Henry Theodore Tuckerman

thumb|Guard against checking or chilling a single earnest sentiment. Henry Theodore Tuckerman (April 20, 1813 – December 17, 1871) was an American writer, essayist and critic. Quotes Give me the boon of Love!   I ask no more for Fame;Far better one unpurchased heart   Than Glory's proudest name.Why wake a fever in the blood,   Or damp the spirit now,To gain a wreath whose leaves shall wave   Above a withered brow? "Give Me the Boon of Love", in The New-Yorker, vol. 6, no. 9 (November 17, 1838), p. 1 Credulity is perhaps a weakness almost inseparable from eminently truthful characters. "Goldsmith", in Rambles and Reveries (New-York: James P. Giffing, 1841), p. 196 There is a policy in manner. I have heard one, not inexperienced in the pursuit of fame, give it his earnest support, as being the surest passport to absolute and brilliant success. "Manner", in Rambles and Reveries (1841), p. 410 There is more or less of pathos in all true beauty. The delight it awakens has an undefinable and, as it were, luxurious sadness, which is perhaps one element of its might. It may be that this feeling springs from a sense of unattained good, of a perfection of being quite at variance with the present, which the beautiful never fails to suggest. "Tennyson", in Thoughts On the Poets (New York: C. S. Francis & Co., 1846), p. 275 There is a strength of quiet endurance as significant of courage as the most daring feats of prowess. "Keats", in Thoughts On the Poets (1846), p. 240 For Truth makes holy Love's illusive dreams,And their best promise constantly redeems. "Sonnet XXII", in Poems (Boston: Ticknor, Reed, and Fields, 1851), p. 168 The Optimist (1850) New York: George P. Putnam There are beauties of character which, like the night-blooming cereus, are closed against the glare and turbulence of every-day life, and bloom only in shade and solitude, and beneath the quiet stars. "New England Philosophy", p. 13 Let us recognise the beauty and power of true enthusiasm; and whatever we may do to enlighten ourselves and others, guard against checking or chilling a single earnest sentiment. "New England Philosophy", p. 18 A work of art is said to be perfect in proportion as it does not remind the spectator of the process by which it was created. "New England Philosophy", p. 18 Our times might not inaptly be designated as the age of traveling. Its records form no insignificant branch of the literature of the day. "Travel", p. 31 Travel gives a character of experience to our knowledge, and brings the figures on the tablet of memory into strong relief. "Travel", p. 38 A pilgrimage is an admirable remedy for over-fastidiousness and sickly refinement. "Travel", p. 46 Without the definiteness of sculpture and painting, music is, for that very reason, far more suggestive. Like Milton's Eve, an outline, an impulse, is furnished, and the imagination does the rest. "Music", p. 61 If conversation be an art, like painting, sculpture, and literature, it owes its most power charm to nature; and the least shade of formality or artifice destroys the effect of the best collection of words. "Conversation", p. 77 It is amusing to detect character in the vocabulary of each person. The adjectives habitually used, like the inscriptions on a thermometer, indicate the temperament. "Conversation", p. 79 Tact is an essential principle of conversation; hence, the eastern metaphor which likens a word spoken in season, to "apples of gold in pictures of silver." The time and the society must regulate the subject. "Conversation", p. 80 To a nice ear, the quality of a voice is singularly affecting. Its depth seems to be allied to feeling; at least, the contralto notes alone give an adequate sense of pathos. They are born near the heart. "Conversation", p. 83 I often muse upon the life of the true artist until it redeems to my mind, the more prosaic aspects of human existence. "Art and Artists", p. 90 There they breathe a congenial atmosphere. Often subsisting upon the merest pittance, indulging in every vagary of costume, they wander over the land and yield themselves freely to the spirit of adventure and the luxury of art. "Art and Artists", p. 90 One reason why the most famous portraits of the old masters, ... are so life-like, and inspire so deep a sense of their authenticity, is doubtless that the originals were objects of affection, and familiar by constant association and sympathy, to the minds of the artists. "Art and Artists", p. 92 Society is the offspring of leisure; and to acquire this forms the only rational motive for accumulating wealth, notwithstanding the cant that prevails on the subject of labor. "Social Life", p. 115 It has been said that self-respect is the gate of heaven, and the most cursory observation shows that a degree of reserve adds vastly to the latent force of character. "Social Life", p. 124 Whatever is genuine in social relations endures, despite of time, error, absence, and destiny; and that which has no inherent vitality had better die at once. A great poet has truly declared that constancy is no virtue, but a fact. "Social Life", p. 126 It is to be regretted we are so limited in costume. No word is more prevalent than becoming, and no idea more commonly violated. As regards the dress of our own sex, I do not remember to have met a single exception to the feeling of its almost entire deficiency, both in elegance and adaptation. "Costume", p. 128 The art of walking is at once suggestive of the dignity of man. Progressive motion alone implies power, but in almost every other instance it seems a power gained at the expense of self-possession. "Walking", p. 135 Humor is doubtless intended as the safety-valve of concentrative minds, and its prevalence, in the English race, is owing to their reserve of character, which finds no vent through a mercurial temperament like the French and Italians. "Humor", p. 176 It has been often remarked that earnest men excel in humor, and we perceive how benign is the law which thus tempers elements of fearful intensity. "Humor", p. 176 A popular epithet usually goes nearer the truth than we are apt to imagine. "Gold Fever", p. 181 If the perspective of time were not a necessary condition of romance, the present age would be deemed as fertile in the wonderful as any which have preceded it; but this obvious truth, though sometimes acknowledged, is seldom realized. "Gold Fever", p. 182 When the fluid particles composing the primeval earth settled into consistent masses, an unbroken, uniform plain was not the result; but everywhere, form, color, and density indicated the various species of matter. Verdure crept over the rich loam, long tables of sand marked the limits of the sea, and rocks of every hue stood forth from the hills. Form of aspect and movement became a law of creation. Even the unstable elements obeyed it. "Manner", p. 231 We discern beyond the smile and the honeyed word, and are sickened at the self-created hollowness of a human heart. "Manner", p. 234 There are no greater forgers in the universe, than cunning mannerists. Their whole lives are false. The loveliest of human attributes, the beautiful, the winning virtue of sincerity, abides not with them. They have abjured the profession of humanity. "Manner", p. 234 Fashion seldom interferes with nature without diminishing her grace and efficiency. "Flowers", p. 248 There is to the poetical sense a ravishing prophecy and winsome intimation in flowers that now and then, from the influence of mood of circumstance, reasserts itself like the reminiscence of childhood, or the spell of love. "Flowers", pp. 251–52 This miserable habit of our times is vividly illustrated by the manner in which those next most sacred things to mortals, books, are treated. "Broad Views", p. 260 Society is too often at war with love. Thousands of human spirits created to assimilate, to afford mutual comfort and inspiration, to interpret each other, and find in sympathy a balm and motive that will render them superior to vicissitude; thousands of human spirits cross and recross each other's paths, severed by the barriers of vain custom and arbitrary opinion. "The Rationale of Love", p. 266 The soul, by an instinct stronger than reason, ever associates beauty with truth. "The Rationale of Love", p. 269 External links Category:Essayists from the United States Category:Poets from the United States Category:Literary critics Category:1813 births Category:1871 deaths Category:People from Boston