _they never go out of their road_. We are dapper little busybodies, and run this way and that way superserviceably; but they swerve never from their foreordained paths,--neither the sun, nor the moon, nor a bubble of air, nor a mote of dust.

And as our handiworks borrow the elements, so all our social and political action leans on principles. To accomplish anything excellent, the will must work for catholic and universal ends. A puny creature walled in on every side, as Daniel wrote,--

“Unless above himself he can
Erect himself, how poor a thing is man!”

but when his will leans on a principle, when he is the vehicle of ideas, he borrows their omnipotence. Gibraltar may be strong, but ideas are impregnable, and bestow on the hero their invincibility. “It was a great instruction,” said a saint in Cromwell’s war, “that the best courages are but beams of the Almighty.” Hitch your wagon to a star. Let us not fag in paltry works which serve our pot and bag alone. Let us not lie and steal. No god will help. We shall find all their teams going the other way,--Charles’s Wain, Great Bear, Orion, Leo, Hercules: every god will leave us. Work rather for those interests which the divinities honor and promote,--justice, love, freedom, knowledge, utility.

If we can thus ride in Olympian chariots by putting our works in the path of the celestial circuits, we can harness also evil agents, the powers of darkness, and force them to serve against their will the ends of wisdom and virtue. Thus, a wise government puts fines and penalties on pleasant vices. What a benefit would the American government, not yet relieved of its extreme need, render to itself, and to every city, village, and hamlet in the States, if it would tax whiskey and rum almost to the point of prohibition! Was it Bonaparte who said that he found vices very good patriots?--“he got five millions from the love of brandy, and he should be glad to know which of the virtues would pay him as much.” Tobacco and opium have broad backs, and will cheerfully carry the load of armies, if you choose to make them pay high for such joy as they give and such harm as they do.

These are traits, and measures, and modes; and the true test of civilization is, not the census, nor the size of cities, nor the crops,--no, but the kind of man the country turns out. I see the vast advantages of this country, spanning the breadth of the temperate zone. I see the immense material prosperity,--towns on towns, states on states, and wealth piled in the massive architecture of cities; California quartz-mountains dumped down in New York to be repiled architecturally along-shore from Canada to Cuba, and thence westward to California again. But it is not New York streets built by the confluence of workmen and wealth of all nations, though stretching out towards Philadelphia until they touch it, and northward until they touch New Haven, Hartford, Springfield, Worcester, and Boston,--not these that make the real estimation. But, when I look over this constellation of cities which animate and illustrate the land, and see how little the government has to do with their daily life, how self-helped and self-directed all families are,--knots of men in purely natural societies,--societies of trade, of kindred blood, of habitual hospitality, house and house, man acting on man by weight of opinion, of longer or better-directed industry, the refining influence of women, the invitation which experience and permanent causes open to youth and labor,--when I see how much each virtuous and gifted person, whom all men consider, lives affectionately with scores of excellent people who are not known far from home, and perhaps with great reason reckons these people his superiors in virtue, and in the symmetry and force of their qualities, I see what cubic values America has, and in these a better certificate of civilization than great cities or enormous wealth.

In strictness, the vital refinements are the moral and intellectual steps. The appearance of the Hebrew Moses, of the Indian Buddh,--in Greece, of the Seven Wise Masters, of the acute and upright Socrates, and of the Stoic Zeno,--in Judæa, the advent of Jesus,--and in modern Christendom, of the realists Huss, Savonarola, and Luther, are causal facts which carry forward races to new convictions, and elevate the rule of life. In the presence of these agencies, it is frivolous to insist on the invention of printing or gunpowder, of steam-power or gas-light, percussion-caps and rubber-shoes, which are toys thrown off from that security, freedom, and exhilaration which a healthy morality creates in society. These arts add a comfort and smoothness to house and street life; but a purer morality, which kindles genius, civilizes civilization, casts backward all that we held sacred into the profane, as the flame of oil throws a shadow when shined upon by the flame of the Bude-light. Not the less the popular measures of progress will ever be the arts and the laws.

But if there be a country which cannot stand any one of these tests,--a country where knowledge cannot be diffused without perils of mob-law and statute-law,--where speech is not free,--where the post-office is violated, mail-bags opened, and letters tampered with,--where public debts and private debts outside of the State are repudiated,--where liberty is attacked in the primary institution of social life,--where the position of the white woman is injuriously affected by the outlawry of the black woman,--where the arts, such as they have, are all imported, having no indigenous life,--where the laborer is not secured in the earnings of his own hands,--where suffrage is not free or equal,--that country is, in all these respects, not civil, but barbarous; and no advantages of soil, climate, or coast can resist these suicidal mischiefs.

Morality and all the incidents of morality are essential; as, justice to the citizen, and personal liberty. Montesquieu says: “Countries are well cultivated, not as they are fertile, but as they are free”; and the remark holds not less but more true of the culture of men, than of the tillage of land. And the highest proof of civility is, that the whole public action of the State is directed on securing the greatest good of the greatest number.

ART.

ART.

All 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.

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.

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.

The conscious utterance of thought, by speech or action, to any end, is Art. 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 Light-house 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.”

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.

The useful arts comprehend not only those that lie next to instinct, as agriculture, building, weaving, &c., 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.

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.

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.

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 Light-house 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.

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. The leaning tower can only lean so far. The verandah 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.

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. 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.

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.

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.

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.

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.

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.

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.

There is a still larger deduction to be made from the genius of the artist in favor of Nature than I have yet specified.

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.

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?

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. 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.

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.

In poetry, “It is tradition more than invention that helps the poet to a good fable.” The adventitious beauty of poetry may be felt in the greater delight which a verse gives in happy quotation than in the poem.

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. 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.

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 of 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.

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.

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 nowise 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 townspeople 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. 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.