Critical Miscellanies, Vol. 1, Essay 5: EmersonMorley, John
Philosophy
Critical Miscellanies, Vol. 1, Essay 5: Emerson
Morley, John
Emerson, Ralph Waldo, 1803-1882
more indulgent to the man's sense of tragedy in that vast drama in which
he plays his piteous part.
In like manner, Emerson has little to say of that horrid burden and
impediment on the soul, which the churches call Sin, and which, by
whatever name we call it, is a very real catastrophe in the moral nature
of man. He had no eye, like Dante's, for the vileness, the cruelty, the
utter despicableness to which humanity may be moulded. If he saw them at
all, it was through the softening and illusive medium of generalised
phrases. Nor was he ever shocked and driven into himself by 'the immoral
thoughtlessness' of men. The courses of nature, and the prodigious
injustices of man in society, affect him with neither horror nor awe. He
will see no monster if he can help it. For the fatal Nemesis or terrible
Erinnyes, daughters of Erebus and Night, Emerson substitutes a
fair-weather abstraction named Compensation. One radical tragedy in
nature he admits--'the distinction of More and Less.' If I am poor in
faculty, dim in vision, shut out from opportunity, in every sense an
outcast from the inheritance of the earth, that seems indeed to be a
tragedy. 'But see the facts clearly and these mountainous inequalities
vanish. Love reduces them, as the sun melts the iceberg in the sea. The
heart and soul of all men being one, this bitterness of His and Mine
ceases. His is mine.' Surely words, words, words! What can be more idle,
when one of the world's bitter puzzles is pressed on the teacher, than
that he should betake himself to an altitude whence it is not visible,
and then assure us that it is not only invisible, but non-existent? This
is not to see the facts clearly, but to pour the fumes of obscuration
round them. When he comforts us by saying 'Love, and you shall be
loved,' who does not recall cases which make the Jean Valjean of Victor
Hugo's noble romance not a figment of the theatre, but an all too actual
type? The believer who looks to another world to redress the wrongs and
horrors of this; the sage who warns us that the law of life is
resignation, renunciation, and doing-without (_entbehren sollst
du_)--each of these has a foothold in common language. But to say that
all infractions of love and equity are speedily punished--punished by
fear--and then to talk of the perfect compensation of the universe, is
mere playing with words, for it does not solve the problem in the terms
in which men propound it. Emerson, as we have said, held the spirit of
System in aversion as fettering the liberal play of thought, just as in
morals, with greater boldness, he rebelled against a minute and cramping
interpretation of Duty. We are not sure that his own optimistic doctrine
did not play him the same tyrannical trick, by sealing his eyes to at
least one half of the actualities of nature and the gruesome
possibilities of things. It had no unimportant effect on Emerson's
thought that he was born in a new world that had cut itself loose from
old history.
Public-domain text, read in full here on John Shaqi.
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