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Chapters (42)
  1. Cover Page
  2. Title Page
  3. Foreword by Robert D. Richardson Jr.
  4. NATURE (1836)
  5. Introduction
  6. CHAPTER I
  7. CHAPTER II
  8. CHAPTER III
  9. CHAPTER IV
  10. CHAPTER V
  11. CHAPTER VI
  12. CHAPTER VII
  13. CHAPTER VIII
  14. EARLY ESSAYS AND LECTURES
  15. Pray Without Ceasing (1826)
  16. Ethics (1837)
  17. The American Scholar (1837)
  18. Cherokee Letter (1838)
  19. The Divinity School Address (1838)
  20. From ESSAYS, FIRST SERIES (1841)
  21. History
  22. Self-Reliance
  23. The Over-Soul
  24. Circles
  25. From ESSAYS, SECOND SERIES (1844)
  26. The Poet
  27. Experience
  28. Politics
  29. From REPRESENTATIVE MEN (1850)
  30. Uses of Great Men
  31. Montaigne; or, the Skeptic
  32. LATER ESSAYS AND LECTURES
  33. Emancipation in the British West Indies (1844)
  34. Woman (1855)
  35. Thoreau (1862)
  36. POEMS
  37. Concord Hymn
  38. Additional Reading
  39. Note on the Text
  40. Ask Your Bookseller for these Bantam Classics
  41. About the Author
  42. Copyright

His poetry might be bad or good; he no doubt wanted a lyric facililty and technical skill, but he had the source of poetry in his spiritual perception. He was a good reader and critic, and his judgment on poetry was to the ground of it. He could not be deceived as to the presence or absence of the poetic element in any composition, and his thirst for this made him negligent and perhaps scornful of superficial graces. He would pass by many delicate rhythms, but he would have detected every live stanza or line in a volume, and knew very well where to find an equal poetic charm in prose. He was so enamored of the spiritual beauty that he held all actual written poems in very light esteem in the comparison. He admired Aeschylus and Pindar; but, when some one was commending them, he said that Aeschylus and the Greeks, in describing Apollo and Orpheus, had given no song, or no good one. “They ought not to have moved trees, but to have chanted to the gods such a hymn as would have sung all their old ideas out of their heads, and new ones in.” His own verses are often rude and defective. The gold does not yet run pure, is drossy and crude. The thyme and marjoram are not yet honey. But if he want lyric fineness and technical merits, if he have not the poetic temperament, he never lacks the causal thought, showing that his genius was better than his talent. He knew the worth of the Imagination for the uplifting and consolation of human life, and liked to throw every thought into a symbol. The fact you tell is of no value, but only the impression. For this reason his presence was poetic, always piqued the curiosity to know more deeply the secrets of his mind. He had many reserves, an unwillingness to exhibit to profane eyes what was still sacred in his own, and knew well how to throw a poetic veil over his experience. All readers of “Walden” will remember his mythical record of his disappointments:—“I long ago lost a hound, a bay horse and a turtle-dove, and am still on their trail. Many are the travellers I have spoken concerning them, describing their tracks, and what calls they answered to. I have met one or two who have heard the hound, and the tramp of the horse, and even seen the dove disappear behind a cloud; and they seemed as anxious to recover them as if they had lost them themselves.”