Ralph Waldo Emerson: Essays, Second Series

1. THE POET. (continued)

So far the bard taught me, using his freer speech. But nature has a higher end, in the production of New individuals, than security, namely ascension, or the passage of the soul into higher forms. I knew in my younger days the sculptor who made the statue of the youth which stands in the public garden. He was, as I remember, unable to tell directly, what made him happy or unhappy, but by wonderful indirections he could tell. He rose one day, according to his habit, before the dawn, and saw the morning break, grand as the eternity out of which it came, and for many days after, he strove to express this tranquillity, and lo! his chisel had fashioned out of marble the form of a beautiful youth, Phosphorus, whose aspect is such that it is said all persons who look on it become silent. The poet also resigns himself to his mood, and that thought which agitated him is expressed, but alter idem, in a manner totally new. The expression is organic, or the new type which things themselves take when liberated. As, in the sun, objects paint their images on the retina of the eye, so they, sharing the aspiration of the whole universe, tend to paint a far more delicate copy of their essence in his mind. Like the metamorphosis of things into higher organic forms is their change into melodies. Over everything stands its daemon or soul, and, as the form of the thing is reflected by the eye, so the soul of the thing is reflected by a melody. The sea, the mountain-ridge, Niagara, and every flower-bed, pre-exist, or super-exist, in pre-cantations, which sail like odors in the air, and when any man goes by with an ear sufficiently fine, he overhears them and endeavors to write down the notes without diluting or depraving them. And herein is the legitimation of criticism, in the mind's faith that the poems are a corrupt version of some text in nature with which they ought to be made to tally. A rhyme in one of our sonnets should not be less pleasing than the iterated nodes of a sea-shell, or the resembling difference of a group of flowers. The pairing of the birds is an idyl, not tedious as our idyls are; a tempest is a rough ode, without falsehood or rant; a summer, with its harvest sown, reaped, and stored, is an epic song, subordinating how many admirably executed parts. Why should not the symmetry and truth that modulate these, glide into our spirits, and we participate the invention of nature?