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The wisdom of a great creative artist like Hawthorne does not necessarily harden into bright epigrammatic sayings or rules for the conduct of life, and the available intellectual content of his works to the Emersonian type of mind may be small; but his interior, his emotional and imaginative richness may much more than make it up. The scholar, the sayer of things, must always rank below the creator, or the maker of things.

Philosophers contradict themselves like other mortals. Here and there in his Journals Emerson rails against good nature, and says “tomahawks are better.” “Why should they call me good-natured? I, too, like puss, have a tractile claw.” And he declares that he likes the sayers of No better than the sayers of Yes, and that he preferred hard clouds, hard expressions, and hard manners. In another mood, or from another point of view, he says of a man, “Let him go into his closet and pray the Divinity to make him so great as to be good-natured.” And again, “How great it is to do a little, as, for instance, to deserve the praise of good nature, or of humility, or of punctuality.”

Emerson’s characterization of himself as always a painter is interesting. People, he said, came to his lectures with expectation that he was to realize the Republic he described, and they ceased to come when they found this reality no nearer: “They mistook me. I am and always was a painter. I paint still with might and main and choose the best subject I can. Many have I seen come and go with false hopes and fears, and dubiously affected by my pictures. But I paint on.” “I portray the ideal, not the real,” he might have added. He was a poet-seer and not a historian. He was a painter of ideas, as Carlyle was a painter of men and events. Always is there an effort at vivid and artistic expression. If his statement does not kindle the imagination, it falls short of his aim. He visualizes his most subtle and abstract conceptions–sees the idea wedded to its correlative in the actual world. A new figure, a fresh simile gave him a thrill of pleasure. He went hawking up and down the fields of science, of trade, of agriculture, of nature, seeking them. He thinks in symbols, he paints his visions of the ideal with pigments drawn from the world all about him. To call such men as Emerson and Carlyle painters is only to emphasize their artistic temperaments. Their seriousness, their devotion to high moral and intellectual standards, only lift them, as they do Whitman, out of the world of mere decorative art up to the world of heroic and creative art where art as such does not obtrude itself.

XV

Emerson wonders why it is that man eating does not attract the imagination or attract the artist: “Why is our diet and table not agreeable to the imagination, whilst all other creatures eat without shame? We paint the bird pecking at fruit, the browsing ox, the lion leaping on his prey, but no painter ever ventured to draw a man eating. The difference seems to consist in the presence or absence of the world at the feast. The diet is base, be it what it may, that is hidden in caves or cellars or houses…. Did you ever eat your bread on the top of a mountain, or drink water there? Did you ever camp out with lumbermen or travellers in the prairie? Did you ever eat the poorest rye or oatcake with a beautiful maiden in the wilderness? and did you not find that the mixture of sun and sky with your bread gave it a certain mundane savour and comeliness?”

I do not think Emerson hits on the true explanation of why man feeding is not an attractive subject for the painter. It is not that the diet is base and is hidden in caves and cellars, or that the world is not present at the feast. It is because eating is a purely selfish animal occupation; there is no touch of the noble or the idyllic or the heroic in it. In the act man confesses his animal nature; he is no longer an Emerson, a Dante, a Plato–he is simply a physiological contrivance taking in nutriment. The highest and the lowest are for the moment on the same level. The lady and her maid, the lord and his lackey are all one. Eating your bread on a mountain-top or in the camp of lumbermen or with a beautiful maiden in the wilderness adds a new element. Here the picture has all nature for a background and the imagination is moved. The rye and the oatcake now become a kind of heavenly manna, or, as Fitzgerald has it, under such conditions the wilderness is Paradise enow. The simple act of feeding does not now engross the attention. Associate with the act of eating any worthy or noble idea, and it is at once lifted to a higher level. A mother feeding her child, a cook passing food to the tramp at the door or to other hungry and forlorn wayfarers, or soldiers pausing to eat their rations in the field, or fishermen beside the stream, or the haymakers with their lunch under a tree–in all such incidents there are pictorial elements because the least part of it all to the looker-on is the act of eating.