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“I would have my book read as I have read my favorite books, not with explosion and astonishment, a marvel and a rocket, but a friendly and agreeable influence stealing like a scent of a flower, or the sight of a new landscape on a traveller. I neither wish to be hated and defied by such as I startle, nor to be kissed and hugged by the young whose thoughts I stimulate.”

Here Emerson did center in himself and never apologized. His gospel of self-reliance came natural to him. He was emphatically self, without a trace of selfishness. He went abroad to study himself more than other people–to note the effect of Europe on himself. He says, “I believe it’s sound philosophy that wherever we go, whatever we do, self is the sole object we study and learn. Montaigne said himself was all he knew. Myself is much more than I know, and yet I know nothing else.” In Paris he wrote to his brother William, “A lecture at the Sorbonne is far less useful to me than a lecture that I write myself”; and as for the literary society in Paris, though he thought longingly of it, yet he said, “Probably in years it would avail me nothing.”

The Journals are mainly a record of his thoughts and not of his days, except so far as the days brought him ideas. Here and there the personal element creeps in–some journey, some bit of experience, some visitor, or walks with Channing, Hawthorne, Thoreau, Jones Very, and others; some lecturing experience, his class meetings, his travels abroad and chance meetings with distinguished men. But all the more purely personal element makes up but a small portion of the ten thick volumes of his Journal. Most readers, I fancy, will wish that the proportion of these things were greater. We all have thoughts and speculations of our own, but we can never hear too much about a man’s real life.

Emerson stands apart from the other poets and essayists of New England, and of English literature generally, as of another order. He is a reversion to an earlier type, the type of the bard, the skald, the poet-seer. He is the poet and prophet of the moral ideal. His main significance is religious, though nothing could be farther from him than creeds and doctrines, and the whole ecclesiastical formalism. There is an atmosphere of sanctity about him that we do not feel about any other poet and essayist of his time. His poems are the fruit of Oriental mysticism and bardic fervor grafted upon the shrewd, parsimonious, New England puritanic stock. The stress and wild, uncertain melody of his poetry is like that of the wind-harp. No writing surpasses his in the extent to which it takes hold of the concrete, the real, the familiar, and none surpasses his in its elusive, mystical suggestiveness, and its cryptic character. It is Yankee wit and shrewdness on one side, and Oriental devoutness, pantheism, and symbolism on the other. Its cheerful and sunny light of the common day enhances instead of obscures the light that falls from the highest heaven of the spirit. Saadi or Hafiz or Omar might have fathered him, but only a New England mother could have borne him. Probably more than half his poetry escapes the average reader; his longer poems, like “Initial, Daemonic, and Celestial Love,” “Monadnoc,” “Merlin,” “The Sphinx,” “The World-Soul,” set the mind groping for the invisible rays of the spectrum of human thought and knowledge, but many of the shorter poems, such as “The Problem,” “Each and All,” “Sea-Shore,” “The Snow-Storm,” “Musketaquid,” “Days,” “Song of Nature,” “My Garden,” “Boston Hymn,” “Concord Hymn,” and others, are among the most precious things in our literature.