John Morley, the acute English critic, has made an analytic study of Emerson's style, which may reconcile the reader to some of its exasperating peculiarities.

"One of the traits that every critic notes in Emerson's writing is that it is so abrupt, so sudden in its transitions, so discontinuous, so inconsecutive. Dislike of a sentence that drags made him unconscious of the quality that French critics name coulant. Everything is thrown in just as it comes, and sometimes the pell-mell is enough to persuade us that Pope did not exaggerate when he said that no one qualification is so likely to make a good writer as the power of rejecting his own thoughts.... Apart from his difficult staccato, Emerson is not free from secondary faults. He uses words that are not only odd, but vicious in construction; he is sometimes oblique and he is often clumsy; and there is a visible feeling after epigrams that do not always come. When people say that Emerson's style must be good and admirable because it fits his thought, they forget that though it is well that a robe should fit, there is still something to be said about its cut and fashion.... Yet, as happens to all fine minds, there came to Emerson ways of expression deeply marked with character. On every page there is set the strong stamp of sincerity, and the attraction of a certain artlessness; the most awkward sentence rings true; and there is often a pure and simple note that touches us more than if it were the perfection of elaborated melody. The uncouth procession of the periods discloses the travail of the thought, and that, too, is a kind of eloquence. An honest reader easily forgives the rude jolt or unexpected start when it shows a thinker faithfully working his way along arduous and unworn tracks. Even at the roughest, Emerson often interjects a delightful cadence. As he says of Landor, his sentences are cubes which will stand firm, place them how or where you will. He criticised Swedenborg for being superfluously explanatory, and having an exaggerated feeling of the ignorance of men. 'Men take truths of this nature,' said Emerson, 'very fast;' and his own style does no doubt very boldly take this capacity for granted in us. In 'choice and pith of diction,' again, of which Mr. Lowell speaks, he hits the mark with a felicity that is almost his own in this generation. He is terse, concentrated, and free from the important blunder of mistaking intellectual dawdling for meditation. Nor in fine does his abruptness ever impede a true urbanity. The accent is homely and the apparel plain, but his bearing has a friendliness, a courtesy, a hospitable humanity, which goes nearer to our hearts than either literary decoration or rhetorical unction. That modest and lenient fellow-feeling which gave such charm to his companionship breathes in his gravest writing, and prevents us from finding any page of it cold or hard or dry."

E.P. Whipple, the well-known American critic, wrote soon after Emerson's death:

"But 'sweetness and light' are precious and inspiring only so far as they express the essential sweetness of the disposition of the thinker, and the essential illuminating power of his intelligence. Emerson's greatness came from his character. Sweetness and light streamed from him because they were in him. In everything he thought, wrote, and did, we feel the presence of a personality as vigorous and brave as it was sweet, and the particular radical thought he at any time expressed derived its power to animate and illuminate other minds from the might of the manhood, which was felt to be within and behind it. To 'sweetness and light' he therefore added the prime quality of fearless manliness.

"If the force of Emerson's character was thus inextricably blended with the force of all his faculties of intellect and imagination, and the refinement of all his sentiments, we have still to account for the peculiarities of his genius, and to answer the question, why do we instinctively apply the epithet 'Emersonian' to every characteristic passage in his writings? We are told that he was the last in a long line of clergymen, his ancestors, and that the modern doctrine of heredity accounts for the impressive emphasis he laid on the moral sentiment; but that does not solve the puzzle why he unmistakably differed in his nature and genius from all other Emersons. An imaginary genealogical chart of descent connecting him with Confucius or Gautama would be more satisfactory.

"What distinguishes the Emerson was his exceptional genius and character, that something in him which separated him from all other Emersons, as it separated him from all other eminent men of letters, and impressed every intelligent reader with the feeling that he was not only 'original but aboriginal.' Some traits of his mind and character may be traced back to his ancestors, but what doctrine of heredity can give us the genesis of his genius? Indeed, the safest course to pursue is to quote his own words, and despairingly confess that it is the nature of genius 'to spring, like the rainbow daughter of Wonder, from the invisible, to abolish the past, and refuse all history.'"

CHRONOLOGICAL LIST OF EMERSON'S PRINCIPAL WORKS.

Nature 1836 Essays (First Series) 1841 Essays (Second Series) 1844 Poems 1847 Miscellanies 1849 Representative Men 1850 English Traits 1856 Conduct of Life 1860 Society and Solitude 1870 Correspondence of Thomas Carlyle and R.W. Emerson 1883

THE AMERICAN SCHOLAR.

This address was delivered at Cambridge in 1837, before the Harvard Chapter of the Phi Beta Kappa Society, a college fraternity composed of the first twenty-five men in each graduating class. The society has annual meetings, which have been the occasion for addresses from the most distinguished scholars and thinkers of the day.

MR. PRESIDENT AND GENTLEMEN,

I greet you on the recommencement of our literary year. Our anniversary is one of hope, and, perhaps, not enough of labor. We do not meet for games of strength[1] or skill, for the recitation of histories, tragedies, and odes, like the ancient Greeks; for parliaments of love and poesy, like the Troubadours;[2] nor for the advancement of science, like our co-temporaries in the British and European capitals. Thus far, our holiday has been simply a friendly sign of the survival of the love of letters amongst a people too busy to give to letters any more. As such it is precious as the sign of an indestructible instinct. Perhaps the time is already come when it ought to be, and will be, something else; when the sluggard intellect of this continent will look from under its iron lids and fill the postponed expectation of the world with something better than the exertions of mechanical skill. Our day of dependence, our long apprenticeship to the learning of other lands, draws to a close. The millions that around us are rushing into life cannot always be fed on the sere remains of foreign harvests.[3] Events, actions arise that must be sung, that will sing themselves. Who can doubt that poetry will revive and lead in a new age, as the star in the constellation Harp, which now flames in our zenith, astronomers announce, shall one day be the pole-star[4] for a thousand years?

In the light of this hope I accept the topic which not only usage but the nature of our association seem to prescribe to this day,--the AMERICAN SCHOLAR. Year by year we come up hither to read one more chapter of his biography. Let us inquire what new lights, new events, and more days have thrown on his character, his duties, and his hopes.

It is one of those fables which out of an unknown antiquity convey an unlooked-for wisdom, that the gods, in the beginning, divided Man into men, that he might be more helpful to himself; just as the hand was divided into fingers, the better to answer its end.[5]

The old fable covers a doctrine ever new and sublime; that there is One Man,--present to all particular men only partially, or through one faculty; and that you must take the whole society to find the whole man. Man is not a farmer, or a professor, or an engineer, but he is all. Man is priest, and scholar, and statesman, and producer, and soldier. In the divided or social state these functions are parceled out to individuals, each of whom aims to do his stint[6] of the joint work, whilst each other performs his. The fable implies that the individual, to possess himself, must sometimes return from his own labor to embrace all the other laborers. But, unfortunately, this original unit, this fountain of power, has been so distributed to multitudes, has been so minutely subdivided and peddled out, that it is spilled into drops, and cannot be gathered. The state of society is one in which the members have suffered amputation from the trunk and strut about so many walking monsters,--a good finger, a neck, a stomach, an elbow, but never a man.