Ralph Waldo Emerson

Ralph Waldo Emerson

Summary

Portrait of Ralph Waldo Emerson Ralph Waldo Emerson English Traits — Stonehenge (1856)

Some diligent Fellowes or Layard will arrive, stone by stone, at the whole history, by that exhaustive British sense and perseverance, so whimsical in its choice of objects, which leaves its own Stonehenge or Choir Gaur to the rabbits, whilst it opens pyramids, and uncovers Nineveh. Stonehenge, in virtue of the simplicity of its plan, and its good preservation, is as if new and recent; and, a thousand years hence, men will thank this age for the accurate history it will yet eliminate.
Source: Wikisource

Portrait of Ralph Waldo Emerson Ralph Waldo Emerson English Traits — Stonehenge (1856)

There I thought, in America, lies nature sleeping, over-growing, almost conscious, too much by half for man in the picture, and so giving a certain tristesse, like the rank vegetation of swamps and forests seen at night, steeped in dews and rains, which it loves; and on it man seems not able to make much impression. There, in that great sloven continent, in high Alleghany pastures, in the sea-wide, sky-skirted prairie, still sleeps and murmurs and hides the great mother, long since driven away from the trim hedge-rows and over-cultivated garden of England.
Source: Wikisource

Portrait of Ralph Waldo Emerson Ralph Waldo Emerson English Traits — Stonehenge (1856)

Salisbury is now esteemed the culmination of the Gothic art in England, as the buttresses are fully unmasked, and honestly detailed from the sides of the pile. The interior of the Cathedral is obstructed by the organ in the middle, acting like a screen. I know not why in real architecture the hunger of the eye for length of line is so rarely gratified. The rule of art is that a colonnade is more beautiful the longer it is, and that ad infinitum. And the nave of a church is seldom so long that it need be divided by a screen.
Source: Wikisource

Get perspective with Kwize: daily news enlightened by great literature