1900: It is important to note that Latin America too was now ready for Emerson in translation. La Revista Nueva of Santiago de Chile for December 1900 listed the Madrid edition, calling attention to the fact that it was reputedly the first Spanish version of Emerson. (According to the article, Emerson came to be know in LA first by the translations that came from Spain).
1900: Rodó, in 1900, spoke of him and of Poe in Ariel as "los ejemplares de una fauna expulsada de su verdadero medio por el rigor de una catastrofe geologica."
1917: The growing appreciation of Emerson would bring together an impressive body of old and new criticism that was to reach a high point in 1917.
1917: So it was that in the year 1917, writing in the Pacifico Magazine of Santiago, Adela Rodriguez de Rivadeneira would now speak of the United States of America as the cradle of great men of the stature of Lincoln and Emerson: Lincoln, "el libertador del fisico de los hombres, aboliendo las leyes de la esclavitud"; and Emerson, "el emancipador de las conciencias difundiendo una filosofía que puede llamarse libertadora, reformadora y hasta creadora de almas."
1917: And again, in 1917, that another woman, Teresa Prats de Sarratea, lecturing to others of her sex aspiring to be "discipulos del gran Apóstol de la 'Confianza en si mismo'," would reveal the worshipful reverence held by many who like her had found in Emerson an answer to their doubts and fears: "i Oh! Maestro inmortal de la Verdad, que me has abierto de par en par las puertas del templo del Altisimo: mis brazos suplicantes se tendian en la sombra y yo no sabia a quien orar.... Mi alma estaba enferma de nostalgia, de duda, de inquietud, y le has traido la paz.... Los seres que yo amaba se alejaron, y tu, dulce amigo de los solitarios, me has ensefiado a encontrarlos en la soledad.”
1917: José Ingenieros would edit and publish his lectures on Emerson in one of several significant volumes in the history of Latin American thought that reveal his affinity and his indebtedness to our "moralista sin dogmas." Emerson, Ingenieros told his students in Filosofia y Letras of Buenos Aires, was, "en el sentido mas riguroso del concepto," himself a member of his own distinguished family of Representative Men.
1920: And what is even more significant, perhaps, these fables represent virtually all of Emerson the poet that is yet available in Spanish except for Zendegui's renderings of "Days" and "Hamatreya" in 1920.
1921: But Peninsular publishing houses would continue to supply the Hispanic World with readings from Emerson for over two decades before Ediciones Minimas of Buenos Aires would, in 1921, bring out the first Latin American edition of Emerson, an edition, by the way, that was but a reissue of an earlier Spanish translation of "The Poet."
1936: And there was to be no other American edition of Emerson, in either Spanish or Portuguese, until the outbreak of the Spanish Civil War. Since 1936 Latin American editions have prevailed. Emerson's popularity in Latin America reached its peak in the years immediately preceding and following our participation in the First World War. His essays appeared and reappeared, in journals and reviews, in unsigned translations of which, it should be observed, the majority were taken from volumes then coming almost yearly from Peninsular presses. They are the familiar ones-"The poet," "Self-Reliance," "The Over-Soul," "Uses of great men," "Compensation," "Politics," "Worship," "Art"- essays that were soon to become familiar to Hispanic readers everywhere.
1940: Mexican editions of post- Renaissance novelist Twain would not begin to come out until nearly 1910, and the works of his predecessors Hawthorne, Emerson, Thoreau, Dickinson, and Whitman would not find publishers in Mexico until the 1940s, the era of Good Neighbor Policy (Santí 1990, 159). Melville would not see a Mexican edition of any of his works until 1957 (Englekirk 1944).