Reference > Cambridge History > Colonial and Revolutionary Literature; Early National Literature, Part I > Emerson > His Place in the Romantic Movement
  Its Significance Form and Style  

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The Cambridge History of English and American Literature in 18 Volumes (1907–21).
VOLUME XV. Colonial and Revolutionary Literature; Early National Literature, Part I.

IX. Emerson.

§ 10. His Place in the Romantic Movement.


Emerson’s act of renunciation was not only important as determining the nature of his career, but significant also of the transition of New England from theological dogmatism to romantic liberty. Much has been written about the influences that shaped his thoughts and about the relation of his transcendentalism to German metaphysics. In his later years it is clear that the speculations of Kant and Schelling and Fichte were known to him and occasionally coloured his language, but his Journals prove conclusively enough that the whole stamp of his mind was taken before these sources were open to him. Indirectly, no doubt, something of the German spirit came to him pretty early through Carlyle, and a passage in his Journal for 13 December, 1829, shows that he was at that time already deeply engaged in the Teutonized rhapsodies of Coleridge. But it would be easy to lay too much stress even on this indirect affiliation. Long before that date, as early as his senior year in college, he is yearning “to separate the soul for sublime contemplation till it has lost the sense of circumstances,” and otherwise giving implicit expression to the full circle of transcendental faith. He was in fact a product of the great romantic movement that was sweeping over the world as it listed; his ideas, so far as they came to him from books, go back mainly to the Greek philosophers and the poets and preachers of seventeenth-century England, as these were interpreted under the light of the new movement. When he declared, in Nature, that “the vision of genius comes by renouncing the too officious activity of the understanding, and giving leave and amplest privilege to the spontaneous sentiment,” he was stating in precise terms an idea familiar to Blake and to the romanticists of every land—the elevation of enthusiasm above judgment, of emotion above reason, of spontaneity above discipline, and of unlimited expansion above centripetal control. But there was another element as strongly formative of Emerson’s disposition as was the current of romanticism, and that was his ancestral inheritance. Romantic spontaneity moved in various directions in accordance with the field in which it worked; in an Emerson, with all the divinity of Massachusetts in his veins, it might move to repudiate theological dogma and deny Jehovah, but it could not get out of hearing of the question “What is God?” It could not fall into the too common confusion of spiritual aspiration with the sicklier lusts of the flesh; it could never, for all its centrifugal wandering, overstep the bounds of character. Emersonianism may be defined as romanticism rooted in Puritan divinity.   13

CONTENTS · VOLUME CONTENTS · INDEX OF ALL CHAPTERS · BIBLIOGRAPHIC RECORD
  Its Significance Form and Style  
 
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