Back Emerson Save as PDF
Contents ( 91)
  1. CONTENTS
  2. From POEMS (1847)
  3. THE RHODORA On Being Asked, Whence Is the Flower?
  4. THE HUMBLE-BEE
  5. FABLE
  6. ASTRÆA
  7. ETIENNE DE LA BOÉCE
  8. SUUM CUIQUE
  9. COMPENSATION
  10. FORBEARANCE
  11. BERRYING
  12. THINE EYES STILL SHINED
  13. EROS
  14. LOSS AND GAIN
  15. HAMATREYA
  16. EARTH-SONG
  17. THE SNOW-STORM
  18. PAINTING AND SCULPTURE
  19. HOLIDAYS
  20. FROM THE PERSIAN OF HAFIZ
  21. GHASELLE from the Persian of Hafiz
  22. XENOPHANES
  23. THE DAY’S RATION
  24. BLIGHT
  25. MUSKETAQUID
  26. HYMN Sung at the Completion of the Concord Monument, April 19, 1836
  27. THE SPHINX
  28. EACH AND ALL
  29. THE PROBLEM
  30. TO RHEA
  31. THE VISIT
  32. URIEL
  33. THE WORLD-SOUL
  34. From MAY-DAY AND OTHER PIECES (1867)
  35. BRAHMA
  36. NEMESIS
  37. FATE
  38. FREEDOM
  39. ODE SUNG IN THE TOWN HALL Concord, July 4, 1857
  40. BOSTON HYMN Read in Music Hall, January 1, 1863
  41. LOVE AND THOUGHT
  42. LOVER’S PETITION
  43. UNA
  44. LETTERS
  45. RUBIES
  46. MERLIN’S SONG
  47. THE TEST (Musa loquitur)
  48. NATURE
  49. NATURE
  50. THE ROMANY GIRL
  51. MY GARDEN
  52. THE TITMOUSE
  53. DAYS
  54. SEA–SHORE
  55. TWO RIVERS
  56. WALDEINSAMKEIT
  57. TERMINUS
  58. THE PAST
  59. EXPERIENCE
  60. COMPENSATION
  61. CULTURE
  62. POLITICS
  63. HEROISM
  64. CHARACTER
  65. FRIENDSHIP
  66. BEAUTY
  67. MANNERS
  68. ART
  69. SPIRITUAL LAWS
  70. UNITY
  71. WORSHIP
  72. QUATRAINS
  73. From SELECTED POEMS (1876)
  74. THE NUN’S ASPIRATION
  75. CUPIDO
  76. BOSTON Sicut patribus, sit Deus nobis
  77. SILENCE
  78. THE THREE DIMENSIONS
  79. MOTTO TO ‘THE POET’
  80. MOTTO TO ‘GIFTS’
  81. MOTTO TO ‘NATURE’
  82. MOTTO TO ‘NOMINALIST AND REALIST’
  83. MOTTO TO ‘HISTORY’
  84. SOUTH WIND
  85. From THE UNPUBLISHED POEMS
  86. SONG Tune ‘Scots wha hae wi’ Wallace bled’
  87. LONGER POEMS
  88. WOODNOTES I
  89. MAY-DAY
  90. THE ADIRONDACS A Journal
  91. From The Poet

The inwardness, and mystery, of this attachment, drives men of every class to the use of emblems. The schools of poets, and philosophers, are not more intoxicated with their symbols, than the populace with theirs. In our political parties, compute the power of badges and emblems. See the great ball which they roll from Baltimore to Bunker hill! In the political processions, Lowell goes in a loom, and Lynn in a shoe, and Salem in a ship. Witness the cider-barrel, the log-cabin, the hickory-stick, the palmetto, and all the cognizances of party. See the power of national emblems. Some stars, lilies, leopards, a crescent, a lion, an eagle, or other figure, which came into credit God knows how, on an old rag of bunting, blowing in the wind, on a fort, at the ends of the earth, shall make the blood tingle under the rudest, or the most conventional exterior. The people fancy they hate poetry, and they are all poets and mystics!

Beyond this universality of the symbolic language, we are apprised of the divineness of this superior use of things, (whereby the world is a temple, whose walls are covered with emblems, pictures, and commandments of the Deity,) in this, that there is no fact in nature which does not carry the whole sense of nature; and the distinctions which we make in events, and in affairs, of low and high, honest and base, disappear when nature is used as a symbol. Thought makes every thing fit for use. The vocabulary of an omniscient man would embrace words and images excluded from polite conversation. What would be base, or even obscene, to the obscene, becomes illustrious, spoken in a new connection of thought. The piety of the Hebrew prophets purges their grossness. The circumcision is an example of the power of poetry to raise the low and offensive. Small and mean things serve as well as great symbols. The meaner the type by which a law is expressed, the more pungent it is, and the more lasting in the memories of men: just as we choose the smallest box, or case, in which any needful utensil can be carried. Bare lists of words are found suggestive to an imaginative and excited mind; as it is related of Lord Chatham, that he was accustomed to read in Baily’s Dictionary when he was preparing to speak in Parliament. The poorest experience is rich enough for all the purposes of expressing thought. Why covet a knowledge of new facts? Day and night, house and garden, a few books, a few actions, serve us as well as would all trades and all spectacles. We are far from having exhausted the significance of the few symbols we use. We can come to use them yet with a terrible simplicity. It does not need that a poem should be long. Every word was once a poem. Every new relation is a new word. Also, we use defects and deformities to a sacred purpose, – so expressing our sense that the evils of the world are such only to the evil eye. In the old mythology, mythologists observe, defects are ascribed to divine natures, as lameness to Vulcan, blindness to Cupid, and the like, to signify exuberances.