Proceedings: Alexander von Humboldt’s Natural History Legacy and Its Relevance for Today
2001 Northeastern Naturalist Special Issue 1:121-134
“HERO OF KNOWLEDGE, BE OUR TRIBUTE
THINE:” ALEXANDER VON HUMBOLDT
IN VICTORIAN AMERICA
LAURA DASSOW WALLS *
ABSTRACT – Alexander von Humboldt has been a neglected figure in American
intellectual and cultural history. His visit to the United States in 1804, his
many connections with American scientists, explorers, politicians, writers, and
artists, and the wide popularity of his books, all show Humboldt to be of great
significance to nineteenth-century America. This essay traces the course of
Humboldt’s fame in Victorian America, the reasons for his special connection
with the United States and for the precipitous decline in his reputation, and
closes with a consideration of Humboldt’s legacy in American art and literature.
Alexander von Humboldt was to nineteenth-century America rather
like Albert Einstein was to the twentieth century: the iconic scientist,
whose intellect was so far beyond the ordinary as to seem mystical, superhuman,
fabulous, yet curiously benign. As Hermann Klencke said,
Humboldt is “a fabulously miraculous individual, over whom the report of
mysterious adventures throws a supernatural halo” (1853). Yet portraits of
Humboldt show a kindly, white-haired gentleman, stooping slightly, with
a hint of a smile and a twinkle in his eyes. Nineteenth-century America
cannot be fully understood without this most sociable of great scientists,
for his influence on America was far out of proportion to the length of his
brief visit here in 1804. My discussion will range across four aspects of
this topic: first, I will briefly survey the course of Humboldt’s fame in Victorian
America; then, I will inquire into the reasons for this special connection
with the United States; third, I will ask why such high fame met with
such a precipitous decline; and finally, I will say a few words about
Humboldt’s legacy in American art and literature.
Humboldt left America in 1804 planning to return someday, and although
his plans never materialized, the links forged during his brief visit
were maintained and developed for decades, through correspondence and
the frequent visits of Americans to Humboldt in both Paris and Berlin.
For decades, information was exchanged between Humboldt and a surprisingly
large number of prominent Americans – scientists, artists, literary
figures and government officials – tying him to this country through a
network of contacts, suggestions, favors, and obligations. Had he returned,
he would have explored the Western territories in person, but
* Department of English, Lafayette College, Easton, PA 18042.
wallsl@mail.lafayette.edu
122 Northeastern Naturalist Special Issue 1
when the American West was finally explored by state- and federallysponsored
expeditions, the science and the methods were Humboldt’s.
From him, Americans learned how to answer the most practical and essential
questions about mineral deposits, agricultural lands, climate and
rainfall patterns, the customs and languages of indigenous peoples—and
above all, how to produce that first necessity: a good map. By the end of
the 1850s, the blank map of America had indeed been filled in, thanks to a
massive appropriation of national resources – amounting to a third of the
federal budget –critical to the professionalization of American science.
To this effort, Humboldt served as a model and a cheerleader, using his
letters to praise explorers such as John Frémont, Charles Wilkes,
Alexander Bache, and Matthew Maury, and in 1850 engineering an
award to Frémont from the King of Prussia, the “Great Golden Medal of
Progress in the Sciences” (Foner 1983).1
The first wave of exploration, followed soon afterward by European
immigrants who settled the new territory, peppered the American landscape
with places named after Humboldt (Table 1). Frémont named
much of Nevada after Humboldt, and in 1863 the entire state almost
received Humboldt’s name. Although Humboldt place-names occur
1 For further information on Humboldt’s links to American science and exploration, see
Goetzmann (1986), Cannon (1978), and de Terra (1955, 1960). The argument outlined here and
in the next several pages is developed at length in Walls (1990).
Table 1. Humboldt Place Names, United States (selected from Oppitz 1969)
Cities and Counties: Geographical Features:
Humboldt, Arizona Humboldt Bay, California
Humboldt County, California Humboldt Lake, Minnesota
Humboldt City, California Humboldt Lake, Nevada
Fort Humboldt, California Humboldt River, Nevada
Humbolt [sic], Illinois Humboldt Salt Marsh, Nevada
Humboldt County, Iowa Humboldt Reservoir, Pennsylvania
Humboldt, Iowa Humboldt Flats, California
Humboldt, Kansas Humboldt Heights, California
Humboldt, Michigan Humboldt Hill, California
Humboldt, Minnesota Humboldt Mountain, Arizona
Humboldt Village, Minnesota Humboldt Peak, Colorado
Humboldt, Nebraska Humboldt Range, Nevada
Humboldt County, Nevada Humboldt Park, Buffalo, New York
Humboldt City, Nevada Humboldt Park, Chicago
Humboldt, Nevada Humboldt Redwoods State Park, California
Humboldt, Ohio Humboldt State Forest, Nevada
Humboldt, Pennsylvania Humboldt Cave, Nevada
Humboldt, South Dakota Humboldt Mine, Colorado
Humboldt, Tennessee Humboldt State University, Arcata, California
Humboldtsburg, Texas (Humboldt Current, South America)
Humboldt Township, Wisconsin
Humboldt, Wisconsin
2001 L.D. Walls 123
world wide, the U.S. honored Humboldt in this way far more than any
other country: taking only major geographical features, Europe claims
11; Latin America, 13; Canada and Greenland, 8; and the United States,
37 (Oppitz 1969). That this was a conscious act of veneration for the
now-aging Humboldt is suggested by the letter written to Humboldt in
1858 by John B. Floyd, Secretary of War:
Never can we forget the services you have rendered not only to us but to
all the world. The name of Humboldt is not only a household word
throughout our immense country, from the shores of the Atlantic to the
waters of the Pacific, but we have honored ourselves by its use in many
parts of our territory, so that posterity will find it everywhere linked with
the names of Washington, Jefferson, and Franklin.
Included with the letter was an album of nine maps, showing lakes,
rivers, mountains and cities named after Alexander von Humboldt (de
Terra 1955). That Humboldt took all this in stride is suggested by
Theodore S. Fay, an American ambassador in Berlin, who reported that
one day Humboldt remarked, while holding an open letter just received
from America, “I wish you to know that I am a river about 350 miles
long; I have not many tributeries, nor much timber, but I am full of
fish” (Agassiz 1869).
It was when Cosmos began appearing, in 1845, that Humboldt came
into his own as a cultural figure in America. Before that time, he was
certainly known within scientific, literary, and political circles, but
there was little about him in the popular press. In the years following the
publication of the first two volumes of Cosmos, reviews, accounts,
gossip, biographies and memorials of Humboldt appeared everywhere,
from the North American Review and The New Englander to the Methodist
Quarterly and Godey’s Ladies Book. Of course many Americans
never got deeper than the periodical literature; that said, there were, of
course, many who did not settle for a second-hand acquaintance. Cosmos
was issued in two competing English translations, one reprinted in
America and both readily available; simultaneously, the newly revised
edition of Ansichten der Natur was also issued in two competing translations.
2 A newly translated, 3-volume version of Personal Narrative
came out in 1852,3 and full-length biographies began appearing: Juliette
2 Vols. 1-2 of Cosmos were translated by E.J. Sabine and published in London by Longman,
Brown, Green and Longmans, 1846-49. Vols. 1-4 of Cosmos were translated by E.C. Otté and
published in London by Henry G. Bohn, 1849-58; they were reprinted in New York by Harper
and Brothers, 1850-70. Ansichten der Natur (1849) was translated by E. J. Sabine as Aspects of
Nature (Longman, Brown, Green, and Longmans, 1849; reprinted by Lea and Blanchard,
Philadelphia, 1849), and by E.C. Otté as Views of Nature (Henry G. Bohn, London, 1850).
3 The translator and editor was Thomasina Ross (Henry G. Bohn, London); there was also an
abridged edition by W. Macgillivray, The Travels and Researches of Alexander von Humboldt
(1833, J. & J. Harper, New York, 367 pp.), which Emerson owned.
124 Northeastern Naturalist Special Issue 1
Bauer’s translation of Klencke’s Lives of the Brothers Humboldt was
published in New York in 1853, followed by Richard Henry Stoddard’s
The Life, Times, and Books of Alexander von Humboldt, also in New
York, in 1859, and eventually, the English translation of the definitive
2-volume Life of Alexander von Humboldt (Bruhns 1873). Thus in the
years just before the Civil War, a flurry of books by and about Humboldt
hit the American market. The fuss was all too much for one exasperated
reviewer, who complained in 1850 that while Humboldt’s writing is
intelligent and instructive, it is never profound; he is “one of those
irreproachable mediocrities” which “you hear everybody praise.” The
sympathy of the general public is thus inflamed:
Hence we see Humboldt addressed familiarly by speculators in canals or
railroads; and ship-owners presume to honor him by marking their
water-wagons of trade with his name. This might be a compliment to an
Astor or even a Baring; but who would think of thus complimenting the
name of a Bacon, a Gallileo [sic], or Napoleon? (Anonymous 1850)
More typical is the reviewer who praised the Introduction of Cosmos for
giving “an impression of the age itself, in its best features,” in a “rare
union” of German idealism with true science (Anonymous 1846). In a
review widely reprinted in America, the British scientist John Herschel
praised Humboldt in grand terms:
Science has produced no man of more rich and varied attainments, more
versatile in genius, more indefatigable in application to all kinds of
learning, more energetic in action, or more ardent in inquiry; and we
may add, more entirely devoted to her cause in every period of a long
life. (Herschel 1848)
The Boston poet and essayist Henry T. Tuckerman found in Humboldt
the model of the true “Naturalist” who unites minute observation with
grand central truth, always connecting the facts of science with human
welfare and culture, thus “drawing into the sweetest union poetry and
philosophy” – in short, “the Napoleon of science” (Tuckerman 1850).
Bayard Taylor pronounced Humboldt “the world’s greatest living man”
(Taylor 1857); Frederic Henry Hedge, of Transcendentalist fame, compared
Humboldt with Aristotle, and the Honorable Theodore S. Fay
ranked him with Aristotle, and Plato, as well (Agassiz 1869). Robert
Ingersoll, lecturer and professional atheist, dubbed Humboldt the
Shakespeare of science (Ingersoll 1878).
Literary figures were touched by the Humboldt phenomenon, too.
Washington Irving was one of Humboldt’s earliest American visitors
(Schwarz 1997). Edgar Allan Poe dedicated his last book, Eureka, to
Humboldt in 1848. Walt Whitman wrote Leaves of Grass with a copy of
Cosmos on his desk. Ralph Waldo Emerson began reading and referring
to Humboldt as early as 1821, and throughout his life Emerson invoked
2001 L.D. Walls 125
Humboldt as the heroic scientist, “a universal man,” in whose shoes
travelled “a university, a whole French Academy” (Agassiz 1869).
Henry David Thoreau encountered Humboldt at a crucial turning point
in his career, and thereafter adopted Humboldt’s methods and philosophy
to his own work as a naturalist, invoking Humboldt as one of his
highest personal heroes (Walls 1995).
Indeed, as Humboldt’s vision united natural science with the arts,
humanities, and social sciences, so did his memory literally bring
together scientists, theologians, scholars, politicians, and poets. One of
the most remarkable celebrations of the centennial of Humboldt’s birth
was held in Boston. Here Emerson joined his friend, the natural scientist
Louis Agassiz, at an impressive gathering of New England’s intelligentsia.
At a reception following Agassiz’s two-hour address – on
which Agassiz worked so hard that he collapsed afterward, never fully
recovering – speaker after speaker rose to honor Humboldt’s memory:
Thomas Wentworth Higginson, Frederic Henry Hedge, Ralph Waldo
Emerson, Charles T. Jackson, and the Mayor of Boston, among others.
Dr. Oliver Wendell Holmes, poet and Harvard professor, contributed a
poem; Higginson read a second poem, written for the occasion by Julia
Ward Howe, social activist and author of “Battle Hymn of the Republic.”
The evening closed with a letter from the poet John Whittier,
applauding Humboldt’s “approval and sympathy” for the anti-slavery
cause during its darkest days. Over eighty subscribers contributed a
total of nearly $7,000 – approximately $140,000 today – toward a
permanent memorial, the Humboldt Scholarship, intended to aid students
of Natural History in Agassiz’s Museum of Comparative Zoology
at Cambridge (Agassiz 1869).
A closer look at the two poems contributed to the occasion helps
define the role Humboldt played in the culture of nineteenth-century
America. In Julia Ward Howe’s poem, Humboldt is nature’s immortal
“priest,” the “saint” of study who loosened the gates of the “treasury of
science” and “Gave to the multitude her gift divine.” Humboldt thus
stands as a mediator between “high Truth” and the needs of common
humanity, too dedicated to the “earnest errands of the age” to be delayed
by “idle pomp nor futile joy:”
He cannot pause when kings and courtiers praise him:
Too short the daylight is, too wide the page.
Humboldt’s paradise is thus “a citadel of service,” and one of his great
services to humanity was the opening of the American West:
Shine out, O West! illumined by his traces,
Ere the cramped world took notice of thy state;
He gave the record of thy virgin graces,
And in prophetic vision saw thy fate.
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Ironically, then, this poem associates Humboldt with the exploration of
a land he never actually saw – yet the identification of Humboldt with
the United States is felt to be irresistible.
Oliver Wendell Holmes’ poem expands on Tuckerman’s epithet for
Humboldt as “the Napoleon of Science” by celebrating the “double
birth” in 1769 of Napoleon, “heir of empires yet to be,” and Humboldt,
whose empire would be larger still:
His was no taper lit in cloistered cage,
Its glimmer borrowed from the grove or porch;
He read the record of the planet’s page
By Etna’s glare and Cotopaxi’s torch.
In Holmes’ poem, the true hero is not Napoleon, blood-red despot,
“Master ... of the sons of earth,” but Humboldt, their “Servant” who
“unrolled the gospel of the storied globe, / And led young Science to her
empty throne.” At poem’s end, Holmes turns to the voice of humanity
itself, a voice which cries out for the “‘despot’s laurels’” to be torn out
“‘by the root’” while the“‘long-forbidden tree of knowledge’” be bent
within the reach of all; finally, the brotherhood of humanity proclaims
that Napoleon’s fame should be utterly eclipsed by Humboldt’s:
“Bring the white blossoms of the waning year,
Heap with full hands the peaceful conqueror’s shrine
Whose bloodless triumphs cost no sufferer’s tear!
Hero of knowledge, be our tribute thine!”
As the poems suggest, although Humboldt was honored world-wide,
Americans perceived a special affinity connecting Humboldt with the
fate of their nation. American writings about Humboldt frequently referred
to him as “our friend,” or “always the friend of Young America.”
As Stoddard wrote, “to be an American was almost a passport to his
presence” (Stoddard 1859). Of all the foreign countries represented in
Berlin, it was the Americans alone who formed a part of Humboldt’s
funeral procession. What accounts for this special sense of connection?
First, Americans were proud to claim Humboldt as “the second Columbus,”
“the scientific discoverer of America” whose reputation was
made on our continent – thus, in a characteristic move, claiming all of
“America,” North, South, and Central, for the United States. As
Agassiz reminded his Centennial audience, it was, after all, Humboldt
who had originally traced the very name “America” to its source in a
German mapmaker. Furthermore, Humboldt was a direct link to
America’s founding fathers: “He lived through the period of the American
Revolution; he was a contemporary with Washington and Adams,
and a friend of Jefferson” (Lieber 1869). Humboldt liked to call himself
“a man of 1789,” and one American visitor, Bayard Taylor, recalled
2001 L.D. Walls 127
him saying, “I belong to the age of Jefferson and Gallatin, and I heard
of Washington’s death while travelling in South America” (Taylor
1857). Humboldt thus offered a living monument to America’s own
revolutionary past.
Second, Humboldt’s reputation rode the crest of what Theodore
Parker called the “German craze,” that period of fascination with all
things German that characterized a number of New England intellectuals
in the early to mid-nineteenth century (Grefe 1988). Third, Americans
felt a comfortable fit between Humboldt’s vision of a universal
harmony, of nature as a free and interconnected whole, and their own
mainstream version of natural theology (whereby God governed by
natural law) and of democratic nationalism. That is to say, Americans in
certain regions felt this fit: Humboldt’s support came overwhelmingly
from the North and the West. His unconditional opposition to slavery
made him a staunch ally of the anti-slavery radicals, especially during
the superheated 1850s. In 1856, the abolitionist candidate for the presidency
was none other than Humboldt’s own John Frémont, and
Humboldt’s name was drawn into the election propoganda. Although
Frémont lost to Buchanan, the election helped to draw the sectional
lines, uniting the North and West against the South. [Meanwhile, back
in Prussia, Humboldt pushed the King to pass a law in 1857 declaring
that any slave became free upon stepping on Prussian soil, another
moral victory for Humboldt’s New England friends (Foner 1983).] As
the association with Frémont suggests, Humboldt had actively supported
the expansion of the free states to the Pacific coast, and expansionists
seeking support for the doctrine of Manifest Destiny were quick
to point out that all the world’s great empires had arisen in succession
along Humboldt’s isothermal zodiac – and America was next in line.
Thus Humboldt gave the United States both the blueprint for expansion,
and the rationale, as well as the inspiration to carry on the revolutionary
ideals of the Old World into the New.
It is necessary to ask, then, why the fervent enthusiasm for Humboldt
went into such a rapid and total eclipse. When I began to research
Humboldt in the late 1980s, virtually none of my colleagues had ever
heard of him, and I grew accustomed to finding him footnoted as
nothing more than a German traveler and mining engineer – and, on
occasion, seeing him confused with his brother Wilhelm. How could
Alexander’s fame have evaporated so quickly? For one thing, the Civil
War effectively cut American culture in two, leaving Humboldt on the
side of the distant past, before the country’s consolidation into a global
industrial power and an emerging nation-state. In addition, the death of
Humboldt in the same year as the publication of Darwin’s Origin of
Species (1869) marks a conservative turn in scientific and social
thought. After Darwin’s theories had been popularly translated into
128 Northeastern Naturalist Special Issue 1
proof that an alien and deterministic nature was locked in a bitter contest
for survival, Humboldt’s optimistic vision of natural diversity creating
order and harmony seemed both old-fashioned and naive. As Humboldt
slipped into obscurity, awareness of his foundational role in the science
of ecology and in the American environmental movement faded as well.
He was also, in a sense, a victim of his own success: his presence
everywhere meant that he was nowhere in particular, leaving behind no
Figure 1. Title page from Physical Geography by Arnold Guyot (1873; Scribner,
Armstrong, and Company, New York). Succeeding editions continued to reprint
this portrait of Humboldt on the first page.
2001 L.D. Walls 129
field or school to bear his name – a truth recognized by Louis Agassiz in
his 1869 memorial address:
See this map of the United States; – all its important traits are based
upon [Humboldt’s] investigations; . . . . But for him our geographies
would be mere enumerations of localities and statistics. . . . Every
schoolboy is familiar with his methods now, but he does not know that
Humboldt is his teacher. The fertilizing power of a great mind is truly
wonderful; but as we travel farther from the source, it is hidden from us
by the very abundance and productiveness it has caused. (Agassiz 1869)
That said, it is still possible to trace Humboldt’s legacy in American
culture, literature, and art. One line leads through his students, friends,
and followers. These include Agassiz himself, Harvard’s stellar natural
scientist and a protegé of Humboldt’s, who had left Switzerland for
America in 1848 at Humboldt’s urging and thanks to the funding
Humboldt had arranged; and Agassiz’s friend, the Swiss geographer
Arnold Guyot, who emigrated to America after the Revolution of 1848
to become professor at Princeton for many decades and founder of the
teaching of geography in American classrooms (Fig. 1). There was also
George Perkins Marsh, whose 1864 book Man and Nature, or, Physical
Geography as Modified by Human Action marked a watershed in American
environmental thought, and who saw himself as a direct follower of
Humboldt and Guyot.
Another American who was directly inspired by Humboldt was the
great landscape painter, Frederic Edwin Church. In Cosmos, Humboldt
had established that in the pairing of artist and scientist, it was the role
of the artist to awaken the moral and intellectual faculties through the
aesthetic sense – to stand in for nature, as it were, and “incite” us to
heightened appreciation of the real thing, thereby initiating a cycle: the
emotion of pleasure leads to the desire for knowledge, which in turn
enhances enjoyment. Thus, the artist and the scientist encourage and
complete each other in a rising spiral by which mind and nature are
intertwined. As Thoreau put it, “A true account of the actual is the rarest
poetry.” Therefore the artist must also be enough of a botanist to identify
and understand plant forms, enough of a geologist to comprehend
and communicate the forces which build and erode great land masses –
and skilled enough to communicate knowledge and pleasure to all, in
service to a higher, democratic cause.
Humboldt discussed three kinds of art in particular as “incitements”
to nature study: literary, or poetic descriptions of nature; gardening, or
the culture of exotic plants; and landscape painting. For Humboldt,
landscape painting was no “merely imitative art” but “a result at once of
a deep and comprehensive reception of the visible spectacle of external
nature, and of this inward process of the mind” (Cosmos II: 86). Of
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course, every zone of earth has its “peculiar beauties,” but greater
diversity meant greater sensual stimulation, so the mountains of the
equatorial tropics would offer the richest field to the landscape artist.
“Why may we not be justified,” Humboldt asked, “in hoping that landscape
painting may hereafter bloom with new and yet unknown beauty,
when highly-gifted artists shall oftener pass the narrow bounds of the
Mediterranean, and shall seize, with the first freshness of a pure youthful
mind, the living image of the manifold beauty and grandeur of nature
in the humid mountain valleys of the tropical world?” (II: 83-84).
Humboldt’s call was answered not by a British or European artist,
but by a young American, Frederic Church, who on the heels of his
apprenticeship to Thomas Cole bought, read, and re-read Cosmos
(Gould 1989). In 1853, and again in 1857, Church retraced Humboldt’s
steps to the high tropics of South America, even occupying the same
house in Quito, Ecuador that Humboldt had lived in nearly sixty years
before. Church became the most renowned artist in 19th-century
America by setting himself to be the Humboldtian painter of heroic
landscapes. The ultimate example of Humboldtian aesthetics is seen in
Church’s most famous painting, “Heart of the Andes” (Fig. 2). This
immense canvas was first exhibited in New York in 1859, and thereafter
became a travelling sensation; after its triumphant New York showing,
Church sent it to Europe to have it shown to Humboldt himself,
then 90 years of age. [Humboldt, alas, died before the painting left for
Berlin (Gould 1989).]
Several features mark this painting as Humboldtian. First is the epic
scale: of the canvas itself (it is 10 feet wide), of the scene depicted, and
of the high seriousness of its presentation; this painting is meant to
move us through awe and wonder, awakening us to the beauty and
significance of Nature’s overwhelming spectacle. Second is the famous
accuracy of the botanical details, and the geological understanding of
the mountain’s structure. Third is the suppression of details for the sake
of the whole; though criticized by some for lack of unity, the composition
still reads as a coherent picture, not as an aggregate of details.
Fourth and finally is the manner in which information is arranged in
multiple levels. As a whole, the painting is itself finite, though it implies
infinity in the complexity of the vegetation and the misty distances. It is
literally, that is to say, a composition: composed of and by means of the
details; composed by the mind and eye of the artist, in interaction with
the physical nature of South America. Church thus demonstrates one of
Humboldt’s crucial points: while the Cosmos is infinite, and we can
never know it all nor reduce it to a single principle, we can group
interconnected elements of it into compositions of our own making.
Thus, it is that Humboldt titled his own most popular, and favorite, book
Ansichten der Natur—variously translated as “Views” or “Aspects” of
2001 L.D. Walls 131
Figure 2. “Heart of the Andes” by Frederic Edwin Church (1859); owned by the Metropolitan Museum of Art, New York, NY.
132 Northeastern Naturalist Special Issue 1
nature. There is, he recognized, always a certain arbitrariness to this
view-shaping process: every whole we compose out of the richness of
nature is itself cut out of a greater whole, and composed of smaller ones.
So one can move in and out of Church’s landscape, composing new
landscapes on various levels: now a view of a waterfall; now a closeup
of the tangled vegetation, illustrating the visual appearance of the local
plant community. Critics at the time celebrated this painting as actually
four, five, or even six paintings in one; and at its public showings,
viewers were provided with binoculars or viewing frames in which they
might compose from it their own pictures.
Humboldtian aesthetics effectively produced nature as a cultural
value, but for Humboldt this was not an end but a means. Cultural
artifacts were to act as incitements for the study and appreciation of
actual nature; through the resulting spiral of pleasure and knowledge,
human destiny would be advanced toward peace, individual freedom,
moral progress, communication and the exchange of goods and ideas.
Such ideas were a powerful inspiration for one of America’s most
beloved literary artists, Henry David Thoreau.
Originally trained at Harvard as a classical scholar, Thoreau was
drawn to the transcendental ideas of Ralph Waldo Emerson, his friend
and neighbor in Concord, Massachusetts, from whom he may well have
first heard of Humboldt. Although one of Thoreau’s earliest essays, “A
Walk to Wachusetts” (1842), already invoked Humboldt as the heroic
naturalist-explorer, it was not until after Thoreau’s own excursion to
Walden Pond that Thoreau began to construct himself in a similar
mold. The turning point came around 1850, when Thoreau’s effort to
reinvent himself as a naturalist coincided with an intensive reading of
all the books then available by, or about, Humboldt, and soon afterward
by such Humboldtians as Darwin, Agassiz, and Guyot. From that point
forward, Thoreau modeled himself after the Humboldtian naturalist,
exploring nature in the field, collecting specimens and measurements,
and connecting a staggering wealth of empirical data into patterns that
led to poetic and philosophical conclusions. Thoreau completed
Walden (1854) during his first surge of enthusiasm for Humboldtian
science, and his later natural history essays are reminiscent of
Ansichten der Natur, with their emphasis on the perceiving mind’s
composition of discrete but interrelated “views” out of nature’s infinite
possibility. Moreover, Thoreau’s late science writings show him developing
and applying his empirical form of transcendentalism to many of
the same problems which then engaged the Harvard botanist Asa Gray,
as well as Gray’s British correspondent Charles Darwin; Thoreau’s embrace
of Humboldtian science thus put him in the vanguard of those
who welcomed Darwin’s evolutionary ideas in all their ecological dimensions
(Berger 1996).
2001 L.D. Walls 133
The coincidence of a number of events – Humboldt’s death and the
publication of Darwin’s Origin of Species, both in 1859; the onset of
the Civil War in 1861, and Thoreau’s own premature death in 1862 –
all collectively mark a historical turn in America away from the hopes
and energies characteristic of the antebellum years. In those years,
Humboldt had been a sympathetic and watchful scientific godfather to
a new republic still bright with promise. To study America’s Victorian
past while ignoring Humboldt seems comparable to studying our own
century under the assumption that Albert Einstein was an obscure
German patent clerk. Moreover, recovering Humboldt’s vision gives
us an historical precedent for many of our own hopes and ideals: that a
harmony might emerge from the free interaction of democratic
peoples; that in appropriating nature for our own ends, humanity will
lead not to destruction but to a new and higher creative union; that the
mind is not separate from nature, exerting control over it, but emerges
from contact with nature in a social ecology by which each is constantly
composing and recomposing the other. In Humboldt’s legacy,
all of our actions and thoughts – including your reading of this, my
own understanding of Humboldt – are a part of the living community
of the Cosmos.
LITERATURE CITED
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birth of Alexander von Humboldt, under the auspices of the Boston Society
of Natural History, by Louis Agassiz, with an account of the evening
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ANONYMOUS. 1846. Humboldt’s Cosmos. American Whig Review 3:598-
610.
ANONYMOUS. 1850. Rev. of Aspects of Nature. American Whig Review
5:143-54.
BERGER, M. 1996. Henry David Thoreau’s Science in The Dispersion of
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DE TERRA, H. 1955. Humboldt: The Life and Times of Alexander von
Humboldt, 1769-1859. Knopf, New York, NY. 386 pp.
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134 Northeastern Naturalist Special Issue 1
GOULD, S.J. 1989. Church, Humboldt, and Darwin: The Tension and Harmony
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SCHWARZ, I. 1997. The second discoverer of the New World and the first
American literary ambassador to the Old World: Alexander von Humboldt
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