Themes & patterns

I: Uses of Great Men

The central theme of the chapter, examining how great men serve as representatives and indirect benefactors of humanity.

I: Uses of Great Men

Emerson argues that men are representative of things and ideas, serving as interpreters of nature.

Plato; or, the Philosopher

Plato is presented as the representative philosopher, embodying the synthesis of all prior knowledge and standing for the whole of philosophy.

Plato: New Readings

Plato is presented as a representative philosopher who marks an epoch, embodying the privilege of the intellect and the power of carrying up every fact to successive platforms.

IV: Montaigne; or, the Skeptic

Montaigne is chosen as the representative of skepticism, illustrating how individuals can embody broader philosophical attitudes.

V: Shakespeare; or, the Poet

Shakespeare is presented as the representative poet, embodying the genius of his time and country, and standing where all eyes look one way.

Napoleon; or, the Man of the World

Napoleon is presented as the representative man of the modern age, embodying the spirit, aims, and tastes of the middle class. Emerson argues that he is France and Europe because the people he sways are 'little Napoleons.'

Plato; or, the Philosopher

Emerson emphasizes Plato's ability to unify diverse elements—logic, poetry, mathematics, mysticism—into a coherent system, and his doctrine that the philosopher must comprehend the whole.

VII: Goethe; or, the Writer

Goethe's scientific insights, such as the leaf as the unit of botany and the vertebra as the unit of the skeleton, demonstrate a search for unity underlying the variety of forms.

IV: Montaigne; or, the Skeptic

The chapter contrasts the men of talent and action (perception of difference) with men of faith and philosophy (perception of identity), and explores the tension between the practical and the ideal.

V: Shakespeare; or, the Poet

The chapter contrasts Shakespeare's worldly, active life as a jovial actor and manager with the contemplative, spiritual depth expected of a poet-priest.

Napoleon; or, the Man of the World

Napoleon is portrayed as a man of pure action and practical genius, a realist who 'sees where the matter hinges' and acts with directness. This contrasts with the contemplative life, as he subordinates all intellectual and spiritual forces to material success.

Plato; or, the Philosopher

Plato's philosophy is grounded in the Good as the prime cause; virtue and felicity depend on the science of the real, and courage is knowledge.

Plato: New Readings

Emerson highlights Plato's moral conclusions, such as the coincidence of science and virtue, and the intrinsic profit of justice, emphasizing the moral aim that endeared him to mankind.

Swedenborg; or, the Mystic

The chapter explores the tension between moral sentiment and intellect, particularly in Swedenborg's later rejection of his own intellectual faculties.

Napoleon; or, the Man of the World

The chapter critiques Napoleon for lacking a higher moral purpose. He is described as 'no saint' and 'no hero in the high sense,' and his ends are purely material. Emerson implies that true greatness requires a public or moral aim.

I: Uses of Great Men

The chapter emphasizes that man is an endogenous plant, growing from within, and that true education is self-unfolding.

Napoleon; or, the Man of the World

Napoleon's power is described as coming from within himself: 'His principal means are in himself. He asks counsel of no other.' He is a self-made man who relies on his own insight and prompt action.

VII: Goethe; or, the Writer

Goethe's method of verifying every term and his refusal to take things on trust exemplify a self-reliant approach to knowledge and culture.

Plato: New Readings

Plato is described as having a 'soliform eye' and 'boniform soul,' and his writings possess the sempiternal youth of poetry, with arguments that could be couched in sonnets.

Swedenborg; or, the Mystic

Swedenborg is portrayed as a seer who accesses higher truths through intuition and vision, beyond empirical experience.

V: Shakespeare; or, the Poet

Shakespeare is depicted as a seer who read the hearts of men and women and wrote the text of modern life, yet fell short of exploring the spiritual meaning behind symbols.

VII: Goethe; or, the Writer

Goethe is portrayed as the writer who reports the doings of the miraculous spirit of life, selecting and communicating the eminent characteristics of nature and experience.

Swedenborg; or, the Mystic

Emerson critiques Swedenborg's lack of balance, noting his descent into grim visions and the absence of vital spontaneity in his system.

IV: Montaigne; or, the Skeptic

Montaigne is presented as the representative skeptic, embodying the questioning of custom and the use of checks and balances in nature against exaggeration and formalism.