Tuesday, October 23, 2012



Gothic?

Goth is a tired fashion statement referring to black clothing and black and white make-up (with a little red thrown in).  It is supposed to imitate the appearance of a vampire, or other creature of the night.  But where does Goth come from?

Gothic originally referred to the Goths, a Germanic tribe; it was first used to refer to anything “germanic” but later was used to refer to anything medieval.  “Gothic architecture refers to the medieval type of architecture that is characterized by the use of the pointed arch and vault.  The Gothic novel, or Gothic Romance, is a type of fiction that was inaugurated by Horace Walpole’s Castle of Otranto, A Gothic Story (1764).  Walpole’s subtitle refers to the novel’s medieval setting.  Because of its exotic setting and mysterious occurrences, Walpole’s novel was popular enough to result in a series of gothic novels—most of which were set in the medieval period and included gloomy castles replete with dungeons, subterranean passages, secret compartments, and sliding panels.  And helpless heroines needing to be rescued.  Quite often these novels made use of ghosts and other ghoulish figures, mysterious appearances and disappearances, and an assortment of supernatural occurrences (which only sometimes turned out to have natural explanations.  The aim of such novels was to evoke chilling terror by exploiting mystery, cruelty, and horror.  Most of these novels would seem rather melodramatic, sensational, and even quaint to readers today, but the best of them explored new ground in print culture: the irrational, the perverse, and the nightmarish terror that lies beneath the surface of ordinary life.  Ann Radcliffe’s The Mysteries of Udolpho (1794) and Gregory Lewis’s The Monk (1797) are two of the best gothic novels.

The term “gothic” came to be associated with any type of fiction that developed a brooding, mysterious atmosphere of gloom or terror or that represented uncanny, macabre, or melodramatically violent events.  Gothic also refers to any type of fiction that deals with aberrant psychological states.  Any type of fiction that involves the grotesque (bizarre distortions and abnormal depictions) and the fantastic (where the possible and impossible are confused) can be considered gothic.  Perhaps the best known of the early nineteenth century gothic novels is Mary Shelley’s Frankenstein (1818).  Gothic fiction was particularly popular in early periodicals, and both Poe and Hawthorne wrote gothic tales to satisfy this imaginative desire for horror and suspense.  Ghost stories were particularly popular throughout the nineteenth century.  H.P. Lovecraft, who claimed Poe as his “god,” was one of the best writers of gothic horror in the early twentieth century, and both Clive Barker and Stephen King acknowledge Lovecraft’s influence on their fiction.  The line from The Castle of Otranto to Hellhouse (Barker), Salem’s Lot (King) and Interview with a Vampire (Rice) is direct and continuous.

Romance: a fictional story in verse or prose that relates improbable adventures of idealized characters in some remote or enchanted setting; or, more generally, a tendency in fiction opposite to that of realism.  The term now embraces many forms of fiction from the gothic novel and the popular escapist love story to the scientific romances of H. G. Wells, but it usually refers to the tales of King Arthur's knights written in the late Middle Ages. . . . Later prose romances differ from novels in their preference for allegory and psychological exploration rather than realistic social observation, especially in American works like Nathaniel Hawthorne's the Blithdale Romance (1852).

Monday, October 15, 2012


Passages from "Economy"

I have traveled a good deal in Concord; and every where, in shops, and offices, and fields, the inhabitants have appeared to me to be doing penance in a thousand remarkable ways.

I see young men, my townsmen, whose misfortune it is to have inherited farms, houses, barns, cattle, and farming tools; for these are more easily acquired than got rid of.

But I wonder if herds are not the keepers of men than men the keepers of herds.

Most men . . . are so occupied with the factitious cares and superfluously coarse labors of life that its finer fruits cannot be plucked by them.  Their fingers, from excessive toil, are too clumsy and tremble too much for that.  Actually, the laboring man has not the leisure for a true integrity day by day . . . He has not time to be anything but a machine.

It is very evident what mean and sneaking lives many of you live . . . trying to get into business and trying to get out of debt . . . always promising to pay, promising to pay, to-morrow, and dying to-day, insolvent; seeking to curry favor, to get custom, by how many modes, only not state-prison offenses; lying, flattering, voting, contracting yourselves into a nutshell of civility, or dilating into an atmosphere of thin and vaporous generosity, that you may persuade your neighbor to let you make his shoes, or his hat, or his coat, or his carriage, or import his groceries for him; making yourselves sick . . .

Talk of the divinity in man!  Look at the teamster on the highway, wending to market by day or night; does any divinity stir within him?  His highest duty is to fodder and water his horses.

The mass of men lead lives of quiet desperation.

“But,” says one, “you do not mean that the students should go to work with their hands instead of their heads?”  I do not mean that exactly, but I mean something which he might think a good deal like that; I mean that they should not play life, or study it merely, while the community supports them at this expensive game, but earnestly live it from beginning to end.

Our inventions are wont to be pretty toys, which distract our attention from serious things.  They are but improved means to an unimproved end . . . We are in great haste to construct a magnetic telegraph from Maine to Texas; but Maine and Texas, it may be, have nothing important to communicate.

I have learned that the swiftest traveler is he that goes afoot.

All things considered, that is, considering the importance of a man’s soul and of to-day . . . I believe that I was doing better than any farmer in Concord did that year.
I am wont to think that men are not so much the keeper of herds as herds the keepers of men, the former are so much the freer.

Yet men have come to such a pass that they frequently starve, not for want of necessaries, but for want of luxuries . . .

A lady once offered me a mat, but as I had no room to spare within the house, nor time so spare within or without to shake it, I declined it, preferring to wipe my feet on the sod before my door.  It is best to avoid the beginnings of evil.

As I did not teach for the good of my fellow-men, but simply for a livelihood, this was a failure.

In short, I am convinced, both by faith and experience, that to maintain one’s self on this earth is not a hardship, but a pastime, if we live simply and wisely.

There is no odor so bad as that which arises from goodness tainted.  It is human, it is divine, carrion.  If I knew for a certainty that a man was coming to my house with the conscious design of doing me good, I should run for my life . . .

One young man of my acquaintance, who has inherited some acres, told me that he thought he should live as I did, if he had the means.  I would not have any one adopt my mode of living on any account; for, beside that before he has fairly learned it I may have found out another for myself, I desire that there may be as many different persons in the world as possible; but I would have each one be very careful to find out and pursue his own way, and not his father’s or his mother’s or his neighbor’s instead.


Thursday, October 11, 2012


"Self-Reliance"  (first published in Essays, 1841)
Ralph Waldo Emerson (1803-1882)

Our age is retrospective.  It builds sepulchers to the fathers.
 It writes biographies, histories, and criticism.  The foregoing
generations beheld God face to face; we, through their eyes. 
Why should we not enjoy an original relation to the universe?
 Why should we not have a poetry and philosophy of insight
and not of tradition, and a religion of revelation to us, and not
 a history of theirs? . . . why should we grope among the dry
bones of the past, or put the living generation into masquerade
 out of its faded wardrobe?  The sun shines today also.  There
 is more wool and flax in the fields.  There are new lands, new
 men, new thoughts.  Let us demand our own works and laws
 and worship.  --from the "Introduction" to Nature, 1836

To believe in your own thoughts, to believe that what is true for you in your private heart, is true for all men--that is genius.

A man should learn to detect and watch that gleam of light that flashes across his mind from within, more than the lustre of the firmament of bards and sages.  Yet he dismisses without notice his thought, because it is his.  In every work of genius we recognize our own rejected thoughts.

There is a time in every man's education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take for himself for better, for worse, as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil on that plot of ground which is given him to till.

We but half express ourselves, and are ashamed of that divine idea which each of us represents.

Trust thyself: every heart vibrates to that iron string. . . Great men have always done so.

What pretty oracles nature yields us on this in the face and behavior of children, babes, and even brutes.  That divided and rebel mind, that distrust of a sentiment because our arithmetic has computed the strength and means opposed to our purpose, these have
not. . . . The nonchalance of boys who are sure of a dinner, and would disdain as much as a lord to do or say aught conciliate one, is the healthy attitude of human nature.

Society everywhere is in conspiracy against the manhood of every one of its members.  Society is a joint-stock company in which the members agree for the better securing of his bread to each shareholder, to surrender the liberty and culture of the eater.  The virtue is most request is conformity.  Self-reliance is its aversion.  It loves not realities and creators, but names and customs.

Whoso would be a man must be a nonconformist.

Nothing is at last sacred but the integrity of your own mind. . . . No law can be sacred to me but that of my nature.  Good and bad are but names very readily transferable to that or this; the only right is what is after my constitution, the only wrong is what is against it.  A man is to carry himself in the presence of all opposition as if every thing were titular and ephemeral but he.  I am ashamed to think how easily we capitulate to badges and names, to large societies and dead institutions.

I shun father and mother and wife and brother when my genius calls me.  I would write on the lintels of the door-post, Whim.  I hope it is somewhat better than whim at last, but we cannot spend the day in explanation.  Expect me not to show cause why I seek or why I exclude company.

Then again, do not tell me, as a good man did today, of my obligation to put all poor men in good institutions.  Are they my poor?  I tell thee, thou foolish philanthropist, that I grudge the dollar, the dime, the cent I give such men as do not belong to me to whom I do not belong . . . . though I confess with shame I sometimes succumb and give the dollar, it is a wicked dollar, which by and by I shall have the manhood to withhold.

Virtues are, in the popular estimate, rather the exception than the rule . . . Men do what is called a good action, as some piece of courage or charity, much as they would pay a fine in expiation of daily non-appearance on parade.  Their works are done as an apology . . . I do not wish to expiate, but to live.  My life is for itself and not for a spectacle.

What I must do, is all that concerns me, not what people think. . . . It is easy in the world to live after the world's opinion; it is easy in solitude to live after our own; but the great man is he who in the midst of the crowd keeps with perfect sweetness the independence of solitude.

The objection to conforming to usages that have become dead to you, is that it scatters your force.  It loses your time and blurs the impression of your character . . . If you maintain a dead church, contribute to a dead Bible-Society, vote with a great party either for the government or against it, spread your table like base housekeepers--under all these screens I have difficulty to detect the precise man you are. . . . But do your work, and I shall know you.  Do your work, and you shall reinforce yourself.  A man must consider what a blind-man’s-bluff is this game of conformity.  If I know your sect, I anticipate your argument.

Well, most men have bound their eyes with one or another handkerchief, and attached themselves to some one of these communities of opinion.  This conformity makes them not false in a few particulars, authors of a few lies, but false in all particulars. Their every truth is not quite true.

For nonconformity, the world whips you with its displeasure.

The other terror that scares us from self-trust is our consistency; a reverence for our past act or word because the eyes of others have no other data for computing our orbit than our past acts, and we are loath to disappoint them
But why should you keep your head over your shoulder?  Why drag about this corpse of your memory.

A foolish consistency is the hobgoblin of little minds, adored by little statesmen and philosophers and divines.  With consistency a great soul has simply nothing to do.

Is it so bad then to be misunderstood?  Pythagoras was misunderstood, and Socrates, and Jesus, and Luther, and Copernicus, and Galileo, and Newton, and every pure and wise spirit that ever took flesh.  To be great is to be misunderstood.

I hope in these days we have heard the last of conformity and consistency.

Every true man is a cause, a country, and an age; requires infinite spaces and numbers and time fully to accomplish his design.

Let a man then know his worth, and keep things under his feet.  Let him not peep or steal, or skulk up and down with an air of a charity-boy, a bastard, an interloper in the world which exists for him.  But the man in the street, finding no worth in himself which corresponds to the force which built a tower or sculpted a marble god, feels poor when he looks on these.  To him a palace, a statue, or a costly book have an alien and forbidding air . . .

Our reading is mendicant and sycophantic.  In history our imagination plays us false.  Kingdom and lordship, power and estate, are a gaudier vocabulary than private John or Edward in a small house and common day's work; but the things of life are the same to both . . .

What is the nature and power of that science-baffling star, without parallax, without calculable elements, which shots a ray of beauty even into the trivial and impure actions, if the least mark of independence appear?  This inquiry leads us to that source, at once the essence of genius, of virtue, and of life, which we call Spontaneity or Instinct.  We denote this primary wisdom as Intuitions, whilst all later teachings are tuitions.  In that deep force, the last fact behind which analysis cannot go, all things find their common origin.

The relations of the soul to the divine spirit are so pure, that it is profane to seek to interpose helps.  It must be that when God speaketh he should communicate, not one thing, but all things; should fill the world with his voice . . .

If therefore a man claims to know and speak of God and carries you backward to the phraseology of some old mouldered nation in another country, in another world, believe him not. . . . Whence then this worship of the past?  The centuries are conspirators against the sanity and authority of the soul.

Man is timid and apologetic; he is no longer upright; he dares not say "I think," "I am," but quotes some saint or sage.  He is ashamed before the blade of grass or the blowing rose.  These roses under my window make no reference to former roses or better ones; they are for what they are; they exist with God to-day.

But man postpones or remembers; he does not live in the present, but with reverted eye laments the past, or, heedless of the riches that surround him, stands on tiptoe to foresee the future.  He cannot be happy an strong until he too lives in nature in the present, above time.

Yet see what strong intellects dare not yet to hear God himself unless he speaks the phraseology of I know not what David, or Jeremiah, or Paul.  We shall not always set so great a price on a few texts, on a few lives.  We are like children who repeat by rote sentences of granddames and tutors.

Life only avails, not the having lived.  Power ceases in the instant of repose.

This one fact the world hates; that the soul becomes; for that forever degrades the past, turns all riches to poverty, all reputation to a shame, confounds the saint with a rogue, shoves Jesus and Judas equally aside.

But now we are a mob.  Man does not stand in awe of man, nor is his genius admonished to stay at home, to put itself in communication with the internal ocean, but it goes abroad to beg a cup of water, of the urn of other men.  We must go alone.

I like the silent church before the service begins, better than any preaching.

At times the whole world seems to be in a conspiracy to importune you with emphatic trifles.  Friend, client, child, sickness, fear, want, charity, all knock at once at they closet door and say—“Come out unto us.”  But keep thy state; come not into their confusion.

[L]et us at least resist our temptations; let us enter into the state of war . . . This is to be done in our smooth times by speaking the truth.  Check this lying hospitality and lying affection.  Live no longer to the expectation of these deceived and deceiving people with whom we converse. 

Our housekeeping is mendicant, our arts, our occupation, our marriages, our religion, we have not chosen, but society has chosen for us.

It is easy to see that a greater self-reliance must work a revolution in all offices and relations of men; in their religion; in their education; in their pursuits; their modes of living; their association; in their property; in their speculative views.

Prayer looks abroad and asks for some foreign addition to come through some foreign virtue, and loses itself in endless mazes of natural and supernatural, and mediatorial and miraculous.  Prayer that craves a particular commodity, anything less than all good is vicious . . . . But prayer as a means to effect a private end, is meanness and theft.  It supposes dualism and not unity in nature and consciousness.  As soon as the man is at one with God, he will not beg.

As men's prayers area disease of the will, so are creeds a disease of the intellect . . . . Everywhere I am hindered of meeting God in my brother, because he has shut his own temple doors and recites fables merely of his brother’s, or his brother’s brother’s God.

It is for want of self-culture that the superstition of Travelling, whose idols are Italy, England, Egypt, retains its fascination for all educated Americans.

Travelling is a fool's paradise.  Our first journeys discover to us the indifference of places.  At home I dream that at Naples, at Rome, I can be intoxicated with beauty, and lose my sadness.  I pack my trunk, embrace my friends, embark on the sea, and at last wake up in Naples, and there beside me is the stern fact, the sad self, unrelenting, identical, that I fled from.

As to our Religion, our Education, our Art look abroad, so does our spirit of society.  All men plume themselves on the improvement of society, and no man improves.

Society never advances.  It recedes as fast on one side as it gains on the other . . . Society acquires new arts, and loses old instincts.

The civilized man has built a coach, but has lost the use of his feet.  He is supported on crutches, but lacks so much support of muscle.  He has a fine Geneva watch, but he fails of the skill to tell the hour by the sun.  A Greenwich nautical almanac he has, and so being sure of the information when he wants it, the man in the street does not know a star in the sky.  The solstice he does not observe; the equinox he knows a little; and the whole bright calendar of the year is without a dial in his mind.  His note-books impair his memory; his libraries overload his wit; the insurance company increases the number of accidents; and it may be a question whether machinery does not encumber; whether we have lost by refinement some energy, by a Christianity entrenched in establishments and forms, some vigor of wild virtue.

And so the reliance on Property, including the reliance on governments which protect it, is the want of self-reliance.  Men have looked away from themselves and at things so long, that they have come to esteem the religious, the learned, and civil institutions as guards of property, and they deprecate assaults on these, because they feel them to be assaults on property.  They measure their esteem of each other, by what each has, and not what each is.

He who knows that Power is inborn, that he is weak because he has looked for good out of him and elsewhere, and so perceiving, throws himself unhesitatingly on his thought, instantly rights himself, stands in the erect position, commands his limbs [and] works miracles . . .

Nothing can bring you peace but yourself.  Nothing can bring you peace but the triumph of principles.





Thursday, October 4, 2012



Reason or Romanticism

As a literary and artistic term, romanticism is used to describe the profound shift in Western attitudes to human thought and creativity that dominated much of European culture during the late 18th and early 19th centuries—and which has somehow shaped or influenced all subsequent developments in literature and art ever since.  As a movement, romanticism revolted against the Enlightenment’s heavy reliance on reason and focused attention on the more mysterious emotional and psychological experiences of human existence.  Similarly, in rebelling against the Enlightenment’s preference for social (and generally formal) activity, romanticism emphasized the freedom of individual expression, and thus spontaneity, sincerity, and originality became new standards in literary and artistic productions (replacing decorum, convention, and the imitation of classical models favored by Enlightenment writers).  Believing that the Enlightenment concept of creation was mechanical, impersonal, and artificial, romantic writers and artists conceived of a universe more mysterious and less knowable.  They celebrated the significance of the individual and the boundlessness of the human imagination, and in so doing they placed their trust in intuition and emotion.  The restrained balance valued in 18th century culture was abandoned in favor of emotional intensity, often taken to extremes of rapture, nostalgia (for childhood or the historical past), horror, melancholy, or sentimentality.  Some romantic writers and artists cultivated the appeal of the exotic, the bizarre, or the macabre; almost all showed an interest in the non-rational realms of dream and delirium, folk superstition, myth, and legend.  Rather than by following rules and external structures and forms (social orientation), they created art by following their imaginative inspiration (individual orientation) and preferred to develop more organic principles of form, thus embracing innovation rather than tradition.
              One of the most characteristic aspects of romanticism is the trust in nature and natural goodness (including the natural goodness of the individual).  Individuals are born into a “state of nature” and are slowly corrupted by civilization, especially by urban life.  To cleanse themselves, individuals must return to nature or a more natural state.  As a result, romantic writers and artists hold great admiration for primitive states (“the noble savage”) and all forms of innocence, especially that of children. 

Reason                                                                                    Emotion
Decorum, Rules, and Convention                                Originality, Spontaneity
External Forms and Structures                                    Organic Structure
Imitation                                                                      Inspiration
Tradition (traditional meters)                                       Innovation (free verse)
Society and Social Activity                                          The Self and Individual Activity
The Formal Garden                                                     The Forest or Wilderness
The Experts                                                                 Intuition and Self-Reliance
Interest in the Here-and-Now                                      Interest in the Distant and the Exotic
The Civilized                                                               The Primitive
The Artist as Student                                                   The Artist as Outcast