Ralph Waldo Emerson: Essays, Second Series

9. NEW ENGLAND REFORMERS. (continued)

When the literary class betray a destitution of faith, it is not strange that society should be disheartened and sensualized by unbelief. What remedy? Life must be lived on a higher plane. We must go up to a higher platform, to which we are always invited to ascend; there, the whole aspect of things changes. I resist the skepticism of our education and of our educated men. I do not believe that the differences of opinion and character in men are organic. I do not recognize, beside the class of the good and the wise, a permanent class of skeptics, or a class of conservatives, or of malignants, or of materialists. I do not believe in two classes. You remember the story of the poor woman who importuned King Philip of Macedon to grant her justice, which Philip refused: the woman exclaimed, "I appeal:" the king, astonished, asked to whom she appealed: the woman replied, "From Philip drunk to Philip sober." The text will suit me very well. I believe not in two classes of men, but in man in two moods, in Philip drunk and Philip sober. I think, according to the good-hearted word of Plato, "Unwillingly the soul is deprived of truth." Iron conservative, miser, or thief, no man is but by a supposed necessity which he tolerates by shortness or torpidity of sight. The soul lets no man go without some visitations and holydays of a diviner presence. It would be easy to show, by a narrow scanning of any man's biography, that we are not so wedded to our paltry performances of every kind but that every man has at intervals the grace to scorn his performances, in comparing them with his belief of what he should do; --that he puts himself on the side of his enemies, listening gladly to what they say of him, and accusing himself of the same things.

What is it men love in Genius, but its infinite hope, which degrades all it has done? Genius counts all its miracles poor and short. Its own idea it never executed. The Iliad, the Hamlet, the Doric column, the Roman arch, the Gothic minster, the German anthem, when they are ended, the master casts behind him. How sinks the song in the waves of melody which the universe pours over his soul! Before that gracious Infinite out of which he drew these few strokes, how mean they look, though the praises of the world attend them. From the triumphs of his art he turns with desire to this greater defeat. Let those admire who will. With silent joy he sees himself to be capable of a beauty that eclipses all which his hands have done; all which human hands have ever done.