In giving the title, “Glimpses of Emerson,” to one of the chapters in her “Authors and Friends,” Mrs. Fields described accurately the use she made of her records and remembrances of that serene Olympian who glided in and out of Boston to the awe and delight of those with whom he came into personal contact. “Olympian” must be the word, since “Augustan” connotes something quite too mundane to suggest the effect produced by Emerson upon his sympathetic contemporaries. Did they realize, I wonder, how fitting it was that this prophet of the harmonies of life should live in a place the name of which is spoken by all but New Englanders as if it signified not a despairing _Væ victis_, but the very bond of peace? All the adjectives of benignity have been bestowed upon Emerson. Mrs. Fields’s “Glimpses” of him suggest that atmosphere, as of mountain solitudes, in which he moved; that air of the heights which those who moved beside him were fain to breathe. His “Conversations” in public and private places, a form of intellectual refreshment suggested by Mrs. Fields and conducted, to Emerson’s large material advantage, by her husband, appear to-day as highly characteristic of their time,—the sixties and seventies,—and the light thrown upon them by her journal illuminates not only him and her, but the whole society of “superior persons” in which Emerson was so dominating a figure. By no means all of that light escaped from her manuscript journals to the printed page of “Authors and Friends.” In the hitherto unprinted passages now given there are further shafts of it, sometimes slender in themselves, but joining to show the very Emerson that came and went in Charles Street.
_From the marble statue by Daniel Chester French in the Concord Public Library_]
There was a furtive humor in Emerson, which expressed itself more accurately in his own words than in anything written about him. A pleasant trace of it is found in a note to Fields addressed, “My dear Editor,” dated “Concord, October 5, 1866,” and containing these words: “I have the more delight in your marked overestimate of my poem, that I had been vexed with a belief that what skill I had in whistling was nearly or quite gone, and that I must henceforth content myself with guttural consonants or dissonants, and not attempt warbling.”