Anglo-American Antiphony: The Late Romanticism of Tennyson and Emerson

By Richard E. Brantley | Go to book overview

SIXTEEN The Play of Skepticism

I will test now the applicability of my argument to two essays in which it might not be expected to obtain, namely, Experience ( 1844) and Fate ( 1852). ( Emerson's tough-minded, "pre-Modern" essays also include Compensation { 1841}, Prudence { 1841}, Circles { 1841}, and Montaigne { 1850}.) Critics see Experience and Fate as emphasizing for the first time in Emerson's career the ordinary over the ideal; with regard to Experience, for example, Van Leer points out that "by so naming his essay, Emerson makes explicit what is implicit throughout the second series: that bracketing questions of noumenality, even of existence--the transcendentality of epistemology-- he now wishes to speak solely for our experience as empirically real."1 Experience, moreover, is seen as advocating an especially tough-minded empiricism, for Whicher associates the essay's usage of experience with empirical experiment,2 and Packer associates this same usage with Humean empiricism.3 Michael, for his part, associates Humean empiricism with both Experience and Fate,4 but Gayle L. Smith, on the other hand, reading Experience in the light of the famous Transparent Eyeball image in Nature, finds that Experience reflects the optimistic, "ideal" empiricism of Emerson's early career.5 And even Van Leer argues that the "source" of Experience "lies less in the empirical tradition, where the more representative term is 'impression,'" than in the optimistic German idealism of Kant, for whom '"experience' is almost literally the first word of the first Critique."6 I, of course, am especially intrigued by Gertrude Hughes's view that experience functions throughout the essays as it does for Paul in Romans 5.3-5: "We glory in tribulations also: knowing that tribulation worketh patience; and patience, experience; and experience, hope; and hope maketh

-211-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Anglo-American Antiphony: The Late Romanticism of Tennyson and Emerson
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Prelude ix
  • Theme and Variations 1
  • Exposition the First - The Method of in Memoriam 25
  • One - Introit 27
  • Two - Empirical Procedures 33
  • Three - Evangelical Principles 51
  • Four - Philosophical Theology 65
  • Five - Spiritual Sense 90
  • Six - Theodiceal Impulse 97
  • Seven - Set Pieces 106
  • Eight - Language Method 115
  • Nine - Intra-Romantic Relationships 127
  • Exposition the Second - The Method of Emerson's Prose 151
  • Ten - Introit 153
  • Eleven - Perspective-By-Perspective Understanding 160
  • Twelve - Religious Methodology 166
  • Thirteen - Suspenseful Subjectivity 177
  • Fourteen - Experience and Faith 193
  • Fifteen - Roots of Theory 204
  • Sixteen - The Play of Skepticism 211
  • Seventeen - Language Method 236
  • Recapitulation and Cadenza 245
  • Notes 277
  • Works Cited 313
  • Index 337
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 354

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.