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teaches his eye why Beauty was ever painted with Loves and Graces attenda ing her steps. Her existence makes the world rich. Though she excludes all other persons from his attention as cheap and unworthy, yet she indemnifies him by carrying out her own being into somewhat impersonal, large, mundane, so that the maiden stands to him for a representative of all select things and virtues. For that reason the lover sees never personal resemblances in his mistress to her kindred or to others. His friends find in her a likeness to her mother, or her sisters, or to persons not of her blood. The lover sees no resemblance except to summer evenings and diamond mornings, to rainbows and the song of birds.
“ Beauty is ever that divine thing the ancients esteemed it. It is, they said, the flowering of virtue. Who can analyse the nameless charm which glances from one and another face and form? We are touched with emotions of tenderness and complacency, but we cannot find whereat this dainty emotion, this wandering gleam, points. It is destroyed for the imagination by any attempt to refer it to organisation. Nor does it point to any relations of friendship or love that society knows and has; but, as it seems to me, to a quite other and unattainable sphere, to relations of transcendant delicacy and sweetness, a true faerie land; to what roses and violets hint and foreshew. We cannot get at beauty. Its nature is like opaline doves’-neck lustres, hovering and evanescent. Herein it resembles the most excellent things, which all have this rainbow character, defying all attempts at appropriation and use. What else did Jean Paul Richter signify, when he said to music, `Away! away! thou speakest to me of things which in all my endless life I have found not, and shall not find.' The same fact may be observed in every work of the plastic arts. The statue is then beautiful, when it begins to be incomprehensible, when it is passing out of criticism, and can no longer be defined by compass and measuring wand, but demands an active imagination to go with it, and to say what it is in the act of doing. The god or hero of the sculptor is always represented in a transition from that which is representable to the senses, to that which is not. Then first it ceases to be a stone. The same remark holds of painting. And of poetry, the success is not attained when it lulls and satisfies, but when it astonishes and fires us with new endeavours after the unattainable. Concerning it, Landor inquires, ‘whether it is not to be referred to some purer state of sensation and existence.'
“So must it be with personal beauty, which love worships. Then first is it charming and itself, when it dissatisfies us with any end; when it becomes a story without an end; when it suggests gleams and visions, and not earthly satisfactions; when it seems
- too bright and good
For human nature's daily food;' when it makes the beholder feel his unworthiness; when he cannot feel his right to it, though he were Cæsar; he cannot feel more right to it than to the firmament and the splendours of a sunset.
“ Hence arose the saying, qIf I love you, what is that to you ?' We say so, because we feel that what we love is not in your will, but above it. It is the radiance of you, and not you. It is that which you know not in yourself, and can never know.
"This agrees well with that high philosophy of Beauty which the ancient writers delighted in; for they said, that the soul of man, embodied here on earth, went roaming up and down in quest of that other world of its own, out of which it came into this, but was soon stupified by the light of the natural sun, and unable to see any other objects than those of this world, which are but shadows of real things. Therefore the Deity sends the glory of youth before the soul, that it may avail itself of beautiful bodies as aids to its recollection of the celestial good and fair ; and the man beholding sạch a person in the female sex, runs to her, and finds the highest joy in contemplating the form, movement, and intelligence of this person, because it suggests to him the presence of that which indeed is within the beauty, and the cause of the beauty.
“If, however, from too much conversing with material objects, the soul was gross and misplaced its satisfaction in the body, it reaped nothing but sorrow; body being unable to fulfil the promise which beauty holds out; but if accepting the hint of these visions and suggestions which beauty makes to his mind, the soul passes through the body, and falls to admire strokes of character, and the lovers contemplate one another in their discourses and their actions, then they pass to the true palace of Beauty, more and more inflame their love of it, and by this love extinguishing the base affection, as the sun puts out the fire by shining on the hearth, they become pure and hallowed. By conversation with that which is in itself excellent, magnanimous, lowly, and just, the lover comes to a warmer love of these nobilities, and a quicker apprehension of them. Then he passes from loving them in one, to loving them in all; and so is the one beautiful soul only the door through which he enters to the society of all true and pure souls. In the particular society of his mate he attains a clearer sight of any spot, any taint, which her beauty has contracted from this world, and is able to point itfout; and this with mutual joy that they are now able without offence to indicate blemishes and bindrances in each other, and give to each all help and comfort in curing the same. And, beholding in many souls the traits of the divine beauty, and separating in each soul that which is divine from the taint which they have contracted in the world, the lover ascends ever to the highest beauty, to the love and knowledge of the Divinity, by steps on this ladder of created souls.
“Somewhat like this have the truly wise told us of love in all ages. The doctrine is not old, nor is it new. If Plato, Plutarch, and Apuleius, taught it, so have Petrarch, Angelo, and Milton. It awaits a truer unfolding, in opposition and rebuke to that subterranean prudence which presides at marriages with words that take hold of the upper work, whilst one eye is eternally boring down into the cellar, so that its gravest discourse has ever a slight savour of hams and powdering-tubs. Worst, when the snout of this sensualism intrudes into the education of young women, and withers the hope and affection of human nature, by teaching that marriage signifies nothing but a housewife's thrift, and that woman's life has no other aim,
“But this dream of love, though beautiful, is only one scene in our play. In the procession of the soul from within outward, it enlarges its circles ever, like the pebble thrown into the pond, or the light proceeding from an orb. The rays of the soul alight first on things nearest, on every utensil and toy, on nurses and domestics, on the house and yard and passengers, on the circle of household acquaintance, on politics, and geography, and history. But by the necessity of our constitution, things are ever grouping themselves according to higher or more interior laws. Neighbourhood, size, numbers, habits, persons, lose by degrees their power over us. Cause and effect, real affinities, the longing for harmony between the soul and the circumstance, the high progressive idealising instinct, these predominate later, and ever the step backward from the higher to the lower relations is impossible. Thus even love, which the deification of persons, must become more impersonal every day; of this at first it gives no hint. Little think the youth and maiden who are glancing at each other across crowded rooms, with eyes so full of mutual intelligence,—of the precious fruit long hereafter to proceed from this new, quite external stimulus. The work of vegetation begins first in the irritability of the bark and leaf buds. From exchanging glances, they advance to acts of courtesy, of gallantry, then to fiery passion, to plighting troth and marriage. Passion beholds its object as a perfect unit. The soul is wholly embodied, and the body is wholly ensouled.
*Her pure and eloquent blood
That one might almost say her body thought.' Romeo, if dead, should be cut up into little stars, to make the heavens fine. Life, with this pair, has no other aim, asks no more, than Juliet—than Romeo. Night, day, studies, talents, kingdoms, religion, are all contained in this form full of soul, in this soul which is all form. The lovers delight in endearments, in avowals of love, in comparisons of their regards. When alone, they solace themselves with the remembered image of the other. Does that other see the same star, the same melting cloud, read the same book, feel the same emotion, that now delight me? They try and weigh their affection, and adding up all costly advantages, friends, opportunities, properties, exult in discovering that willingly, joyfully, they would give all as a ransom for the beautiful, the beloved head, not one hair of which shall be harmed. But the lot of humanity is on these children. Danger, sorrow, and pain arrive to them, as to all. Love prays. It makes covenants with Eternal Power, in behalf of this dear mate. The union which is thus effected, and which adds a new value to every atom in nature,—for it transmutes every thread throughout the whole web of relation into a golden ray, and bathes the soul in a new and sweeter element,-is yet a temporary state. Not always can flowers, pearls, poetry, protestations, nor even home in another heart, content the awful soul that dwells in clay. It arouses itself at last from these endearments, as toys, and puts on the harness, and aspires to vast and universal aims. The soul which is in the soul of each, craving for a perfect beatitude, detects incongruities, defects, and disproportion in the behaviour of the other. Hence arises surprise, expostulation, and pain. Yet that which drew them to each other was signs of loveliness, signs of virtue: and these virtues are there, however eclipsed. They appear and reappear, and continue to attract; but the regard changes, quits the sign, and attaches to the substance. This repairs the wounded affection. Meantime, as life wears on, it proves a game of permutation and combination of all possible positions of the parties, to extort all the resources of each, and acquaint each with the whole strength and weakness of the other. For it is the nature and end of this relation, that they should represent the human race to each other. All that is in the world which is or ought to be known, is cunningly wrought into the texture of man, of woman.
• The person love does to us fit,
Like manna, has the taste of all in it.' “The world rolls: the circumstances vary every
hour. All the angels that inhabit this temple of the body appear at the windows, and all the gnomes and vices also. By all the virtues they are united. If there be virtue, all the vices are known as such ; they confess and flee. Their once flaming regard is sobered by time in either breast; and losing in violence what it gains in extent, it becomes a thorough good understanding. They resign each other, without complaint, to the good offices which man and woman are severally appointed to discharge in time; and exchange the passion, which once could not lose sight of its object, for a cheerful, disengaged furtherance, whether present or absent, of each other's designs. At last they discover that all which at first drew them together,-those once sacred features, that magical play of charmis,-was deciduous, had a prospective end, like the scaffolding by which the house was built; and the purification of the intellect and the heart, from year to year, is the real marriage, foreseen and prepared from the first, and wholly above their consciousness. Looking at these aims, with which two persons, a man and a woman, so variously and correlatively gifted, are shut up in one house to spend in the nuptial society forty or fifty years, I do not wonder at the emphasis with which the heart prophesies this crisis from early infancy, at the profuse beauty with which the instincts deck the nuptial bower, and nature and intellect and art emulate each other in the gifts and the melody they bring to the epithalamium.
“Thus are we put in training for a love which knows not sex, nor person, nor partiality, but which seeketh virtue and wisdom everywhere, to the end of increasing virtue and wisdom. We are by nature observers, and thereby learners : that is our permanent state. But we are often made to feel that our affections are but tents of a night. Though slowly and with pain, the objects of the affections change, as the objects of thought do. There are moments when the affections rule and absorb the man, and make his happiness dependent on a person or persons,
But in health the mind is presently seen again,-its overarching vault, bright with galaxies of immutable lights, and the warm loves and fears that swept over us as clouds, must lose their finite character, and blend with God, to attain their own perfection. But we need not fear that we can lose anything by the progress of the soul. The.soul may be trusted to the end. That which is so beautiful and attractive as these relations, must be succeeded and supplanted only by what is more beautiful, and so on for ever.”
We have only left ourselves room for the following extract from the Essay on Friendship
“I do not wish to treat friendships daintily, but with roughest courage. When they are real, they are not glass threads or frost-work, but the solidest thing we know. For now, after so many ages of experience, what do we know of nature, or of ourselves ? Not one step has man taken toward the solution of the problem of bis destiny. In one condemnation of folly stand the whole universe of men. But the sweet sincerity of joy and peace, which I draw from this alliance with my brother's soul, is the nut itself whereof all nature and all thought is but the husk and shell. Happy is the house that shelters a friend! It might well be built, like a festal bower or arch, to entertain him a single day. Happier, if he know the solemnity of that relation, and honour its law! It is no idle band, no holyday engagement. He who offers himself a candidate for that covenant comes up, like an Olympian, to the great games, where the first-born of the world are the competitors. He proposes himself for contests where Time, Want, Danger, are in the lists, and he alone is victor who has truth enough in his constitution to preserve the delicacy of his beauty from the wear and tear of all these. The gifts of fortune may be present or absent, but all the hap in that contest depends on intrinsic nobleness, and the contempt of trifles. There are two eleinents that go to the composition of friendship, each so sovereign, that I can detect no superiority in either, no reason why either should be first named. One is Truth. A friend is a person with whom I may be sincere. Before him I may think aloud. I am arrived at last in the presence of a man so real and equal, that I may drop even those undermost garments of dissimulation, courtesy, and second thought, which men never put off, and may deal with him with the simplicity and wholeness with which one chemical atom meets another. Sincerity is the luxury allowed, like diadems and authority, only to the highest rank, that being permitted to speak truth, as having none above it to court or conform unto. Every man alone is sincere. At the entrance of a second person, hypocrisy begins. We parry and fend the approach of our fellow man by compliments, by gossip, by amusements, by affairs. We cover up our thought from him under a hundred folds. I knew a man who, under a certain religious frenzy, cast off this drapery, and, omitting all compliment and commonplace, spoke to the conscience of every person he encountered, and that with great insight and beauty. At first, he was resisted, and all men agreed he was mad. But persisting, as indeed he could not help doing, for some time in this course, he attained to the advantage of bringing every man of his acquaintance into true relations with him. No man would think of speaking falsely with him, or of putting him off with any chat of markets or reading-rooms. But every man was constrained by so much sincerity to face him; and what love of nature, what poetry, what symbol of truth he bad, he did certainly shew him. But
to most of us society shews not its face and eye, but its side and its back. To stand in true relations with men in a false age is worth a fit of insanity, is it not ? We can seldom go erect. Almost every man we meet requires some civility, requires to be humoured !-he has some fame, some talent, some whim of religion or philanthropy in his head that is not to be questioned, and so spoils all conversation with him. But a friend is a sane man who exercises not my ingenuity, but me. My friend gives me entertainment without requiring me to stoop, or to lisp, or to mask myself. A friend, therefore, is a sort of paradox in nature. I who alone am, I who see nothing in nature whose existence I can affirm with equal evidence to my own, behold now the semblance of my being in all its height, variety, and curiosity, reiterated in a foreign form; so that a friend may well be reckoned the masterpiece of nature.”
Our extracts have been somewhat erratic ; for having at present no point of our own to sustain, we have been only solicitous to give the reader ample materials from whence to form a correct estimate of the book before us. It will be perceived that although there is much of beauty-nay, even of sublimity—in these Essays, that they altogether want prominence and just relief. Emerson brings no treasure to the storehouse of the memory; if his words do not instantly excite kindred thoughts in the reader,-if they do not provoke him to elaborate the subject further for himself,—however they may please at the moment, they quickly evaporate and leave no trace behind. Other authors leave a remembrance of a concatenation of reasoning, or of a gracefully woven continuation of sentiment; but Emerson has no argument to support, and demonstrates nothing. We see that he is rich in gems and precious stones; but he displays them so partially as to tantalize rather than satisfy our curiosity.
However, these Essays are valuable as being the products of a man of great and original genius, who has earnestly sought for truth with no ill success. If he has done no more, he has at least erected sign-posts which will faithfully direct the steps of all who consult them into the paths of true philosophy. Fallen on such evil days as these, honour be to him who does even thus much!
But perhaps, in complaining of vagueness, we complain unjustly. What if Emerson's ideas be too pure—too ethereal for adequate expression ? Ideas, in themselves, are incommunicable. They are silent intentions of the soul ; suggested without the help of language. And if we would preserve them uncontaminated—if we would retain them in their original truthfulnesswe must not seek to reduce them to words. Ideas are never false, for the soul cannot lie; but we may and do falsify them when we seek to clothe their loveliness in the rags and tatters of phrase. Nor is this all. Having once spoken an idea, it departs from us, leaving in its stead only the pitiful remembrance of the terms we have used in expressing it. These terms may be such as to lead to error and contradiction ; and at the very best, will be but feeble and inefficient representatives of the idea we have lost.
In conceiving an idea, a flash of brilliant light seems to burst upon our soul; we stay not to seek arguments, or weigh evidence; our conviction of its truth is instantaneous. Mere thoughts are suggested to us already decked in a form of words; and we place no confidence in them until we have bolstered them up with reasoning and testimony. But our ideas apparently spring from a source that cannot err. I say apparently, for we know not whence they come, nor whither they go. Indeed, we might almost conclude that they were heavenly monitions addressed exclusively to ourselves ; and that to impart them was a breach of confidence.