Assaigs — primera sèrie
- Idioma:
- anglès
- Completesa:
- Obra completa
- Autoria:
- Escrita per l'autor
- Estat del text:
- Sense soroll d'escaneig detectat (mesura automàtica sobre tot el text, no revisada a mà)
- Extensió:
- ~73.900 paraules · 351 passatges
Cita aquesta obra
- APARalph Waldo Emerson. (n.d.). Essays — First Series [Assaigs — primera sèrie]. Digital reproduction: SigPhi. https://sigphiai.com/ca/works/ralph-waldo-emerson/essays-first-series
- MLARalph Waldo Emerson. Essays — First Series [Assaigs — primera sèrie]. Digital reproduction, SigPhi, https://sigphiai.com/ca/works/ralph-waldo-emerson/essays-first-series.
- ChicagoRalph Waldo Emerson. Essays — First Series [Assaigs — primera sèrie]. Digital reproduction, SigPhi. https://sigphiai.com/ca/works/ralph-waldo-emerson/essays-first-series.
Referència de l’edició reproduïda. SigPhi és la reproducció digital, no l’editor. S’hi inclouen l’any, l’editorial i el traductor quan consten; «n.d.» indica que no consta l’any. La responsabilitat d’un pròleg o d’una nota es determina segons el passatge citat.
De què tracta
La primera sèrie d'assaigs (1841): «Self-Reliance», «Compensation», «The Over-Soul», «Circles».
Context i història
«Self-Reliance» és el text americà més citat després de la Declaració d'Independència: «qui vulgui ser home, que sigui inconformista», i «una coherència ximple és el follet de les ments petites». Avís d'edició: el volum «Essays by Ralph Waldo Emerson» del catàleg aplega aquesta sèrie i la segona. No són cap duplicat; totes dues formes es queden.
Context editorial, no una font citable: a diferència dels passatges de l'obra, aquestes dades no es poden contrastar amb el corpus.
furtive glances on this side and on that, but they must turn the whole head. The manners of that period are plain and fierce. The reverence exhibited is for personal qualities; courage, address, self-command, justice, strength, swiftness, a loud voice, a broad chest. Luxury and elegance are not known. A sparse population and want make every man his own valet, cook, butcher and soldier, and the habit of supplying his own needs educates the body to wonderful performances. Such are the Agamemnon and Diomed of Homer, and not far different is the picture Xenophon gives of himself and his compatriots in the Retreat of the Ten Thousand. “After the army had crossed the river Teleboas in Armenia, there fell much snow, and the troops lay miserably on the ground covered with it. But Xenophon arose naked, and taking an axe, began to split wood; whereupon others rose and did the like.” Throughout his army exists a boundless liberty of speech. They quarrel for plunder, they wrangle with the generals on each new order, and Xenophon is as sharp-tongued as any and sharper-tongued than most, and so gives as good as he gets. Who does not see that this is a gang of great boys, with such a code of honor and such lax discipline as great boys have? The costly charm of the ancient tragedy, and indeed of all the old literature, is that the persons speak simply,—speak as persons who have great good sense without knowing it, before yet the reflective habit has become the predominant habit of the mind. Our admiration of the antique is not admiration of the old, but of the natural. The Greeks are not reflective, but perfect in their senses and in their health, with the finest physical organization in the world. Adults acted with the simplicity and grace of children. They made vases, tragedies, and statues, such as healthy senses should,—that is, in good taste.…