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Thomas Wentworth Higginson, Margaret Fuller Ossoli 30 0 Browse Search
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 26 0 Browse Search
Mary Thacher Higginson, Thomas Wentworth Higginson: the story of his life 8 0 Browse Search
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Thomas Wentworth Higginson, Margaret Fuller Ossoli, Chapter 5: finding a friend. (search)
's letters to Merck and the first two volumes of those to Zelter, and writes, I look to Concord as my Lethe and Eunoi after this purgatory of distracting petty tasks. I am sure you will purify and strengthen me to enter the Paradise of thought once more. In addressing Mrs. Emerson she sends dear love to the sainted Lidian, -who becomes simply Lidian in later messages. Mrs. Emerson does not love me, she says in one place, more than I love her. On May 30, 1837, she returns to Emerson, Coleridge's Literary remains, which she has ransacked pretty thoroughly, and The friend, with which she should never have done; also a volume of Goethe and one of Scougal, and she asks him on the outside of the note what these two worthies will be likely to say to one another as they journey side by side. She begs to keep for summer two volumes of Milton, two of Degerando, the seventh and eighth of Goethe's Nachgelassene Werke, besides one volume of Jonson and one of Plutarch's Morals. She also su
Thomas Wentworth Higginson, Margaret Fuller Ossoli, Chapter 9: a literary club and its organ. (search)
o look out of the little world into the great, that is enlargement; all else is parochialism. It is also to be remembered that people in America, in those days, if they had access to no great variety of thought, still had — as in the Indian's repartee about Time-all the thought there was. The sources of intellectual influence then most powerful in England, France, and Germany, were accessible and potent in America also. The writers who were then remoulding English intellectual habits — Coleridge, Wordsworth, Shelleywere eagerly read in the United States; and Carlyle found here his first responsive audience. There was a similar welcome afforded in America to Cousin and his eclectics, then so powerful in France; the same to Goethe, Herder, Jean Paul, Kant, Schelling, Fichte, Jacobi, and Hegel. All these were read eagerly by the most cultivated classes in the United States, and helped, here as in Europe, to form the epoch. Margaret Fuller, so early as October 6, 1834, wrote in on
Thomas Wentworth Higginson, Margaret Fuller Ossoli, Chapter 14: European travel. (1846-1847.) (search)
f the Scotch lady. Next day drive with Mrs. P. Handsome dwellings on the banks of Windermere. Evening at Miss M.'s. Mr. Milman, Dr. Gregory. Stories about Hartley Coleridge, and account of Sara C., author of Phantasmion. Note the chapter she has added to the Aids to Reflection now about to be published. It seems the cause of Coleridge's separation from his wife and family was wholly with himself: because his opium and his indolence prevented his making any exertions to support them. That burden fell on Southey, who, without means, except from his pen, sustained the four persons thus added to his family. Just as I might do for — if I would. Hartley Hartley Coleridge's bad habits naturally inherited from his father. Waiter offers to keep the talking gentleman to board him, to clothe him. Oh don't, don't take away the talking gentleman! How wicked to transmit these morbid states to children! Mr. Mailman's hard and worldly estimate. Introduced to Dr. Gregory. A man of truly large,
Thomas Wentworth Higginson, Margaret Fuller Ossoli, Chapter 18: literary traits. (search)
or whimsical, but is rather of that kind which, as Coleridge has said, is a compliment to the reader. Note alss as compact as the following-as where she says of Coleridge, Give Coleridge a canvas and he will paint a singlColeridge a canvas and he will paint a single mood as if his colors were made of the mind's own atoms; or of Southey, In his most brilliant passages there put together. There are also admirable remarks on Coleridge and on Shakespeare; and how fine in thought, how sy has been written, perhaps nothing so adequate as Coleridge's comparison of him to the pine-apple; yet on readand Art, p. 308. This last is very nearly what Coleridge said of Scott. He said, Not twenty lines of Scott nothing. Alsop's Letters, conversations, etc. Of Coleridge, Am. ed. p. 116. Coleridge erred as to Scott, andColeridge erred as to Scott, and Margaret Fuller as to Lowell; but we must remember that Scott's poetry was all published when Coleridge's critColeridge's criticism was made; while Margaret Fuller wrote when Lowell had printed only his Class poem and two early volumes;
Thomas Wentworth Higginson, Margaret Fuller Ossoli, Index. (search)
183, 191, 201, 207, 308, 309; other references, 3, 34, 206, 212, 279. Channing. See Eustis. Chapman, M. W., 125. Chappell, H. L., letter to, 64. Cheney, E. D. 128. Child, L. M., 4115, 128, 132, 208, 206, 211. Cicero, Marcus Tullius, 50. Clarke, James Freeman, 34, 85, 122, 142, 144, 146, 155, 162, 164, 168, 169, 193, 199. Clarke, Sarah F., 198, 199, 200; letter from, 117; illustrations for Summer on the Lakes, 200. Clarke, William H., 193. Club, a literary, 142. Coleridge, Hartley, 223. Coleridge, S. T., 69,134,135, 228, 290-292, 297. Combe, Andrew, 229. Cooper, J. F., 131, 132. Cousin, V., 135. Crabbe, G., 290. Cranch, C. P., 155,162, 164, 211, 240. Cranch, Mrs. C. P., 211. Crane, Peter, 17. Crane, Mrs., description of, 17. Crowe, Mrs., 226. D. Dana, Chief Justice, 27. Dana, R. H., 95. Dana, R. H., Jr., 24 Dante degli Alighieri, 86. Davis, George T., 3, 34. Davis, J. C., 3. Davis, W. T., 52. Degerando, Baron. 69. De Quincey, Thom
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 9: the beginnings of verse, 1610-1808 (search)
though unequal and crude, has a definiteness of imagery and a simplicity of diction that set it apart from the conventional school of Thomson. The House of Alight, which combines description and narrative, is the most remarkable poem written in America up to its time. In the use of romantic scenery and of death as a theme, Freneau was not a pioneer; but in his supernaturalism and in the strange and haunting music of his lines, he stood alone, and, as has often been remarked, anticipated Coleridge and Poe. Although Freneau was known in England, it may be doubted whether he influenced the English romantic poets. More probably, both he and they were influenced by the same general tendencies; for the romantic movement was already well under way when he wrote the The House of night. The poem is overlong, lacks unity of tone and matter, and altogether is disappointingly crude; but it contains such lines as so loud and sad it play'd As though all music were to breathe its last,
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 1: travellers and observers, 1763-1846 (search)
tor, and reappeared in Irving's Astoria. Carver's volume still fastens upon the imagination, as it did in the time of Schiller, Wordsworth, and Chateaubriand. Coleridge, who found pleasure in Carver's descriptions, doubtless set a higher value upon Bartram; he says in Table talk: The latest book of travels I know, written in the To a waterfowl, and The Prairies alike reveal the spirit of inland discovery. The relation of English poets to American observers is most significant of all. Coleridge praises Cartwright, Heame, and Bartram; the impression which Bartram had left on his mind, says his grandson, was deep and lasting. Lamb is enamoured of pious J, the cypress, green savannas, and scarlet flowers that set the hills on fire; in The Complaint of a Forsaken Indian woman, based on Heame; in the address to Hartley Coleridge, reminiscent of Carver; in Book Third of The Prelude, where the ideal environment for a university and its students is clearly that of Bartram's Alatamaha Ri
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 5: Bryant and the minor poets (search)
e; there are no philosophers, apparently, on his reading desk; no Spinoza, Plotinus, Berkeley, Hartley, who were behind Coleridge's discursive verse; no Thomas Aquinas who was the propedeutic for The divine comedy. And of any intricate psychology, s playfulness and Bryant's one success in dramatic portrayal). He was a good observer; he would never have placed, like Coleridge, a star within the nether tip of the crescent moon. There is an allied group which impart the quality of a moment in nom the talents and temper of the Bostonian descendant of the Puritan Anne Bradstreet, one may realize who reflects what Coleridge would have done with the spell and the uncanny, and what Byron with the crime and the movement — the two poets whom Dansect: the chickweed and sassafras, the whippoorwill, the katydid and woodtick. The music, though perhaps influenced by Coleridge, sang itself under the unconscious guidance of a delicate and independent ear — the most striking creative act in Ameri
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 8: transcendentalism (search)
of Madame de Stael, Cousin, and Jouffroy, but much more significantly through England, in subtle form in the poetry of Wordsworth, more openly in the writings of Coleridge, There is practically no question that of all these influences the works of Coleridge stand first in importance, and it is due to this fact that New England tColeridge stand first in importance, and it is due to this fact that New England transcendentalism, in so far as it is a philosophy, bears a closer resemblance to the metaphysical system of Schelling (whose influence on Coleridge is well known) than to that of any other thinker. and, a little later, in the essays of Carlyle. This interest in German thought and in English romantic literature, moreover, was butColeridge is well known) than to that of any other thinker. and, a little later, in the essays of Carlyle. This interest in German thought and in English romantic literature, moreover, was but the beginning of a wider literary and philosophical awakening which brought with it increasing attention to general European literature, a revitalized attitude toward the classics, and considerable exploration in the realms of Neo-Platonic philosophy and Oriental Scriptures. It is natural that those who began to feel the vital
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 9: Emerson (search)
later years it is clear that the speculations of Kant and Schelling and Fichte were known to him and occasionally coloured his language, but his Journals prove conclusively enough that the whole stamp of his mind was taken before these sources were open to him. Indirectly, no doubt, something of the German spirit came to him pretty early through Carlyle, and a passage in his Journal for 13 December, 1829, shows that he was at that time already deeply engaged in the Teutonized rhapsodies of Coleridge. But it would be easy to lay too much stress even on this indirect affiliation. Long before that date, as early as his senior year in college, he is yearning to separate the soul for sublime contemplation till it has lost the sense of circumstances, and otherwise giving implicit expression to the full circle of transcendental faith. He was in fact a product of the great romantic movement that was sweeping over the world as it listed; his ideas, so far as they came to him from books, go
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