"For, though the celestial rapture falling out of heaven, seizes only upon those of tender age, and although a beauty, overpowering all analysis or comparison, and putting us quite beside ourselves, we can seldom see after thirty years, yet the remembrance of these visions outlasts all other remembrances, and is a wreath of flowers on the oldest brows."
And on this matter of beauty how ingenious and full of feeling are the following reflections! —
"Wonderful is its charm. It seems sufficient to itself. The lover cannot paint his maiden to his fancy poor and solitary. Like a tree in flower, so much soft, budding, informing loveliness, is society for itself, and she teaches his eye why Beauty was ever painted with Loves and Graces attending her steps. Her existence makes the world rich. Though she extrudes all other persons from his attention as cheap and unworthy, yet she indemnifies him by carrying out her own being into somewhat impersonal; so that the maiden stands to him for a representation of all select things and virtues. For that reason the lover sees never personal resemblances in his mistress to her kindred or to others. His friends find in her a likeness to her mother, or her sisters, or to persons not of her blood. The lover sees no resemblance except to summer evenings and diamond mornings, to rainbows and the song of birds.
"Beauty is ever that divine thing the ancients esteemed it. It is, they said, the flowering of virtue. Who can analyse the nameless charm which glances from one and another face and form? We are touched with emotions of tenderness and complacency, but we cannot find whereat this dainty emotion, this wandering gleam, points. It is destroyed for the imagination by any attempt to refer it to organisation. Nor does it point to any relations of friendship or love that society knows or has, but, as it seems to me, to a quite other and unattainable sphere, to relations of transcendent delicacy and sweetness, a true faerie land; to what roses and violets hint and foreshow. We cannot get at beauty. Its nature is like opaline doves'-neck lustres, hovering and evanescent. Herein it resembles the most excellent things, which all have this rainbow character, defying all attempts at appropriation and use. What else did Jean Paul Richter signify, when he said to music, 'Away! away! thou speakest to me of things which in all my endless life I have found not, and shall not find.' The same fact may be observed in every work of the plastic arts. The statue is then beautiful, when it begins to be incomprehensible, when it is passing out of criticism, and can no longer be defined by compass and measuring wand, but demands an active imagination to go with it, and to say what it is in the act of doing. The god or hero of the sculptor is always represented in a transition from that which is representable to the senses, to that which is not. Then first it ceases to be a stone.
"So must it be with personal beauty which love worships. Then first is it charming and itself when it dissatisfies us with any end; when it becomes a story without an end; when it suggests gleams and visions, and not earthly satisfactions; when it seems
'Too bright and good
For human nature's daily food;'
when it makes the beholder feel his unworthiness; when he cannot feel his right to it, though he were Cæsar; he cannot feel more right to it, than to the firmament and the splendours of a sunset."
But this dream of love is but one scene in the play; and our author concludes his essay by pointing out what is, or should be, the denouement of the drama.
"Meantime, as life wears on, it proves a game of permutation and combination of all possible positions of the parties to extort all the resources of each, and acquaint each with the whole strength and weakness of the other. For, it is the nature and end of this relation, that they should represent the human race to each other.
"At last they discover that all which at first drew them together, – those once sacred features, that magical play of charms, was deciduous, had a prospective end, like the scaffolding by which the house was built; and the purification of the intellect and the heart, from year to year, is the real marriage foreseen and prepared from the first, and wholly above their consciousness. Looking at these aims with which two persons, a man and a woman, so variously and correlatively gifted, are shut up in one house to spend in the nuptial society forty or fifty years, I do not wonder at the emphasis with which the heart prophesies this crisis from early infancy, – at the profuse beauty with which the instincts deck the nuptial bower, and nature and intellect and art emulate each other in the gifts and the melody they bring to the epithalamium. Thus are we put in training for a love which knows not sex, nor person, nor partiality, but which seeketh virtue and wisdom every where, to the end of increasing virtue and wisdom."
If there is some of the ideal in this account given of love and matrimony, there is, nevertheless, a noble truth in it. And surely in proportion as the sentiment of love is refitted and spiritualised, so also ought the moral culture, to which it is subservient, to be pure and elevated.
The longest essay in the collection, and that which approaches nearest to the more formidable character of a treatise, is that entitled "Nature." This exhibits, so to speak, the practical point of view of an idealist. The idealist has denied the substantial, independent existence of the material world, but he does not deny the existence of a phenomenal world. The Divine Nature reveals itself in the twofold form of finite mind and this phenomenal world. Thus, we believe, we may express the general creed of these philosophers, though it is a very delicate matter to act as interpreter to this class of thinkers: they are rarely satisfied with any expressions of their own, and are not likely to be contented with those of any other person. This phenomenal world has for its final cause the development and education of the finite mind. It follows, therefore, that all which a realist could say of the utility of nature can be advanced also by the idealist. He has his practical point of view, and can discourse, as Mr Emerson does here, on the various "uses" of nature which, he says, "admit of being thrown into the following classes: – commodity, beauty, language, and discipline."
We have not the least intention of proceeding further with an analysis of this essay; as we have already intimated, the value of Mr Emerson's writings appears to us to consist in the beauty and truthfulness of individual passages, not at all in his system, or any prolonged train of reasoning he may adopt. It is impossible to read this production without being delighted and arrested by a number of these individual passages sparkling with thought or fancy; it would be equally impossible to gather from it, as a whole, any thing satisfactory or complete.
On the beauty of nature he is always eloquent; he is evidently one who intensely feels it. "Every day, the sun; and, after sunset, night and the stars. Ever the winds blow; ever the grass grows." The shows of heaven and earth are with him a portion of daily life. "In the woods is perpetual youth." "We talk," he says in another place, "with accomplished persons who appear to be strangers in nature. The cloud, the tree, the turf, the bird are not theirs, have nothing of them; the world is only their lodging and table." No such stranger is our poet-philosopher. "Crossing a bare common, in twilight, under a clouded sky, without having in my thoughts any occurrence of special good fortune, I have enjoyed a perfect exhilaration. Almost I fear to think how glad I am."
The only quotation we shall make from the Essay on "Nature," shall be one where he treats of this subject —
"A nobler want of man is served by nature, – namely, the love of beauty. Such is the constitution of all things, or such the plastic power of the human eye, that the primary form, as the sky, the mountain, the tree, the animal, give us a delight in and for themselves; a pleasure arising from outline,