The Esoteric Origins of The American Renaissance
The Esoteric Origins of The American Renaissance
By Arthur Versluis
New York; Oxford University Press, 2001. Hardback, vi + 234 pages.
Arthur Versluis considers Western esotericism the most important new field of religious and interdisciplinary scholarship. In this groundbreaking work, he is the first to study the presence of Western esotericism in North America and its influences on the major writers of the nineteenth-century American Renaissance.
The term "Western esotericism'' includes herbalism, astrology, folk magic, and the several forms of divination that seventeenth-and eighteenth-century European colonists brought with them to help discern their uncertain future in a new world. English and German settlers, especially, integrated practical esotericism into their daily lives. By the time of the nineteenth century, these esoteric currents were disappearing. The rise of the sciences, technology, and industrialization in the early nineteenth century presented a cosmology that separated and objectified, whereas the esoteric traditions worked with the deeper connections between "humanity, nature, and the divine."
The elimination of esotericism from American daily life, however, was not complete. Our of sight did not" mean our of mind. Indeed, the writers of the American Renaissance were responsible for "the transference of esoteric traditions from daily life into literary consciousness." In this volume, Versluis analyzes esoteric themes in the work of writers like Poe, Hawthorne, Melville, Alcott, Emerson, Fuller, Whitman, and Dickinson-writers who limited their contact with esoterica to the available literature, but did not practice.
Versluis suggests several reasons why previous studies have almost completely ignored the influence of esotericism on these writers. First, academia assesses esotericism as superstition. Second, the study of esoteric traditions is transdisciplinary, cutting across many disciplines, with ramifications beyond any single one, making it difficult to find a home in academia. Third, critics claimed that nineteenth-century American literature belonged on a level with Shakespeare, though discounting the bard's own references to magic and esoterica. In the wilderness of unexamined primary sources, Versluis searches for specific esoteric connections between a given writer and the writer’s works. His analysis and scholarship are as fascinating as a treasure hunt.
Versluis closes with two interesting suggestions. First, that the work of these writers with esoterica influenced them to adopt an open tolerance for truth in every tradition. This led to the Transcendentalist thesis that a universal human religion is inherent in all the world religions. Second, their work probably prepared the way for the later emergence of semisecret lodges in American cities and the practice of astrology and alchemy from the last century until today.
-DAVID R. BISHOP
January/February 2003