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• W803854467 abstract "Although typically recognized for his Transcendental idealism, Ralph Waldo Emerson also deeply engaged with Gothic, a literary mode that prior to Civil War ran parallel to Transcendentalism but rarely used in same breath with Emerson, or any other Transcendentalist for that matter. Exploring his relationship with Gothic, this essay shows how Emerson, who began writing under a long Calvinist shadow, reproduces gloom-and-doom rhetoric of Puritans while simultaneously drawing inspiration from European Gothics like Goethe, Coleridge, and Lord Byron. Yet after becoming a leading Transcendentalist, Emerson condemns Calvinism while evincing a postcolonial determination to cast off European influence. Nevertheless, he continues to draw lavishly from Gothic lexicon, this time to assail religion and anything that imperils originality. essay concludes by looking at Emerson's full return to Gothic in his fatalistic work Conduct of Life, a bleak and brutal text that anticipates pessimistic naturalism of fin-de-siecle. Early in Self-Reliance (1841), Ralph Waldo Emerson recalls asking a trusted advisor following question: What have to with sacredness of traditions, live wholly from within? counselor warned Emerson that such impulses may be from below, not from above, and Emerson replied, if am devil's child, will live then from (321). Emerson's recollection one of many instances where he becomes darkly romantic, even a little Faustian. little later, Emerson wages his famous attack on small-minded consistency. A consistency, he sniffs, is hobgoblin of little minds (324). This curiously Gothic phrase, haunted by ghoulish hobgoblin, would have been darker had Emerson expressed his true feelings. Decrying social taboo on cursing, he wrote in his journal that Damn Consistency would have been better, adding that best reply to foolish remarks would be: The devil you do or You be damned (JMN 7:524). Such sharp-tongued assertions may not immediately come to mind when thinking of Emerson. Devils, damning remarks, and hobgoblins more readily find their way into works by Edgar Allan Poe, Nathaniel Hawthorne, and Herman Melville. Yet New England Transcendentalist, who once blithely envisioned himself as a transparent eye-ball, not some always-smiling Pollyanna. He did, to be sure, revel in romantic optimism of his day. He messianic insofar as he saw himself as Christ transfigured and guiding light of Transcendentalism. (1) But for all his optimism and spiritual affirmation, Emerson not immune to darkness--to grimmest midnight as he put it in Nature (1836). Not only that, but he once attributed all meaningful creation to black and yawning void: There must be Abyss, Nox, and Chaos out of which all come, and they must never be far off. Cut off connexion between any of our works and this dread origin and work shallow and unsatisfying (JMN 9:325). Given this unbridled embrace of dark energy, might we infer that Emerson's writings, even most sanguine, derive from dread origins? Based on early opinions of Transcendental leader, answer would be no. Due to supposedly lightsome nature of his works, Emerson for years pigeonholed as a naively confident, yea-saying Yankee. Contemporaries acknowledged his genius for optimism, but they thought that he could not, or refused to, see evil in world. Troubled by Emerson's sunny view of nature, Melville once spouted, I not oscillate in Emerson's rainbow (35). (2) Because Emerson didn't admire brooding talents, Henry James doubted his moral depth and complexity. Hawthorne's vision, wrote James, was all for evil and sin of world; a side of life as to which Emerson's eyes were thickly bandaged, blinding him to the dark, foul, base (627). James awed by accident that made them live almost side by side for so long . …" @default.
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• W803854467 date "2013-03-22" @default.
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• W803854467 title "Emerson and the Gothic" @default.
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