Memories and Studies

Memories and Studies

William James

It would be unnatural to have such an assemblage as this meet in the Museum and Faculty Room of this University and yet have no public word spoken in honor of a name which must be silently present to the minds of all our visitors.

At some near future day, it is to be hoped some one of you who is well acquainted with Agassiz's scientific career will discourse here concerning it,—I could not now, even if I would, speak to you of that of which you have far more intimate knowledge than I. On this social occasion it has seemed that what Agassiz stood for in the way of character and influence is the more fitting thing to commemorate, and to that agreeable task I have been called. He made an impression that was unrivalled. He left a sort of popular myth—the Agassiz legend, as one might say—behind him in the air about us; and life comes kindlier to all of us, we get more recognition from the world, because we call ourselves naturalists,—and that was the class to which he also belonged.

The secret of such an extraordinarily effective influence lay in the equally extraordinary mixture of the animal and social gifts, the intellectual powers, and the desires and passions of the man. From his boyhood, he looked on the world as if it and he were made for each other, and on the vast diversity of living things as if he were there with authority to take mental possession of them all. His habit of collecting began in childhood, and during his long life knew no bounds save those that separate the things of Nature from those of human art. Already in his student years, in spite of the most stringent poverty, his whole scheme of existence was that of one predestined to greatness, who takes that fact for granted, and stands forth immediately as a scientific leader of men.

His passion for knowing living things was combined with a rapidity of observation, and a capacity to recognize them again and remember everything about them, which all his life it seemed an easy triumph and delight for him to exercise, and which never allowed him to waste a moment in doubts about the commensurability of his powers with his tasks. If ever a person lived by faith, he did. When a boy of twenty, with an allowance of two hundred and fifty dollars a year, he maintained an artist attached to his employ, a custom which never afterwards was departed from,—except when he maintained two or three. He lectured from the very outset to all those who would hear him. "I feel within myself the strength of a whole generation," he wrote to his father at that time, and launched himself upon the publication of his costly "Poissons Fossiles" with no clear vision of the quarter from whence the payment might be expected to come.

At Neuchatel (where between the ages of twenty-five and thirty he enjoyed a stipend that varied from four hundred to six hundred dollars) he organized a regular academy of natural history, with its museum, managing by one expedient or another to employ artists, secretaries, and assistants, and to keep a lithographic and printing establishment of his own employed with the work that he put forth. Fishes, fossil and living, echinoderms and glaciers, transfigured themselves under his hand, and at thirty he was already at the zenith of his reputation, recognized by all as one of those naturalists in the unlimited sense, one of those folio copies of mankind, like Linnaeus and Cuvier, who aim at nothing less than an acquaintance with the whole of animated Nature. His genius for classifying was simply marvellous; and, as his latest biographer says, nowhere had a single person ever given so decisive an impulse to natural history.

Such was the human being who on an October morning fifty years ago disembarked at our port, bringing his hungry heart along with him, his confidence in his destiny, and his imagination full of plans. The only particular resource he was assured of was one course of Lowell Lectures. But of one general resource he always was assured, having always counted on it and never found it to fail,—and that was the good will of every fellow-creature in whose presence he could find an opportunity to describe his aims. His belief in these was so intense and unqualified that he could not conceive of others not feeling the furtherance of them to be a duty binding also upon them. Velle non discitur, as Seneca says:—Strength of desire must be born with a man, it can't be taught. And Agassiz came before one with such enthusiasm glowing in his countenance,—such a persuasion radiating from his person that his projects were the sole things really fit to interest man as man,—that he was absolutely irresistible. He came, in Byron's words, with victory beaming from his breast, and every one went down before him, some yielding him money, some time, some specimens, and some labor, but all contributing their applause and their godspeed. And so, living among us from month to month and from year to year, with no relation to prudence except his pertinacious violation of all her usual laws, he on the whole achieved the compass of his desires, studied the geology and fauna of a continent, trained a generation of zoologists, founded one of the chief museums of the world, gave a new impulse to scientific education in America, and died the idol of the public, as well as of his circle of immediate pupils and friends.

The pathos of death is this, that when the days of one's life are ended, those days that were so crowded with business and felt so heavy in their passing, what remains of one in memory should usually be so slight a thing. The phantom of an attitude, the echo of a certain mode of thought, a few pages of print, some invention, or some victory we gained in a brief critical hour, are all that can survive the best of us. It is as if the whole of a man's significance had now shrunk into the phantom of an attitude, into a mere musical note or phrase suggestive of his singularity—happy are those whose singularity gives a note so clear as to be victorious over the inevitable pity of such a diminution and abridgment.

An ideal wraith like this, of Emerson's personality, hovers over all Concord to-day, taking, in the minds of those of you who were his neighbors and intimates a somewhat fuller shape, remaining more abstract in the younger generation, but bringing home to all of us the notion of a spirit indescribably precious. The form that so lately moved upon these streets and country roads, or awaited in these fields and woods the beloved Muse's visits, is now dust; but the soul's note, the spiritual voice, rises strong and clear above the uproar of the times, and seems securely destined to exert an ennobling influence over future generations.

What gave a flavor so matchless to Emerson's individuality was, even more than his rich mental gifts, their singularly harmonious combination. Rarely has a man so accurately known the limits of his genius or so unfailingly kept within them. "Stand by your order," he used to say to youthful students; and perhaps the paramount impression one gets of his life is of his loyalty to his own personal type and mission. The type was that of what he liked to call the scholar, the perceiver of pure truth; and the mission was that of the reporter in worthy form of each perception. The day is good, he said, in which we have the most perceptions. There are times when the cawing of a crow, a weed, a snowflake, or a farmer planting in his field become symbols to the intellect of truths equal to those which the most majestic phenomena can open. Let me mind my own charge, then, walk alone, consult the sky, the field and forest, sedulously waiting every morning for the news concerning the structure of the universe which the good Spirit will give me.

This was the first half of Emerson, but only half; for genius, as he said, is insatiate for expression, and truth has to be clad in the right verbal garment. The form of the garment was so vital with Emerson that it is impossible to separate it from the matter. They form a chemical combination—thoughts which would be trivial expressed otherwise, are important through the nouns and verbs to which he married them. The style is the man, it has been said; the man Emerson's mission culminated in his style, and if we must define him in one word, we have to call him Artist. He was an artist whose medium was verbal and who wrought in spiritual material.

This duty of spiritual seeing and reporting determined the whole tenor of his life. It was to shield this duty from invasion and distraction that he dwelt in the country, that he consistently declined to entangle himself with associations or to encumber himself with functions which, however he might believe in them, he felt were duties for other men and not for him. Even the care of his garden, "with its stoopings and fingerings in a few yards of space," he found "narrowing and poisoning," and took to long free walks and saunterings instead, without apology. "Causes" innumerable sought to enlist him as their "worker"—all got his smile and word of sympathy, but none entrapped him into service. The struggle against slavery itself, deeply as it appealed to him, found him firm: "God must govern his own world, and knows his way out of this pit without my desertion of my post, which has none to guard it but me. I have quite other slaves to face than those Negroes, to wit, imprisoned thoughts far back in the brain of man, and which have no watchman or lover or defender but me." This in reply to the possible questions of his own conscience. To hot-blooded moralists with more objective ideas of duty, such a fidelity to the limits of his genius must often have made him seem provokingly remote and unavailable; but we, who can see things in more liberal perspective, must unqualifiably approve the results. The faultless tact with which he kept his safe limits while he so dauntlessly asserted himself within them, is an example fitted to give heart to other theorists and artists the world over.