Margaret and Her Friends: or, Ten conversations with Margaret Fuller upon the mythology of the Greeks and its expression in art, held at the house of the Rev. George Ripley, Bedford Place, Boston, beginning March 1, 1841 — John Shaqi
Margaret and Her Friends: or, Ten conversations with Margaret Fuller upon the mythology of the Greeks and its expression in art, held at the house of the Rev. George Ripley, Bedford Place, Boston, beginning March 1, 1841Fuller, Margaret
Philosophy
Margaret and Her Friends: or, Ten conversations with Margaret Fuller upon the mythology of the Greeks and its expression in art, held at the house of the Rev. George Ripley, Bedford Place, Boston, beginning March 1, 1841
Fuller, Margaret
Mythology, Classical, in art; Mythology, Greek
“The first day’s topic was the genealogy of Heaven and Earth;
then the Will or Jupiter; the Understanding, Mercury: the
second day’s, The celestial inspiration of Genius, perception
and transmission of Divine Law; Apollo the terrene inspiration,
Bacchus the impassioned abandonment. Of the thunderbolt, the
caduceus, the ray and the grape, having disposed as well as
might be, we came to the wave and the sea-shell it moulds to
beauty....
“I assure you, there is more Greek than Bostonian spoken at the
meetings!”
Under the forms suggested by Mythology, Margaret proceeded to open all
the great questions of life. In a literary sense, she distinctly stated
that she knew little about the doings on Olympus, nor had she received
any help from German critical works,—of which at the present day she
would have found many.
These Conversations owed their attraction first to the absolute novelty
of her theme to many of those she addressed, and still more to the
variety and freshness of her own treatment. The opening, at the Boston
Athenæum, of the splendid collection of casts presented by Thomas
Handasyd Perkins, and many private collections of pictures, engravings,
gems, and miniature casts, had interested her intensely, and both mind
and fancy were absorbed in the contemplation of their themes. In these
Conversations she depicted what she had gained from Art, rather than
the little that she had acquired through study. If I may judge from
a later experience, her Latin studies rather injured than developed
her brilliant fancies. She never could remember what she had said,
never could repeat a brilliant saying, and, if obliged to read any
illustration, read it, as all her friends admitted, very badly. From a
statement made to Emerson, I quote the following:—
“Her mood applied itself to the mood of her companion, point
to point, in the most limber, sinuous, vital way; ... and this
sympathy she had for all persons indifferently.”
The communication of which the above is a sample I have always read with
amazement, for I never knew a person of whom it would seem less true.
When conversing with one sympathetic person, it was undoubtedly true;
when resting upon the affection and loyalty of her young women,—a most
gifted and extraordinary circle,—it was doubtless equally so; but when
the class of March, 1841, was formed, a very different aspect of herself
appeared.
Public-domain text, read in full here on John Shaqi.
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