The essay as literary genre
The word essay was derives from the French infinitive essayer, ‘to try’ or ‘to attempt’. The first author to describe his research as essays was the Frenchman Michel de Montaigne (1534-1593). Inspired in particular by the research of Plutarch, a translation of whose Oeuvres morales (Moral works) into French had just been published by Jacques Amyot, Montaigne began to work on his essays in 1573; the first edition, entitled Essais, was published in two volumes in 1580. He continued revising previously published essays and composing new ones. Francis Bacon’s essays, published in book form in 1598, 1613, and 16256, were the first works in English that described themselves as essays. Ben Jonson first used the word essayist in English in 1609, according to the Oxford English Dictionary. Notable essayists are legion. They include Virginia Woolf, Alamgir Hashmi, Voltaire, Adrienne Rich Joan Didion, Susan Sontag Sara Suleri, Natalia Ginzburg ,Annie Dillard, Joseph Addison, Charles Lamb, Leo Tolstoy, Richard Steele William Hazlitt, , Ralph Waldo Emerson, Thomas Babington Macaulay, Percy Bysshe Shelley ,Henry David Thoreau, Mary Shelley, George Orwell, Walter Bagehot, George Bernard Shaw, John D’Agata, John D’Agata Gore Vidal, , J.M. Coetzee, Gaston Waringhien, Marguerite Yourcenar and E.B. White. It is very difficult to explain the genre into which essays fall. The following remarks by Aldous Huxley, a leading essayist, could help:
“Like the novel, the essay is a literary device for saying almost everything about almost anything. By tradition, almost by definition, the essay is a short piece, and it is therefore impossible to give all things full play within the limits of a single essay. But a collection of essays can cover almost as much ground, and cover it almost as thoroughly, as can a long novel. Montaigne’s Third Book is the equivalent, very nearly, of a good slice of the ComédieHumaine. Essays belong to a literary species whose extreme variability can be studied most effectively within a three-poled frame of reference. There is the pole of the personal and the autobiographical; there is the pole of the objective, the factual, the concrete-particular; and there is the pole of the abstract-universal. Most essayists are at home and at their best in the neighbourhood of only one of the essay’s three poles, or at the most only in the neighbourhood of two of them. There are the predominantly personal essayists, who write fragments of reflective autobiography and who look at the world through the keyhole of anecdote and description. There are the predominantly objective essayists who do not speak directly of themselves, but turn their attention outward to some literary or scientific or political theme. … And how splendid, how truly oracular are the utterances of the great generalizers! … The most richly satisfying essays are those which make the best not of one, not of two, but of all the three worlds in which it is possible for the essay to exist” (Collected Essays, “Preface”).