Chapter XVII: Book I: , chap. i. Description of the World.... Book II., chap. i (3)

My walk under the pines would lose half its summer charm were I to miss that shy anchorite, the Wilson's thrush, nor hear in haying time the metallic ring of his song, that justifies his rustic name of _scythe-whet_. I protect my game as jealously as an English squire. If anybody had oölogized a certain cuckoo's nest I know of (I have a pair in my garden every year), it would have left me a sore place in my mind for weeks. I love to bring these aborigines back to the mansuetude they showed to the early voyagers, and before (forgive the involuntary pun), they had grown accustomed to man and knew his savage ways. And they repay your kindness with a sweet familiarity too delicate ever to breed contempt. I have made a Penn-treaty with them, preferring that to the Puritan way with the native, which converted them to a little Hebraism and a great deal of Medford rum. If they will not come near enough to me (as most of them will), I bring them close with an opera-glass,--a much better weapon than a gun. I would not, if I could, convert them from their pretty pagan ways. The only one I sometimes have savage doubts about, is the red squirrel. I _think_ he oölogizes; I _know_ he eats cherries, (we counted five of them at one time in a single tree, the stones pattering down like the sparse hail that preludes a storm), and that he knaws off the small end of pears to get at the seeds. He steals the corn from under the noses of my poultry. But what would you have? He will come down upon the limb of the tree I am lying under, till he is within a yard of me. He and his mate will scurry up and down the great black-walnut for my diversion, chattering like monkeys. Can I sign his death-warrant who has tolerated me about his grounds so long? Not I. Let them steal, and welcome, I am sure I should, had I the same bringing up and the same temptation. As for the birds, I do not believe there is one of them but does more good than harm; and of how many featherless bipeds can this be said.

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=_220._= CHAUCER'S LOVE OF NATURE.

He was the first great poet who really loved outward nature as the source of conscious pleasurable emotion. The Troubadour hailed the return of spring, but with him it was a piece of empty ritualism. Chaucer took a true delight in the new green of the leaves, and the return of singing birds--a delight as simple as that of Robin Hood:--

"In summer when the shaws be sheen,
And leaves be large and long,
It is full merry in fair forest
To hear the small birds' song."

He has never so much as heard of the burthen and the mystery of all this unintelligible world. His flowers and trees and birds have never bothered themselves with Spinoza. He himself sings more like a bird than any other poet, because it never occurred to him, as to Goethe, that he ought to do so. He pours himself out in sincere joy and thankfulness. When we compare Spenser's imitations of him with the original passages, we feel that the delight of the later poet was more in the expression than in the thing itself. Nature, with him, is only to be transfigured by art. We walk among Chaucer's sights and sounds; we listen to Spenser's musical reproduction of them. In the same way the pleasure which Chaucer takes in telling his stories, has, in itself, the effect of consummate skill, and makes us follow all the windings of his fancy with sympathetic interest. His best tales run on like one of our inland rivers, sometimes hastening a little and turning upon themselves in eddies, that dimple without retarding the current, sometimes loitering smoothly, while here and there a quiet thought, a tender feeling, a pleasant image, a golden-hearted verse, opens quietly as a water-lily to float on the surface without breaking it into ripple.... Chaucer never shows any signs of effort, and it is a main proof of his excellence that he can be so inadequately sampled by detached passages, by single lines taken away from the connection in which they contribute to the general effect. He has that continuity of thought, that evenly prolonged power, and that delightful equanimity, which characterize the higher orders of mind. There is something in him of the disinterestedness that made the Greeks masters in art. His phrase is never importunate. His simplicity is that of elegance, not of poverty. The quiet unconcern with which he says his best things is peculiar to him among English poets, though Goldsmith, Addison, and Thackeray, have approached it in prose. He prattles inadvertently away, and all the while, like the princess in the story, lets fall a pearl at every other word. It is such a piece of good luck to be natural. It is the good gift which the fairy god-mother brings to her prime favorites in the cradle. If not genius, it is alone what makes genius amiable in the arts. If a man have it not he will never find it; for when it is sought it is gone.

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=_Edgar Allen Poe, 1811-1849._= (Manual, p. 510.)

From "The Masque of the Red Death."

=_221._= CHIMING OF THE CLOCK.

... The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet--a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro, or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire, that projected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber, the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.

It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep, and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows, as if in confused revery or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled, as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.

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From his "Essays."

=_222._= The Philosophy of Composition.

There is a radical error, I think, in the usual mode of constructing a story. Either history affords a thesis--or one is suggested by an incident of the day--or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative--designing, generally, to fill in with description, dialogue, or autorial comment, whatever crevices of fact, or action, may, from page to page, render themselves apparent.

I prefer commencing with the consideration of an _effect_, keeping originality _always_ in view--for he is false to himself who ventures to dispense with so obvious and so easily attainable a source of interest. I say to myself, in the first place, "Of the innumerable effects, or impressions, of which the heart, the intellect, or (more generally) the soul, is susceptible, what one shall I, on the present occasion, select?" Having chosen a novel, first, and secondly a vivid, effect, I consider whether it can be best wrought by incident or tone, whether by ordinary incidents and peculiar tone, or the converse, or by peculiarity both of incident and tone--afterward looking about me (or rather within) for such combinations of event, or tone, as shall best aid me in the construction of the effect.

I have often thought how interesting a magazine paper might be written by any author who would--that is to say, who could--detail, step by step, the process by which any one of his compositions attained its ultimate point of completion. Why such a paper has never been given to the world, I am much at a loss to say--but, perhaps, the autorial vanity has had more to do with the omission than any one other cause. Most writers, poets in especial, prefer having it understood that they compose by a species of fine frenzy, an ecstatic intuition, and would positively shudder at letting the public take a peep behind the scenes, at the elaborate and vacillating crudities of thought--at the true purposes seized only at the last moment--at the innumerable glimpses of idea that arrived not at the maturity of full view--at the fully matured fancies discarded in despair as unmanageable--at the cautious selections and rejections--at the painful erasures and interpolations--in a word, at the wheels and pinions, the tackle for scene-shifting--the step-ladders and demon-traps--the cock's feathers, the red paint and the black patches, which, in ninety-nine cases out of the hundred, constituted the properties of the literary _histrio_.

I am aware, on the other hand, that the case is by no means common in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions having arisen pell-mell, are pursued and forgotten in a similar manner.

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=_Henry T. Tuckerman, 1813-._=

From "New England Philosophy," an Essay from "The Optimist."

=_223._= THE HEART SUPERIOR TO THE INTELLECT.

Constant supplies of knowledge to the intellect, and the exclusive cultivation of reason, may, indeed, make a pedant and a logician; but the probability is, these benefits--if such they are--will be gained at the expense of the soul. Sentiment, in its broadest acceptation, is as essential to the true enjoyment and grace of life as mind. Technical information, and that quickness of apprehension which New Englanders call smartness, are not so valuable to a human being as sensibility to the beautiful, and a spontaneous appreciation of the divine influences which fill the realms of vision and of sound, and the world of action and, feeling. The tastes, affections, and sentiments are more absolutely the man than his talents or acquirements. And yet it is by, and through, the latter that we are apt to estimate character, of which they are at best but fragmentary evidences. It is remarkable that in the New Testament, allusions to the intellect are so rare, while the "heart" and the "spirit we are of" are ever appealed to....

To what end are society, popular education, churches, and all the machinery of culture, if no living truth is elicited which fertilizes, as well as enlightens. Shakespeare undoubtedly owed his marvelous insight into the human soul, to his profound sympathy with man. He might have conned whole libraries on the philosophy of the passions, he might have coldly observed facts for years, and never have conceived of jealousy like Othello's,--the remorse of Macbeth, or love like that of Juliet....

Sometimes, in musing upon genius in its simpler manifestations, it seems as if the great art of human culture consisted chiefly in preserving the glow and freshness of the heart. It is certain that, in proportion as its merely mental strength and attainment take the place of natural sentiment, in proportion as we acquire the habit of receiving all impressions through the reason, the teachings of Nature grow indistinct and cold.... It is when we are overcome, and the pride of intellect vanquished before the truth of nature, when instead of coming to a logical decision we are led to bow in profound reverence before the mysteries of life, when we are led back to childhood, or up to God, by some powerful revelation of the sage or minstrel, it is then our natures grow. To this end is all art. Exquisite vocalism, beautiful statuary, and painting, and all true literature, have not for their great object to employ the ingenuity of prying critics, or furnish the world with a set of new ideas, but to move the whole nature by the perfection and truthfulness of their appeal. There is a certain atmosphere exhaled from the inspired page of genius, which gives vitality to the sentiments, and through these, quickens the mental powers. And this is the chief good of books.

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=_H.N. Hudson, 1814-._= (Manual, pp. 480, 501.)

From "Preface to the Works of Shakespeare."

=_224._= Shakespeare's Works Instructive.

It is true, he often lays on us burdens of passion that would not be borne in any other writer. But whether he wrings the heart with pity, or freezes the blood with terror, or fires the soul with indignation, the genial reader still rises from his pages refreshed. The reason of which is, instruction keeps pace with excitement: he strengthens the mind in proportion as he loads it. He has been called the great master of passion: doubtless he is so; yet he makes us think as intensely as he requires us to feel; while opening the deepest fountains of the heart, he at the same time unfolds the highest energies of the head. Nay, with such consummate art does he manage the fiercest tempests of our being, that in a healthy mind the witnessing of them is always attended with an overbalance of pleasure. With the very whirlwinds of passion he so blends the softening and alleviating influences of poetry, that they relish of nothing but sweetness and health.... He is not wont to exhibit either utterly worthless or utterly faultless monsters; persons too good, or too bad, to exist; too high to be loved, or too low to be pitied; even his worst characters (unless we should except Goneril and Regan, and even their blood is red like ours) have some slight fragrance of humanity about them, some indefinable touches, which redeem them from utter hatred and execration, and keep them within the pale of human sympathy, or at least of human pity.

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=_Mary Henderson Eastman,[53]_= about =_1815-._=

From "The American Aboriginal Port Folio."

=_225._= Lake Itasca, the Source of the Mississippi.

There it lay--the beautiful lake--swaying its folds of crystal water between the hills that guarded it from its birth. There it lay, placid as a sleeping child, the tall pines on the surrounding summits standing like so many motionless and watchful sentinels for its protection.

There was the sequestered birthplace of that mighty mass of waters, that, leaving the wilderness of beauty where they lived undisturbed and unknown, wound their way through many a desolate prairie, and fiercely lashed the time-worn bluffs, whose sides were as walls to the great city, where lived and died the toiling multitude. The lake was as some fair and pure, maiden, in early youth, so beautiful, so full of repose and truth, that it was impossible to look and not to love.... There was but one landing to the lake, our travellers found. It was on a small island, that they called Schoolcraft's Island. On a tall spruce tree they raised the American flag. There was enough in the novelty of the scenery, and of the event, to interest the white men of the party. There was a solemnity mingled with their pleased emotions; for who had made this grand picture, stretching out in its beauty and majesty before them? What were they, in comparison with the great and good Being upon whose works they were gazing?

[Footnote 53: This lady--a native of Virginia--has written several interesting books, chiefly relating to Indian tradition.]

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=_226._= A PLEA FOR THE INDIANS.

The light of the great council-fire--its blaze once illumined the entire country we now call our own--is faintly gleaming out its unsteady and dying rays. Our fathers were guests, and warmed themselves by its hospitable rays; now we are lords, and rule with an iron hand over those who received kindly, and entertained generously, the wanderer who came from afar to worship his God according to his own will. The very hearth where moulder the ashes of this once never-ceasing fire, is becoming desolate, the decaying embers sometimes starting into a brief brilliancy, and then fading into a gloom more sad, more silent, than ever. Soon will be scattered, as by the winds of heaven, the last ashes that remain. Think of it, O legislator! as thou standest in the Capitol, the great council-hall of thy country; plead for them, "upon whose pathway death's dark shadow falls."

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=_Mary E. Moragne,[54] 1815-._=

From "The Huguenot Town."

=_227._= RUINS OF THE OLD FRENCH SETTLEMENT.

An ignorance of the common methods of agriculture practised here, as well as strong prejudices in favor of their former habits of living, prevented them from seizing with avidity on large bodies of land, by individual possession; but the site of a town being selected, a lot of four acres was apportioned to every citizen. In a short time a hundred houses had risen, in a regularly compact body, in the square of which stood a building superior in size and construction to the rest....

... The town was soon busy with the industry of its tradesmen; silk and flax were manufactured, whilst the cultivators of the soil were taxed with the supply of corn and wine. The hum of cheerful voices arose during the week, mingled with the interdicted songs of praise; and on the Sabbath the quiet worshippers assembled in their rustic church, listened with fervent response to that faithful pastor, who had been their spiritual leader through perils by sea and land, and who now directed their free, unrestrained devotion to the Lord of the forest.

... The woods still wave on in melancholy grandeur, with the added glory of near a hundred years; but they who once lived and worshipped beneath them--where are they? Shades of my ancestors,--where? No crumbling wreck, no mossy ruin, points the antiquarian research to the place of their sojourn, or to their last resting-places! The traces of a narrow trench, surrounding a square plat of ground, now covered with the interlacing arms of hawthorn and wild honey-suckle, arrest the attention as we are proceeding along a strongly beaten track in the deep woods, and we are assured that this is the site of the "old French town" which has given its name to the portion of country around.

[Footnote 54: One of the best female writers of South Carolina, who has of late years laid aside her pen.]

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=_Richard H. Dana, Jr., 1815-._= (Manual, p. 504.)

From "Two years before the Mast."

=_228._= LOSS OF A MAN AT SEA.

Death is at all tunes solemn, but never so much so as at sea. A man dies on shore; his body remains with his friends, and "the mourners go about the streets;" but when a man falls overboard at sea and is lost, there is a suddenness in the event, and a difficulty in realizing it, which give to it an air of awful mystery. A man dies on shore--you follow his body to the grave, and a stone marks the spot. You are often prepared for the event. There is always something which helps you to realize it when it happens, and to recall it when it has passed. A man is shot down by your side in battle, and the mangled body remains an object, and a real evidence; but at sea, the man is near you--at your side--you hear his voice, and in an instant he is gone, and nothing but a vacancy shows his loss. Then too, at sea--to use a homely but expressive phrase--you miss a man so much. A dozen men are shut up together in a little bark, upon the wide, wide sea, and for months and months see no forms and hear no voices but their own, and one is taken suddenly from among them, and they miss him at every turn. It is like losing a limb. There are no new faces or new scenes to fill up the gap. There is always an empty berth in the forecastle, and one man wanting when the small night watch is mustered. There is one less to take the wheel, and one less to lay out with you upon the yard. You miss his form, and the sound of his voice, for habit had made them almost necessary to you, and each of your senses feels the loss.

All these things make such a death peculiarly solemn, and the effect of it remains upon the crew for some time. There is more kindness shown by the officers to the crew, and by the crew to one another. There is more quietness and seriousness. The oath and the loud laugh are gone. The officers are more watchful, and the crew go more carefully aloft. The lost man is seldom mentioned, or is dismissed with a sailor's rude eulogy, "Well, poor George is gone. His cruise is up soon. He knew his work, and did his duty, and was a good shipmate." Then usually follows some allusion to another world, for sailors are almost all believers; but their notions and opinions are unfixed, and at loose ends. They say,--"God won't be hard upon the poor fellow," and seldom get beyond the common phrase which seems to imply that their sufferings and hard treatment here, will excuse them hereafter. _To work hard, live hard, die hard, and go to hell after all_, would be hard indeed.

Yet a sailor's life is at best but a mixture of a little good with much evil, and a little pleasure with much pain. The beautiful is linked with the revolting, the sublime with the common-place, and the solemn with the ludicrous.

We had hardly returned on board with our sad report, before an auction was held of the poor man's clothes. The captain had first, however, called all hands aft, and asked them if they were satisfied that everything had been done to save the man, and if they thought there was any use in remaining there longer. The crew all said that it was in vain, for the man did not know how to swim, and was very heavily dressed. So we then filled away and kept her off to her course.

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=_Evert A. Duyckinck, 1816--._= (Manual, p. 502.)

Essay from "Arcturus."

=_229._= NEWSPAPERS.

No one, it has been said, ever takes up a newspaper without interest, or lays it down without regret. There is a deeper truth in this observation than at first thought strikes the mind; it is not the casual disappointment at the loss of fine writing, or the absence of particular topics of news, or the variety of subjects that dispel all deep-settled reflection; but a newspaper is in some measure a picture of human life, and we can no more read its various paragraphs with pleasure, than we can look back upon the events of any single day with, unmingled satisfaction.... A man may learn, sitting by his fireside, more than an angel would desire to know of human life, by reading well a single newspaper. It is an instrument of many tones, running through the whole scale of humanity; from the lightest gayety to the gravest sadness; from the large interests of nations to the humblest affairs of the smallest individual. On its single page we read of Births, Marriages, and Deaths; the daily, almost hourly, register of royalty, how it eat, walked, and laughed; and the single incident the world deems worth recording of the life of poverty--how it died. It is a picture of motley human life; a poet's thought, or an orator's eloquence in one column, and the condemnation of a pickpocket in another....

Doubtless it was a very satisfactory thing for a Roman poet, when the wind was quiet, to get an audience about him, under a portico, and unwind his well-written scroll for an hour or two; but there must have been a vast deal of secret machinery, and influence, and agitation, to keep up his name with the people. The followers of Pythagoras, in another country, we know, said he had a golden leg, and this satisfied the people that his philosophy was divine. Truly were they the dark ages before the invention of newspapers. Besides, what became of literature when the poet's voice in the public bath, or library, where he recited, was drowned by the din of arms?...

What would we not give for a newspaper of the days of Homer, with personal recollections of the contractors and commanders in the siege of Troy; a reminiscence of Helen; the unedited fragments of Nestor; or a traditional saying of Ulysses, who may be supposed too wise to have published? What such a passage of literature would be to us, the journal of to-day may be to some long distant age, when it is disentombed from the crumbling corner-stone of some Astor House, Exchange, or Trinity Church, on the deserted shore of an island, once New York. What matters of curiosity would be poured fourth for the attention of the inquisitive; how many learned theories which had sprung up in the interim, put to rest; what anxiety moralists would be under to know the number of churches, the bookseller's advertisements, and the convictions at the Sessions! Some might be supposed to sigh over our lack of improvement, the infant state of the arts, and our ineffectual attempts at electro-magnetism, while others would dwell upon the old times when Broadway was gayer with life, and the world got along better, than it has ever done since.

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=_Horace Binney Wallace,[55] 1817-1852._=

From "Art, Scenery, and Philosophy in Europe."

=_230._= ART AN EMANATION OF RELIGIOUS AFFECTION.

The spirit, conscious of an emotion of reverence for some unseen subject of its own apprehension, desires to substantiate and fix its deity, and to bring the senses into the same adoring attitude; and this can be done only by setting before them a material representation of the divine. This is illustrated in the universal and inveterate tendency of early nations to idolatry....

How and why was it that the sculpture of the Greeks attained a character so exalted that it shines on through our time, with a beam of glory peculiar and inextinguishable? When we enter the chambers of the Vatican, we are presently struck with the mystic influence that rays from those silent forms that stand ranged along the walls. Like the moral prestige that might encircle the vital presence of divine beings, we behold divinities represented in human shapes idealized into a significance altogether irresistible. What constitutes that idealizing modification we know not; but we feel that it imparts to the figures an interest and impressiveness which natural forms possess not. These sculptured images seem directly to address the imagination. They do not suffer the cold and critical survey of the eye, but awaken an instant and vivid mental consideration.

... It has sometimes been suggested that the superiority of the Greeks in delineating the figure, arose from the familiarity with it which they acquired from their frequent opportunities of viewing it nude,--on account of their usages, costumes, climate, &c. This is too superficial an account of that vital faculty of skill and knowledge upon this subject, which was a part of the inherent capacity of the Greek.... The outflow and characteristic exercise of Grecian inspiration in sculpture, was in the representation of their mythology, which included heroes, or deified men, as well as gods of the first rank. Later, it extended to winners at the public games, athletes, runners, boxers;--but this class of persons partook, in the national feeling, of a heroic or half-divine superiority. A particular type of form, highly ideal, became appropriate to them, as to the heroes, and to each of the gods. It may be added, that a capacity thus derived from religious impressibility, extended to a great number of natural forms, which were to the Greeks measurably objects of a divine regard. Many animals as connected with the gods, or with sacrifices, were sacred beings to them, and became subjects of their surpassing gift in sculpture. In general, nature,--the visible, the sensible, the actual, was to the Hellenic soul, Religion; as inward and reflective emotions were and are, to the modern European.

[Footnote 55: A young writer of great cultivation and of uncommon promise. His premature death occurred while on a tour in Europe. A native of Philadelphia.]

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=_Henry David Thoreau, 1817-1862._= (Manual, p. 532.)

From "Autumnal Tints."

=_231._= DESCRIPTION OF "POKE" OR GARGET, (_Phytolacca Decandra_.)

Some which stand under our cliffs quite dazzle me with their purple stems now, and early in September. They are as interesting to me as most flowers, and one of the most important fruits of our autumn. Every part is flower, (or fruit,) such is its superfluity of color,--stem, branch, peduncle, pedicel, petiole, and even the at length yellowish purple-veined leaves. Its cylindrical racemes of berries of various hues, from green to dark purple, six or seven inches long, are gracefully drooping on all sides, offering repasts to the birds; and even the sepals from which the birds have picked the berries are a brilliant lake-red, with crimson, flame-like reflections, equal to anything of the kind,--all on fire with ripeness. Hence the _lacca_, from lac, lake. There are at the same time flower-buds, flowers, green berries, dark purple or ripe ones, and these flower-like sepals, all on the same plant.

We love to see any redness in the vegetation of the temperate zone. It is the color of colors. This plant speaks to our blood. It asks a bright sun on it to make it show to best advantage, and it must be seen at this season of the year. On warm hill-sides its stems are ripe by the twenty-third of August. At that date I walked through a beautiful grove of them, six or seven feet high, on the side of one of our cliffs, where they ripen early. Quite to the ground they were a deep brilliant purple with a bloom, contrasting with the still clear green leaves. It appears a rare triumph of Nature to have produced and perfected such a plant, as if this were enough for a summer. What a perfect maturity it arrives at! It is the emblem of a successful life concluded by a death not premature, which is an ornament to Nature. What if we were to mature as perfectly, root and branch, glowing in the midst of our decay, like the Poke! I confess that it excites me to behold them. I cut one for a cane, for I would fain handle and lean on it. I love to press the berries between my fingers, and see their juice staining my hand. To walk amid these upright, branching casks of purple wine, which retain and diffuse a sunset glow, tasting each one with your eye, instead of counting the pipes on a London dock,--what a privilege! For Nature's vintage is not confined to the vine. Our poets have sung of wine, the product of a foreign plant which commonly they never saw, as if our own plants had no juice in them more than the singers. Indeed, this has been called by some the American grape, and though a native of America, its juices are used in some foreign countries to improve the color of the wine; so that the poetaster maybe celebrating the virtues of the Poke without knowing it. Here are berries enough to paint afresh the western sky, and play the bacchanal with, if you will. And what flutes its ensanguined stems would make, to be used in such a dance! It is truly a royal plant. I could spend the evening of the year musing amid the Poke-stems. And perchance amid these groves might arise at last a new school of philosophy or poetry.

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From "Walden, or Life in the Woods."

=_232._= WALDEN POND.

The greatest depth was exactly one hundred and two feet, to which may be added the five feet which it has risen since, making one hundred and seven. This is a remarkable depth for so small an area; yet not an inch of it can be spared by the imagination. What if all ponds were shallow? Would it not react on the minds of men? I am thankful that this pond was made deep and pure for a symbol. While men believe in the infinite, some ponds will be thought to be bottomless.

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From "Life without Principle."

=_233._= WANTS OF THE AGE.

I saw, the other day, a vessel which had been wrecked, and many lives lost, and her cargo of rags, juniper-berries, and bitter almonds, was strewn along the shore. It seemed hardly worth the while to tempt the dangers of the sea between Leghorn and New York, for the sake of a cargo of juniper-berries and bitter almonds. America sending to the Old World for her bitters! Is not the sea-brine,--is not shipwreck, bitter enough, to make the cup of life go down here? Yet such, to a great extent, is our boasted commerce; and there are those who style themselves statesmen and philosophers who are so blind as to think that progress and civilization depend on precisely this kind of interchange and activity,--the activity of flies about a molasses-hogshead. Very well, observes one, if men were oysters. And very well, answer I, if men were mosquitoes.

Lieutenant Herndon, whom our Government sent to explore the Amazon, and, it is said, to extend the area of Slavery, observed that there was wanting there "an industrious and active population, who know what the comforts of life are, and who have artificial wants to draw out the great resources of the country." But what are the "artificial wants" to be encouraged? Not the love of luxuries, like the tobacco and slaves of, I believe, his native Virginia, nor the ice and granite and other material wealth of our native New England; nor are "the great resources of a country" that fertility or barrenness of soil which produces these. The chief want, in every State that I have been into, was a high and earnest purpose in its inhabitants. This alone draws out "the great resources" of Nature and at last taxes her beyond her resources; for man naturally dies out of her. When we want culture more than potatoes, and illumination more than sugar-plums, then the great resources of a world are taxed and drawn out, and the result, or staple production, is, not slaves, nor operatives, but men,--those rare fruits called heroes, saints, poets, philosophers, and redeemers.

* * * * *

=_Elisabeth F. Ellett, 1818-._= (Manual, pp. 484, 490.)

From "Pioneer Women of the West"

=_234._= ESCAPE OF MARY BLEDSOE FROM THE INDIANS.

It was not consistent with Spencer's chivalrous character to attempt to save himself by leaving his companion to the mercy of the foe. Bidding her retreat as fast as possible, and encouraging her to keep her seat firmly, he protected her by following more slowly in her rear, with his trusty rifle in his hand. When the Indians in pursuit came too near, he would raise his weapon as if to fire; and as he was known to be an excellent marksman, the savages were not willing to encounter him, but hastened to the shelter of trees, while he continued his retreat. In this manner he kept them at bay for some miles, not firing a single shot--for he knew that his threatening had more effect--until Mrs. Bledsoe reached a station. Her life and his own, were, on this occasion, saved by his prudence and presence of mind; for both would have been lost had he yielded to the temptation to fire....

Bereaved of her husband, sons, and brother-in-law, by the murderous savages, Mrs. Bledsoe was obliged to undertake not only the charge of her husband's estate, but the care of the children, and their education and settlement in life. These duties were discharged with unwavering energy and Christian patience.... The record of her worth, and of what she did and suffered, may win little attention from the careless many, who regard not the memory of our "pilgrim mothers;" but the recollection of her gentle virtues has not yet faded from the hearts of her descendants, and those to whom they tell the story of her life will acknowledge her the worthy companion of those noble men to whom belongs the praise of having originated a new colony, and built up a goodly state in the bosom of the forest. Their patriotic labors, their struggles with the surrounding savages, their efforts in the maintenance of the community they had founded,--sealed, as they finally were, with their own blood, and the blood of their sons and relatives,--will never be forgotten while the apprehension of what is noble, generous, and good, survives in the hearts of their countrymen.

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=_James Jackson Jarves, 1818-._= (Manual, p. 531.)

From "Art Hints."

=_235._= THE ART IDEA.

The first duty of art, as we have already intimated, is to make our public buildings and places, as instructive and enjoyable as possible. They should be pleasurable, full of attractive beauty and eloquent teachings. Picturesque groupings of natural objects, architectural surprises, sermons from the sculptor's chisel and the painter's palette, the ravishment of the soul by its superior senses, the refinement of mind and body by the sympathetic power of beauty,--these are a portion of the means which a due estimation of art, as an element of civilization, inspires the ruling will to provide freely for all. If art be kept a rare and tabooed thing, a specialty for the rich and powerful, it excites in the vulgar mind, envy and hate; but proffer it freely to the public, and the public soon learns to delight in and protect it as its rightful inheritance. It also tends to develop a brotherhood of thought and feeling. During the civil strifes of Italy, art flourished and was respected. Indeed, to some extent, it operated as a sort of peace society, and was held sacred when nothing else was. Even rude soldiers, amid the perils and necessities of sieges, turned aside destruction from the walls that sheltered it. The history of art is full of records of its power to soften and elevate the human heart. As soon would man, were it possible, mar one of God's sunsets, as cease to respect what genius has confided to his care, when once his mind has been awakened to its meaning.

The desire for art being awakened, museums to illustrate its technical and historical progress, and galleries to exhibit its master-works, become indispensable. In the light of education, appropriations for such purposes are as much a duty of the government as for any other purpose connected with the true welfare of the people; for its responsibilities extend over the entire social system.

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=_Edwin P. Whipple, 1819-._= (Manual, p. 501.)

From "Literature and Life."

=_236._= WIT AND HUMOR IN LITERATURE.

Every student of English theological literature knows that much of its best portions gleams with wit. Five of the greatest humorists that ever made the world ring with laughter were priests,--Rabelais, Scarron, Swift, Sterne, and Sydney Smith. The prose works of Milton are radiant with satire of the sharpest kind. Sydney Smith, one of the most benevolent, intelligent and influential Englishmen of the nineteenth century, a man of the most accurate insight and extensive information, embodied the large stores of his practical wisdom in almost every form of the ludicrous. Many of the most important reforms in England are directly traceable to him. He really laughed his countrymen out of some of their most cherished stupidities of legislation.

And now let us be just to Mirth. Let us be thankful that we have in Wit a power before which the pride of wealth and the insolence of office are abased; which can transfix bigotry and tyranny with arrows of lightning; which can strike its object over thousands of miles of space, across thousands of years of time; and which, through its sway over an universal weakness of man, is an everlasting instrument to make the bad tremble and the foolish wince. Let us be grateful for the social and humanizing influences of Mirth. Amid the sorrow, disappointment, agony, and anguish of the world,--over dark thoughts and tempestuous passions, the gloomy exaggerations of self-will, the enfeebling illusions of melancholy,--Wit and Humor, light and lightning, shed their soft radiance, or dart their electric flash. See how life is warmed and illumined by Mirth! See how the beings of the mind, with which it has peopled our imaginations, wrestle with the ills of existence,--feeling their way into the harshest or saddest meditations, with looks that defy calamity; relaxing muscles made rigid with pain; hovering o'er the couch of sickness, with sunshine and laughter in their beneficent faces; softening the austerity of thoughts whose awful shadows dim and darken the brain,--loosening the gripe of Misery as it tugs at the heart-strings! Let us court the society of these gamesome, and genial, and sportive, and sparkling beings,--whom Genius has left to us as a priceless bequest; push them not from the daily walks of the world's life: let them scatter some humanities in the sullen marts of business; let them glide in through the open doors of the heart; let their glee lighten up the feast, and gladden the fireside of home:

"That the night may be filled with music,
And the cares that infest the day
May fold their tents, like the Arabs,
And as silently steal away."

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=_Jane T.L. Worthington,-1847._= (Manual, p. 524.)

From "Love Sketches."

=_237._= THE SISTERS.

The sisters were together, together for the last time in the happy home of their childhood. The window before them was thrown open, and the shadows of evening were slowly passing from each familiar outline on which the gazers looked. They were both young and fair; and one, the elder, wore that pale wreath the maiden wears but once. The accustomed smile had forsaken her lip now, and the orange-flowers were scarcely whiter than the cheek they shaded. The sister's hands were clasped in each other, and they sat silently watching the gradual brightening of the crescent moon, and the coming forth, one by one, of the stars. Not a cloud was floating in the quiet sky; the light wind hardly stirred the young leaves, and the air was fraught with the fragrance of early spring flowers. It was the hour when reverie is deepest, and fantasies have the earnestness of truth, when memory is melancholy in its vividness, and we feel, "almost like a reality," the presence of those who may bless our pathway no more. The loved, the lost--

"So many, yet how few!"--

gather around us, not as they are, chastened and troubled by battling with trials and disappointments, but as they used to be, in the glow of unwearied expectation. Old fears flit before us altered into pleasures, and old hopes return bathed in tears.

* * * * *

=_Alice Cary, 1820-1871._= (Manual, p. 484.)

From "Clovernook."

=_238._= THE END OF THE HISTORY.

And so with the various seasons of the year. May, with her green lap full of sprouting leaves and bright blossoms, her song-birds making the orchards and meadows vocal, and rippling streams and cultivated gardens; June, with full-blown roses and humming-bees, plenteous meadows and wide cornfields, with embattled lines rising thick and green; August, with reddened orchards and heavy-headed harvests of grain, October, with yellow leaves and swart shadows; December, palaced in snow, and idly whistling through his numb fingers;-all have their various charm; and in the rose-bowers of summer, and as we spread our hands before the torches of winter, we say joyfully, "Thou hast made all things beautiful in their time." We sit around the fireside, and the angel feared and dreaded by us all comes in, and one is taken from our midst. Hands that have caressed us, locks that have fallen over us like a bath of beauty, are hidden beneath shroud-folds. We see the steep edges of the grave, and hear the heavy rumble of the clods; and, in the burst of passionate grief, it seems that we can never still the crying of our hearts. But the days rise and set, dimly at first, and seasons come and go, and, by little and little, the weight rises from the heart, and the shadows drift from before the eyes, till we feel again the spirit of gladness, and see again the old beauty of the world.

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=_Donald G. Mitchell, 1822-._= (Manual, pp. 504, 531.)

From "Wayside Hints."

=_239._= A TALK ABOUT PORCHES.

A country house without a porch is like a man without an eyebrow; it gives expression, and gives expression where you most want it. The least office of a porch is that of affording protection against the rain-beat and the sun-beat. It is an interpreter of character; it humanizes bald walls and windows; it emphasizes architectural tone; it gives hint of hospitality; it is a hand stretched out (figuratively and lumberingly, often) from the world within to the world without.

At a church door even, a porch seems to me to be a blessed thing, and a most worthy and patent demonstration of the overflowing Christian charity, and of the wish to give shelter. Of all the images of wayside country churches which keep in my mind, those hang most persistently and agreeably, which show their jutting, defensive rooflets to keep the brunt of the storm from the church-goer while he yet fingers at the latch of entrance.

I doubt if there be not something beguiling in a porch over the door of a country shop--something that relieves the odium of bargaining, and imbues even the small grocer with a flavor of cheap hospitalities. The verandas (which is but a long translation of porch) that stretch along the great river front of the Bellevue Hospital diffuse somehow a gladsome cheer over that prodigious caravansery of the sick; and I never see the poor creatures in their bandaged heads and their flannel gowns, enjoying their convalescence in the sunshine of those exterior corridors, but I reckon the old corridors for as much as the young doctors, in bringing them from convalescence into strength, and a new fight with the bedevilments of the world.

What shall we say, too, of inn porches? Does anybody doubt their fitness? Is there any question of the fact--with any person of reasonably imaginative mood--that Falstaff and Nym and Bardolph, and the rest, once lolled upon the benches of the porch that overhung the door of the Boar's Head Tavern, Eastcheap? Any question about a porch, and a generous one, at the Tabard, Southwark--presided over by that wonderful host who so quickened the story-telling humors of the Canterbury pilgrims of Master Chaucer?

Then again, in our time, if one were to peel away the verandas and the exterior corridors from our vast watering-place hostelries, what an arid baldness of wall and of character would be left! All sentiment, all glowing memories, all the music of girlish footfalls, all echoes of laughter and banter and rollicking mirth, and tenderly uttered vows would be gone.

King David when he gave out to his son Solomon the designs for the building of the Temple, included among the very first of them, (1 Chron. XXVIII. 11) the "pattern of a porch." It is not, however, of porches of shittim-wood and of gold, that I mean to talk just now--nor even of those elaborate architectural features which will belong of necessity to the entrance-way of every complete study of a country house. I plead only for some little mantling hood about every exterior door-way, however humble.

There are hundreds of naked, vulgar-looking dwellings, scattered up and down our country highroads, which only need a little deft and adroit adaptation of the hospitable feature which I have made the subject of this paper, to assume an air of modest grace, in place of the present indecorous exposure of a wanton.

* * * * *

=_Richard Grant White,[56] 1822-._=

From "Memoirs of the Life of William Shakespeare."

=_240._= THE CHARACTER OF SHAKESPEARE'S STYLE.

Writing for the general public, he used such language as would convey his meaning to his auditors,--the common phraseology of his period. But what a language was that! In its capacity for the varied and exact expression of all moods of mind, all forms of thought, all kinds of emotion, a tongue unequaled by any other known to literature! A language of exhaustless variety; strong without ruggedness, and flexible without effeminacy. A manly tongue; yet bending itself gracefully and lovingly to the tenderest and the daintiest needs of woman, and capable of giving utterance to the most awful and impressive thoughts, in homely words that come from the lips, and go to the heart, of childhood. It would seem as if this language had been preparing itself for centuries to be the fit medium of utterance for the world's greatest poet. Hardly more than a generation had passed since the English tongue had reached its perfect maturity; just time enough to have it well worked into the unconscious usage of the people, when Shakespeare appeared, to lay upon it a burden of thought which would test its extremest capability. He found it fully formed and developed, but not yet uniformed and cramped and disciplined by the lexicographers and rhetoricians,--those martinets of language, who seem to have lost for us in force and flexibility as much as they have gained for us in precision. The phraseology of that day was notably large and simple among ordinary writers and speakers. Among the college-bred writers and their imitators, there was too great a fondness for little conceits; but even with them this was an extraneous blemish, like that sometimes found in the ornament upon a noble building. Shakespeare seized this instrument to whose tones all ears were open, and with the touch of a master he brought out all its harmonies. It lay ready to any hand; but his was the first to use it with absolute control; and among all its successors, great as some are, he has had, even in this single respect, no rival. No unimportant condition of his supreme mastery over expression was his entire freedom from restraint--it may almost be said from consciousness--in the choice of language. He was no precisian, no etymologist, no purist. He was not purposely writing literature. The only criticism that he feared was that of his audience, which represented the English people of all grades above the peasantry. These he wished should not find his writing incomprehensible or dull: no more. If we except the translators of the Bible, Shakespeare wrote the best English that has yet been written.

[Footnote 56: A native of New York City; distinguished as a student and editor of Shakespeare, and more recently for his critical articles on the English language and grammar.]

* * * * *

=_Thomas Wentworth Higginson, 1823-._= (Manual, p. 531).

From "Atlantic Essays."

=_241._= ELEGANCE OF FRENCH STYLE.