“An Unread Book”, p. 20
The Third Book of Criticism (1969)
“Taking the chance of making a complete fool of himself — and, sometimes, doing so — is the first demand that is made upon any real critic: he must stick his neck out just as the artist does, if he is to be of any real use to art.”
“The Age of Criticism”, p. 79
Poetry and the Age (1953)
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Randall Jarrell 215
poet, critic, novelist, essayist 1914–1965Related quotes
'Introduction'
Essays and reviews, Glued to the Box (1983)

8 September 1833. As quoted in: Maurice York and Rick Spaulding (2008): Ralph Waldo Emerson – The the Infinitude of the Private Man: A Biography. https://books.google.de/books?id=_pRMlDQavQwC&pg=PA240&dq=A+man+contains+all+that+is+needful+to+his+government+within+himself&hl=de&sa=X&ved=0ahUKEwiahO73qqfeAhUwpIsKHRqzDswQ6AEIQDAD#v=onepage&q=A%20man%20contains%20all%20that%20is%20needful%20to%20his%20government%20within%20himself&f=false Chicago and Raleigh: Wrighwood Press, pages 240 – 241. Derived from: Edward Waldo Emerson and Waldo Emerson Forbes (1909): Journals of Ralph Waldo Emerson, with annotations, III, pages 200-201.
1820s, Journals (1822–1863)
Context: A man contains all that is needful to his government within himself. He is made a law unto himself. All real good or evil that can befal [sic] him must be from himself. He only can do himself any good or any harm. Nothing can be given to him or can taken from him but always there is a compensation.. There is a correspondence between the human soul and everything that exists in the world; more properly, everything that is known to man. Instead of studying things without the principles of them, all may be penetrated unto with him. Every act puts the agent in a new position. The purpose of life seems to be to acquaint a man with himself. He is not to live the future as described to him but to live the real future to the real present. The highest revelation is that God is in every man.
Section 1.3 <!-- p. 10 -->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: The concentration of a small child at play is analogous to the concentration of the artist of any discipline. In real play, which is real concentration, the child is not only outside time, he is outside himself. He has thrown himself completely into whatever it is he is doing. A child playing a game, building a sand castle, painting a picture, is completely in what he is doing. His self-consciousness is gone; his consciousness is wholly focused outside himself.

1840s, Heroes and Hero-Worship (1840), The Hero as Prophet
Note to the "Criticism" section
The Portable Matthew Arnold (Viking Press, 1949)

Source: No Treason (1867–1870), No. VI: The Constitution of No Authority, p. 12–13
Context: It is true that the theory of our Constitution is, that all taxes are paid voluntarily; that our government is a mutual insurance company, voluntarily entered into by the people with each other; that each man makes a free and purely voluntary contract with all others who are parties to the Constitution, to pay so much money for so much protection, the same as he does with any other insurance company; and that he is just as free not to be protected, and not to pay any tax, as he is to pay a tax, and be protected.But this theory of our government is wholly different from the practical fact. The fact is that the government, like a highwayman, says to a man: Your money, or your life. And many, if not most, taxes are paid under the compulsion of that threat.The government does not, indeed, waylay a man in a lonely place, spring upon him from the road side, and, holding a pistol to his head, proceed to rifle his pockets. But the robbery is none the less a robbery on that account; and it is far more dastardly and shameful.The highwayman takes solely upon himself the responsibility, danger, and crime of his own act. He does not pretend that he has any rightful claim to your money, or that he intends to use it for your own benefit. He does not pretend to be anything but a robber. He has not acquired impudence enough to profess to be merely a "protector," and that he takes men's money against their will, merely to enable him to "protect" those infatuated travellers, who feel perfectly able to protect themselves, or do not appreciate his peculiar system of protection. He is too sensible a man to make such professions as these. Furthermore, having taken your money, he leaves you, as you wish him to do. He does not persist in following you on the road, against your will; assuming to be your rightful "sovereign," on account of the "protection" he affords you. He does not keep "protecting" you, by commanding you to bow down and serve him; by requiring you to do this, and forbidding you to do that; by robbing you of more money as often as he finds it for his interest or pleasure to do so; and by branding you as a rebel, a traitor, and an enemy to your country, and shooting you down without mercy, if you dispute his authority, or resist his demands. He is too much of a gentleman to be guilty of such impostures, and insults, and villainies as these. In short, he does not, in addition to robbing you, attempt to make you either his dupe or his slave.The proceedings of those robbers and murderers, who call themselves "the government," are directly the opposite of these of the single highwayman.In the first place, they do not, like him, make themselves individually known; or, consequently, take upon themselves personally the responsibility of their acts. On the contrary, they secretly (by secret ballot) designate some one of their number to commit the robbery in their behalf, while they keep themselves practically concealed.

The Soul of Man Under Socialism (1891)
Context: Art is the most intense mode of individualism that the world has known. I am inclined to say that it is the only real mode of individualism that the world has known. Crime, which, under certain conditions, may seem to have created individualism, must take cognisance of other people and interfere with them. It belongs to the sphere of action. But alone, without any reference to his neighbours, without any interference, the artist can fashion a beautiful thing; and if he does not do it solely for his own pleasure, he is not an artist at all.