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Ralph Waldo EmersonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Ralph Waldo Emerson (1803-1882) was an essayist, philosopher, and poet born in Boston, Massachusetts. He was a key figure in the American Transcendentalist movement, which developed in the late 1820s and 1830s. Transcendentalism was inspired by early-19th-century Romanticism’s interest in nature and the belief that intuition was more valuable than the search for empirical truths. However, Transcendentalism entails a special emphasis on individualism, considering that the individual is more virtuous and creative when acting from intuition as opposed to being subject to the pressures of society and organized religion.
“Nature,” written in 1836, was the first essay to be adapted from Emerson’s public lecture on the topic. He later published series of essays in 1841 and 1844. Subsequent essays, such as those on the themes of “Self-Reliance” (1841), “Circles” (1841), or “The Poet” (1844), retrieve and develop crucial themes in “Nature,” such as individualism, the spiritual significance of circular motifs, and the superiority of the poet to the scientist.
“Nature” had a widespread impact both within the United States and in Europe. In the United States, its most devoted adept was the writer Henry David Thoreau. Thoreau, who borrowed Emerson’s woodside cabin, used “Nature” as inspiration for his 1854 text Walden, which described one man’s quest for self-reliance and spiritual awakening in the woods. “Nature” enjoyed a warm reception in Europe during the 19th and 20th centuries, as Emerson’s optimism and advocation of reverence for what is recent and local chimed in with the zeitgeist of the new European nation-states, which sought to relinquish their monarchical pasts in favor of a contemporary model.
Plato was an Ancient Greek philosopher who lived in Athens in the fifth century before Christ. One of Plato’s central ideas was the allegory of the cave, put forth in The Republic (375 BC), which posits that the world perceived with the senses is a shadowy realm, inferior to the luminous truth of logic. Plato’s idea was widely embraced by the Christian religion and the Western intellectual tradition, which both subordinated the world of the senses to notions of a higher, invisible truth.
Emerson’s celebration of the sensory natural world’s immediacy conflicts with Plato’s notion that such a world is inferior. Emerson both challenges Plato’s ideas and appeases them at different points in “Nature.” His first challenge to Plato and the classical philosophy that Plato represents appears at the outset of his essay, where he argues that his age should have “an original relation to the universe” rather than drawing upon the works of earlier sages (15). Then, he implies that Plato’s challenge to “whether nature outwardly exists” is futile owing to man’s “utter impotence” to test the report of his senses and thereby learn the truth about whether nature is an illusion (41). Emerson asks: “[W]hat difference does it make […] whether Orion is up there in heaven, or some god paints the image in the firmament of the soul?” (41). In negating the need to know the difference, Emerson posits that nature is still a valuable spiritual resource regardless of whether it is real or an illusion. Emerson elevates nature to Plato’s lauded invisible realm by insisting on its ability to reflect the ways of God.
The English poet and playwright William Shakespeare (1564-1616) was revered by Romantic poets—including John Keats, who wrote the sonnet “On Sitting Down to Read King Lear Once Again” in 1818—for his natural imagery and emotional realism. For these poets Shakespeare represented the antithesis of satirical, intellect-driven 18th-century literary figures such as Alexander Pope and Samuel Johnson. Emerson follows his Romantic predecessors in their veneration, adding that “Shakespeare possesses the power of subordinating nature for the purposes of expression, beyond all poets” (43). For Emerson, Shakespeare is distinctively bold in his handling of nature, as “the remotest spaces of nature are visited, and the farthest sundered things are brought together, by a subtle spiritual connection” (43). Emerson quotes at length from Shakespeare in “Nature,” and in addition to applauding the poet’s insights, he praises his texts’ “wild beauty,” an epithet that could also be applied to natural scenes.
By Ralph Waldo Emerson
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