Ralph Waldo Emerson

With its poetic and highly paratactic style and its reliance on the essay form Emerson’s program, I believe, is best captured with the expression ‘speculative pragmatism’. I will attempt to give this expression some consistency. The trajectory I have chosen for this task is as follows: I will begin with considerations concerning the fundamental relation between metaphysics and aesthetics for Emerson, then move on to the more specific relation between aesthetics and the work of art with literature as its prime (...) example, and end with some thoughts on the relation between art and ethics. What emerges at the end of this trajectory is an understanding of art as the primary means of metaphysical inquiry apt to disclose the fundamental nature of Being. In Emerson’s romantic-idealist framework, such ontological disclosure at the same time amounts to the unearthing of the ethical injunction to attune oneself to the Idea. Emerson’s speculative pragmatism accordingly preaches ‘the practice of ideas, or the introduction of ideas into life’. The primary site of such practice, that is, the paradigmatic speculative pragmatist enterprise is precisely art; hence the form that Emerson’s writings take. (shrink)

This paper offers a composite portrait of the concept of magnanimity in nineteenth-century America, focusing on Ralph Waldo Emerson, Margaret Fuller, and Henry David Thoreau. A composite portrait, as a method in the history of philosophy, is designed to bring out characteristic features of a group's philosophizing in order to illuminate characteristic features that may still resonate in today's philosophy. Compared to more standard methods in the historiography of philosophy, the construction of a composite portrait de-privileges the views of individual (...) authors. These philosophers saw the virtue of magnanimity as a remedy for a number of modern ills. American philosophers suggest that the best sort of magnanimity is acquired by adopting the correct relation to the natural world, including new forms of inquiry, or by adopting a life of voluntary poverty. Magnanimous individuals are critics of capitalism and offer themselves as exemplars of a better, experimental life. (shrink)

The issue of skepticism emerges in Experience by Ralph Waldo Emerson. In Finding as Founding Stanley Cavell reads Emerson's essay as a contribution to the idealistic debate in order to recuperate Kant's 'thing in itself'. Placing that question in the ordinary space of everyday life makes Emerson a precursor of the attacks by Austin and Wittgenstein particularly regarding philosophy and skepticism. The possibility of redeeming our linguistic praxis and gaining some intimacy between language and world rises through a conversion of (...) our position in the world. However, this strategy of self-redemption seems to lack a warranty: the issue of skepticism still shows all its tragic relevance. (shrink)

While acknowledging a certain affinity between his own thought and the Vedanta concept of a world-soul or universal spirit, Josiah Royce nevertheless locates this concept primarily in what he terms the Second Conception of Being—Mysticism. In his early magnum opus, The World and the Individual, Royce utilizes aspects of the Upanishads in order to flesh out his picture of the mystical understanding of and relationship to being. My primary concern in the present investigation is to introduce some nuance into Royce’s (...) conception of Indian thought, which may then serve to suggest similar possibilities for nuance for Royce’s conception of the Absolute. I will attempt to do in two primary ways: first, I will consider Royce’s use of Indian thought via the Upanishads in explicating his second historical conception of Being. I will then turn briefly to Emerson’s poem ‘Brahma’ and the Bhagavad Gita to see if a certain reversal that occurs in both places problematizes Royce’s depiction of the universal spirit in Indian thought as well as opens up new possibilities for Royce’s own Absolute. (shrink)

Recent scholarly comment on the relation between Ralph Waldo Emerson and William James offers an either–or choice between conflating the two thinkers in a proto-postmodern, antifoundationalist cast or dividing them into mutually exclusive categories of idealist believer and relativist skeptic. Contending that neither of these positions captures the pragmatist adumbrations in Emerson or the transcendentalist retentions in James, this essay turns to James's annotations of Emerson's writings as a singularly revealing yet largely neglected source of information about the exact nature (...) of the Emerson–James connection. This evidence points to a pluralistic and distinctly literary formulation of intuitive insight as the key for opening up the Emerson–James relation and for framing it with a precision hitherto missing in discussions of these thinkers. The balance of the essay presents an analytic overview of the various aspects and implications of Emerson's and James's ideas of intuition. Combining doubt and belief, skepticism and faith, realism and idealism, a particular formulation of intuition is the answer that Emerson and James both offer to the problem of modernity—the problem of locating a source of value that is both of the self and beyond the self. (shrink)

Reading a book for a review is not the same as reading for pleasure or research. The voice of the ‘critic’—or the critic one would like to be—muffles the voice of the text. Reviewing a book on reading, written by a writer, is as disconcerting as speaking with an old high school English teacher. I take courage from Emerson. In “The Poet,” an essay to which Richard Deming often returns, Emerson offers: Doubt not, O poet, but persist. Say, “It is (...) in me, and shall out.” Stand there, baulked and dumb, stuttering and stammering, hissed and hooted, stand and strive, until, at last, rage draw out of thee that dream-power which every night shows thee is thine own; a power... (shrink)

As the American political controversies of the 1850s were as much about the category of the political as about slavery, property, or territorial expansion, so did Emerson's focus shift from a philosophical exploration of politics to a lived experience of conflict and a new poetics of political writing. The essay “Politics,” published in 1844, explored an idealist vision emerging from Transcendentalism, but the engagement with British power and cultural authority that took place during his long visit in 1847 and 1848 (...) opened up an existential challenge to the premises of that essay. Although critical of intellectual rigidity and closed minds, Emerson finds himself drawn to the inner assurance of British society. The marginal status of English Traits, Emerson's account of his travels, is reflected in the relative paucity of critical discussion of the book. English Traits represents, however, not only the confrontation with British pragmatism but a new perspective on the relationship between ideas and power. As the orientation of this text is away from Transcendentalist hermeneutics and toward irony, one way of reintegrating English Traits into American intellectual history is to alter its status as a detour in Emerson's writing career, lacking in real significance, and instead to read it as one of the symptomatic literary productions of the 1850s. (shrink)

Beginning with Emerson's turn from his pulpit, many argue that American philosophy has rigorously held forth against supernaturalism and metaphysics. While most read self-reliance as a call for individualism, I argue that self-reliance is the application of the moral sentiment to the source of existence Emerson calls the Over-soul. Figures like George Kateb, Stanley Cavell, and Jeffrey Stout have presented a very different picture of American pragmatism. Stout, in particular, is responsible for building up what I call "the myth of (...) the Emersonian democrat." We find that a few philosophical positions generally constitute this myth. The Emersonian democrat is secular, sceptical, relativist, anti-realist, and anti-metaphysical. In fact, on my reading of the strand of pragmatism running from Emerson through James to Dewey, the pluralism of the Emersonian democrat depends on certain metaphysical commitments. The traditional reading of Emerson as anti-religion, and by extension, anti-religious, impedes a better understanding of self-reliance and obfuscates some of the Emersonian inheritances in James and Dewey. (shrink)

Flush with the juices of adolescence, American philosophy declared independence from its European parentage in the work of Ralph Waldo Emerson and his generation. In 1837, Emerson addressed the Harvard Phi Beta Kappa Society on the occasion of its inaugural meeting for the year, which he called a “holiday.” Emerson began: I greet you on the recommencement of our literary year. Our anniversary is one of hope, and, perhaps, not enough of labor. We do not meet for games of strength (...) or skill, for the recitation of histories, tragedies, and odes, like the ancient Greeks; for parliaments of love and poesy, like the Troubadours; nor for the advancement of science, like our contemporaries in the British and .. (shrink)

Emerson 's philosophical rehabilitation, begun in the late 1970s, has neglected an important branch of his thought: his metaphysics. Revisionist interpretations have generally followed Stanley Cavell's anti-metaphysical lead, privileging process and pluralism to the exclusion of any ultimate grounding principle. Russell Goodman's work takes Emerson scholarship in a new direction less hostile to metaphysics. His reading of Emerson 's "Nominalist and Realist" attempts to balance the principles of change and permanence, albeit in "unstable" alternation. What Goodman calls instability I call (...) synthesis or "bi-polarity," made possible by a metaphysical doctrine whose core principle is universal causation. Emerson 's "causationism" openly embraces both Nominalism and Realism as true to opposite poles of the same causal and ontological continuum—that of reality itself. (shrink)

This timely anthology contains five pieces of republished poetry (and one original poem) and eleven essays of varying length taking mostly contemporary stances on—and thus hoping to spur the on-going reception into the twenty-first century of—the work of Ralph Waldo Emerson. The assortment of the texts is heterogeneous, yet showing a slight philosophical emphasis: among the eleven essays, half a dozen are by authors trained in philosophy, a couple by literary scholars, and another couple by poets. The prose pieces are (...) previously unpublished, excluding the classical essays by Robert C. Pollock (published originally in 1958) and John J. McDermott (1980), as well as John Lysaker's thought-provoking meditation "Taking .. (shrink)

This essay argues that Montaigne and Emerson share not only a literary style and a form of skepticism, but also a moral project, namely—to borrow a concept from Charles Taylor—the affirmation of ordinary life. Moreover, Montaigne and Emerson approach this project in fundamentally the same way: rather than offering readers discursive arguments, they attempt to reform readers’ imaginations. Finally, recognizing the poetic nature of their respective affirmations of ordinary life allows us to appreciate how their seemingly dogmatic claims regarding human (...) equality and the human good are compatible with their shared form of skepticism. (shrink)

This text is a review of Joseph Urbas's Emerson's Metaphysics: A Song of Laws and Causes (Lexington Books, 2016). In this book, Urbas proposes a reconstruction of the metaphysics of the American poet, essayist, and self-defined philosopher Ralph Waldo Emerson. According to Urbas, Emerson has a coherent metaphysics, the fundamental principle of which is the category of causation. Reacting to David Hume, Emerson would have deliberately emphasized causation, connection, relation, tie, link, and so on. Emerson is thus characterized as a (...) "causationist" and his philosophy is considered a "causationism." Urbas also argues — against other prevalent interpretations — that Emerson's philosophy is part of the New England "ontological turn" and that it is best understood as a "metaphysical realism" of both particulars and universals alike. I examine these lines of argumentation and propose a couple of critical remarks concerning Emerson's relations to Goethe and Francis Ellingwood Abbot. (shrink)

A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.

This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the particular (...) demands of Emerson's writing, and ends by considering how exemplary moments of instruction in jazz are expressive of Emersonian self-trust. (shrink)

Despite their differences, Ludwig Wittgenstein, Ralph Waldo Emerson, and Leo Strauss share two key philosophical commitments. They recognize that philosophy cannot establish or discover a conceptual structure to which one might appeal to justify what one says. And they agree that the task of philosophical writing is to convey a way of thinking set apart from that which seeks to establish or discover conceptual structures. Yet each knows that his writing, in the absence of a universal ground of appeal, will (...) mostly fail to convey that way of thinking, and so will be, to that extent, esoteric. What differentiates them is their rendering of philosophy's inherent esotericism. -/- Wittgenstein's late interest in aspect-seeing and aspect-blindness grows out of his well-documented despair that his writing would fall before uncomprehending eyes. The correlation here rests on noticing, contra Stephen Mulhall, that Wittgenstein's aspect-seeing remarks are inspired by aesthetic matters, not least by the 'subjective universality' of aesthetic judgments. Indeed, Wittgenstein's appeals to grammatical criteria are rightly understood, not as appeals to rules in a game, but as cousin to the form of justification in aesthetics. But then, as in aesthetic justification, there may be no reason for a speaker's inability to convey to another the connections he or she may see. Emerson, whose approach to writing comes into view alongside parallel strategies in jazz and film, begins with the fact that he can write the way he does---relying on the transformative possibilities of words whose multiple meanings he acquired the way anyone does---and concludes that no one is precluded from finding in his writing a model for transforming thinking. Strauss begins with the fact that esoteric writing works the way it does---conveying the writer's true thoughts to some while withholding them from the majority---and concludes that such writing reveals a natural order of rank among readers. Yet nothing in the nature of writing philosophy as Strauss understands it compels one, in the end, to accept Strauss's conclusion. (shrink)

A reading of the film Moonstruck (1987) is presented in two movements. The first aligns Moonstruck with certain Hollywood film comedies of the 1930s and 40s, those Stanley Cavell calls comedies of remarriage. The second turns to some aspects of Emerson's writing – in particular his interest in our relation to human greatness, and his coinciding interest in our relation to the words of a text – and shows how Moonstruck inherits these Emersonian, essentially philosophical interests.

In this highly original work, Mathew A. Foust breaks new ground in comparative studies through his exploration of the connections between Confucianism and the American Transcendentalist and Pragmatist movements. In his examination of a broad range of philosophers, including Confucius, Mencius, Xunzi, Ralph Waldo Emerson, Henry David Thoreau, Charles Peirce, William James, and Josiah Royce, Foust traces direct lines of influence from early translations of Confucian texts and brings to light conceptual affinities that have been previously overlooked. Combining resources from (...) both traditions, Confucianism and American Philosophy offers fresh insights into contemporary problems and exemplifies the potential of cross-cultural dialogue in an increasingly pluralistic world. (shrink)

This article examines Stanley Cavell's method of reading Emerson—and finds it wanting in rigor and fidelity to the original. Though Cavell declares himself to be among those who "care about the Emersonian text," who are "concerned to preserve the order of words of the Emersonian text," there is a substantial amount of evidence that this is not always the case. A close reading of Cavell's readings of Emerson reveals a pattern of misconstrual and misquotation whose effect is to strip away (...) the "otherness" of Emerson's words and further the project of refashioning him as a secular, skeptical, postmetaphysical thinker. (shrink)

There is a traditional interpretation of the work of Ralph Waldo Emerson that portrays him as a champion of nature, wilderness, or country life and an opponent of the city, technology, or urban life. Such a view, though, neglects the role of human activity in the universe as Emerson saw it. Furthermore, this view neglects the proper relation between soul and nature in the universe and risks entailing a philosophy of materialism--an unacceptable position for Emerson. An examination of Emerson's philosophy (...) will show that it is not fundamentally hostile to urban life or technology, and that, in fact, an anti-urban position is opposed to the most central themes of Emerson's philosophical vision. (shrink)

This study aims to highlight some major aspects of Emersonian skepticism while at the same time showing their deep links with the philosophy of Montaigne. In doing so, it does not rely solely on the well-known essay “Montaigne; or, the Skeptic” (1850), but it tries to articulate its content and other works of Emerson, in order to enrich and refine the moral and anthropological meanings of his skeptical attitude.

(Bibliography) Includes bibliographical references (p. 181-196) and index.

Resistance movements have traditionally posited a logocentric reality to counter the prevailing structure of dominance. This element of opposition--in the humanities it has been a transhistorical nature and self--is characterized as a preideological essence. Whether this identity is a worker, a woman, the coherent individual, or nature, the tendency has been to use it as a cultural critique as well as an ontologically superior source for representation in literature and for recasting the shape of society. In the process, however, resistance (...) movements tend to replicate--by their participation in logocentricity--the problems of exclusion, hierarchy, mystification, and authority that they initially oppose. ;Examining the use that Emerson, Melville, Jeffers and Snyder make of the term "nature" provides a structure for discussing the problem of attempting to establish a point outside of the text. In addition, the use of nature has a specific role in relation to particular historical moments--nineteenth-century expansion; World War II; and Vietnam--in the works of these writers. ;Emerson is an often referenced source as an example of the oppositional spirit. One finds, however, that his attempt to depoliticize nature results in a centering of anthropocentric concerns. His treatment of the term exposes the criss-crossing of cultural currents and the attempt to locate power. As a result, Emerson inadvertently serves the interests of empire within a rhetoric of freedom. ;Melville probes the possibilities of nature as a ground and finds that the aesthetics of doubleness suggests political contradiction, epistemological relativity, and the will to power. Melville also explores the political and particularly male usages of metaphor. ;Jeffers and Snyder continue to work against a human centered form of resistance and representation. Jeffers posits women and nature against a patriarchal world of violence and narcissism. While tending to posit an essentialist concept of nature, Jeffers nevertheless sets the stage for a nonfoundationalist ecofeminism. Snyder appropriates this framework and, with the help of Hopi myth and Buddhist teachings, moves closer to a resistance that challenges without reference to authority. (shrink)

This book proposes an original philosophy of nature, contributes to our understanding of two of America’s greatest philosophers, Ralph Waldo Emerson and Charles S. Peirce, and examines the philosophical expressions of the art of nineteenth-century American landscape painting.

Conventional wisdom concerning the intellectual relation between Ralph Waldo Emerson, America’s first public intellectual, and William James, arguably Emerson’s greatest philosophical progeny, has tended to follow a path of invidious comparison. “Literary critics admit his philosophy and deny his literature,” John Dewey notes in characterizing this tendency in an address delivered during the Emerson centenary celebrations in 1903. “And if philosophers extol his keen, calm art and speak with some depreciation,” he adds, “it also is perhaps because Emerson knew something (...) deeper than our conventional definitions”. In more recent decades, critics in both philosophy and literary studies, rather than... (shrink)

Ralph Waldo Emerson, an important figure in the popular understanding of America has been rediscovered by scholars and critics, yet there has been no critical study of Emerson's relation to traditional nineteenth-century questions about ethics and epistemology. In Emerson's Epistemology David Van Leer turns to this unexplored area of Emerson's philosophy and especially to the problem of his relation to the central intellectual issue of his age - the transcendental idealism of Immanuel Kant. Although Emerson would throughout his life try (...) a number of vocational roles, he considered himself primarily a thinker. He saw his roles as poet and prophet as versions of the more fundamental one of philosopher. Thus an understanding of Emerson's relation to traditional problems about the theory of knowledge clarifies not only the arguments of the specific essays, but the shape of his complex career. (shrink)