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The Nuiances Of Emersons Essay Self Reliance

There's a time to speak out, and there's a time to hold your tongue in service of a larger strategy, greater goals. In one of the movie's most beautiful speeches (delivered with a warmth and subtlety I did not expect from an actor as bombastic as Day-Lewis), Lincoln describes his constitutional predicament and tells a story about having to navigate through several contingencies and to make arguments he did believe in so that he could affirm greater principles that he did, as when he issued the Emancipation Proclamation:

Thoreau’s essay is based implicitly upon the recognition that human beings can reason and govern themselves volitionally and independently of others; therefore, he sees the potential for human beings to exercise their freedom in a way that is mutually respectful of others by engaging consensually, thus peacefully, with others, and resolving their disputes by just rules–just because they respect legitimate individual rights–upheld by governments–not states–to which they give their voluntary consent, and so “live in a world where everything worth being done at all is done with consent of all involved”.

In the 19th and 20th centuries, the human sciences (such as psychology, sociology or economics) were coming to be recognised as powerful and legitimate sciences. To some extend at least their assumptions and methods seemed to be borrowed from the natural sciences. While philosophers such as Dilthey and later Gadamer were concerned to show that the human sciences had to have a distinctive method, the existentialists were inclined to go further. The free, situated human being is not an object of knowledge in the sense the human always exists as the possibility of transcending any knowledge of it. There is a clear relation between such an idea and the notion of the 'transcendence of the other' found in the ethical phenomenology of Emmanuel Levinas.

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The second one, it was like we was both back in older times and I was on horseback goin through the mountains of a night, goin through this pass in the mountains. It was cold and snowin, hard ridin. Hard country. He rode past me and kept on goin. Never said nothin goin by. He just rode on past and he had his blanket wrapped around him and his head down, and when he rode past I seen he was carryin fire in a horn the way people used to do and I could see the horn from the light inside of it. About the color of the moon. And in the dream I knew that he was goin on ahead and that he was fixin to make a fire somewhere out there in all that dark and all that cold, and I knew that whenever I got there he would be there. Out there up ahead.

The Lost Key Of Emersons Essay Self Reliance

What, according to Emerson, is wrong with the “social state” of America in 1841?
Americans have become weak, shy, and fearful, an indication of its true problem: it is no longer capable of producing “great and perfect persons.”

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(1850), a book made up of lectures first given in 1845 on , Swedenborg, Montaigne, , Napoleon, and Goethe, is the fullest account of Emerson's biographical approach to literature. This subject is not new with him. It goes back at least to his early lecture on , but it now has a new emphasis. Just as he had once claimed that there is properly no history, only biography, so comes close to saying there is properly no literature, there are only literary persons. "There must be a man behind the book," he says of Goethe. "It makes a great difference to the force of any sentence whether there be a man behind it or no." Emerson's representative figures are his Plutarchan heroes. The book is a pantheon of heroes, chosen not from among warriors (except for Napoleon), but from among thinkers and writers, who are of use to us because they represent or symbolize qualities that lie in us, too. They are essays in symbolic literary biography. Assuming that language is representative, that is, symbolic, Emerson says that "Behmen and Swedenborg saw that things were representative." Then, moving, not toward circular idealism, but toward biography, he states: "Men also are representative: first of things, and secondly, of ideas." Emerson identifies in each of his figures some permanent quality of the human mind. He is also a prestructuralist in that he believes that the world people make and inhabit is determined partly or even largely by the structure of the human mind. "Our colossal theologies of Judaism, Christism, Buddhism, Mahometism are the necessary and structural action of the human mind." It follows from this that our reading is a process of recognizing our own thoughts, or capabilities for thought and imagination, in the work and lives of others. Emerson sums this up concisely. "The possibility of interpretation lies in the identity of the observer with the observed." The democratic aesthetic also follows from this. "As to what we call the masses, and common men,--there are no common men. All men are at last of a size; and true art is only possible on the conviction that every talent has its apotheosis somewhere."

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There is only one paragraph about America and American poetry in "The Poet." Emerson specifically says he is "not wise enough for a national criticism," and he ends the essay as he began, with a consideration not of the American poet but of the modern poet. The essay closes with a repetition of the idea that it is the of poetry, not the resulting text, that constitutes the live essence of poetry, and he puts it in yet another of his triumphant aphorisms. "Art is the path of the creator to his work." True poetry is not the finished product, but the process of uttering or writing it.

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It is finally the imagination, not wine, which intoxicates the true poet, and the same quality works in us, too. "The use of symbols has a certain power of emancipation and exhilaration for all men.... This is the effect on us of tropes, fables, oracles and all poetic forms." Consider, for example, the sense of delight with which we are momentarily freed of the tyranny of English numbers by the child's book which tells us, if we are tired of counting to ten in the same old way, to try a new way, such as "ounce, dice, trice, quartz, quince, sago, serpent, oxygen, nitrogen, denim." Of such language, Emerson says, "We seem to be touched by a wand, which makes us dance and run about happily like children." He concludes, in a phrase that sums up the essay, "poets are thus liberating gods." Themselves free, they set us free--free, for example, to take only what we want from the books we read. "I think nothing is of any value in books, excepting the transcendental and extraordinary." Thus Emerson cheerfully and knowingly dismisses all but the very best of even his own writing.

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"The Poet" also suggests the true function of the critic. "And herein is the legitimation of criticism, in the mind's faith, that the poems are a corrupt version of some text in nature, with which they ought to be made to tally." Emerson, however, is still more interested in the function of the poet than in the text, and he goes on now to explain that so many poets flirt with intoxication because they are really trying to tap into a realm of experience larger than that offered by their own private lives. Whether we think of it as the world-soul, or collective consciousness, or the oversoul, the poet must transcend his own limited and personal experience in order to participate in the broader experience of the common human spirit. In an important--and difficult--passage, Emerson says, "it is a secret which every intellectual man quickly learns, that beyond the energy of his possessed and conscious intellect, he is capable of a new energy (as of an intellect doubled on itself), by abandonment to the nature of things; that, besides his privacy of power as an individual man, there is a great public power, on which he can draw...."