The Romantic Period, 1820-1860: Essayists and Poets

Ralph Waldo Emerson (1803-1882)

The Romantic movement, which originated in Germany but quickly spread to England, France, and beyond, reached America around the year 1820, some 20 years after William Wordsworth and Samuel Taylor Coleridge had revolutionized English poetry by publishing Lyrical Ballads. In America as in Europe, fresh new vision electrified artistic and intellectual circles. Yet there was an important difference: Romanticism in America coincided with the period of national expansion and the discovery of a distinctive American voice. The solidification of a national identity and the surging idealism and passion of Romanticism nurtured the masterpieces of "the American Renaissance."

Romantic ideas centered around art as inspiration, the spiritual and aesthetic dimension of nature, and metaphors of organic growth. Art, rather than science, Romantics argued, could best express universal truth. The Romantics underscored the importance of expressive art for the individual and society. In his essay "The Poet" (1844), Ralph Waldo Emerson, perhaps the most influential writer of the Romantic era, asserts:

For all men live by truth, and stand in need of expression. In love, in art, in avarice, in politics, in labor, in games, we study to utter our painful secret. The man is only half himself, the other half is his expression.

The development of the SELF became a major theme; self- awareness a primary method. If, according to Romantic theory, self and nature were one, self-awareness was not a selfish dead end but a mode of knowledge opening up the universe. If one's self were one with all humanity, then the individual had a moral duty to reform social inequalities and relieve human suffering. The idea of "self" -- which suggested selfishness to earlier generations -- was redefined. New compound words with positive meanings emerged: "self-realization," "self-expression," "self- reliance."

As the unique, subjective self became important, so did the realm of psychology. Exceptional artistic effects and techniques were developed to evoke heightened psychological states. The "sublime" -- an effect of beauty in grandeur (for example, a view from a mountaintop) -- produced feelings of awe, reverence, vastness, and a power beyond human comprehension.

Romanticism was affirmative and appropriate for most American poets and creative essayists. America's vast mountains, deserts, and tropics embodied the sublime. The Romantic spirit seemed particularly suited to American democracy: It stressed individualism, affirmed the value of the common person, and looked to the inspired imagination for its aesthetic and ethical values. Certainly the New England Transcendentalists -- Ralph Waldo Emerson, Henry David Thoreau, and their associates -- were inspired to a new optimistic affirmation by the Romantic movement. In New England, Romanticism fell upon fertile soil.

The Transcendentalist movement was a reaction against 18th century rationalism and a manifestation of the general humanitarian trend of 19th century thought. The movement was based on a fundamental belief in the unity of the world and God. The soul of each individual was thought to be identical with the world -- a microcosm of the world itself. The doctrine of self- reliance and individualism developed through the belief in the identification of the individual soul with God.

Transcendentalism was intimately connected with Concord, a small New England village 32 kilometers west of Boston. Concord was the first inland settlement of the original Massachusetts Bay Colony. Surrounded by forest, it was and remains a peaceful town close enough to Boston's lectures, bookstores, and colleges to be intensely cultivated, but far enough away to be serene. Concord was the site of the first battle of the American Revolution, and Ralph Waldo Emerson's poem commemorating the battle, "Concord Hymn," has one of the most famous opening stanzas in American literature:

By the rude bridge that arched the flood
Their flag to April's breeze unfurled,
Here once the embattled farmers stood
And fired the shot heard round the world.

Concord was the first rural artist's colony, and the first place to offer a spiritual and cultural alternative to American materialism. It was a place of high-minded conversation and simple living (Emerson and Henry David Thoreau both had vegetable gardens). Emerson, who moved to Concord in 1834, and Thoreau are most closely associated with the town, but the locale also attracted the novelist Nathaniel Hawthorne, the feminist writer Margaret Fuller, the educator (and father of novelist Louisa May Alcott) Bronson Alcott, and the poet William Ellery Channing. The Transcendental Club was loosely organized in 1836 and included, at various times, Emerson, Thoreau, Fuller, Channing, Bronson Alcott, Orestes Brownson (a leading minister), Theodore Parker (abolitionist and minister), and others.

The Transcendentalists published a quarterly magazine, The Dial, which lasted four years and was first edited by Margaret Fuller and later by Emerson. Reform efforts engaged them as well as literature. A number of Transcendentalists were abolitionists, and some were involved in experimental utopian communities such as nearby Brook Farm (described in Hawthorne's The Blithedale Romance) and Fruitlands.

Unlike many European groups, the Transcendentalists never issued a manifesto. They insisted on individual differences -- on the unique viewpoint of the individual. American Transcendental Romantics pushed radical individualism to the extreme. American writers often saw themselves as lonely explorers outside society and convention. The American hero -- like Herman Melville's Captain Ahab, or Mark Twain's Huck Finn, or Edgar Allan Poe's Arthur Gordon Pym -- typically faced risk, or even certain destruction, in the pursuit of metaphysical self-discovery. For the Romantic American writer, nothing was a given. Literary and social conventions, far from being helpful, were dangerous. There was tremendous pressure to discover an authentic literary form, content, and voice -- all at the same time. It is clear from the many masterpieces produced in the three decades before the U.S. Civil War (1861-65) that American writers rose to the challenge.

Ralph Waldo Emerson, the towering figure of his era, had a religious sense of mission. Although many accused him of subverting Christianity, he explained that, for him "to be a good minister, it was necessary to leave the church." The address he delivered in 1838 at his alma mater, the Harvard Divinity School, made him unwelcome at Harvard for 30 years. In it, Emerson accused the church of acting "as if God were dead" and of emphasizing dogma while stifling the spirit.

Emerson's philosophy has been called contradictory, and it is true that he consciously avoided building a logical intellectual system because such a rational system would have negated his Romantic belief in intuition and flexibility. In his essay "Self-Reliance," Emerson remarks: "A foolish consistency is the hobgoblin of little minds." Yet he is remarkably consistent in his call for the birth of American individualism inspired by nature. Most of his major ideas -- the need for a new national vision, the use of personal experience, the notion of the cosmic Over-Soul, and the doctrine of compensation -- are suggested in his first publication, Nature (1836).

"Self-Reliance" (1841). This essay elaborates further on the familiar Emersonian thesis - trust yourself. This is also a very popular essay written in forceful and memorable language. "There is a time in every man's education when he arrives at the conviction that envy is ignorance; that imitation is suicide ... " "Trust thyself: every heart vibrates to that iron string." It contains the most thorough statement of one of Emerson's recurrent themes, the need for each individual to avoid conformity and false consistency, and follow his or her own instincts and ideas. It is the source of one of Emerson's most famous quotations, "A foolish consistency is the hobgoblin of little minds" (often misquoted by omission of the word "foolish"). Emerson presupposes that the mind is initially subject to an unhappy nonconformism.

Emerson loved the aphoristic genius of the 16th-century French essayist Montaigne, and he once told Bronson Alcott that he wanted to write a book like Montaigne's, "full of fun, poetry, business, divinity, philosophy, anecdotes, smut." He complained that Alcott's abstract style omitted "the light that shines on a man's hat, in a child's spoon."

Spiritual vision and practical, aphoristic expression make Emerson exhilarating; one of the Concord Transcendentalists aptly compared listening to him with "going to heaven in a swing." Much of his spiritual insight comes from his readings in Eastern religion, especially Hinduism, Confucianism, and Islamic Sufism.

The British critic Matthew Arnold said the most important writings in English in the 19th century had been Wordsworth's poems and Emerson's essays. A great prose-poet, Emerson influenced a long line of American poets, including Walt Whitman, Emily Dickinson, Edwin Arlington Robinson, Wallace Stevens, Hart Crane, and Robert Frost. He is also credited with influencing the philosophies of John Dewey, George Santayana, Friedrich Nietzsche, and William James.

Date: 2015-12-17; view: 657