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BOSTON AND NEW YORK
HOUGHTON, MIFFLIN AND COMPANY

The Riverside Press, Cambridge

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Entered according to Act of Congress, in the year 1874, by

RALPH WALDO EMERSON,
In the Office of the Librarian of Congress, at Washington.

PREFACE.

This volume took its origin from an old habit of copying any poem or lines that interested me into a blank book. In many years, my selections filled the volume, and required another; and still the convenience of commanding all my favorites in one album, instead of searching my own and other libraries for a desired song or verse, and the belief that what charmed me probably might charm others, suggested the printing of my enlarged selection. I know the convenience and merits of the existing anthologies, and the necessity of printing in every collection many masterpieces which all English-speaking men have agreed in admiring. Each has its merits ; but I have found that the best of these collections do not contain certain gems of pure lustre, whilst they admit many of questionable claim. The voluminous octavos of Anderson and Chalmers have the same fault of too much mass and too little genius ; and even the more select "Golden Treasury” of Mr. Palgrave omits too much that I cannot spare. I am aware that no two readers would make the same selection. Of course, I shall gladly hail with the public a better collection than mine.

Poetry teaches the enormous force of a few words, and, in proportion to the inspiration, checks loquacity. It requires that splendor of expression which carries with it the proof of great thoughts. Great thoughts insure musical expressions. Every word should be the right word. The poets are they who see that

spiritual is greater than any material force, that thoughts rule the world. The great poets are judged by the frame of mind they induce; and to them, of all men, the severest criticism is due.

Some poems I have inserted for their historical importance; some, for their weight of sense ; some, for single couplets or lines, perhaps even for a word; some, for magic of style; and I have admitted verses, which, in their structure, betray a defect of poetic ear, but have a wealth of truth which ought to have created melody. I know the peril of didactics to kill poetry, and that Wordsworth runs fearful risks to save his mental experiences. Some poems are external, like Moore's, and have only a superficial melody: others, like Chaucer's, have such internal music as to forgive a roughness to the modern ear, which, in the mouth of the bard, his contemporaries probably did not detect. To Chaucer may be well applied the word of Heraclitus, that “Harmony latent is of greater value than that which is patent.”

There are two classes of poets, - the poets by education and practice, these we respect; and poets by nature, these we love. Pope is the best type of the one class : he had all the advantage that taste and wit could give him, but never rose to grandeur or to pathos. Milton had all its advantages, but was also poet born. Chaucer, Shakspeare, Jonson (despite all the pedantic lumber he dragged with him), Herbert, Herrick, Collins, Burns,

of the other. Then there are poets who rose slowly, and wrote badly, and had yet a true calling, and, after a hundred failures, arrived at pure power; as Wordsworth, encumbered for years with childish whims, but at last, by his religious insight, lifted to genius.

Scott was a man of genius, but only an accomplished rhymer (poet on the same terms as the Norse bards and minstrels), admirable chronicler, and master of the ballad, but never crossing the threshold of the epic, where Homer, Dante, Shakspeare, and Milton dwell.

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