American renaissance: art and expression in the age of Emerson and Whitman

Table of Contents

• Frontmatter
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• BOOK ONE: FROM EMERSON TO THOREAU
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  • I. IN THE OPTATIVE MOOD (page 3)
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    • 1. Consciousness (page 5)
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    • 2. Eloquence (page 14)
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    • 3. Expression (page 24)
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    • 4. The Word One with the Thing (page 30)
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    • 5. 'The light of the body is the eye' (page 44)
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    • 6. A Few Herbs and Apples (page 55)
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    • 7. The Flowing (page 64)
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    • 8. Self-Portrait of Saadi (page 71)
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  • II. THE ACTUAL GLORY (page 76)
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    • 1. Expected Unexpectedness (page 76)
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    • 2. What Music Shall We Have? (page 83)
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    • 3. Thinking in Images (page 92)
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    • 1. Man Thinking (page 100)
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    • 2. The Mingling of Walden and Ganges (page 113)
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    • 3. Ishmael's Loom of Time (page 119)
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    • 1. From Coleridge to Emerson (page 133)
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    • 2. Horatio Greenough (page 140)
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    • 3. Thoreau (page 153)
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    • 4. New England Landscapes (page 157)
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    • 5. Walden: Craftsmanship vs. Technique (page 166)
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• BOOK TWO: HAWTHORNE
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  • V. THE VISION OF EVIL (page 179)
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    • 1. Starting Point (page 192)
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    • 2. The First Tales (page 202)
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    • 3. 'To open an intercourse with the world' (page 219)
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    • 4. The Haunted Mind (page 229)
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  • VII. ALLEGORY AND SYMBOLISM (page 242)
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    • Theory (page 242)
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    • 1. The American Bias and Background (page 242)
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    • 2. The Imagination as Mirror (page 253)
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    • 3. The Crucial Definition of Romance (page 264)
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    • Practice (page 271)
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    • 1. The Scarlet Letter (page 275)
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    • 2. From 'Young Goodman Brown' to 'The Whiteness of the Whale' (page 282)
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    • 3. Hawthorne and James (page 292)
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    • 4. Hawthorne and Milton (page 305)
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    • Coda (page 313)
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  • VIII. A DARK NECESSITY (page 316)
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    • 1. Hawthorne's Politics, with the Economic Structure of The Seven Gables (page 316)
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    • 2. Hawthorne's Psychology: The Acceptance of Good and Evil (page 337)
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    • 3. From Hawthorne to James to Eliot (page 351)
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• BOOK THREE: MELVILLE
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  • 1. 'Out of unhandselled savage nature' (page 371)
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    • 2. Mardi: A Source-Book for Plenitude (page 377)
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    • 3. Autobiography and Art (page 390)
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  • X. THE REVENGER'S TRAGEDY (page 396)
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    • 1. The Economic Factor (page 396)
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    • 2. 'The world's a ship on its passage out' (page 402)
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    • 3. Structure (page 409)
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    • 4. 'A bold and nervous lofty language' (page 421)
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    • 5. The Matching of the Forces (page 431)
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    • 6. The Fate of the Ungodly God-like Man (page 445)
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    • 7. The Levels Beyond (page 460)
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  • XI. THE TROUBLED MIND (page 467)
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  • XII. REASSERTION OF THE HEART (page 488)
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    • 1. An Alien to His Contemporaries (page 488)
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    • 2. Billy Budd, Foretopman (page 500)
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• BOOK FOUR: WHITMAN
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  • 1. 'Words! book-words! what are you?' (page 517)
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    • 2. Vision and Attitude (page 532)
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    • 3. Three Analogies for a Poem (page 549)
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      • Oratory (page 549)
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      • The Opera (page 558)
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      • The Ocean (page 564)
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    • 4. 'Rhythm in its last ruggedness and decomposition' (page 578)
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    • 5. 'Landscapes projected masculine, full-sized and golden' (page 596)
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      • The Genre Painting of W.S. Mount (page 596)
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      • The Realism of Millet and of Eakins (page 602)
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      • 'And what shall the pictures be that I hang on the walls?' (page 613)
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  • XIV. MAN IN THE OPEN AIR (page 626)
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    • 1. The Need for Mythology (page 626)
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    • 2. Representative Men (page 631)
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    • 3. American Demigods (page 635)
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    • 4. Full Circle (page 646)
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• CHRONOLOGY (page 657)
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• INDEX (page 663)
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