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Wakefield (search for this): chapter 19
would appear to be a failing with sculptors to speak unfavorably of the work of other sculptors, and this, of course, was perhaps more like Auerbach than any other writer of the nineteenth century, but still more like Goldsmith. The Vicar of Wakefield and the House of the seven Gables are the two perfect romances in the English tongue; and the Deserted Village, though written in poetry, has very much the quality of Hawthorne's shorter sketches. And tales much older than the ale went round i of his class. Hawthorne certainly did not resemble Scott, Dickens, or Thackeray, either in his life or his work. He was perhaps more like Auerbach than any other writer of the nineteenth century, but still more like Goldsmith. The Vicar of Wakefield and the House of the seven Gables are the two perfect romances in the English tongue; and the Deserted Village, though written in poetry, has very much the quality of Hawthorne's shorter sketches. And tales much older than the ale went round i
Achilles (search for this): chapter 19
ng, speed the parting guest. To which the following couplet from Woodnotes seems almost like a continuation: Go where he will, the wise man is at home, His hearth the earth,--his hall the azure dome; The wise man carries rest and contentment in his own mental life, and is equally himself at the Corona d'italia and on a western ranch; while the weakling runs back to earlier associations like a colt to its stable. But Homer is also Emersonian at times. What could be more so than Achilles's memorable saying, which is repeated by Ulysses in the Odyssey: More hateful to me than the gates of death is he who thinks one thing and speaks another; or this exclamation of old Laertes in the last book of the Odyssey: What a day is this when I see my son and grandson contending in excellence! It seems a long way from Dante to Emerson, and yet there are Dantean passages in Woodnotes and Voluntaries. They are not in Dante's matchless measure, but they have much of his grace, and mor
Julian Hawthorne (search for this): chapter 19
has become a spell to conjure with. The Hawthorne centennial: Hawthorne as art critic When Hawthorne as art critic When the Marble Faun was first published the art criticism in it, especially of sculptors and painters wagain by the recent centennial celebration. Hawthorne himself was the most perfect artist of his ter in which it comes together there,--and in Hawthorne's time the two leading parties were the Stortten in poetry, has very much the quality of Hawthorne's shorter sketches. And tales much older thould rise up against me if I were to support Hawthorne's condemnation of nude Venuses and the guiltigure in the Niobe group at Florence. But Hawthorne's description of the Faun of Praxiteles stane Marble Faun may not be the most perfect of Hawthorne's works, but it is much the greatest,--an ep planning and acting he philosophizes. Of Hawthorne, on the contrary, we know nothing except as efined from all other members of his class. Hawthorne certainly did not resemble Scott, Dickens, o[17 more...]
Homer (search for this): chapter 19
True hospitality is in these terms expressed, Welcome the coming, speed the parting guest. To which the following couplet from Woodnotes seems almost like a continuation: Go where he will, the wise man is at home, His hearth the earth,--his hall the azure dome; The wise man carries rest and contentment in his own mental life, and is equally himself at the Corona d'italia and on a western ranch; while the weakling runs back to earlier associations like a colt to its stable. But Homer is also Emersonian at times. What could be more so than Achilles's memorable saying, which is repeated by Ulysses in the Odyssey: More hateful to me than the gates of death is he who thinks one thing and speaks another; or this exclamation of old Laertes in the last book of the Odyssey: What a day is this when I see my son and grandson contending in excellence! It seems a long way from Dante to Emerson, and yet there are Dantean passages in Woodnotes and Voluntaries. They are not in Dan
William H. Furness (search for this): chapter 19
elf and saurian form They swathed their too much power. A person who lacks some knowledge of geology would not be likely to understand this. Matthew Arnold and Edwin Arnold had no very high opinion of Emerson's poetry; and even Carlyle, who was Emerson's best friend in Europe, spoke of it in rather a disparaging manner. The Mountain and the Squirrel and several others have been translated into German, but not those which we here consider the best of them. On the other hand, Dr. William H. Furness considered Emerson heaven-high above our other poets; C. P. Cranch preferred him to Longfellow; Dr. F. H. Hedge looked upon him as the first poet of his time; Rev. Samuel Longfellow and Rev. Samuel Johnson held a very similar opinion, and David A. Wasson considered Emerson's Problem one of the great poems of the century. These men were all poets themselves, though they did not make a profession of it, and in that character were quite equal to Matthew Arnold, whose lecture on Emers
Marble Faun (search for this): chapter 19
s, and his name has become a spell to conjure with. The Hawthorne centennial: Hawthorne as art critic When the Marble Faun was first published the art criticism in it, especially of sculptors and painters who were then living, created a dealed terms; and yet there seems to have been an undercurrent of suspicion in his mind, for he says more than once in the Marble Faun that it would appear to be a failing with sculptors to speak unfavorably of the work of other sculptors, and this, of inded fighter. The discourse on art, which he develops in this manner, forms one of the most valuable chapters in the Marble Faun. It assists us in reading it to remember that Story was not the model for Hawthorne's Kenyon, but a very different chaps, has sounded such depths of that clairvoyant master's nature, and so brought to light the very soul of him. The Marble Faun may not be the most perfect of Hawthorne's works, but it is much the greatest,--an epic romance, which can only be com
Harriet Hosmer (search for this): chapter 19
tc. He goes to the statue gallery in the Vatican and returns with a feeling of dissatisfaction, and justly so, for the vast majority of statues there are merely copies, and many of them very bad copies. He recognizes the Laocoon for what it really is, the abstract type of a Greek tragedy. He notices what has since been proved by severe archaeological study, that most of the possible types and attitudes of marble statues had been exhausted by the Greeks long before the Christian era. Miss Hosmer's Zenobia was originally a Ceres, and even Crawford's Orpheus strongly resembles a figure in the Niobe group at Florence. But Hawthorne's description of the Faun of Praxiteles stands by itself. As a penetrative analysis of a great sculptor's motive it is unequalled by any modern writer on art, and this is set forth with a grace and delicacy worthy of Praxiteles himself. The only criticism which one feels inclined to make of it is that it too Hawthornish, too modern and elaborate; but
Cromwell (search for this): chapter 19
e his sire bequeathed- Hapless sire to hapless son- Was the wailing song he breathed, And his chain when life was done. It is still more difficult to compare Emerson with Shakespeare, for the one was Puritan with a strong classic tendency, and the other anti-Puritan with a strong romantic tendency; but allowing for this and for Shakespeare's universality, it may be affirmed that there are few passages in King Henry IV. and Henry V. which take a higher rank than Emerson's description of Cromwell: He works, plots, fights 'mid rude affairs, With squires, knights, kings his strength compares; Till late he learned through doubt and fear, Broad England harbored not his peer: Unwilling still the last to own, The genius on his cloudy throne. Emerson learned a large proportion of his wisdom from Goethe, as he frequently confessed, but where in Goethe's poetry will you find a quatrain of more penetrating beauty or wider significance than this from Woodnotes : Thou canst not wav
Ponder (search for this): chapter 19
f, And shame on shame. There is a Spartan-like severity in this, but so was Dante very severe. It was his mission to purify the moral sense of his countrymen in an age when the Church no longer encouraged virtue; and Emerson no less vigorously opposed the rank materialism of America in a period of exceptional prosperity. The next succeeding lines are not exactly Dantean, but they are among Emerson's finest, and worthy of any great poet. The Pine tree says: Heed the old oracles, Ponder my spells; Song wakes in my pinnacles When the wind swells. Soundeth the prophetic wind, The shadows shake on the rock behind, And the countless leaves of the pine are strings Tuned to the lay the wood-god sings. Again we are reminded of Dante in the opening passages of Voluntaries : Low and mournful be the strain, Haughty thought be far from me; Where a captive lies in pain Moaning by the tropic sea. Sole estate his sire bequeathed- Hapless sire to hapless son- Was the wailing song
Americans (search for this): chapter 19
in the grand manner, and instinct with harmony, not only in attitude and expression, but even to the arrangement of the drapery. Crawford's genius was only too well appreciated, and he was constantly carrying off the prizes of his art from all competitors. Consequently it was inevitable that other sculptors should be jealous of him, and should unite together for mutual protection. Story was a man of talent, and not a little of an amateur, but he was the gentlemanly entertainer of those Americans who came to the city with good letters of introduction. Hawthorne evidently fell into Story's hands. He speaks slightingly of Crawford, and praises Story's statue of Cleopatra in unqualified terms; and yet there seems to have been an undercurrent of suspicion in his mind, for he says more than once in the Marble Faun that it would appear to be a failing with sculptors to speak unfavorably of the work of other sculptors, and this, of course, was perhaps more like Auerbach than any other
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