had claimed that education, reflection, and self-cultivation lead us to invert "the vulgar views of nature, and brings the mind to call ... that real, which it use[d] to call visionary." Now Emerson pushes one step further, poetry is "the science of the real," which is to say that it is not concerned so much with the material or the phenomenal as it is with underlying laws. Emerson had made this stand clear in earlier essays, but in "The Poet" he discusses more fully the poet's use of language. The poet must not only use words, but he must be able to use things--nature--as a language. "Nature offers all her creatures to him as a picture language," Emerson says. "Things admit of being used as symbols, because nature is a symbol, in the whole and in every part." If the student asks what nature is symbolic of, the answer is, symbolic of the human spirit. "The universe is the externalization of the soul." This idea, too, had been said by Emerson before, though not with such epigrammatic authority. What really happens in poetic practice is suggested by Emerson when he says, "the world being thus put under the mind for verb and noun, the poet is he who can articulate it." What the poet realizes is that not only words and things, but "we are symbols, and inhabit symbols."
The true poet will be "the translator of nature into thought" and will not get lost in unintelligible private symbolism, in "the mistake of an accidental and individual symbol for an universal one." Nearing the end of the essay, Emerson notes that he looks "in vain for the poet whom I describe.... We have yet had no genius in America, with tyrannous eye, which knew the value of our incomparable materials, and saw, in the barbarism and materialism of the times, another carnival of the same gods whose picture he so much admires in ." It is a passage which seems to predict the advent of . Emerson continues, "yet America is a poem in our eyes, its ample geography dazzles the imagination, and it will not wait long for metres." Eleven years later, 's appeared as if in answer.
Walden With Ralph Waldo Emerson's Essay on Thoreau ..
During the 1800’s, Transcendentalism blossoms with the help of Ralph Waldo Emerson, Henry David Thoreau, and Emily Dickinson, they all express their beliefs through their writings which consists of self reliance, love of nature, and “Carpe Diem”....
From Then To Now - Transcendentalism Emerson and Thoreau
Indeed, Emerson's practical criticism, like his numerous and repeated offers of help to young writers, was more often encouragement than judgment, meant to be fortifying not critical. Not for nothing did rank Emerson with Marcus Aurelius as "the friend and aider of those who would live in the spirit." In October 1844 Emerson published his , in which the lead essay, "The Poet," was his best and most influential piece of literary criticism. It opens with a sweeping critique of those critics and "umpires of taste" whose "knowledge of the fine arts is some study of rules and particulars, or some limited judgment of color or form, which is exercised for amusement or for show." We have lost, Emerson says, "the perception of the instant dependence of form upon soul." He goes on to say flatly, "there is no doctrine of forms in our philosophy." "The Poet" is Emerson's response to this challenge. It is his "doctrine of forms."
Transcendentalism Emerson and Thoreau
Emerson uses this technique to craft a spiritual essay that pushes the reader to see the universe from a different perspective, and to tear away from the social norms of what is expected of religion to follow his or her own path....
Emerson and Thoreau: by Carlie Wagoner on Prezi
A week after the epoch-making address to the Divinity School, Emerson gave another address, called "Literary Ethics," at Dartmouth, which, as Porte has noted, is undeservedly neglected. As the Cambridge address called for "a religion by revelation to us," so the Dartmouth address calls for a literature adequate to America. So far, says Emerson, "this country has not fulfilled what seemed the reasonable expectation of mankind." In painting, sculpture, poetry, and fiction, American authors had evolved only "a certain grace without grandeur," in work that was "itself not new but derivative."