A BRIEF HISTORY OF ENGLISH LITERATURE

A BRIEF HISTORY OF ENGLISH LITERATURE Literary forms Old English, Middle English and Chaucer Tudor lyric poetry Renaissance drama Metaphysical poetry Epic poetry Restoration comedy Prose fiction and the novel Romanticism Victorian poetry The Victorian novel Modern literature Writers outside mainstream movements Literature and culture Recent and future trends Evaluating literature Literary forms Literary forms such as the novel or lyric poem, or genres, such as the horror-story, have a history. In one sense, they appear because they have not been thought of before, but they also appear, or become popular for other cultural reasons, such as the absence or emergence of literacy. In studying the history of literature (or any kind of art), you are challenged to consider what constitutes a given form, how it has developed, and whether it has a future. The novels of the late Catherine Cookson may have much in common with those of Charlotte Brontë, but is it worth mimicking in the late 20th century, what was ground-breaking in the 1840s? While Brontë examines what is contemporary for her, Miss Cookson invents an imagined past which may be of interest to the cultural historian in studying the present sources of her nostalgia, but not to the student of the period in which her novels are set. Daniel Defoe's Robinson Crusoe is a long work of prose fiction, but critics do not necessarily describe it as a novel. Why might this be? Knowing works in their historical context does not give easy answers, but may shed more or less light on our darkness in considering such questions. Old English, Middle English and Chaucer Old English English, as we know it, descends from the language spoken by the north Germanic tribes who settled in England from the 5th century A.D. onwards. They had no writing (except runes, used as charms) until they learned the Latin alphabet from Roman missionaries. The earliest written works in Old English (as their language is now known to scholars) were probably composed orally at first, and may have been passed on from speaker to speaker before being written. We know the names of some of the later writers (Cædmon, Ælfric and King Alfred) but most writing is anonymous. Old English literature is mostly chronicle and poetry - lyric, descriptive but chiefly narrative or epic. By the time literacy becomes widespread, Old English is effectively a foreign and dead language. And its forms do not significantly affect subsequent developments in English literature. (With the scholarly exception of the 19th century poet, Gerard Manley Hopkins, who finds in Old English verse the model for his metrical system of "sprung rhythm".) Middle English and Chaucer From 1066 onwards, the language is known to scholars as Middle English. Ideas and themes from French and Celtic literature appear in English writing at about this time, but the first great name in English literature is that of Geoffrey Chaucer (?1343-1400). Chaucer introduces the iambic pentameter line, the rhyming couplet and other rhymes used in Italian poetry (a language in which rhyming is arguably much easier than in English, thanks to the frequency of terminal vowels). Some of Chaucer's work is prose and some is lyric poetry, but his greatest work is mostly narrative poetry, which we find in Troilus and Criseyde and The Canterbury Tales. Other notable mediaeval works are the anonymous Pearl and Gawain and the Green Knight (probably by the same author) and William Langlands' Piers Plowman. Tudor lyric poetry Modern lyric poetry in English begins in the early 16th century with the work of Sir Thomas Wyatt (1503-1542) and Henry Howard, Earl of Surrey (1517-1547). Wyatt, who is greatly influenced by the Italian, Francesco Petrarca (Petrarch) introduces the sonnet and a range of short lyrics to English, while Surrey (as he is known) develops unrhymed pentameters (or blank verse) thus inventing the verse form which will be of great use to contemporary dramatists. A flowering of lyric poetry in the reign of Elizabeth comes with such writers as Sir Philip Sidney (1554-1586), Edmund Spenser (1552-1599), Sir Walter Ralegh (1552-1618), Christopher Marlowe (1564-1593) and William Shakespeare (1564-1616). The major works of the time are Spenser's Faerie Queene, Sidney's Astrophil and Stella and Shakespeare's sonnets. Renaissance drama The first great English dramatist is Marlowe. Before the 16th century English drama meant the amateur performances of Bible stories by craft guilds on public holidays. Marlowe's plays (Tamburlaine; Dr. Faustus; Edward II and The Jew of Malta) use the five act structure and the medium of blank verse, which Shakespeare finds so productive. Shakespeare develops and virtually exhausts this form, his Jacobean successors producing work which is rarely performed today, though some pieces have literary merit, notably The Duchess of Malfi and The White Devil by John Webster (1580-1625) and The Revenger's Tragedy by Cyril Tourneur (1575-1626). The excessive and gratuitous violence of Jacobean plays leads to the clamour for closing down the theatres, which is enacted by parliament after the Civil war. Metaphysical poetry The greatest of Elizabethan lyric poets is John Donne (1572-1631), whose short love poems are characterized by wit and irony, as he seeks to wrest meaning from experience. The preoccupation with the big questions of love, death and religious faith marks out Donne and his successors who are often called metaphysical poets. (This name, coined by Dr. Samuel Johnson in an essay of 1779, was revived and popularized by T.S. Eliot, in an essay of 1921. It can be unhelpful to modern students who are unfamiliar with this adjective, and who are led to think that these poets belonged to some kind of school or group - which is not the case.) After his wife's death, Donne underwent a serious religious conversion, and wrote much fine devotional verse. The best known of the other metaphysicals are George Herbert (1593-1633), Andrew Marvell (1621-1678) and Henry Vaughan (1621-1695). Epic poetry Long narrative poems on heroic subjects mark the best work of classical Greek (Homer's Iliad and Odyssey) and Roman (Virgil's Æneid) poetry. John Milton (1608-1674) who was Cromwell's secretary, set out to write a great biblical epic, unsure whether to write in Latin or English, but settling for the latter in Paradise Lost. John Dryden (1631-1700) also wrote epic poetry, on classical and biblical subjects. Though Dryden's work is little read today it leads to a comic parody of the epic form, or mock-heroic. The best poetry of the mid 18th century is the comic writing of Alexander Pope (1688-1744). Pope is the best-regarded comic writer and satirist of English poetry. Among his many masterpieces, one of the more accessible is The Rape of the Lock (seekers of sensation should note that "rape" here has its archaic sense of "removal by force"; the "lock" is a curl of the heroine's hair). Serious poetry of the period is well represented by the neo-classical Thomas Gray (1716-1771) whose Elegy Written in a Country Churchyard virtually perfects the elegant style favoured at the time. Restoration comedy On the death of Oliver Cromwell (in 1658) plays were no longer prohibited. A new kind of comic drama, dealing with issues of sexual politics among the wealthy and the bourgeois, arose. This is Restoration Comedy, and the style developed well beyond the restoration period into the mid 18th century almost. The total number of plays performed is vast, and many lack real merit, but the best drama uses the restoration conventions for a serious examination of contemporary morality. A play which exemplifies this well is The Country Wife by William Wycherley (1640-1716). Prose fiction and the novel Jonathan Swift (1667-1745), wrote satires in verse and prose. He is best-known for the extended prose work Gulliver's Travels, in which a fantastic account of a series of travels is the vehicle for satirizing familiar English institutions, such as religion, politics and law. Another writer who uses prose fiction, this time much more naturalistic, to explore other questions of politics or economics is Daniel Defoe (1661-1731), author of Robinson Crusoe and Moll Flanders. The first English novel is generally accepted to be Pamela (1740), by Samuel Richardson (1689-1761): this novel takes the form of a series of letters; Pamela, a virtuous housemaid resists the advances of her rich employer, who eventually marries her. Richardson's work was almost at once satirized by Henry Fielding (1707-1754) in Joseph Andrews (Joseph is depicted as the brother of Richardson's Pamela Andrews) and Tom Jones. After Fielding, the novel is dominated by the two great figures of Sir Walter Scott (1771-1832) and Jane Austen (1775-1817), who typify, respectively, the new regional, historical romanticism and the established, urbane classical views. Novels depicting extreme behaviour, madness or cruelty, often in historically remote or exotic settings are called Gothic. They are ridiculed by Austen in Northanger Abbey but include one undisputed masterpiece, Frankenstein, by Mary Shelley (1797-1851). Romanticism The rise of Romanticism A movement in philosophy but especially in literature, romanticism is the revolt of the senses or passions against the intellect and of the individual against the consensus. Its first stirrings may be seen in the work of William Blake (1757-1827), and in continental writers such as the Swiss philosopher Jean-Jacques Rousseau and the German playwrights Johann Christoph Friedrich Schiller and Johann Wolfgang von Goethe. The publication, in 1798, by the poets William Wordsworth (1770-1850) and Samuel Taylor Coleridge (1772-1834) of a volume entitled Lyrical Ballads is a significant event in English literary history, though the poems were poorly received and few books sold. The elegant latinisms of Gray are dropped in favour of a kind of English closer to that spoken by real people (supposedly). Actually, the attempts to render the speech of ordinary people are not wholly convincing. Robert Burns (1759 1796) writes lyric verse in the dialect of lowland Scots (a variety of English). After Shakespeare, Burns is perhaps the most often quoted of writers in English: we sing his Auld Lang Syne every New Year's Eve. Later Romanticism The work of the later romantics John Keats (1795-1821) and his friend Percy Bysshe Shelley (1792-1822; husband of Mary Shelley) is marked by an attempt to make language beautiful, and by an interest in remote history and exotic places. George Gordon, Lord Byron (1788-1824) uses romantic themes, sometimes comically, to explain contemporary events. Romanticism begins as a revolt against established views, but eventually becomes the established outlook. Wordsworth becomes a kind of national monument, while the Victorians make what was at first revolutionary seem familiar, domestic and sentimental. Victorian poetry The major poets of the Victorian era are Alfred, Lord Tennyson (1809-1892) and Robert Browning (1812-1889). Both are prolific and varied, and their work defies easy classification. Tennyson makes extensive use of classical myth and Arthurian legend, and has been praised for the beautiful and musical qualities of his writing. Browning's chief interest is in people; he uses blank verse in writing dramatic monologues in which the speaker achieves a kind of self-portraiture: his subjects are both historical individuals (Fra Lippo Lippi, Andrea del Sarto) and representative types or caricatures (Mr. Sludge the Medium). Other Victorian poets of note include Browning's wife, Elizabeth Barrett Browning (1806-1861) and Christina Rossetti (1830-1894). Gerard Manley Hopkins (1844-1889) is notable for his use of what he calls "sprung rhythm"; as in Old English verse syllables are not counted, but there is a pattern of stresses. Hopkins' work was not well-known until very long after his death. The Victorian novel The rise of the popular novel In the 19th century, adult literacy increases markedly: attempts to provide education by the state, and self-help schemes are partly the cause and partly the result of the popularity of the novel. Publication in instalments means that works are affordable for people of modest means. The change in the reading public is reflected in a change in the subjects of novels: the high bourgeois world of Austen gives way to an interest in characters of humble origins. The great novelists write works which in some ways transcend their own period, but which in detail very much explore the preoccupations of their time. Dickens and the Brontës Certainly the greatest English novelist of the 19th century, and possibly of all time, is Charles Dickens (1812-1870). The complexity of his best work, the variety of tone, the use of irony and caricature create surface problems for the modern reader, who may not readily persist in reading. But Great Expectations, Bleak House, Our Mutual Friend and Little Dorrit are works with which every student should be acquainted. Charlotte Brontë (1816-1855) and her sisters Emily (1818-1848) and Anne (1820-1849) are understandably linked together, but their work differs greatly. Charlotte is notable for several good novels, among which her masterpiece is Jane Eyre, in which we see the heroine, after much adversity, achieve happiness on her own terms. Emily Brontë's Wüthering Heights is a strange work, which enjoys almost cult status. Its concerns are more romantic, less contemporary than those of Jane Eyre - but its themes of obsessive love and self-destructive passion have proved popular with the 20th century reader. The beginnings of American literature The early 19th century sees the emergence of American literature, with the stories of Edgar Allan Poe (1809-1849), the novels of Nathaniel Hawthorne (1804-64), Herman Melville (1819-91), and Mark Twain (Samuel Langhorne Clemens; 1835-1910), and the poetry of Walt Whitman (1819-92) and Emily Dickinson (1830-86). Notable works include Hawthorne's The Scarlet Letter, Melville's Moby Dick, Twain's Huckleberry Finn and Whitman's Leaves of Grass. Back to top Later Victorian novelists After the middle of the century, the novel, as a form, becomes firmly-established: sensational or melodramatic "popular" writing is represented by Mrs. Henry Wood's East Lynne (1861), but the best novelists achieved serious critical acclaim while reaching a wide public, notable authors being Anthony Trollope (1815-82), Wilkie Collins (1824-89), William Makepeace Thackeray (1811-63), George Eliot (Mary Ann Evans; 1819-80) and Thomas Hardy (1840-1928). Among the best novels are Collins's The Moonstone, Thackeray's Vanity Fair, Eliot's The Mill on the Floss, Adam Bede and Middlemarch, and Hardy's The Mayor of Casterbridge, The Return of the Native, Tess of the d'Urbervilles and Jude the Obscure. Modern literature Early 20th century poets W.B. (William Butler) Yeats (1865-1939) is one of two figures who dominate modern poetry, the other being T.S. (Thomas Stearns) Eliot (1888-1965). Yeats was Irish; Eliot was born in the USA but settled in England, and took UK citizenship in 1927. Yeats uses conventional lyric forms, but explores the connection between modern themes and classical and romantic ideas. Eliot uses elements of conventional forms, within an unconventionally structured whole in his greatest works. Where Yeats is prolific as a poet, Eliot's reputation largely rests on two long and complex works: The Waste Land (1922) and Four Quartets (1943). The work of these two has overshadowed the work of the best late Victorian, Edwardian and Georgian poets, some of whom came to prominence during the First World War. Among these are Thomas Hardy, Rudyard Kipling (1865-1936), A.E. Housman (1859-1936), Edward Thomas (1878-1917), Rupert Brooke (1887-1915), Siegfried Sassoon (1886-1967), Wilfred Owen (1893-1918) and Isaac Rosenberg (1890-1918). The most celebrated modern American poet, is Robert Frost (1874-1963), who befriended Edward Thomas before the war of 1914-1918. Early modern writers The late Victorian and early modern periods are spanned by two novelists of foreign birth: the American Henry James (1843-1916) and the Pole Joseph Conrad (Josef Korzeniowski; 1857-1924). James relates character to issues of culture and ethics, but his style can be opaque; Conrad's narratives may resemble adventure stories in incident and setting, but his real concern is with issues of character and morality. The best of their work would include James's The Portrait of a Lady and Conrad's Heart of Darkness, Nostromo and The Secret Agent. Other notable writers of the early part of the century include George Bernard Shaw (1856-1950), H.G. Wells (1866-1946), and E.M. Forster (1879-1970). Shaw was an essay-writer, language scholar and critic, but is best-remembered as a playwright. Of his many plays, the best-known is Pygmalion (even better known today in its form as the musical My Fair Lady). Wells is celebrated as a popularizer of science, but his best novels explore serious social and cultural themes, The History of Mr. Polly being perhaps his masterpiece. Forster's novels include Howard's End, A Room with a View and A Passage to India. Joyce and Woolf Where these writers show continuity with the Victorian tradition of the novel, more radically modern writing is found in the novels of James Joyce (1882-1941), of Virginia Woolf (1882-1941), and of D.H. Lawrence (1885-1930). Where Joyce and Woolf challenge traditional narrative methods of viewpoint and structure, Lawrence is concerned to explore human relationships more profoundly than his predecessors, attempting to marry the insights of the new psychology with his own acute observation. Working-class characters are presented as serious and dignified; their manners and speech are not objects of ridicule. Other notable novelists include George Orwell (1903-50), Evelyn Waugh (1903-1966), Graham Greene (1904-1991) and the 1983 Nobel prize-winner, William Golding (1911-1993). Poetry in the later 20th century Between the two wars, a revival of romanticism in poetry is associated with the work of W.H. (Wystan Hugh) Auden (1907-73), Louis MacNeice (1907-63) and Cecil Day-Lewis (1904-72). Auden seems to be a major figure on the poetic landscape, but is almost too contemporary to see in perspective. The Welsh poet, Dylan Thomas (1914-53) is notable for strange effects of language, alternating from extreme simplicity to massive overstatement. Of poets who have achieved celebrity in the second half of the century, evaluation is even more difficult, but writers of note include the American Robert Lowell (1917-77), Philip Larkin (1922-1985), R.S. Thomas (1913-2000), Thom Gunn (1929-2004), Ted Hughes (1930-1998) and the 1995 Nobel laureate Seamus Heaney (b. 1939). Notable writers outside mainstream movements Any list of "important" names is bound to be uneven and selective. Identifying broad movements leads to the exclusion of those who do not easily fit into schematic outlines of history. Writers not referred to above, but highly regarded by some readers might include Laurence Sterne (1713-68), author of Tristram Shandy, R.L. Stevenson (1850-94) writer of Kidnapped and The Strange Case of Dr. Jekyll and Mr. Hyde, Oscar Wilde (1854-1900), author of The Importance of Being Earnest, and novelists such as Arnold Bennett (1867-1931), John Galsworthy (1867-1933) and the Americans F. Scott Fitzgerald (1896-1940), Ernest Hemingway (1898-1961), John Steinbeck (1902-68) and J.D. Salinger (b. 1919). Two works notable not just for their literary merit but for their articulation of the spirit of the age are Fitzgerald's The Great Gatsby and Salinger's The Catcher in the Rye. The American dramatist Arthur Miller (b. 1915) has received similar acclaim for his play Death of a Salesman (1949). Miller is more popular in the UK than his native country, and is familiar to many teachers and students because his work is so often set for study in examinations. Literature and culture Literature has a history, and this connects with cultural history more widely. Prose narratives were written in the 16th century, but the novel as we know it could not arise, in the absence of a literate public. The popular and very contemporary medium for narrative in the 16th century is the theatre. The earliest novels reflect a bourgeois view of the world because this is the world of the authors and their readers (working people are depicted, but patronizingly, not from inside knowledge). The growth of literacy in the Victorian era leads to enormous diversification in the subjects and settings of the novel. Recent and future trends In recent times the novel has developed different genres such as the thriller, the whodunnit, the pot-boiler, the western and works of science-fiction, horror and the sex-and-shopping novel. Some of these may be brief fashions (the western seems to be dying) while others such as the detective story or science-fiction have survived for well over a century. As the dominant form of narrative in contemporary western popular culture, the novel may have given way to the feature film and television drama. But it has proved surprisingly resilient. As society alters, so the novel may reflect or define this change; many works may be written, but few of them will fulfil this defining rôle; those which seem to do so now, may not speak to later generations in the same way. Evaluating literature The "test of time" may be a cliché, but is a genuine measure of how a work of imagination can transcend cultural boundaries; we should, perhaps, now speak of the "test of time and place", as the best works cross boundaries of both kinds. We may not "like" or "enjoy" works such as Wüthering Heights, Heart of Darkness or The Waste Land, but they are the perfect expression of particular ways of looking at the world; the author has articulated a view which connects with the reader's search for meaning. It is, of course, perfectly possible for a work of imagination to make sense of the world or of experience (or love, or God, or death) while also entertaining or delighting the reader or audience with the detail and eloquence of the work, as in A Midsummer Night's Dream, The Rime of the Ancient Mariner or Great Expectations.

Ralph Waldo Emerson’s “The American Scholar”

 Ralph Waldo Emerson’s   “The American Scholar”

 Paragraphs 1-7 - Man Thinking

Emerson opens "The American Scholar" with greetings to the college president and members of the Phi Beta Kappa Society of Harvard College. Pointing out the differences between this gathering and the athletic and dramatic contests of ancient Greece, the poetry contests of the Middle Ages, and the scientific academies of nineteenth-century Europe, he voices a theme that draws the entire essay together: the notion of an independent American intelligentsia that will no longer depend for authority on its European past. He sounds what one critic contends is "the first clarion of an American literary renaissance," a call for Americans to seek their creative inspirations using America as their source, much like Walt Whitman would do in Leaves of Grass eighteen years later. In the second paragraph, Emerson announces his theme as "The American Scholar" not a particular individual but an abstract ideal.

The remaining five paragraphs relate an allegory that underlies the discussion to follow. According to an ancient fable, there was once only "One Man," who then was divided into many men so that society could work more efficiently. Ideally, society labors together — each person doing his or her task — so that it can function properly. However, society has now subdivided to so great an extent that it no longer serves the good of its citizens. And the scholar, being a part of society, has degenerated also. Formerly a "Man Thinking," the scholar is now "a mere thinker," a problem that Emerson hopes to correct successfully by re-familiarizing his audience with how the true scholar is educated and what the duties of this scholar are.

Paragraphs 8-9 - The Influence of Nature

In these two paragraphs comprising the first section on how a scholar should be educated, Emerson envisions nature as a teacher that instructs individuals who observe the natural world to see — eventually — how similar their minds and nature are. The first similarity he discusses concerns the notion of circular power — a theme familiar to readers of the Nature essay — found in nature and in the scholar's spirit. Both nature and the scholar's spirit, "whose beginning, whose ending he never can find — so entire, so boundless," are eternal.

Order is another similarity — as it is in Nature — between the scholar and nature. At first, the mind views a chaotic and infinite reality of individual facts, but then it begins to classify these facts into categories, to make comparisons and distinctions. A person discovers nature's laws and can understand them because they are similar to the operations of the intellect. Eventually, we realize that nature and the soul — both proceeding from what Emerson terms "one root" — are parallel structures that mirror each other (Emerson's term for "parallel" may be misleading; he says that nature is the "opposite" of the soul). So, a greater knowledge of nature results in a greater understanding of the self, and vice versa. The maxims "Know thyself" and "Study nature" are equivalent: They are two ways of saying the same thing.

Paragraphs 10-20 - The Influence of the Past

Emerson devotes much of his discussion to the second influence on the mind, past learning — or, as he expresses it, the influence of books. In the first three paragraphs of this section, he emphasizes that books contain the learning of the past; however, he also says that these books pose a great danger. While it is true that books transform mere facts ("short-lived actions") into vital truths ("immortal thoughts"), every book is inevitably a partial truth, biased by society's standards when it was written. Each age must create its own books and find its own truths for itself.

Following this call for each age's creating truth, Emerson dwells on other dangers in books. They are dangerous, he says, because they tempt the scholar away from original thought. Excessive respect for the brilliance of past thinkers can discourage us from exploring new ideas and seeking individualized truths.

The worst example of slavish deference to past thinkers is the bookworm, a pedant who focuses all thought on trivial matters of scholarship and ignores large, universal ideas. This type of person becomes passive and uncreative, and is the antithesis of Emerson's ideal of the creative imagination: "Man hopes. Genius creates. To create, — to create, — is the proof of a divine presence." The non-creative bookworm is more spiritually distanced from God — and, therefore, from nature — than is the thinker of original thoughts.

But the genius, too, can suffer from the undue influence of books. Emerson's example of this kind of sufferer are the English dramatic poets, who, he says, have been "Shakespearized" for two hundred years: Rather than producing new, original texts and thoughts, they mimic Shakespeare's writings. Citing an Arabic proverb that says that one fig tree fertilizes another — just like one author can inspire another — Emerson suggests that true scholars should resort to books only when their own creative genius dries up or is blocked.

The last three paragraphs of this section refer to the pleasures and benefits of reading, provided it is done correctly. There is a unique pleasure in reading. Because ancient authors thought and felt as people do today, books defeat time, a phenomenon that Emerson argues is evidence of the transcendental oneness of human minds. Qualifying his previous insistence on individual creation, he says that he never underestimates the written word: Great thinkers are nourished by any knowledge, even that in books, although it takes a remarkably independent mind to read critically at all times. This kind of reading mines the essential vein of truth in an author while discarding the trivial or biased.

Emerson concedes that there are certain kinds of reading that are essential to an educated person: History, science, and similar subjects, which must be acquired by laborious reading and study. Foremost, schools must foster creativity rather than rely on rote memorization of texts: ". . . [schools] can only highly serve us, when they aim not to drill, but to create."

Paragraphs 21-30 - The Influence of Action

In this third section, Emerson comments on the scholar's need for action, for physical labor. He rejects the notion that the scholar should not engage in practical action. Action, while secondary to thought, is still necessary: "Action is with the scholar subordinate, but it is essential." Furthermore, not to act — declining to put principle into practice — is cowardly. The transcendental concept of the world as an expression of ourselves makes action the natural duty of a thinking person.

Emerson observes the difference between recent actions and past actions. Over time, he says, a person's past deeds are transformed into thought, but recent acts are too entangled with present feelings to undergo this transformation. He compares "the recent act" to an insect larva, which eventually metamorphoses into a butterfly — symbolic of action becoming thought.

Finally, he praises labor as valuable in and of itself, for such action is the material creatively used by the scholar. An active person has a richer existence than a scholar who merely undergoes a second-hand existence through the words and thoughts of others. The ideal life has "undulation" — a rhythm that balances, or alternates, thought and action, labor and contemplation: "A great soul will be strong to live, as well as strong to think." This cycle creates a person's character that is far superior to the fame or the honor too easily expected by a mere display of higher learning.

Paragraphs 31-45 - The Scholar's Duties

After Emerson has discussed how nature, books, and action educate the scholar, he now addresses the scholar's obligations to society. First, he considers these obligations in general, abstract terms; then he relates them to the particular situation of the American scholar.

The scholar's first and most important duty is to develop unflinching self-trust and a mind that will be a repository of wisdom for other people. This is a difficult task, Emerson says, because the scholar must endure poverty, hardship, tedium, solitude, and other privations while following the path of knowledge. Self-sacrifice is often called for, as demonstrated in Emerson's examples of two astronomers who spent many hours in tedious and solitary observation of space in order to make discoveries that benefited mankind. Many readers will wonder just how satisfying the reward really is when Emerson acknowledges that the scholar "is to find consolation in exercising the highest functions of human nature."

The true scholar is dedicated to preserving the wisdom of the past and is obligated to communicating the noblest thoughts and feelings to the public. This last duty means that the scholar — "who raises himself from private considerations, and breathes and lives on public illustrious thoughts" — must always remain independent in thinking and judgment, regardless of popular opinion, fad, notoriety, or expediency. Because the scholar discovers universal ideas, those held by the universal human mind, he can communicate with people of all classes and ages: "He is the world's eye. He is the world's heart."

Although he appears to lead a reclusive and benign life, the scholar must be brave because he deals in ideas, a dangerous currency. Self-trust is the source of courage and can be traced to the transcendental conviction that the true thinker sees all thought as one; universal truth is present in all people, although not all people are aware of it. Instead of thinking individually, we live vicariously through our heroes; we seek self-worth through others when we should search for it in ourselves. The noblest ambition is to improve human nature by fulfilling our individual natures.

Emerson concludes the essay by observing that different ages in Western civilization, which he terms the Classic, the Romantic, and the Reflective (or the Philosophical) periods, have been characterized by different dominant ideas, and he acknowledges that he has neglected speaking about the importance of differences between ages while speaking perhaps too fervently about the transcendental unity of all human thought.

Emerson now proposes an evolutionary development of civilization, comparable to the development of a person from childhood to adulthood. The present age — the first half of the 1800s — is an age of criticism, especially self-criticism. Although some people find such criticism to be an inferior philosophy, Emerson believes that it is valid and important. Initiating a series of questions, he asks whether discontent with the quality of current thought and literature is such a bad thing; he answers that it is not. Dissatisfaction, he says, marks a transitional period of growth and evolution into new knowledge: "If there is any period one would desire to be born in,is it not the age of Revolution; when the old and the new stand side by side, and admit of being compared; . . . This [present] time, like all times, is a very good one, if we but know what to do with it."

Emerson applauds the views of English and German romantic poets like Wordsworth and Goethe, who find inspiration and nobility in the lives and work of common people. Instead of regarding only royal and aristocratic subjects as appropriate for great and philosophical literature, the Romantic writers reveal the poetry and sublimity in the lives of lower-class and working people. Their writing is full of life and vitality, and it exemplifies the transcendental doctrine of the unity of all people. Ironically, we should remember that at the beginning of the essay, Emerson advocated Americans' throwing off the European mantle that cloaks their own culture. Here, he distinguishes between a European tradition that celebrates the lives of common people, and one that celebrates only the monarchical rule of nations: "We have listened too long to the courtly muses of Europe."

Making special reference to the Swedish philosopher and mystic Emanuel Swedenborg, Emerson contends that although Swedenborg has not received his due recognition, he revealed the essential connection between the human mind and the natural world, the fundamental oneness of humans and nature. Emerson finds much inspiration for his own thinking and writing in the doctrines of Swedenborg.

In his long, concluding paragraph, Emerson dwells on the romantic ideal of the individual. This fundamentally American concept, which he develops at much greater length in the essay "Self-Reliance," is America's major contribution to the world of ideas. The scholar must be independent, courageous, and original; in thinking and acting, the scholar must demonstrate that America is not the timid society it is assumed to be. We must refuse to be mere purveyors of the past's wisdom: ". . . this confidence in the unsearched might of man, belongs by all motives, by all prophecy, by all preparation, to the American Scholar," who will create a native, truly American culture.

CIVIL DISOBEDIENCE by HENRY DAVID THOREAU

M.A ENGLIGH LITERATURE
UNIT I
CIVIL DISOBEDIENCE  BY  HENRY DAVID THOREAU
5/30/2015
SOURCE:. WWW SPARKNOTES.COM
Source: spark notes and www.karthickenglish2020.bloger.com
R.K
CIVIL DISOBEDIENCE
HENRY DAVID THOREAU
INTRODUCTION
Henry David Thoreau (1817-1862) was a philosopher and writer best known for his attacks on American social institutions and his respect for nature and simple living. He was heavily influenced by the writer Ralph Waldo Emerson, who introduced Thoreau to the ideas of transcendentalism, a philosophy central to Thoreau's thinking and writing. In addition to Civil Disobedience (1849), Thoreau is best known for his book Walden (1854), which documents his experiences living alone on Walden Pond in Massachusetts from 1845-1847. Throughout his life, Thoreau emphasized the importance of individuality and self-reliance. He practiced civil disobedience in his own life and spent a night in jail for his refusal to pay taxes in protest of the Mexican War. (Thoreau was opposed to the practice of slavery in some of the territories involved.) It is thought that this night in jail prompted Thoreau to write Civil Disobedience. Thoreau delivered the first draft of the treatise as an oration to the Concord Lyceum in 1848, and the text was published in 1849 under the title Resistance to Civil Government.
The two major issues being debated in the United States during Thoreau's life were slavery and the Mexican-American War. Both issues play a prominent part in Thoreau's essay. By the late 1840s, slavery had driven a wedge in American society, with a growing number of Northerners expressing anti-slavery sentiments. In the 1850s, the country became even more polarized, and the introduction of slavery-friendly laws such as the Fugitive Slave Law , prompted many abolitionists to protest the government's actions via various forms of civil disobedience. (Slavery was only to come to an end a generation later when the abolitionist North would win the Civil War (1861-1865), Abraham Lincoln's Emancipation Proclamation would free all slaves in Confederate territory; eventually, the 13th Amendment would ban slavery everywhere.) In addition to this domestic conflict, the Mexican-American War (1846-1848) proved a point of much contention: Precipitated by boundary disputes between the United States and Mexico, the war was ultimately fought in order to expand American territory--many Americans felt it was our "Manifest Destiny" to seize all the land we could--and as a result the United States gained much of the present American Southwest, including California, Nevada and Utah. Thoreau and other opponents of the war argued that the campaign constituted an unnecessary act of aggression and that it was pursued on the basis of arrogance rather than any philosophically justifiable reasons.
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Civil Disobedience enjoyed widespread influence, both in the United States and abroad. Most famously, the work inspired Russia's Leo Tolstoy and India's Mahatma Gandhi. Later, it lent force to the American Civil Rights Movement.
Summary
Thoreau's Civil Disobedience espouses the need to prioritize one's conscience over the dictates of laws. It criticizes American social institutions and policies, most prominently slavery and the Mexican-American War.
Thoreau begins his essay by arguing that government rarely proves itself useful and that it derives its power from the majority because they are the strongest group, not because they hold the most legitimate viewpoint. He contends that people's first obligation is to do what they believe is right and not to follow the law dictated by the majority. When a government is unjust, people should refuse to follow the law and distance themselves from the government in general. A person is not obligated to devote his life to eliminating evils from the world, but he is obligated not to participate in such evils. This includes not being a member of an unjust institution (like the government). Thoreau further argues that the United States fits his criteria for an unjust government, given its support of slavery and its practice of aggressive war.
Thoreau doubts the effectiveness of reform within the government, and he argues that voting and petitioning for change achieves little. He presents his own experiences as a model for how to relate to an unjust government: In protest of slavery, Thoreau refused to pay taxes and spent a night in jail. But, more generally, he ideologically dissociated himself from the government, "washing his hands" of it and refusing to participate in his institutions. According to Thoreau, this form of protest was preferable to advocating for reform from within government; he asserts that one cannot see government for what it is when one is working within it.
Civil Disobedience covers several topics, and Thoreau intersperses poetry and social commentary throughout. For purposes of clarity and readability, the essay has been divided into three sections here, though Thoreau himself made no such divisions.
Important Terms
Abolitionists - Activists in favor of abolishing slavery
Daniel Webste - Daniel Webster (1792-1852) was a well-known American orator, lawyer and politician. As a U.S. Senator, he was an eloquent defender of a strong national government. He opposed the war with Mexico and was instrumental in passing the Compromise of 1850 on
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slavery, for which many Northerners denounced him. He also served as Secretary of State for Presidents William Henry Harrison, John Tyler and Millard Fillmore.
Mexican-American War - The Mexican-American War (1846-1848) was fought over boundary disputes between the two countries; the Americans believed that it was their "Manifest Destiny" to expand their territory. During the war, U.S. forces invaded Mexico and occupied its capital, eventually gaining the land that would later constitute California, Nevada, Utah, most of Arizona and New Mexico, and parts of Colorado and Wyoming.
Transcendentalism - A philosophy that became influential in the late 18th century and 19th century. Transcendentalism rejects the idea that knowledge can be fully derived from experience and observation of the physical world; rather, an individual should examine the way she comes to know things—in other words, the thought process itself—and focus on her connection to the divine, which exists beyond the senses but which can be known through intuition and feeling. American transcendentalism reached its peak in New England in the 1840s, under the leadership of Ralph Waldo Emerson. Emerson argued that, while the physical world is important, providing us with necessary goods and frequent beauty, people should live their lives based on truths grasped through reason, not just physical perception. People will find truth within themselves; therefore, self-reliance and individuality are critical. Emerson served as a mentor to Thoreau, who became another leading American transcendentalist.
Section One
Summary
Thoreau begins Civil Disobedience by saying that he agrees with the motto, "That government is best which governs least." Indeed, he says, men will someday be able to have a government that does not govern at all. As it is, government rarely proves useful or efficient. It is often "abused and perverted" so that it no longer represents the will of the people. The Mexican-American War illustrates this phenomenon.
The American government is necessary because "the people must have some complicated machinery or other, and hear its din, to satisfy that idea of government which they have." However, the only times when government has been useful has been when it has stood aside. Thoreau says that government does not, in fact, achieve that with which we credit it: it does not keep the country free, settle the West, or educate. Rather, these achievements come from the character of the American people, and they would have been even more successful in these endeavors had government been even less involved. Thoreau also complains about restrictions on trade and commerce. However, Thoreau then says that speaking "practically and as a citizen," he is not asking for the immediate elimination of government. Rather, for the moment, he is asking for a better government.
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Thoreau argues that by answering to the majority, democracies answer the desires of the strongest group, not the most virtuous or thoughtful. A government founded on this principle cannot be based on justice. Why can't there be a government where right and wrong are not decided by the majority but by conscience? Thoreau writes, "Must the citizen ever for a moment, or in the least degree, resign his conscience to the legislator? Why has every man a conscience, then? I think we should be men first, and subjects afterward." He asserts that it is more important to develop a respect for the right, rather than a respect for law, for people's obligations are to do what is right.
Too much respect for law leads people to do many unjust things, as war illustrates: Soldiers become only a shadow of their humanity; the government shapes them into machines. Soldiers have no opportunity to exercise moral sense, reduced to the existence comparable to that of a horse or dog. Yet these men are often called good citizens. Similarly, most legislators and politicians do not put moral sense first, and those few who do are persecuted as enemies.
The question then becomes how to behave toward the American government. Thoreau's answer is to avoid associating with it altogether. He declares, "I cannot for an instant recognize that political organization as my government which is the slave's government also." Thoreau says that while everyone recognizes the right to revolution when faced with an intolerably tyrannical or inefficient government, most people say that such a revolution would not be warranted under current conditions. However, Thoreau argues that we have not only the right, but indeed the duty, to rebel. The enslavement of one sixth of the population and the invasion of Mexico represent tremendous injustices that we must not allow to continue.
Thoreau criticizes the attitude that civil obligation should be maintained for the sake of expediency and that government should be obeyed simply to preserve the services we enjoy. Expediency does not take precedence over justice; people must do what justice requires regardless of cost--indeed, even if the cost is one's own life. Thus, Thoreau writes, "If I have unjustly wrested a plank from a drowning man, I must restore it to him though I drown myself." The people of the United States must stop slavery and the war with Mexico, even if it costs them their existence as a people.
Section Two
Summary
After having presented his view of man's individualistic duties as a citizen, Thoreau turns to how citizens should respond to their government's injustices. He says that he does not believe that voting is the proper solution. Voting for justice is not really acting for it. Rather, it is "feebly" expressing your desire that the right prevail. A wise man will not leave justice to the chance of a majority vote. The majority will end up voting their interest, voting for what will
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benefit them. A principled person must follow his conscience. Furthermore, nowadays, there are no people who vote independently of what their political parties tell them to do. There are almost no men in America, according to Thoreau. He complains of people's lack of intellect and self-reliance, as well as their complacency.
Thoreau writes that a person does not have a duty actually to eliminate wrongs-- even the most serious wrongs. A person may legitimately have other goals and pursuits. However, at the very least, a person must "wash his hands" of injustice and not be associated with something that is wrong. He asserts, "If I devote myself to other pursuits and contemplations, I must first see, at least, that I do not pursue them sitting on another man's shoulders." Thus, it is hypocritical for a person to commend a soldier for refusing to fight in an unjust war while that same person continues to sustain the unjust government that is pursuing the war.
Everyone agrees that unjust laws exist. The question is whether we should be content to obey them, whether we should try to change them but obey until they're changed, or whether we should disobey them at once. Most people in a democracy believe that the second course is best. They believe that if they resist, the revolution would be worse than the injustice. However, it is the government's fault that this is the case: The government doesn't encourage reform and dissent. Thoreau asks, "Why does [the majority-led government] always crucify Christ, and excommunicate Copernicus and Luther, and pronounce Washington and Franklin rebels?"
Thoreau then returns to the metaphor of the government-as-machine. He says that if an injustice is part of the "necessary friction" of the "machine of government," then it should be left alone. Perhaps the machine will wear smooth; in any case, it will eventually wear out. If the injustice has its own spring, rope or pulley, then one must consider whether the remedy is worse than the injustice. However, if the government requires one to be an agent of injustice toward another, then Thoreau says one must break the law. He urges the reader to be a "counter-friction" to the machine and not to participate in the wrong.
Thoreau then argues that working for change through government takes too much time and requires a person to waste his life. He is in the world simply to live in it and can't devote all of his time to making it a good place to live. A person doesn't have time to do everything good yet, this doesn't mean he must do anything wrong. In the case of the United States, the government doesn't provide room for remedy anyway; the very Constitution is evil.
All Abolitionists should immediately stop lending either their persons or their property to support the government of Massachusetts. Thoreau says that he only interacts directly with the American government once a year when the tax collector comes. And then he makes a point to quarrel with this person to make sure he understands what it means to be an officer of the government. These small protests are very important: "For it matters not how small the beginning may seem to be: what is once done well is done for ever." However, the majority of
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people, rather than protesting, simply talk emptily. If people were to risk action, to risk imprisonment, then change would actually occur.
Thoreau maintains that "Under a government which imprisons any unjustly, the true place for a just man is also a prison." This is true today in Massachusetts, he says: in prison, a person can live with honor among the victims of injustice. Perhaps a person might think she could not be useful in jail, would be incapacitated to bring about change. In response to such a person, Thoreau replies that she does know how much stronger truth is than error--how much more powerfully a person can combat injustice once that person has experienced it for herself. He urges the reader to "cast your whole vote" against injustice, meaning not just a ballot but one's whole influence. A minority is irresistible when it uses its whole weight. For, if given the choice of renouncing slavery and war on the one hand and keeping all just men in prison on the other, the state will choose to eliminate its unjust policies.
Thoreau explains that he has hitherto focused on imprisonment instead of confiscation of goods, primarily because those who are most committed to justice have typically avoided accumulating property. To these people, even a slight tax probably appears exorbitant because the state offers so few services for them. Furthermore, the rich man is always sold to the institution that made him rich; as money increases, virtue decreases. The only questions wealth nurtures is the question of how to spend that money--it never fosters self-questioning and moral consideration. Thus, focusing on material wealth, a person loses his moral ground. With greater life "means," his real opportunity to live is diminished. Thus, the best thing a person can do for his culture when he is rich is to attempt to live his life as he did while he was poor.
Thoreau then addresses those readers who might raise the concern that people need the government's protection and who are worried about the consequences of civil disobedience to their property and family. He says that he himself would never want to think himself dependent on the State's protection. However, he acknowledges that if he refuses to pay taxes it will mean he will lose his property and that the state will harass his family. This is "hard," he admits: It is hard to live honestly and yet outwardly comfortably at the same time. Thus, he concludes that it is not worthwhile to accumulate property. One should be self-sufficient and farm only a small crop. "You must live within yourself," he tells the reader. He quotes Confucius as saying that if a state is not governed by reason, then riches are a source of shame. He reasons that it costs him less "in every sense" to pay the penalty of disobeying the State than it would to obey it. That is, less is lost in forgoing the government's protection and in suffering harassment to one's family, than in sacrificing one's integrity in passive compliance with the government's unjust policies. For if he were to sacrifice his integrity, Thoreau explains, "I should feel as if I were worth less" as a person.
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Section Three
Summary
Thoreau now turns to his personal experiences with civil disobedience. He says that he hasn't paid a poll tax for six years and that he spent a night in jail once because of this. His experience in jail did not hurt his spirit: "I saw that, if there was a wall of stone between me and my townsmen, there was a still more difficult one to break through, before they could get to be as free as I was." Since the State couldn't reach his essential self, they decided to punish his body. This illustrated the State's ultimate weakness, and Thoreau says that he came to pity the State. The masses can't force him to do anything; he is subject only to those who obey a higher law. He says that he has to obey his own laws and try to flourish in this way.
The night in prison, he recounts, was "novel and interesting enough." His roommate had been accused of burning down a barn, though Thoreau speculated that the man had fallen asleep drunk in the barn while smoking a pipe. Thoreau was let in on the gossip and history of the jail and was shown several verses that were composed in the jail. The workings of the jail fascinated him, and staying in jail that night was like traveling in another country. He felt as if he was seeing his town through the light of the middle ages--as if he had never heard the sounds of his town before. After the first night, however, somebody interfered and paid his tax, and so he was released from prison the next day. Upon Thoreau's release, it seemed some kind of change had come over the town, the State and the country. He realized that the people he lived with were only friends in the good times. They were not interested in justice or in taking any risks. He soon left the town and was out of view of the State again.
Thoreau says that he always pays the highway tax because he wants to be a good neighbor, but, generally, he avoids all taxes. However, his refusal to pay taxes is not based on a desire to boycott one or two government practices in particular or the practices that a certain tax funds. Rather, he is refusing allegiance to the State as a whole. "In fact," he states, "I quietly declare war with the State, after my fashion, though I will still make what use and get what advantage of her I can, as is usual in such cases." Considering the anonymous person who paid his tax for him and let him out of jail, he says that if that person paid his tax out of sympathy with the State, then he or she was simply aiding injustice. If the person did it to help him, then he or she was letting his or her private feelings interfere with the public good. Thoreau says that he sometimes wants to respect his neighbors' desires, knowing that they mean well. However, he reminds himself that there are other people (e.g., the slaves) who would be much more hurt if he went along with his neighbors. He does not believe that he must accept men as they are and give up thinking of how they ought to be. In going against his fellow men, he believes that he can have some impact.
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Thoreau says that he doesn't want conflicts with any other person or country. Rather, he wants to follow the law, and he looks for reasons to follow it. He quotes a verse: "We must affect [i.e., "treat"] our country as our parents, / And if at any time we alienate / Our love or industry from doing it honor, / We must respect effects and teach the soul / Matter of conscience and religion, / And not desire of rule or benefit." He says that seen from a "lower" point of view, the Constitution and other laws warrant respect, despite their faults. From higher points of view, however, they appear less and less virtuous. But then, he says, the government doesn't concern him very much, and he avoids thinking about it.
Thoreau then writes that he doesn't have patience for lawyers and legislators. Standing within political institutions, they never critically look at these institutions and, therefore, cannot reform them; "They are wont to forget that the world is not governed by policy and expediency." He speaks of Daniel Webster, saying that this politician fails to make fundamental reforms of government. However, compared with other politicians and reformers, Webster is the only sensible one. He is not a leader but a follower, and his actions are defensive, not aggressive. He supports slavery because it was in the original compact of the U.S. Thus, he doesn't have wisdom but only prudence.
Thoreau concludes by saying that no one with legislative genius has yet appeared in America--such people are rare in the world's history. He writes that government's authority is "impure." To be just, authority must be based on the consent of the governed; its only rights are the rights that the individual gives it. The movement toward democracy constitutes progress toward true respect for the individual. However, democracy is not the last step that can be made. He says that he dreams of a State that respects the individual, a State that would not mind if a few individuals even chose to live independent of it altogether. This kind of State would prepare the way for an even more "perfect and glorious State."
Study Questions
What was Thoreau's view on slavery?
(A) Slavery was a necessary evil given the American economy.
(B) Slavery must be preserved because it is protected in the American Constitution.
(C) Slavery is morally desirable because of the inherent inferiority of blacks.
(D) Slavery is a moral evil that should be eliminated.
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What was Thoreau's primary act of civil disobedience in his own life?
(A) Public rallies and protests
(B) Refusal to pay taxes
(C) Destruction of public property
(D) All of the above
Which of the following government activities did Thoreau NOT object to?
(A) The elimination of tariffs
(B) The war with Mexico
(C) The protection of slavery
(D) None of the above
What was Thoreau's opinion on the "right" to rebel against one's government?
(A) There is never a right of revolution because the government's power is sovereign and absolute.
(B) There is a right to revolution against injustice, and this revolution would be acceptable against the contemporary United States.
(C) There is a right to revolution when facing extreme injustice, but the United States does not fit this description.
(D) Since government is always an evil, there is a constant obligation to revolt against the state and society.
Where did Thoreau write Civil Disobedience?
(A) Massachusetts
(B) Georgia
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(C) England
(D) New York
Why does Thoreau say the majority rules in democracies?
(A) The majority is more likely to be correct.
(B) The majority is stronger than the minority.
(C) To grant the desires of the majority is the only fair way of conducting government.
(D) None of the above
What are a person's duties regarding injustice, according to Thoreau?
(A) One must work to eliminate all wrongs.
(B) One must start a political campaign to reform society.
(C) One must refuse to support something that is wrong.
(D) One has no duties.
In Thoreau's opinion, what is the appropriate way to respond to unjust laws?
(A) One must be content to obey them.
(B) One must try to change the laws but obey them until they're changed.
(C) One must obey them as long as it is politically expedient.
(D) One must disobey the laws at once.
Which of the following measures does Thoreau NOT suggest to minimize the personal costs of civil disobedience?
(A) Don't accumulate private property.
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(B) Be self-sufficient.
(C) Amass important political connections.
(D) Live within yourself.
What does Thoreau call on Abolitionists to do?
(A) Stop paying taxes or supporting the Massachusetts government in any way
(B) Increase the number of anti-slavery petitions to Congress
(C) Campaign for anti-slavery candidates
(D) Send missionaries to the South to convince slaveholders to change their ways
Which does Thoreau say is more important: the need to be an honest individual or the need to be a responsible citizen?
(A) Neither the need to be an individual nor the need to be a citizen is very important,
(B) The need to be an individual and the need to be a ciitizen are equally vital and must be balanced according to circumstance,
(C) A person should be a citizen first and an individual second.
(D) A person should be an individual first and a citizen second.
What does Thoreau use as a metaphor for government?
(A) A ship
(B) A machine
(C) A train
(D) A lighthouse
Which politician does Thoreau criticize in his essay?
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(A) Thomas Jefferson
(B) John C. Calhoun
(C) Abraham Lincoln
(D) Daniel Webster
What does Thoreau say he learned from his night in jail?
(A) He gained a new view of his town.
(B) He realized that the State is ultimately weak.
(C) He realized that his neighbors were only friends during good times.
(D) All of the above
What does Thoreau mean when he says he refuses to sit on another man's shoulders?
(A) He refuses to support inequality.
(B) He refuses to benefit from injustice directed toward others.
(C) He refuses to read traditional literature.
(D) He refuses to perform in the circus.
Why is Thoreau impatient with politicians?
(A) They can't look critically at political institutions.
(B) There have not been any Americans with legislative genius.
(C) They forget that the world isn't ruled by policy and expediency.
(D) All of the above
For what other work is Thoreau famous?
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(A) Walden
(B) Utilitarianism
(C) Self-Reliance
(D) The Federalist Papers
When did Thoreau publish Civil Disobedience?
(A) 1780
(B) 1873
(C) 1849
(D) 1900
Which philosopher does Thoreau quote in his essay?
(A) Immanuel Kant
(B) Confucius
(C) Thomas Hobbes
(D) Ralph Waldo Emerson
Which philosophy is Thoreau most closely associated with?
(A) Transcendentalism
(B) Utilitarianism
(C) Empiricism
(D) Pragmatism
What kind of a state does Thoreau imagine at the end of his essay?
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(A) One that enforces conformity to Thoreau's values
(B) One that respects the individual and will even allow people to live independently of the state
(C) One that will increase the power of government in order to promote social justice
(D) One that will expand the United State's territory as part of its Manifest Destiny
How does Thoreau describe his attitude toward his government in Civil Disobedience?
(A) He looks for reasons to obey its laws.
(B) The government doesn't concern him very much.
(C) He avoids thinking about the government.
(D) All of the above
Why does Thoreau say it costs him less to disobey the law than to obey it?
(A) He would feel ashamed if he became rich under an unjust state.
(B) With the revenue from writing Civil Disobedience, he will make a lot of money.
(C) Disobeying the law doesn't have a very serious impact on his quality of life.
(D) He saves a lot of money by not paying taxes.
Which of the following leaders did Thoreau's essay have the greatest impact on?
(A) Malcolm X
(B) Joseph Stalin
(C) Richard Nixon
(D) Mahatma Gandhi
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Why doesn't Thoreau value voting?
(A) Most elections are corrupt.
(B) The country would be better off with an absolute ruler.
(C) Voting leaves justice to the chance of a majority vote.
(D) None of the above