Ralph Waldo Emerson: Essays, Second Series

8. NOMINALIST AND REALIST. (continued)

I am very much struck in literature by the appearance that one person wrote all the books; as if the editor of a journal planted his body of reporters in different parts of the field of action, and relieved some by others from time to time; but there is such equality and identity both of judgment and point of view in the narrative that it is plainly the work of one all-seeing, all-hearing gentleman. I looked into Pope's Odyssey yesterday: it is as correct and elegant after our canon of to-day as if it were newly written. The modernness of all good books seems to give me an existence as wide as man. What is well done I feel as if I did; what is ill done I reck not of. Shakspeare's passages of passion (for example, in Lear and Hamlet) are in the very dialect of the present year. I am faithful again to the whole over the members in my use of books. I find the most pleasure in reading a book in a manner least flattering to the author. I read Proclus, and sometimes Plato, as I might read a dictionary, for a mechanical help to the fancy and the imagination. I read for the lustres, as if one should use a fine picture in a chromatic experiment, for its rich colors. 'Tis not Proclus, but a piece of nature and fate that I explore. It is a greater joy to see the author's author, than himself. A higher pleasure of the same kind I found lately at a concert, where I went to hear Handel's Messiah. As the master overpowered the littleness and incapableness of the performers and made them conductors of his electricity, so it was easy to observe what efforts nature was making, through so many hoarse, wooden, and imperfect persons, to produce beautiful voices, fluid and soul-guided men and women. The genius of nature was paramount at the oratorio.

This preference of the genius to the parts is the secret of that deification of art, which is found in all superior minds. Art, in the artist, is proportion, or a habitual respect to the whole by an eye loving beauty in details. And the wonder and charm of it is the sanity in insanity which it denotes. Proportion is almost impossible to human beings. There is no one who does not exaggerate. In conversation, men are encumbered with personality, and talk too much. In modern sculpture, picture, and poetry, the beauty is miscellaneous; the artist works here and there and at all points, adding and adding, instead of unfolding the unit of his thought. Beautiful details we must have, or no artist; but they must be means and never other. The eye must not lose sight for a moment of the purpose. Lively boys write to their ear and eye, and the cool reader finds nothing but sweet jingles in it. When they grow older, they respect the argument.