ndependent or fearless, but louder and more combative, whose
voice soon became heard and whose strength soon began to be felt in the
long battle between the traditional and immanent inspiration,--Theodore
Parker. If Emerson was the moving spirit, he was the right arm in the
conflict, which in one form or another has been waged up to the present
day.

In the winter of 1838-39 Emerson delivered his usual winter course
of Lectures. He names them in a letter to Carlyle as follows: "Ten
Lectures: I. The Doctrine of the Soul; II. Home; III. The School; IV.
Love; V. Genius; VI. The Protest; VII. Tragedy; VIII. Comedy; IX. Duty;
X. Demonology. I designed to add two more, but my lungs played me false
with unseasonable inflammation, so I discoursed no more on Human Life."
Two or three of these titles only are prefixed to his published Lectures
or Essays; Love, in the first volume of Essays; Demonology in "Lectures
and Biographical Sketches;" and "The Comic" in "Letters and Social
Aims."

* * * * *

I owe the privilege of making use of the two following letters to my
kind and honored friend, James Freeman Clarke.

The first letter was accompanied by the Poem "The Humble-bee," which
was first published by Mr. Clarke in the "Western Messenger," from the
autograph copy, which begins "Fine humble-bee! fine humble-bee!" and has
a number of other variations from the poem as printed in his collected
works.

CONCORD, December 7, 1838.

MY DEAR SIR,--Here are the verses. They have pleased some of my
friends, and so may please some of your readers, and you asked me
in the spring if I hadn't somewhat to contribute to your journal. I
remember in your letter you mentioned the remark of some friend of
yours that the verses, "Take, O take those lips away," were not
Shakspeare's; I think they are. Beaumont, nor Fletcher, nor both
together were ever, I think, visited by such a starry gleam as that
stanza. I know it is in "Rollo," but it is in "Measure for Measure"
also; and I remember noticing that the Malones, and Stevens, and
critical gentry were about evenly divided, these for Shakspeare, and
those for Beaumont and Fletcher. But the internal evidence is all
for one, none for the other. If he did not write it, they did not,
and we shall have some fourth unknown singer. What care we _who_
sung this or that. It is we at last who sing. Your friend and