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Ralph Waldo Emerson Essays, First Series

I. HISTORY.

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See in Goethe's Helena the same desire that every word should be a thing. These figures, he would say, these Chirons, Griffins, Phorkyas, Helen and Leda, are somewhat, and do exert a specific influence on the mind. So far then are they eternal entities, as real to-day as in the first Olympiad. Much revolving them he writes out freely his humor, and gives them body to his own imagination. And although that poem be as vague and fantastic as a dream, yet is it much more attractive than the more regular dramatic pieces of the same author, for the reason that it operates a wonderful relief to the mind from the routine of customary images,--awakens the reader's invention and fancy by the wild freedom of the design, and by the unceasing succession of brisk shocks of surprise.

The universal nature, too strong for the petty nature of the bard, sits on his neck and writes through his hand; so that when he seems to vent a mere caprice and wild romance, the issue is an exact allegory. Hence Plato said that "poets utter great and wise things which they do not themselves understand." All the fictions of the Middle Age explain themselves as a masked or frolic expression of that which in grave earnest the mind of that period toiled to achieve. Magic and all that is ascribed to it is a deep presentiment of the powers of science. The shoes of swiftness, the sword of sharpness, the power of subduing the elements, of using the secret virtues of minerals, of understanding the voices of birds, are the obscure efforts of the mind in a right direction. The preternatural prowess of the hero, the gift of perpetual youth, and the like, are alike the endeavour of the human spirit "to bend the shows of things to the desires of the mind."

In Perceforest and Amadis de Gaul a garland and a rose bloom on the head of her who is faithful, and fade on the brow of the inconstant. In the story of the Boy and the Mantle even a mature reader may be surprised with a glow of virtuous pleasure at the triumph of the gentle Venelas; and indeed all the postulates of elfin annals,--that the fairies do not like to be named; that their gifts are capricious and not to be trusted; that who seeks a treasure must not speak; and the like,--I find true in Concord, however they might be in Cornwall or Bretagne.

Is it otherwise in the newest romance? I read the Bride of Lammermoor. Sir William Ashton is a mask for a vulgar temptation, Ravenswood Castle a fine name for proud poverty, and the foreign mission of state only a Bunyan disguise for honest industry. We may all shoot a wild bull that would toss the good and beautiful, by fighting down the unjust and sensual. Lucy Ashton is another name for fidelity, which is always beautiful and always liable to calamity in this world.

But along with the civil and metaphysical history of man, another history goes daily forward,--that of the external world,--in which he is not less strictly implicated. He is the compend of time; he is also the correlative of nature. His power consists in the multitude of his affinities, in the fact that his life is intertwined with the whole chain of organic and inorganic being. In old Rome the public roads beginning at the Forum proceeded north, south, east, west, to the centre of every province of the empire, making each market-town of Persia, Spain and Britain pervious to the soldiers of the capital: so out of the human heart go as it were highways to the heart of every object in nature, to reduce it under the dominion of man. A man is a bundle of relations, a knot of roots, whose flower and fruitage is the world. His faculties refer to natures out of him and predict the world he is to inhabit, as the fins of the fish foreshow that water exists, or the wings of an eagle in the egg presuppose air. He cannot live without a world. Put Napoleon in an island prison, let his faculties find no men to act on, no Alps to climb, no stake to play for, and he would beat the air, and appear stupid. Transport him to large countries, dense population, complex interests and antagonist power, and you shall see that the man Napoleon, bounded that is by such a profile and outline, is not the virtual Napoleon. This is but Talbot's shadow;--