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“The American Scholar” as Cultural Event

Published online by Cambridge University Press:  30 July 2009

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“The american scholar” descends to us as literature, but for the more than two hundred auditors who filled the First Parish Church in Cambridge on August 31, 1837, as for the speaker himself, the address was a singular dramatic occasion. “An event without any former parallel in our literary annals,” James Russell Lowell recalled years later: “What crowded and breathless aisles, what windows clustering with eager heads, what enthusiasm of approval, what grim silence of foregone dissent!” In the provincial Boston world of 1837, Lowell's “event” — a picturesque memory exhumed from the literary scrapbook and fondly patronized — gave promise of being an “event” in Michel Foucault's sense as well: “not a decision, a treaty, a reign, or a battle, but the reversal of a relationship of forces, the usurpation of power, the appropriation of a vocabulary turned against those who had once used it.” “The young men went out” from the church, remarked Oliver Wendell Holmes, “as if a prophet had been proclaiming to them, ‘Thus saith the Lord.’”

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Research Article
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Copyright © Cambridge University Press 1991

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References

NOTES

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7. As Rush Welter observes, “During the early years of the [nineteenth] century, men who were fearful of social change had looked to the activity of college graduates to counteract untoward developments. This was especially the case in New England, where Phi Beta Kappa orators and other college spokesmen celebrated both the claims educated men had on their country and the responsibility they acquired to lead it. … [T]hey appealed to educated men to act as the conscience of the republic and described a political elite whose influence would depend less on their scrabbling for votes than on their power to sway the multitude.” The Mind of America: 1820–1860 (New York: Columbia University Press, 1975), p. 279.Google Scholar

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67. Charvat, , “Melville,” in The Profession of Authorship in America, p. 246.Google Scholar

68. For a discussion of this new consciousness in Moby-Dick — and of the relation of Ahab's tragedy to the rhetorical structure I have been describing — see Milder, Robert, “Moby-Dick: The Rationale of Narrative Form,” in Approaches to Teaching Melville's “Moby-Dick,” ed. Bickman, Martin (New York: Modern Language Association, 1985), pp. 3549.Google Scholar

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70. Williams, , Marxism and Literature, p. 195.Google Scholar

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74. As Burke remarks, “The motivation out of which [an author] writes is synonomous with the structural way in which he puts events values together when he writes,” however partial his recognition of this at the time (Burke, , Philosophy of Literary Form, p. 18).Google Scholar

75. As Robert Weimann observes, “Structure is born out of [the] interaction by which the poet and his audience, and also the self and the social within the poet, are all genetically connected.” Even these terms are somewhat crude, since the “self” and the “social” within a given consciousness cannot be contradistinguished; the self is always a social creation, though never entirely so (Weimann, , Structure and Society in Literary Theory, expanded edition [Baltimore: Johns Hopkins University Press, 1984], pp. 78).Google Scholar

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Thanks to recent scholarship, the lines of transmission between Emerson and the midcentury writers are more distinct now than in 1964 when Jonathan Bishop remarked on an influence “so indirect or pervasive or complex” that those who responded to Emerson could hardly have “disentangle[d] exactly what they found in [his] work from what was in the air” (Bishop, , Emerson on the Soul [Cambridge: Harvard University Press, 1964], p. 144CrossRefGoogle Scholar). Among the recent works that have contributed significantly to an understanding of Emerson's influence on the midcentury writers are Lebeaux, Richard, Young Man Thoreau (Amherst: University of Massachusetts Press, 1975)Google Scholar; Sealts, Merton M. Jr., “Melville and Emerson's Rainbow,” ESQ 26 (1980): 5378Google Scholar; and Loving, Jerome, Emerson, Whitman, and the American Muse (Chapel Hill: University of North Carolina Press, 1982).Google Scholar