Friday

                      "The Boteman strayt
Held on his course with stayed stedfastnesse,
Ne ever shroncke, ne ever sought to bayt
His tryed armes for toylesome wearinesse;
But with his oares did sweepe the watry wildernesse."
                                        Spenser.

                       "Summer’s robe grows
Dusky, and like an oft-dyed garment shows."
                                        Donne.

        [1] As we lay awake long before daybreak, listening to the rippling of the river, and the rustling of the leaves, in suspense whether the wind blew up or down the stream, was favorable or unfavorable to our voyage, we already suspected that there was a change in the weather, from a freshness as of autumn in these sounds. The wind in the woods sounded like an incessant waterfall dashing and roaring amid rocks, and we even felt encouraged by the unusual activity of the elements. He who hears the rippling of rivers in these degenerate days will not utterly despair. That night was the turning-point in the season. We had gone to bed in summer, and we awoke in autumn; for summer passes into autumn in some unimaginable point of time, like the turning of a leaf.
        [2] We found our boat in the dawn just as we had left it, and as if waiting for us, there on the shore, in autumn, all cool and dripping with dew, and our tracks still fresh in the wet sand around it, the fairies all gone or concealed. Before five o’clock we pushed it into the fog, and, leaping in, at one shove were out of sight of the shores, and began to sweep downward with the rushing river, keeping a sharp lookout for rocks. We could see only the yellow gurgling water, and a solid bank of fog on every side, forming a small yard around us. We soon passed the mouth of the Souhegan, and the village of Merrimack, and as the mist gradually rolled away, and we were relieved from the trouble of watching for rocks, we saw by the flitting clouds, by the first russet tinge on the hills, by the rushing river, the cottages on shore, and the shore itself, so coolly fresh and shining with dew, and later in the day, by the hue of the grape-vine, the goldfinch on the willow, the flickers flying in flocks, and when we passed near enough to the shore, as we fancied, by the faces of men, that the Fall had commenced. The cottages looked more snug and comfortable, and their inhabitants were seen only for a moment, and then went quietly in and shut the door, retreating inward to the haunts of summer.

"And now the cold autumnal dews are seen
To cobweb ev’ry green;
And by the low-shorn rowens doth appear
The fast-declining year."

        [3] We heard the sigh of the first autumnal wind, and even the water had acquired a grayer hue. The sumach, grape, and maple were already changed, and the milkweed had turned to a deep rich yellow. In all woods the leaves were fast ripening for their fall; for their full veins and lively gloss mark the ripe leaf, and not the sered one of the poets; and we knew that the maples, stripped of their leaves among the earliest, would soon stand like a wreath of smoke along the edge of the meadow. Already the cattle were heard to low wildly in the pastures and along the highways, restlessly running to and fro, as if in apprehension of the withering of the grass and of the approach of winter. Our thoughts, too, began to rustle.

        [4] As I pass along the streets of our village of Concord on the day of our annual Cattle-Show, when it usually happens that the leaves of the elms and buttonwoods begin first to strew the ground under the breath of the October wind, the lively spirits in their sap seem to mount as high as any plough-boy’s let loose that day; and they lead my thoughts away to the rustling woods, where the trees are preparing for their winter campaign. This autumnal festival, when men are gathered in crowds in the streets as regularly and by as natural a law as the leaves cluster and rustle by the wayside, is naturally associated in my mind with the fall of the year. The low of cattle in the streets sounds like a hoarse symphony or running bass to the rustling of the leaves. The wind goes hurrying down the country, gleaning every loose straw that is left in the fields, while every farmer lad too appears to scud before it,—having donned his best pea-jacket and pepper-and-salt waistcoat, his unbent trousers, outstanding rigging of duck or kerseymere or corduroy, and his furry hat withal,—to country fairs and cattle-shows, to that Rome among the villages where the treasures of the year are gathered. All the land over they go leaping the fences with their tough, idle palms, which have never learned to hang by their sides, amid the low of calves and the bleating of sheep,—Amos, Abner, Elnathan, Elbridge,—

"From steep pine-bearing mountains to the plain."

I love these sons of earth every mother’s son of them, with their great hearty hearts rushing tumultuously in herds from spectacle to spectacle, as if fearful lest there should not be time between sun and sun to see them all, and the sun does not wait more than in haying-time.

"Wise Nature’s darlings, they live in the world
Perplexing not themselves how it is hurled."

Running hither and thither with appetite for the coarse pastimes of the day, now with boisterous speed at the heels of the inspired negro from whose larynx the melodies of all Congo and Guinea Coast have broke loose into our streets; now to see the procession of a hundred yoke of oxen, all as august and grave as Osiris, or the droves of neat cattle and milch cows as unspotted as Isis or Io. Such as had no love for Nature

"at all,
Came lovers home from this great festival."

They may bring their fattest cattle and richest fruits to the fair, but they are all eclipsed by the show of men. These are stirring autumn days, when men sweep by in crowds, amid the rustle of leaves, like migrating finches; this is the true harvest of the year, when the air is but the breath of men, and the rustling of leaves is as the trampling of the crowd. We read now-a-days of the ancient festivals, games, and processions of the Greeks and Etruscans, with a little incredulity, or at least with little sympathy; but how natural and irrepressible in every people is some hearty and palpable greeting of Nature. The Corybantes, the Bacchantes, the rude primitive tragedians with their procession and goat-song, and the whole paraphernalia of the Panathenæa, which appear so antiquated and peculiar, have their parallel now. The husbandman is always a better Greek than the scholar is prepared to appreciate, and the old custom still survives, while antiquarians and scholars grow gray in commemorating it. The farmers crowd to the fair to-day in obedience to the same ancient law, which Solon or Lycurgus did not enact, as naturally as bees swarm and follow their queen.
        [5] It is worth the while to see the country’s people, how they pour into the town, the sober farmer folk, now all agog, their very shirt and coat-collars pointing forward,—collars so broad as if they had put their shirts on wrong end upward, for the fashions always tend to superfluity,—and with an unusual springiness in their gait, jabbering earnestly to one another. The more supple vagabond, too, is sure to appear on the least rumor of such a gathering, and the next day to disappear, and go into his hole like the seventeen-year locust, in an ever-shabby coat, though finer than the farmer’s best, yet never dressed; come to see the sport, and have a hand in what is going,—to know "what’s the row," if there is any; to be where some men are drunk, some horses race, some cockerels fight; anxious to be shaking props under a table, and above all to see the "striped pig." He especially is the creature of the occasion. He empties both his pockets and his character into the stream, and swims in such a day. He dearly loves the social slush. There is no reserve of soberness in him.
        [6] I love to see the herd of men feeding heartily on coarse and succulent pleasures, as cattle on the husks and stalks of vegetables. Though there are many crooked and crabbled specimens of humanity among them, run all to thorn and rind, and crowded out of shape by adverse circumstances, like the third chestnut in the burr, so that you wonder to see some heads wear a whole hat, yet fear not that the race will fail or waver in them; like the crabs which grow in hedges, they furnish the stocks of sweet and thrifty fruits still. Thus is nature recruited from age to age, while the fair and palatable varieties die out, and have their period. This is that mankind. How cheap must be the material of which so many men are made.

        [7] The wind blew steadily down the stream, so that we kept our sails set, and lost not a moment of the forenoon by delays, but from early morning until noon were continually dropping downward. With our hands on the steering-paddle, which was thrust deep into the river, or bending to the oar, which indeed we rarely relinquished, we felt each palpitation in the veins of our steed, and each impulse of the wings which drew us above. The current of our thoughts made as sudden bends as the river, which was continually opening new prospects to the east or south, but we are aware that rivers flow most rapidly and shallowest at these points. The steadfast shores never once turned aside for us, but still trended as they were made; why then should we always turn aside for them?
        [8] A man cannot wheedle nor overawe his Genius. It requires to be conciliated by nobler conduct than the world demands or can appreciate. These winged thoughts are like birds, and will not be handled; even hens will not let you touch them like quadrupeds. Nothing was ever so unfamiliar and startling to a man as his own thoughts.
        [9] To the rarest genius it is the most expensive to succumb and conform to the ways of the world. Genius is the worst of lumber, if the poet would float upon the breeze of popularity. The bird of paradise is obliged constantly to fly against the wind, lest its gay trappings, pressing close to its body, impede its free movements.
        [10] He is the best sailor who can steer within the fewest points of the wind, and extract a motive power out of the greatest obstacles. Most begin to veer and tack as soon as the wind changes from aft, and as within the tropics it does not blow from all points of the compass, there are some harbors which they can never reach.
        [11] The poet is no tender slip of fairy stock, who requires peculiar institutions and edicts for his defence, but the toughest son of earth and of Heaven, and by his greater strength and endurance his fainting companions will recognize the God in him. It is the worshippers of beauty, after all, who have done the real pioneer work of the world.
        [12] The poet will prevail to be popular in spite of his faults, and in spite of his beauties too. He will hit the nail on the head, and we shall not know the shape of his hammer. He makes us free of his hearth and heart, which is greater than to offer one the freedom of a city.
        [13] Great men, unknown to their generation, have their fame among the great who have preceded them, and all true worldly fame subsides from their high estimate beyond the stars.
        [14] Orpheus does not hear the strains which issue from his lyre, but only those which are breathed into it; for the original strain precedes the sound, by as much as the echo follows after. The rest is the perquisite of the rocks and trees and beasts.
        [15] When I stand in a library where is all the recorded wit of the world, but none of the recording, a mere accumulated, and not truly cumulative treasure, where immortal works stand side by side with anthologies which did not survive their month, and cobweb and mildew have already spread from these to the binding of those; and happily I am reminded of what poetry is,—I perceive that Shakespeare and Milton did not foresee into what company they were to fall. Alas! that so soon the work of a true poet should be swept into such a dust-hole!
        [16] The poet will write for his peers alone. He will remember only that he saw truth and beauty from his position, and expect the time when a vision as broad shall overlook the same field as freely.
        [17] We are often prompted to speak our thoughts to our neighbors, or the single travellers whom we meet on the road, but poetry is a communication from our home and solitude addressed to all Intelligence. It never whispers in a private ear. Knowing this, we may understand those sonnets said to be addressed to particular persons, or "To a Mistress’s Eyebrow." Let none feel flattered by them. For poetry write love, and it will be equally true.
        [18] No doubt it is an important difference between men of genius or poets, and men not of genius, that the latter are unable to grasp and confront the thought which visits them. But it is because it is too faint for expression, or even conscious impression. What merely quickens or retards the blood in their veins and fills their afternoons with pleasure they know not whence, conveys a distinct assurance to the finer organization of the poet.
        [19] We talk of genius as if it were a mere knack, and the poet could only express what other men conceived. But in comparison with his task, the poet is the least talented of any; the writer of prose has more skill. See what talent the smith has. His material is pliant in his hands. When the poet is most inspired, is stimulated by an aura which never even colors the afternoons of common men, then his talent is all gone, and he is no longer a poet. The gods do not grant him any skill more than another. They never put their gifts into his hands, but they encompass and sustain him with their breath.
        [20] To say that God has given a man many and great talents, frequently means that he has brought his heavens down within reach of his hands.
        [21] When the poetic frenzy seizes us, we run and scratch with our pen, intent only on worms, calling our mates around us, like the cock, and delighting in the dust we make, but do not detect where the jewel lies, which, perhaps, we have in the mean time cast to a distance, or quite covered up again.
        [22] The poet’s body even is not fed like other men’s, but he sometimes tastes the genuine nectar and ambrosia of the gods, and lives a divine life. By the healthful and invigorating thrills of inspiration his life is preserved to a serene old age.
        [23] Some poems are for holidays only. They are polished and sweet, but it is the sweetness of sugar, and not such as toil gives to sour bread. The breath with which the poet utters his verse must be that by which he lives.
        [24] Great prose, of equal elevation, commands our respect more than great verse, since it implies a more permanent and level height, a life more pervaded with the grandeur of the thought. The poet often only makes an irruption, like a Parthian, and is off again, shooting while he retreats; but the prose writer has conquered like a Roman, and settled colonies.
        [25] The true poem is not that which the public read. There is always a poem not printed on paper, coincident with the production of this, stereotyped in the poet’s life. It is what he has become through his work. Not how is the idea expressed in stone, or on canvas or paper, is the question, but how far it has obtained form and expression in the life of the artist. His true work will not stand in any prince’s gallery.

My life has been the poem I would have writ,
But I could not both live and utter it.

THE POET’S DELAY.

In vain I see the morning rise,
In vain observe the western blaze,
Who idly look to other skies,
Expecting life by other ways.

Amidst such boundless wealth without,
I only still am poor within,
The birds have sung their summer out,
But still my spring does not begin.

Shall I then wait the autumn wind,
Compelled to seek a milder day,
And leave no curious nest behind,
No woods still echoing to my lay?

        [26] This raw and gusty day, and the creaking of the oaks and pines on shore, reminded us of more northern climes than Greece, and more wintry seas than the Ægean.
        [27] The genuine remains of Ossian, or those ancient poems which bear his name, though of less fame and extent, are, in many respects, of the same stamp with the Iliad itself. He asserts the dignity of the bard no less than Homer, and in his era we hear of no other priest than he. It will not avail to call him a heathen, because he personifies the sun and addresses it; and what if his heroes did "worship the ghosts of their fathers," their thin, airy, and unsubstantial forms? we worship but the ghosts of our fathers in more substantial forms. We cannot but respect the vigorous faith of those heathen, who sternly believed somewhat, and are inclined to say to the critics, who are offended by their superstitious rites,—Don’t interrupt these men’s prayers. As if we knew more about human life and a God, than the heathen and ancients. Does English theology contain the recent discoveries?
        [28] Ossian reminds us of the most refined and rudest eras, of Homer, Pindar, Isaiah, and the American Indian. In his poetry, as in Homer’s, only the simplest and most enduring features of humanity are seen, such essential parts of a man as Stonehenge exhibits of a temple; we see the circles of stone, and the upright shaft alone. The phenomena of life acquire almost an unreal and gigantic size seen through his mists. Like all older and grander poetry, it is distinguished by the few elements in the lives of its heroes. They stand on the heath, between the stars and the earth, shrunk to the bones and sinews. The earth is a boundless plain for their deeds. They lead such a simple, dry, and everlasting life, as hardly needs depart with the flesh, but is transmitted entire from age to age. There are but few objects to distract their sight, and their life is as unencumbered as the course of the stars they gaze at.

"The wrathful kings, on cairns apart,
Look forward from behind their shields,
And mark the wandering stars,
That brilliant westward move."

It does not cost much for these heroes to live; they do not want much furniture. They are such forms of men only as can be seen afar through the mist, and have no costume nor dialect, but for language there is the tongue itself, and for costume there are always the skins of beasts and the bark of trees to be had. They live out their years by the vigor of their constitutions. They survive storms and the spears of their foes, and perform a few heroic deeds, and then

"Mounds will answer questions of them,
For many future years."

Blind and infirm, they spend the remnant of their days listening to the lays of the bards, and feeling the weapons which laid their enemies low, and when at length they die, by a convulsion of nature, the bard allows us a short and misty glance into futurity, yet as clear, perchance, as their lives had been. When Mac-Roine was slain,

"His soul departed to his warlike sires,
To follow misty forms of boars,
In tempestuous islands bleak."

The hero’s cairn is erected, and the bard sings a brief significant strain, which will suffice for epitaph and biography.

"The weak will find his bow in the dwelling,
The feeble will attempt to bend it."

        [29] Compared with this simple, fibrous life, our civilized history appears the chronicle of debility, of fashion, and the arts of luxury. But the civilized man misses no real refinement in the poetry of the rudest era. It reminds him that civilization does but dress men. It makes shoes, but it does not toughen the soles of the feet. It makes cloth of finer texture, but it does not touch the skin. Inside the civilized man stands the savage still in the place of honor. We are those blue-eyed, yellow-haired Saxons, those slender, dark-haired Normans.
        [30] The profession of the bard attracted more respect in those days from the importance attached to fame. It was his province to record the deeds of heroes. When Ossian hears the traditions of inferior bards, he exclaims,—

"I straightway seize the unfutile tales,
And send them down in faithful verse."

His philosophy of life is expressed in the opening of the third Duan of Ca-Lodin.

"Whence have sprung the things that are?
And whither roll the passing years?
Where does Time conceal its two heads,
In dense impenetrable gloom,
Its surface marked with heroes’ deeds alone?
I view the generations gone;
The past appears but dim;
As objects by the moon’s faint beams,
Reflected from a distant lake.
I see, indeed, the thunderbolts of war,
But there the unmighty joyless dwell,
All those who send not down their deeds
To far, succeeding times."

The ignoble warriors die and are forgotten;

"Strangers come to build a tower,
And throw their ashes overhand;
Some rusted swords appear in dust;
One, bending forward, says,
`The arms belonged to heroes gone;
We never heard their praise in song."’

        [31] The grandeur of the similes is another feature which characterizes great poetry. Ossian seems to speak a gigantic and universal language. The images and pictures occupy even much space in the landscape, as if they could be seen only from the sides of mountains, and plains with a wide horizon, or across arms of the sea. The machinery is so massive that it cannot be less than natural. Oivana says to the spirit of her father, "Gray-haired Torkil of Torne," seen in the skies,

"Thou glidest away like receding ships."

So when the hosts of Fingal and Starne approach to battle,

"With murmurs loud, like rivers far,
The race of Torne hither moved."

And when compelled to retire,

"dragging his spear behind,
Cudulin sank in the distant wood,
Like a fire upblazing ere it dies."

Nor did Fingal want a proper audience when he spoke;

"A thousand orators inclined
To hear the lay of Fingal."

The threats too would have deterred a man. Vengeance and terror were real. Trenmore threatens the young warrior whom he meets on a foreign strand,

"Thy mother shall find thee pale on the shore,
While lessening on the waves she spies
The sails of him who slew her son."

If Ossian’s heroes weep, it is from excess of strength, and not from weakness, a sacrifice or libation of fertile natures, like the perspiration of stone in summer’s heat. We hardly know that tears have been shed, and it seems as if weeping were proper only for babes and heroes. Their joy and their sorrow are made of one stuff, like rain and snow, the rainbow and the mist. When Fillan was worsted in fight, and ashamed in the presence of Fingal,

"He strode away forthwith,
And bent in grief above a stream,
His cheeks bedewed with tears.
From time to time the thistles gray
He lopped with his inverted lance."

Crodar, blind and old, receives Ossian, son of Fingal, who comes to aid him in war;—

"`My eyes have failed,’ says he, `Crodar is blind,
Is thy strength like that of thy fathers?
Stretch, Ossian, thine arm to the hoary-haired.’
I gave my arm to the king.
The aged hero seized my hand;
He heaved a heavy sigh;
Tears flowed incessant down his cheek.
`Strong art thou, son of the mighty,
Though not so dreadful as Morven’s prince.
. . . . .
Let my feast be spread in the hall,
Let every sweet-voiced minstrel sing;
Great is he who is within my wall,
Sons of wave-echoing Croma."’

        [32] Even Ossian himself, the hero-bard, pays tribute to the superior strength of his father Fingal.

"How beauteous, mighty man, was thy mind,
Why succeeded Ossian without its strength?"

        [33] While we sailed fleetly before the wind, with the river gurgling under our stern, the thoughts of autumn coursed as steadily through our minds, and we observed less what was passing on the shore, than the dateless associations and impressions which the season awakened, anticipating in some measure the progress of the year.

I hearing get, who had but ears,
And sight, who had but eyes before,
I moments live, who lived but years,
And truth discern, who knew but learning’s lore.

        [34] Sitting with our faces now up stream, we studied the landscape by degrees, as one unrolls a map, rock, tree, house, hill, and meadow, assuming new and varying positions as wind and water shifted the scene, and there was variety enough for our entertainment in the metamorphoses of the simplest objects. Viewed from this side the scenery appeared new to us.
        [35] The most familiar sheet of water viewed from a new hill-top, yields a novel and unexpected pleasure. When we have traveled a few miles, we do not recognize the profiles even of the hills which overlook our native village, and perhaps no man is quite familiar with the horizon as seen from the hill nearest to his house, and can recall its outline distinctly when in the valley. We do not commonly know, beyond a short distance, which way the hills range which take in our houses and farms in their sweep. As if our birth had at first sundered things, and we had been thrust up through into nature like a wedge, and not till the wound heals and the scar disappears, do we begin to discover where we are, and that nature is one and continuous everywhere. It is an important epoch when a man who has always lived on the east side of a mountain, and seen it in the west, travels round and sees it in the east. Yet the universe is a sphere whose centre is wherever there is intelligence. The sun is not so central as a man. Upon an isolated hill-top, in an open country, we seem to ourselves to be standing on the boss of an immense shield, the immediate landscape being apparently depressed below the more remote, and rising gradually to the horizon, which is the rim of the shield, villas, steeples, forests, mountains, one above another, till they are swallowed up in the heavens. The most distant mountains in the horizon appear to rise directly from the shore of that lake in the woods by which we chance to be standing, while from the mountain-top, not only this, but a thousand nearer and larger lakes, are equally unobserved.

        [36] Seen through this clear atmosphere, the works of the farmer, his ploughing and reaping, had a beauty to our eyes which he never saw. How fortunate were we who did not own an acre of these shores, who had not renounced our title to the whole. One who knew how to appropriate the true value of this world would be the poorest man in it. The poor rich man! all he has is what he has bought. What I see is mine. I am a large owner in the Merrimack intervals.

Men dig and dive but cannot my wealth spend,
Who yet no partial store appropriate,
Who no armed ship into the Indies send,
To rob me of my orient estate.

He is the rich man, and enjoys the fruits of riches, who summer and winter forever can find delight in his own thoughts. Buy a farm! What have I to pay for a farm which a farmer will take?
        [37] When I visit again some haunt of my youth, I am glad to find that nature wears so well. The landscape is indeed something real, and solid, and sincere, and I have not put my foot through it yet. There is a pleasant tract on the bank of the Concord, called Conantum, which I have in my mind;—the old deserted farm-house, the desolate pasture with its bleak cliff, the open wood, the river-reach, the green meadow in the midst, and the moss-grown wild-apple orchard,—places where one may have many thoughts and not decide anything. It is a scene which I can not only remember, as I might a vision, but when I will can bodily revisit, and find it even so, unaccountable, yet unpretending in its pleasant dreariness. When my thoughts are sensible of change, I love to see and sit on rocks which I have known, and pry into their moss, and see unchangeableness so established. I not yet gray on rocks forever gray, I no longer green under the evergreens. There is something even in the lapse of time by which time recovers itself.
        [38] As we have said, it proved a cool as well as breezy day, and by the time we reached Penichook Brook we were obliged to sit muffled in our cloaks, while the wind and current carried us along. We bounded swiftly over the rippling surface, far by many cultivated lands and the ends of fences which divided innumerable farms, with hardly a thought for the various lives which they separated; now by long rows of alders or groves of pines or oaks, and now by some homestead where the women and children stood outside to gaze at us, till we had swept out of their sight, and beyond the limit of their longest Saturday ramble. We glided past the mouth of the Nashua, and not long after, of Salmon Brook, without more pause than the wind.—

Salmon Brook,
Penichook,
Ye sweet waters of my brain,
When shall I look,
Or cast the hook,
In your waves again?

Silver eels,
Wooden creels,
These the baits that still allure,
And dragon-fly
That floated by,
May they still endure?

        [39] The shadows chased one another swiftly over wood and meadow, and their alternation harmonized with our mood. We could distinguish the clouds which cast each one, though never so high in the heavens. When a shadow flits across the landscape of the soul, where is the substance? Probably, if we were wise enough, we should see to what virtue we are indebted for any happier moment we enjoy. No doubt we have earned it at some time; for the gifts of Heaven are never quite gratuitous. The constant abrasion and decay of our lives makes the soil of our future growth. The wood which we now mature, when it becomes virgin mould, determines the character of our second growth, whether that be oaks or pines. Every man casts a shadow; not his body only, but his imperfectly mingled spirit. This is his grief. Let him turn which way he will, it falls opposite to the sun; short at noon, long at eve. Did you never see it?—But, referred to the sun, it is widest at its base, which is no greater than his own opacity. The divine light is diffused almost entirely around us, and by means of the refraction of light, or else by a certain self-luminousness, or, as some will have it, transparency, if we preserve ourselves untarnished, we are able to enlighten our shaded side. At any rate, our darkest grief has that bronze color of the moon eclipsed. There is no ill which may not be dissipated, like the dark, if you let in a stronger light upon it. Shadows, referred to the source of light, are pyramids whose bases are never greater than those of the substances which cast them, but light is a spherical congeries of pyramids, whose very apexes are the sun itself, and hence the system shines with uninterrupted light. But if the light we use is but a paltry and narrow taper, most objects will cast a shadow wider than themselves.
        [40] The places where we had stopped or spent the night in our way up the river, had already acquired a slight historical interest for us; for many upward days’ voyaging were unravelled in this rapid downward passage. When one landed to stretch his limbs by walking, he soon found himself falling behind his companion, and was obliged to take advantage of the curves, and ford the brooks and ravines in haste, to recover his ground. Already the banks and the distant meadows wore a sober and deepened tinge, for the September air had shorn them of their summer’s pride.

"And what’s a life? The flourishing array
Of the proud summer meadow, which to-day
Wears her green plush, and is to-morrow hay."

The air was really the "fine element" which the poets describe. It had a finer and sharper grain, seen against the russet pastures and meadows, than before, as if cleansed of the summer’s impurities.
        [41] Having passed the New Hampshire line and reached the Horseshoe Interval in Tyngsborough, where there is a high and regular second bank, we climbed up this in haste to get a nearer sight of the autumnal flowers, asters, golden-rod, and yarrow, and blue-curls (Trichostema dichotoma), humble roadside blossoms, and, lingering still, the harebell and the Rhexia Virginica. The last, growing in patches of lively pink flowers on the edge of the meadows, had almost too gay an appearance for the rest of the landscape, like a pink ribbon on the bonnet of a Puritan woman. Asters and golden-rods were the livery which nature wore at present. The latter alone expressed all the ripeness of the season, and shed their mellow lustre over the fields, as if the now declining summer’s sun had bequeathed its hues to them. It is the floral solstice a little after midsummer, when the particles of golden light, the sun-dust, have, as it were, fallen like seeds on the earth, and produced these blossoms. On every hillside, and in every valley, stood countless asters, coreopses, tansies, golden-rods, and the whole race of yellow flowers, like Brahminical devotees, turning steadily with their luminary from morning till night.

"I see the golden-rod shine bright,
As sun-showers at the birth of day,
A golden plume of yellow light,
That robs the Day-god’s splendid ray.

"The aster’s violet rays divide
The bank with many stars for me,
And yarrow in blanch tints is dyed,
As moonlight floats across the sea.

"I see the emerald woods prepare
To shed their vestiture once more,
And distant elm-trees spot the air
With yellow pictures softly o’er.
. . . . .
"No more the water-lily’s pride
In milk-white circles swims content,
No more the blue-weed’s clusters ride
And mock the heavens’ element.
. . . . .
"Autumn, thy wreath and mine are blent
With the same colors, for to me
A richer sky than all is lent,
While fades my dream-like company.

"Our skies glow purple, but the wind
Sobs chill through green trees and bright grass,
To-day shines fair, and lurk behind
The times that into winter pass.

"So fair we seem, so cold we are,
So fast we hasten to decay,
Yet through our night glows many a star,
That still shall claim its sunny day."

So sang a Concord poet once.

        [42] There is a peculiar interest belonging to the still later flowers, which abide with us the approach of winter. There is something witch-like in the appearance of the witch-hazel, which blossoms late in October and in November, with its irregular and angular spray and petals like furies’ hair, or small ribbon streamers. Its blossoming, too, at this irregular period, when other shrubs have lost their leaves, as well as blossoms, looks like witches’ craft. Certainly it blooms in no garden of man’s. There is a whole fairy-land on the hillside where it grows.
        [43] Some have thought that the gales do not at present waft to the voyager the natural and original fragrance of the land, such as the early navigators described, and that the loss of many odoriferous native plants, sweet-scented grasses and medicinal herbs, which formerly sweetened the atmosphere, and rendered it salubrious,—by the grazing of cattle and the rooting of swine, is the source of many diseases which now prevail; the earth, say they, having been long subjected to extremely artificial and luxurious modes of cultivation, to gratify the appetite, converted into a stye and hot-bed, where men for profit increase the ordinary decay of nature.
        [44] According to the record of an old inhabitant of Tyngsborough, now dead, whose farm we were now gliding past, one of the greatest freshets on this river took place in October, 1785, and its height was marked by a nail driven into an apple-tree behind his house. One of his descendants has shown this to me, and I judged it to be at least seventeen or eighteen feet above the level of the river at the time. According to Barber, the river rose twenty-one feet above the common high-water mark, at Bradford in the year 1818. Before the Lowell and Nashua railroad was built, the engineer made inquiries of the inhabitants along the banks as to how high they had known the river to rise. When he came to this house he was conducted to the apple-tree, and as the nail was not then visible, the lady of the house placed her hand on the trunk where she said that she remembered the nail to have been from her childhood. In the mean while the old man put his arm inside the tree, which was hollow, and felt the point of the nail sticking through, and it was exactly opposite to her hand. The spot is now plainly marked by a notch in the bark. But as no one else remembered the river to have risen so high as this, the engineer disregarded this statement, and I learn that there has since been a freshet which rose within nine inches of the rails at Biscuit Brook, and such a freshet as that of 1785 would have covered the railroad two feet deep.
        [45] The revolutions of nature tell as fine tales, and make as interesting revelations, on this river’s banks, as on the Euphrates or the Nile. This apple-tree, which stands within a few rods of the river, is called "Elisha’s apple-tree," from a friendly Indian, who was anciently in the service of Jonathan Tyng, and, with one other man, was killed here by his own race in one of the Indian wars,—the particulars of which affair were told us on the spot. He was buried close by, no one knew exactly where, but in the flood of 1785, so great a weight of water standing over the grave, caused the earth to settle where it had once been disturbed, and when the flood went down, a sunken spot, exactly of the form and size of the grave, revealed its locality; but this was now lost again, and no future flood can detect it; yet, no doubt, Nature will know how to point it out in due time, if it be necessary, by methods yet more searching and unexpected. Thus there is not only the crisis when the spirit ceases to inspire and expand the body, marked by a fresh mound in the churchyard, but there is also a crisis when the body ceases to take up room as such in nature, marked by a fainter depression in the earth.
        [46] We sat awhile to rest us here upon the brink of the western bank, surrounded by the glossy leaves of the red variety of the mountain laurel, just above the head of Wicasuck Island, where we could observe some scows which were loading with clay from the opposite shore, and also overlook the grounds of the farmer, of whom I have spoken, who once hospitably entertained us for a night. He had on his pleasant farm, besides an abundance of the beach-plum, or Prunus littoralis, which grew wild, the Canada plum under cultivation, fine Porter apples, some peaches, and large patches of musk and water melons, which he cultivated for the Lowell market. Elisha’s apple-tree, too, bore a native fruit, which was prized by the family. He raised the blood peach, which, as he showed us with satisfaction, was more like the oak in the color of its bark and in the setting of its branches, and was less liable to break down under the weight of the fruit, or the snow, than other varieties. It was of slower growth, and its branches strong and tough. There, also, was his nursery of native apple-trees, thickly set upon the bank, which cost but little care, and which he sold to the neighboring farmers when they were five or six years old. To see a single peach upon its stem makes an impression of paradisaical fertility and luxury. This reminded us even of an old Roman farm, as described by Varro:—"Cæsar Vopiscus Ædilicius, when he pleaded before the Censors, said that the grounds of Rosea were the garden (sumen the tid-bit) of Italy, in which a pole being left would not be visible the day after, on account of the growth of the herbage." This soil may not have been remarkably fertile, yet at this distance we thought that this anecdote might be told of the Tyngsborough farm.
        [47] When we passed Wicasuck Island, there was a pleasure-boat containing a youth and a maiden on the island brook, which we were pleased to see, since it proved that there were some hereabouts to whom our excursion would not be wholly strange. Before this, a canal-boatman, of whom we made some inquiries respecting Wicasuck Island, and who told us that it was disputed property, suspected that we had a claim upon it, and though we assured him that all this was news to us, and explained, as well as we could, why we had come to see it, he believed not a word of it, and seriously offered us one hundred dollars for our title. The only other small boats which we met with were used to pick up driftwood. Some of the poorer class along the stream collect, in this way, all the fuel which they require. While one of us landed not far from this island to forage for provisions among the farm-houses whose roofs we saw, for our supply was now exhausted, the other, sitting in the boat, which was moored to the shore, was left alone to his reflections.
        [48] If there is nothing new on the earth, still the traveller always has a resource in the skies. They are constantly turning a new page to view. The wind sets the types on this blue ground, and the inquiring may always read a new truth there. There are things there written with such fine and subtile tinctures, paler than the juice of limes, that to the diurnal eye they leave no trace, and only the chemistry of night reveals them. Every man’s daylight firmament answers in his mind to the brightness of the vision in his starriest hour.
        [49] These continents and hemispheres are soon run over, but an always unexplored and infinite region makes off on every side from the mind, further than to sunset, and we can make no highway or beaten track into it, but the grass immediately springs up in the path, for we travel there chiefly with our wings.
        [50] Sometimes we see objects as through a thin haze, in their eternal relations, and they stand like Palenque and the Pyramids, and we wonder who set them up, and for what purpose. If we see the reality in things, of what moment is the superficial and apparent longer? What are the earth and all its interests beside the deep surmise which pierces and scatters them? While I sit here listening to the waves which ripple and break on this shore, I am absolved from all obligation to the past, and the council of nations may reconsider its votes. The grating of a pebble annuls them. Still occasionally in my dreams I remember that rippling water.

Oft, as I turn me on my pillow o’er,
I hear the lapse of waves upon the shore,
Distinct as if it were at broad noonday,
And I were drifting down from Nashua.

        [51] With a bending sail we glided rapidly by Tyngsborough and Chelmsford, each holding in one hand half of a tart country apple-pie which we had purchased to celebrate our return, and in the other a fragment of the newspaper in which it was wrapped, devouring these with divided relish, and learning the news which had transpired since we sailed. The river here opened into a broad and straight reach of great length, which we bounded merrily over before a smacking breeze, with a devil-may-care look in our faces, and our boat a white bone in its mouth, and a speed which greatly astonished some scow boatmen whom we met. The wind in the horizon rolled like a flood over valley and plain, and every tree bent to the blast, and the mountains like school-boys turned their cheeks to it. They were great and current motions, the flowing sail, the running stream, the waving tree, the roving wind. The north-wind stepped readily into the harness which we had provided, and pulled us along with good will. Sometimes we sailed as gently and steadily as the clouds overhead, watching the receding shores and the motions of our sail; the play of its pulse so like our own lives, so thin and yet so full of life, so noiseless when it labored hardest, so noisy and impatient when least effective; now bending to some generous impulse of the breeze, and then fluttering and flapping with a kind of human suspense. It was the scale on which the varying temperature of distant atmospheres was graduated, and it was some attraction for us that the breeze it played with had been out of doors so long. Thus we sailed, not being able to fly, but as next best, making a long furrow in the fields of the Merrimack toward our home, with our wings spread, but never lifting our heel from the watery trench; gracefully ploughing homeward with our brisk and willing team, wind and stream, pulling together, the former yet a wild steer, yoked to his more sedate fellow. It was very near flying, as when the duck rushes through the water with an impulse of her wings, throwing the spray about her, before she can rise. How we had stuck fast if drawn up but a few feet on the shore!
        [52] When we reached the great bend just above Middlesex, where the river runs east thirty-five miles to the sea, we at length lost the aid of this propitious wind, though we contrived to make one long and judicious tack carry us nearly to the locks of the canal. We were here locked through at noon by our old friend, the lover of the higher mathematics, who seemed glad to see us safe back again through so many locks; but we did not stop to consider any of his problems, though we could cheerfully have spent a whole autumn in this way another time, and never have asked what his religion was. It is so rare to meet with a man out-doors who cherishes a worthy thought in his mind, which is independent of the labor of his hands. Behind every man’s busy-ness there should be a level of undisturbed serenity and industry, as within the reef encircling a coral isle there is always an expanse of still water, where the depositions are going on which will finally raise it above the surface.

        [53] The eye which can appreciate the naked and absolute beauty of a scientific truth is far more rare than that which is attracted by a moral one. Few detect the morality in the former, or the science in the latter. Aristotle defined art to be Lo´gos touˆ e&lenis;´rgou a&lenis;´neu u&asper;´lhs, The principle of the work without the wood; but most men prefer to have some of the wood along with the principle; they demand that the truth be clothed in flesh and blood and the warm colors of life. They prefer the partial statement because it fits and measures them and their commodities best. But science still exists everywhere as the sealer of weights and measures at least.
        [54] We have heard much about the poetry of mathematics, but very little of it has yet been sung. The ancients had a juster notion of their poetic value than we. The most distinct and beautiful statement of any truth must take at last the mathematical form. We might so simplify the rules of moral philosophy, as well as of arithmetic, that one formula would express them both. All the moral laws are readily translated into natural philosophy, for often we have only to restore the primitive meaning of the words by which they are expressed, or to attend to their literal instead of their metaphorical sense. They are already supernatural philosophy. The whole body of what is now called moral or ethical truth existed in the golden age as abstract science. Or, if we prefer, we may say that the laws of Nature are the purest morality. The Tree of Knowledge is a Tree of Knowledge of good and evil. He is not a true man of science who does not bring some sympathy to his studies, and expect to learn something by behavior as well as by application. It is childish to rest in the discovery of mere coincidences, or of partial and extraneous laws. The study of geometry is a petty and idle exercise of the mind, if it is applied to no larger system than the starry one. Mathematics should be mixed not only with physics but with ethics, that is mixed mathematics. The fact which interests us most is the life of the naturalist. The purest science is still biographical. Nothing will dignify and elevate science while it is sundered so wholly from the moral life of its devotee, and he professes another religion than it teaches, and worships at a foreign shrine. Anciently the faith of a philosopher was identical with his system, or, in other words, his view of the universe.
        [55] My friends mistake when they communicate facts to me with so much pains. Their presence, even their exaggerations and loose statements, are equally good facts for me. I have no respect for facts even except when I would use them, and for the most part I am independent of those which I hear, and can afford to be inaccurate, or, in other words, to substitute more present and pressing facts in their place.
        [56] The poet uses the results of science and philosophy, and generalizes their widest deductions.
        [57] The process of discovery is very simple. An unwearied and systematic application of known laws to nature, causes the unknown to reveal themselves. Almost any mode of observation will be successful at last, for what is most wanted is method. Only let something be determined and fixed around which observation may rally. How many new relations a foot-rule alone will reveal, and to how many things still this has not been applied! What wonderful discoveries have been, and may still be, made, with a plumb-line, a level, a surveyor’s compass, a thermometer, or a barometer! Where there is an observatory and a telescope, we expect that any eyes will see new worlds at once. I should say that the most prominent scientific men of our country, and perhaps of this age, are either serving the arts and not pure science, or are performing faithful but quite subordinate labors in particular departments. They make no steady and systematic approaches to the central fact. A discovery is made, and at once the attention of all observers is distracted to that, and it draws many analogous discoveries in its train; as if their work were not already laid out for them, but they had been lying on their oars. There is wanting constant and accurate observation with enough of theory to direct and discipline it.
        [58] But, above all, there is wanting genius. Our books of science, as they improve in accuracy, are in danger of losing the freshness and vigor and readiness to appreciate the real laws of Nature, which is a marked merit in the oft times false theories of the ancients. I am attracted by the slight pride and satisfaction, the emphatic and even exaggerated style in which some of the older naturalists speak of the operations of Nature, though they are better qualified to appreciate than to discriminate the facts. Their assertions are not without value when disproved. If they are not facts, they are suggestions for Nature herself to act upon. "The Greeks," says Gesner, "had a common proverb (Lagos katheudon) a sleeping hare, for a dissembler or counterfeit; because the hare sees when she sleeps; for this is an admirable and rare work of Nature, that all the residue of her bodily parts take their rest, but the eye standeth continually sentinel."
        [59] Observation is so wide awake, and facts are being so rapidly added to the sum of human experience, that it appears as if the theorizer would always be in arrears, and were doomed forever to arrive at imperfect conclusions; but the power to perceive a law is equally rare in all ages of the world, and depends but little on the number of facts observed. The senses of the savage will furnish him with facts enough to set him up as a philosopher. The ancients can still speak to us with authority, even on the themes of geology and chemistry, though these studies are thought to have had their birth in modern times. Much is said about the progress of science in these centuries. I should say that the useful results of science had accumulated, but that there had been no accumulation of knowledge, strictly speaking, for posterity; for knowledge is to be acquired only by a corresponding experience. How can we know what we are told merely? Each man can interpret another’s experience only by his own. We read that Newton discovered the law of gravitation, but how many who have heard of his famous discovery have recognized the same truth that he did? It may be not one. The revelation which was then made to him has not been superseded by the revelation made to any successor.

We see the planet fall,
And that is all.

        [60] In a review of Sir James Clark Ross’s Antarctic Voyage of Discovery, there is a passage which shows how far a body of men are commonly impressed by an object of sublimity, and which is also a good instance of the step from the sublime to the ridiculous. After describing the discovery of the Antarctic Continent, at first seen a hundred miles distant over fields of ice,—stupendous ranges of mountains from seven and eight to twelve and fourteen thousand feet high, covered with eternal snow and ice, in solitary and inaccessible grandeur, at one time the weather being beautifully clear, and the sun shining on the icy landscape; a continent whose islands only are accessible, and these exhibited "not the smallest trace of vegetation," only in a few places the rocks protruding through their icy covering, to convince the beholder that land formed the nucleus, and that it was not an iceberg;—the practical British reviewer proceeds thus, sticking to his last, "On the 22d of January, afternoon, the Expedition made the latitude of 74° 20’ and by 7h P. M., having ground (ground! where did they get ground?) to believe that they were then in a higher southern latitude than had been attained by that enterprising seaman, the late Captain James Weddel, and therefore higher than all their predecessors, an extra allowance of grog was issued to the crews as a reward for their perseverance."
        [61] Let not us sailors of late centuries take upon ourselves any airs on account of our Newtons and our Cuviers; we deserve an extra allowance of grog only.

        [62] We endeavored in vain to persuade the wind to blow through the long corridor of the canal, which is here cut straight through the woods, and were obliged to resort to our old expedient of drawing by a cord. When we reached the Concord, we were forced to row once more in good earnest, with neither wind nor current in our favor, but by this time the rawness of the day had disappeared, and we experienced the warmth of a summer afternoon. This change in the weather was favorable to our contemplative mood, and disposed us to dream yet deeper at our oars, while we floated in imagination farther down the stream of time, as we had floated down the stream of the Merrimack, to poets of a milder period than had engaged us in the morning. Chelmsford and Billerica appeared like old English towns, compared with Merrimack and Nashua, and many generations of civil poets might have lived and sung here.

        [63] What a contrast between the stern and desolate poetry of Ossian, and that of Chaucer, and even of Shakespeare and Milton, much more of Dryden, and Pope, and Gray. Our summer of English poetry like the Greek and Latin before it, seems well advanced toward its fall, and laden with the fruit and foliage of the season, with bright autumnal tints, but soon the winter will scatter its myriad clustering and shading leaves, and leave only a few desolate and fibrous boughs to sustain the snow and rime, and creak in the blasts of ages. We cannot escape the impression that the Muse has stooped a little in her flight, when we come to the literature of civilized eras. Now first we hear of various ages and styles of poetry; it is pastoral, and lyric, and narrative, and didactic; but the poetry of runic monuments is of one style, and for every age. The bard has in a great measure lost the dignity and sacredness of his office. Formerly he was called a seer, but now it is thought that one man sees as much as another. He has no longer the bardic rage, and only conceives the deed, which he formerly stood ready to perform. Hosts of warriors earnest for battle could not mistake nor dispense with the ancient bard. His lays were heard in the pauses of the fight. There was no danger of his being overlooked by his contemporaries. But now the hero and the bard are of different professions. When we come to the pleasant English verse, the storms have all cleared away and it will never thunder and lighten more. The poet has come within doors, and exchanged the forest and crag for the fireside, the hut of the Gael, and Stonehenge with its circles of stones, for the house of the Englishman. No hero stands at the door prepared to break forth into song or heroic action, but a homely Englishman, who cultivates the art of poetry. We see the comfortable fireside, and hear the crackling fagots in all the verse.
        [64] Notwithstanding the broad humanity of Chaucer, and the many social and domestic comforts which we meet with in his verse, we have to narrow our vision somewhat to consider him, as if he occupied less space in the landscape, and did not stretch over hill and valley as Ossian does. Yet, seen from the side of posterity, as the father of English poetry, preceded by a long silence or confusion in history, unenlivened by any strain of pure melody, we easily come to reverence him. Passing over the earlier continental poets, since we are bound to the pleasant archipelago of English poetry, Chaucer’s is the first name after that misty weather in which Ossian lived, which can detain us long. Indeed, though he represents so different a culture and society, he may be regarded as in many respects the Homer of the English poets. Perhaps he is the youthfullest of them all. We return to him as to the purest well, the fountain farthest removed from the highway of desultory life. He is so natural and cheerful, compared with later poets, that we might almost regard him as a personification of spring. To the faithful reader his muse has even given an aspect to his times, and when he is fresh from perusing him, they seem related to the golden age. It is still the poetry of youth and life, rather than of thought; and though the moral vein is obvious and constant, it has not yet banished the sun and daylight from his verse. The loftiest strains of the muse are, for the most part, sublimely plaintive, and not a carol as free as nature’s. The content which the sun shines to celebrate from morning to evening, is unsung. The muse solaces herself, and is not ravished but consoled. There is a catastrophe implied, and a tragic element in all our verse, and less of the lark and morning dews, than of the nightingale and evening shades. But in Homer and Chaucer there is more of the innocence and serenity of youth than in the more modern and moral poets. The Iliad is not Sabbath but morning reading, and men cling to this old song, because they still have moments of unbaptized and uncommitted life, which give them an appetite for more. To the innocent there are neither cherubim nor angels. At rare intervals we rise above the necessity of virtue into an unchangeable morning light, in which we have only to live right on and breathe the ambrosial air. The Iliad represents no creed nor opinion, and we read it with a rare sense of freedom and irresponsibility, as if we trod on native ground, and were autochthones of the soil.
        [65] Chaucer had eminently the habits of a literary man and a scholar. There were never any times so stirring that there were not to be found some sedentary still. He was surrounded by the din of arms. The battles of Hallidon Hill and Neville’s Cross, and the still more memorable battles of Cressy and Poictiers, were fought in his youth; but these did not concern our poet much, Wickliffe and his reform much more. He regarded himself always as one privileged to sit and converse with books. He helped to establish the literary class. His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy. If Greek sufficeth for Greek, and Arabic for Arabian, and Hebrew for Jew, and Latin for Latin, then English shall suffice for him, for any of these will serve to teach truth "right as divers pathes leaden divers folke the right waye to Rome." In the Testament of Love he writes, "Let then clerkes enditen in Latin, for they have the propertie of science, and the knowinge in that facultie, and lette Frenchmen in their Frenche also enditen their queinte termes, for it is kyndely to their mouthes, and let us shewe our fantasies in soche wordes as we lerneden of our dames tonge."
        [66] He will know how to appreciate Chaucer best, who has come down to him the natural way, through the meagre pastures of Saxon and ante-Chaucerian poetry; and yet, so human and wise he appears after such diet, that we are liable to misjudge him still. In the Saxon poetry extant, in the earliest English, and the contemporary Scottish poetry, there is less to remind the reader of the rudeness and vigor of youth, than of the feebleness of a declining age. It is for the most part translation of imitation merely, with only an occasional and slight tinge of poetry, oftentimes the falsehood and exaggeration of fable, without its imagination to redeem it, and we look in vain to find antiquity restored, humanized, and made blithe again by some natural sympathy between it and the present. But Chaucer is fresh and modern still, and no dust settles on his true passages. It lightens along the line, and we are reminded that flowers have bloomed, and birds sung, and hearts beaten in England. Before the earnest gaze of the reader, the rust and moss of time gradually drop off, and the original green life is revealed. He was a homely and domestic man, and did breathe quite as modern men do.
        [67] There is no wisdom that can take place of humanity, and we find that in Chaucer. We can expand at last in his breadth, and we think that we could have been that man’s acquaintance. He was worthy to be a citizen of England, while Petrarch and Boccacio lived in Italy, and Tell and Tamerlane in Switzerland and in Asia, and Bruce in Scotland, and Wickliffe, and Gower, and Edward the Third, and John of Gaunt, and the Black Prince, were his own countrymen as well as contemporaries; all stout and stirring names. The fame of Roger Bacon came down from the preceding century, and the name of Dante still possessed the influence of a living presence. On the whole, Chaucer impresses us as greater than his reputation, and not a little like Homer and Shakespeare, for he would have held up his head in their company. Among early English poets he is the landlord and host, and has the authority of such. The affectionate mention which succeeding early poets make of him, coupling him with Homer and Virgil, is to be taken into the account in estimating his character and influence. King James and Dunbar of Scotland speak of him with more love and reverence than any modern author of his predecessors of the last century. The same childlike relation is without a parallel now. For the most part we read him without criticism, for he does not plead his own cause, but speaks for his readers, and has that greatness of trust and reliance which compels popularity. He confides in the reader, and speaks privily with him, keeping nothing back. And in return the reader has great confidence in him, that he tells no lies, and reads his story with indulgence, as if it were the circumlocution of a child, but often discovers afterwards that he has spoken with more directness and economy of words than a sage. He is never heartless,

"For first the thing is thought within the hart,
Er any word out from the mouth astart."

And so new was all his theme in those days, that he did not have to invent, but only to tell.

        [68] We admire Chaucer for his sturdy English wit. The easy height he speaks from in his Prologue to the Canterbury Tales, as if he were equal to any of the company there assembled, is as good as any particular excellence in it. But though it is full of good sense and humanity, it is not transcendent poetry. For picturesque description of persons it is, perhaps, without a parallel in English poetry; yet it is essentially humorous, as the loftiest genius never is. Humor, however broad and genial, takes a narrower view than enthusiasm. To his own finer vein he added all the common wit and wisdom of his time, and everywhere in his works his remarkable knowledge of the world, and nice perception of character, his rare common sense and proverbial wisdom, are apparent. His genius does not soar like Milton’s, but is genial and familiar. It shows great tenderness and delicacy, but not the heroic sentiment. It is only a greater portion of humanity with all its weakness. He is not heroic, as Raleigh, nor pious, as Herbert, nor philosophical, as Shakespeare, but he is the child of the English muse, that child which is the father of the man. The charm of his poetry consists often only in an exceeding naturalness, perfect sincerity, with the behavior of a child rather than of a man.
        [69] Gentleness and delicacy of character are everywhere apparent in his verse. The simplest and humblest words come readily to his lips. No one can read the Prioress’s tale, understanding the spirit in which it was written, and in which the child sings O alma redemptoris mater, or the account of the departure of Constance with her child upon the sea, in the Man of Lawe’s tale, without feeling the native innocence and refinement of the author. Nor can we be mistaken respecting the essential purity of his character, disregarding the apology of the manners of the age. A simple pathos and feminine gentleness, which Wordsworth only occasionally approaches, but does not equal, are peculiar to him. We are tempted to say that his genius was feminine, not masculine. It was such a feminineness, however, as is rarest to find in woman, though not the appreciation of it; perhaps it is not to be found at all in woman, but is only the feminine in man.
        [70] Such pure and genuine and childlike love of Nature is hardly to be found in any poet.
        [71] Chaucer’s remarkably trustful and affectionate character appears in his familiar, yet innocent and reverent, manner of speaking of his God. He comes into his thought without any false reverence, and with no more parade than the zephyr to his ear. If Nature is our mother, then God is our father. There is less love and simple, practical trust in Shakespeare and Milton. How rarely in our English tongue do we find expressed any affection for God. Certainly, there is no sentiment so rare as the love of God. Herbert almost alone expresses it, "Ah, my dear God!" Our poet uses similar words with propriety; and whenever he sees a beautiful person, or other object, prides himself on the "maistry" of his God. He even recommends Dido to be his bride,—

"if that God that heaven and yearth made,
Would have a love for beauty and goodnesse,
And womanhede, trouth, and semeliness."

        [72] But in justification of our praise, we must refer to his works themselves; to the Prologue to the Canterbury Tales, the account of Gentilesse, the Flower and the Leaf, the stories of Griselda, Virginia, Ariadne, and Blanche the Dutchesse, and much more of less distinguished merit. There are many poets of more taste, and better manners, who knew how to leave out their dulness; but such negative genius cannot detain us long; we shall return to Chaucer still with love. Some natures, which are really rude and ill-developed, have yet a higher standard of perfection than others which are refined and well balanced. Even the clown has taste, whose dictates, though he disregards them, are higher and purer than those which the artist obeys. If we have to wander through many dull and prosaic passages in Chaucer, we have at least the satisfaction of knowing that it is not an artificial dulness, but too easily matched by many passages in life. We confess that we feel a disposition commonly to concentrate sweets, and accumulate pleasures; but the poet may be presumed always to speak as a traveller, who leads us through a varied scenery, from one eminence to another, and it is, perhaps, more pleasing, after all, to meet with a fine thought in its natural setting. Surely fate has enshrined it in these circumstances for some end. Nature strews her nuts and flowers broadcast, and never collects them into heaps. This was the soil it grew in, and this the hour it bloomed in; if sun, wind, and rain came here to cherish and expand the flower, shall not we come here to pluck it?
        [73] A true poem is distinguished not so much by a felicitous expression, or any thought it suggests, as by the atmosphere which surrounds it. Most have beauty of outline merely, and are striking as the form and bearing of a stranger; but true verses come toward us indistinctly, as the very breath of all friendliness, and envelop us in their spirit and fragrance. Much of our poetry has the very best manners, but no character. It is only an unusual precision and elasticity of speech, as if its author had taken, not an intoxicating draught, but an electuary. It has the distinct outline of sculpture, and chronicles an early hour. Under the influence of passion all men speak thus distinctly, but wrath is not always divine.
        [74] There are two classes of men called poets. The one cultivates life, the other art,—one seeks food for nutriment, the other for flavor; one satisfies hunger, the other gratifies the palate. There are two kinds of writing, both great and rare; one that of genius, or the inspired, the other of intellect and taste, in the intervals of inspiration. The former is above criticism, always correct, giving the law to criticism. It vibrates and pulsates with life forever. It is sacred, and to be read with reverence, as the works of nature are studied. There are few instances of a sustained style of this kind; perhaps every man has spoken words, but the speaker is then careless of the record. Such a style removes us out of personal relations with its author; we do not take his words on our lips, but his sense into our hearts. It is the stream of inspiration, which bubbles out, now here, now there, now in this man, now in that. It matters not through what ice-crystals it is seen, now a fountain, now the ocean stream running under ground. It is in Shakespeare, Alpheus, in Burns, Arethuse; but ever the same. The other is self-possessed and wise. It is reverent of genius, and greedy of inspiration. It is conscious in the highest and the least degree. It consists with the most perfect command of the faculties. It dwells in a repose as of the desert, and objects are as distinct in it as oases or palms in the horizon of sand. The train of thought moves with subdued and measured step, like a caravan. But the pen is only an instrument in its hand, and not instinct with life, like a longer arm. It leaves a thin varnish or glaze over all its work. The works of Goethe furnish remarkable instances of the latter.
        [75] There is no just and serene criticism as yet. Nothing is considered simply as it lies in the lap of eternal beauty, but our thoughts, as well as our bodies, must be dressed after the latest fashions. Our taste is too delicate and particular. It says nay to the poet’s work, but never yea to his hope. It invites him to adorn his deformities, and not to cast them off by expansion, as the tree its bark. We are a people who live in a bright light, in houses of pearl and porcelain, and drink only light wines, whose teeth are easily set on edge by the least natural sour. If we had been consulted, the backbone of the earth would have been made, not of granite, but of Bristol spar. A modern author would have died in infancy in a ruder age. But the poet is something more than a scald, "a smoother and polisher of language"; he is a Cincinnatus in literature, and occupies no west end of the world. Like the sun, he will indifferently select his rhymes, and with a liberal taste weave into his verse the planet and the stubble.
        [76] In these old books the stucco has long since crumbled away, and we read what was sculptured in the granite. They are rude and massive in their proportions, rather than smooth and delicate in their finish. The workers in stone polish only their chimney ornaments, but their pyramids are roughly done. There is a soberness in a rough aspect, as of unhewn granite, which addresses a depth in us, but a polished surface hits only the ball of the eye. The true finish is the work of time, and the use to which a thing is put. The elements are still polishing the pyramids. Art may varnish and gild, but it can do no more. A work of genius is rough-hewn from the first, because it anticipates the lapse of time, and has an ingrained polish, which still appears when fragments are broken off, an essential quality of its substance. Its beauty is at the same time its strength, and it breaks with a lustre.
        [77] The great poem must have the stamp of greatness as well as its essence. The reader easily goes within the shallowest contemporary poetry, and informs it with all the life and promise of the day, as the pilgrim goes within the temple, and hears the faintest strains of the worshippers; but it will have to speak to posterity, traversing these deserts, through the ruins of its outmost walls, by the grandeur and beauty of its proportions.

        [78] But here on the stream of the Concord, where we have all the while been bodily, Nature, who is superior to all styles and ages, is now, with pensive face, composing her poem Autumn, with which no work of man will bear to be compared.
        [79] In summer we live out of doors, and have only impulses and feelings, which are all for action, and must wait commonly for the stillness and longer nights of autumn and winter before any thought will subside; we are sensible that behind the rustling leaves, and the stacks of grain, and the bare clusters of the grape, there is the field of a wholly new life, which no man has lived; that even this earth was made for more mysterious and nobler inhabitants than men and women. In the hues of October sunsets, we see the portals to other mansions than those which we occupy, not far off geographically,—

"There is a place beyond that flaming hill,
From whence the stars their thin appearance shed,
A place beyond all place, where never ill,
Nor impure thought was ever harbored."

Sometimes a mortal feels in himself Nature, not his Father but his Mother stirs within him, and he becomes immortal with her immortality. From time to time she claims kindredship with us, and some globule from her veins steals up into our own.

I am the autumnal sun,
With autumn gales my race is run;
When will the hazel put forth its flowers,
Or the grape ripen under my bowers?
When will the harvest or the hunter’s moon,
Turn my midnight into mid-noon?
I am all sere and yellow,
And to my core mellow.
The mast is dropping within my woods,
The winter is lurking within my moods,
And the rustling of the withered leaf
Is the constant music of my grief.

        [80] To an unskilful rhymer the Muse thus spoke in prose:

        [81] The moon no longer reflects the day, but rises to her absolute rule, and the husbandman and hunter acknowledge her for their mistress. Asters and golden-rods reign along the way, and the life-everlasting withers not. The fields are reaped and shorn of their pride, but an inward verdure still crowns them. The thistle scatters its down on the pool, and yellow leaves clothe the vine, and naught disturbs the serious life of men. But behind the sheaves, and under the sod, there lurks a ripe fruit, which the reapers have not gathered, the true harvest of the year, which it bears forever, annually watering and maturing it, and man never severs the stalk which bears this palatable fruit.

        [82] Men nowhere, east or west, live yet a natural life, round which the vine clings, and which the elm willingly shadows. Man would desecrate it by his touch, and so the beauty of the world remains veiled to him. He needs not only to be spiritualized, but naturalized, on the soil of earth. Who shall conceive what kind of roof the heavens might extend over him, what seasons minister to him, and what employment dignify his life! Only the convalescent raise the veil of nature. An immortality in his life would confer immortality on his abode. The winds should be his breath, the seasons his moods, and he should impart of his serenity to Nature herself. But such as we know him he is ephemeral like the scenery which surrounds him, and does not aspire to an enduring existence. When we come down into the distant village, visible from the mountain-top, the nobler inhabitants with whom we peopled it have departed, and left only vermin in its desolate streets. It is the imagination of poets which puts those brave speeches into the mouths of their heroes. They may feign that Cato’s last words were

"The earth, the air, and seas I know, and all
The joys and horrors of their peace and wars;
And now will view the Gods’ state and the stars,"

but such are not the thoughts nor the destiny of common men. What is this heaven which they expect, if it is no better than they expect? Are they prepared for a better than they can now imagine? Where is the heaven of him who dies on a stage, in a theatre? Here or nowhere is our heaven.

"Although we see celestial bodies move
Above the earth, the earth we till and love."

We can conceive of nothing more fair than something which we have experienced. "The remembrance of youth is a sigh." We linger in manhood to tell the dreams of our childhood, and they are half forgotten ere we have learned the language. We have need to be earth-born as well as heaven-born, ghgeneiˆj, as was said of the Titans of old, or in a better sense than they. There have been heroes for whom this world seemed expressly prepared, as if creation had at last succeeded; whose daily life was the stuff of which our dreams are made, and whose presence enhanced the beauty and ampleness of Nature herself. Where they walked,

"Largior hic campos æther et lumine vestit
Purpureo: Solemque suum, sua sidera nôrunt."

"Here a more copious air invests the fields, and clothes with purple light; and they know their own sun and their own stars." We love to hear some men speak, though we hear not what they say; the very air they breathe is rich and perfumed, and the sound of their voices falls on the ear like the rustling of leaves or the crackling of the fire. They stand many deep. They have the heavens for their abettors, as those who have never stood from under them, and they look at the stars with an answering ray. Their eyes are like glow-worms, and their motions graceful and flowing, as if a place were already found for them, like rivers flowing through valleys. The distinctions of morality, of right and wrong, sense and nonsense, are petty, and have lost their significance, beside these pure primeval natures. When I consider the clouds stretched in stupendous masses across the sky, frowning with darkness or glowing with downy light, or gilded with the rays of the setting sun, like the battlements of a city in the heavens, their grandeur appears thrown away on the meanness of my employment; the drapery is altogether too rich for such poor acting. I am hardly worthy to be a suburban dweller outside those walls.

"Unless above himself he can
Erect himself, how poor a thing is man!"

        [83] With our music we would fain challenge transiently another and finer sort of intercourse than our daily toil permits. The strains come back to us amended in the echo, as when a friend reads our verse. Why have they so painted the fruits, and freighted them with such fragrance as to satisfy a more than animal appetite?

"I asked the schoolman, his advice was free,
But scored me out too intricate a way."

These things imply, perchance, that we live on the verge of another and purer realm, from which these odors and sounds are wafted over to us. The borders of our plot are set with flowers, whose seeds were blown from more Elysian fields adjacent. They are the pot-herbs of the gods. Some fairer fruits and sweeter fragrances wafted over to us, betray another realm’s vicinity. There, too, does Echo dwell, and there is the abutment of the rainbow’s arch.

A finer race and finer fed
Feast and revel o’er our head,
And we titmen are only able
To catch the fragments from their table.
Theirs is the fragrance of the fruits,
While we consume the pulp and roots.
What are the moments that we stand
Astonished on the Olympian land!

        [84] We need pray for no higher heaven than the pure senses can furnish, a purely sensuous life. Our present senses are but the rudiments of what they are destined to become. We are comparatively deaf and dumb and blind, and without smell or taste or feeling. Every generation makes the discovery, that its divine vigor has been dissipated, and each sense and faculty misapplied and debauched. The ears were made, not for such trivial uses as men are wont to suppose, but to hear celestial sounds. The eyes were not made for such grovelling uses as they are now put to and worn out by, but to behold beauty now invisible. May we not see God? Are we to be put off and amused in this life, as it were with a mere allegory? Is not Nature, rightly read, that of which she is commonly taken to be the symbol merely? When the common man looks into the sky, which he has not so much profaned, he thinks it less gross than the earth, and with reverence speaks of "the Heavens," but the seer will in the same sense speak of "the Earths," and his Father who is in them. "Did not he that made that which is within, make that which is without also?" What is it, then, to educate but to develop these divine germs called the senses? for individuals and states to deal magnanimously with the rising generation, leading it not into temptation,—not teach the eye to squint, nor attune the ear to profanity. But where is the instructed teacher? Where are the normal schools?
        [85] A Hindoo sage said, "As a dancer, having exhibited herself to the spectator, desists from the dance, so does Nature desist, having manifested herself to soul—. Nothing, in my opinion, is more gentle than Nature; once aware of having been seen, she does not again expose herself to the gaze of soul."

        [86] It is easier to discover another such a new world as Columbus did, than to go within one fold of this which we appear to know so well; the land is lost sight of, the compass varies, and mankind mutiny; and still history accumulates like rubbish before the portals of nature. But there is only necessary a moment’s sanity and sound senses, to teach us that there is a nature behind the ordinary, in which we have only some vague pre-emption right and western reserve as yet. We live on the outskirts of that region. Carved wood, and floating boughs, and sunset skies, are all that we know of it. We are not to be imposed on by the longest spell of weather. Let us not, my friends, be wheedled and cheated into good behavior to earn the salt of our eternal porridge, whoever they are that attempt it. Let us wait a little, and not purchase any clearing here, trusting that richer bottoms will soon be put up. It is but thin soil where we stand; I have felt my roots in a richer ere this. I have seen a bunch of violets in a glass vase, tied loosely with a straw, which reminded me of myself.

I am a parcel of vain strivings tied
By a chance bond together,
Dangling this way and that, their links
Were made so loose and wide,
Methinks,
For milder weather.

A bunch of violets without their roots,
And sorrel intermixed,
Encircled by a wisp of straw
Once coiled about their shoots,
The law
By which I’m fixed.

A nosegay which Time clutched from out
Those fair Elysian fields,
With weeds and broken stems, in haste,
Doth make the rabble rout
That waste
The day he yields.

And here I bloom for a short hour unseen,
Drinking my juices up,
With no root in the land
To keep my branches green,
But stand
In a bare cup.

Some tender buds were left upon my stem
In mimicry of life,
But ah! the children will not know,
Till time has withered them,
The woe
With which they’re rife.

But now I see I was not plucked for naught,
And after in life’s vase
Of glass set while I might survive,
But by a kind hand brought
Alive
To a strange place.

That stock thus thinned will soon redeem its hours,
And by another year,
Such as God knows, with freer air,
More fruits and fairer flowers
Will bear,
While I droop here.

        [87] This world has many rings, like Saturn, and we live now on the outmost of them all. None can say deliberately that he inhabits the same sphere, or is contemporary with, the flower which his hands have plucked, and though his feet may seem to crush it, inconceivable spaces and ages separate them, and perchance there is no danger that he will hurt it. What do the botanists know? Our lives should go between the lichen and the bark. The eye may see for the hand, but not for the mind. We are still being born, and have as yet but a dim vision of sea and land, sun, moon and stars, and shall not see clearly till after nine days at least. That is a pathetic inquiry among travellers and geographers after the site of ancient Troy. It is not near where they think it is. When a thing is decayed and gone, how indistinct must be the place it occupied!
        [88] The anecdotes of modern astronomy affect me in the same way as do those faint revelations of the Real which are vouchsafed to men from time to time, or rather from eternity to eternity. When I remember the history of that faint light in our firmament, which we call Venus, which ancient men regarded, and which most modern men still regard, as a bright spark attached to a hollow sphere revolving about our earth, but which we have discovered to be another world, in itself,—how Copernicus, reasoning long and patiently about the matter, predicted confidently concerning it, before yet the telescope had been invented, that if ever men came to see it more clearly than they did then, they would discover that it had phases like our moon, and that within a century after his death the telescope was invented, and that prediction verified, by Galileo,—I am not without hope that we may, even here and now obtain some accurate information concerning that OTHER WORLD which the instinct of mankind has so long predicted. Indeed, all that we call science, as well as all that we call poetry, is a particle of such information, accurate as far as it goes, though it be but to the confines of the truth. If we can reason so accurately, and with such wonderful confirmation of our reasoning, respecting so-called material objects and events infinitely removed beyond the range of our natural vision, so that the mind hesitates to trust its calculations even when they are confirmed by observation, why may not our speculations penetrate as far into the immaterial starry system, of which the former is but the outward and visible type? Surely, we are provided with senses as well fitted to penetrate the spaces of the real, the substantial, the eternal, as these outward are to penetrate the material universe. Veias, Menu, Zoroaster, Socrates, Christ, Shakespeare, Swedenborg,—these are some of our astronomers.
        [89] There are perturbations in our orbits produced by the influence of outlying spheres, and no astronomer has ever yet calculated the elements of that undiscovered world which produces them. I perceive in the common train of my thoughts a natural and uninterrupted sequence, each implying the next, or, if interruption occurs, it is occasioned by a new object being presented to my senses. But a steep, and sudden, and by these means unaccountable transition, is that from a comparatively narrow and partial, what is called common sense view of things, to an infinitely expanded and liberating one, from seeing things as men describe them, to seeing them as men cannot describe them. This implies a sense which is not common, but rare in the wisest man’s experience; which is sensible or sentient of more than common.
        [90] In what enclosures does the astronomer loiter! His skies are shoal, and imagination, like a thirsty traveller, pants to be through their desert. The roving mind impatiently bursts the fetters of astronomical orbits, like cobwebs in a corner of its universe, and launches itself to where distance fails to follow, and law, such as science has discovered, grows weak and weary. The mind knows a distance and a space of which all those sums combined do not make a unit of measure,—the interval between that which appears, and that which is. I know that there are many stars, I know that they are far enough off, bright enough, steady enough in their orbits,—but what are they all worth? They are more waste land in the West,—star territory,—to be made slave States, perchance, if we colonize them. I have interest but for six feet of star, and that interest is transient. Then farewell to all ye bodies, such as I have known ye.
        [91] Every man, if he is wise, will stand on such bottom as will sustain him, and if one gravitates downward more strongly than another, he will not venture on those meads where the latter walks securely, but rather leave the cranberries which grow there unraked by himself. Perchance, some spring a higher freshet will float them within his reach, though they may be watery and frost-bitten by that time. Such shrivelled berries I have seen in many a poor man’s garret, ay, in many a church-bin and state-coffer, and with a little water and heat they swell again to their original size and fairness, and added sugar enough, stead mankind for sauce to this world’s dish.
        [92] What is called common sense is excellent in its department, and as invaluable as the virtue of conformity in the army and navy,—for there must be subordination,—but uncommon sense, that sense which is common only to the wisest, is as much more excellent as it is more rare. Some aspire to excellence in the subordinate department, and may God speed them. What Fuller says of masters of colleges is universally applicable, that "a little alloy of dulness in a master of a college makes him fitter to manage secular affairs."

"He that wants faith, and apprehends a grief
Because he wants it, hath a true belief;
And he that grieves because his grief ‘s so small,
Has a true grief, and the best Faith of all."

Or be encouraged by this other poet’s strain,—

"By them went Fido marshal of the field:
Weak was his mother when she gave him day;
And he at first a sick and weakly child,
As e’er with tears welcomed the sunny ray;
Yet when more years afford more growth and might,
A champion stout he was, and puissant knight,
As ever came in field, or shone in armor bright.

"Mountains he flings in seas with mighty hand;
Stops and turns back the sun’s impetuous course;
Nature breaks Nature’s laws at his command;
No force of Hell or Heaven withstands his force;
Events to come yet many ages hence,
He present makes, by wondrous prescience;
Proving the senses blind by being blind to sense."

        [93] "Yesterday, at dawn," says Hafiz, "God delivered me from all worldly affliction; and amidst the gloom of night presented me with the water of immortality."

        [94] In the life of Sadi by Dowlat Shah occurs this sentence: "The eagle of the immaterial soul of Shaikh Sadi shook from his plumage the dust of his body."

        [95] Thus thoughtfully we were rowing homeward to find some autumnal work to do, and help on the revolution of the seasons. Perhaps Nature would condescend to make use of us even without our knowledge, as when we help to scatter her seeds in our walks, and carry burrs and cockles on our clothes from field to field.

All things are current found
On earthly ground,
Spirits and elements
Have their descents.

Night and day, year on year,
High and low, far and near,
These are our own aspects,
These are our own regrets.

Ye gods of the shore,
Who abide evermore,
I see your far headland,
Stretching on either hand;

I hear the sweet evening sounds
From your undecaying grounds;
Cheat me no more with time,
Take me to your clime.

        [96] As it grew later in the afternoon, and we rowed leisurely up the gentle stream, shut in between fragrant and blooming banks, where we had first pitched our tent, and drew nearer to the fields where our lives had passed, we seemed to detect the hues of our native sky in the southwest horizon. The sun was just setting behind the edge of a wooded hill, so rich a sunset as would never have ended but for some reason unknown to men, and to be marked with brighter colors than ordinary in the scroll of time. Though the shadows of the hills were beginning to steal over the stream, the whole river valley undulated with mild light, purer and more memorable than the noon. For so day bids farewell even to solitary vales uninhabited by man. Two herons, Ardea herodias, with their long and slender limbs relieved against the sky, were seen travelling high over our heads,—their lofty and silent flight, as they were wending their way at evening, surely not to alight in any marsh on the earth’s surface, but, perchance, on the other side of our atmosphere, a symbol for the ages to study, whether impressed upon the sky, or sculptured amid the hieroglyphics of Egypt. Bound to some northern meadow, they held on their stately, stationary flight, like the storks in the picture, and disappeared at length behind the clouds. Dense flocks of blackbirds were winging their way along the river’s course, as if on a short evening pilgrimage to some shrine of theirs, or to celebrate so fair a sunset.

"Therefore, as doth the pilgrim, whom the night
Hastes darkly to imprison on his way,
Think on thy home, my soul, and think aright
Of what ‘s yet left thee of life’s wasting day:
Thy sun posts westward, passed is thy morn,
And twice it is not given thee to be born."

        [97] The sun-setting presumed all men at leisure, and in a contemplative mood; but the farmer’s boy only whistled the more thoughtfully as he drove his cows home from pasture, and the teamster refrained from cracking his whip, and guided his team with a subdued voice. The last vestiges of daylight at length disappeared, and as we rowed silently along with our backs toward home through the darkness, only a few stars being visible, we had little to say, but sat absorbed in thought, or in silence listened to the monotonous sound of our oars, a sort of rudimental music, suitable for the ear of Night and the acoustics of her dimly lighted halls;

"Pulsæ referunt ad sidera valles,"

and the valleys echoed the sound to the stars.

        [98] As we looked up in silence to those distant lights, we were reminded that it was a rare imagination which first taught that the stars are worlds, and had conferred a great benefit on mankind. It is recorded in the Chronicle of Bernaldez, that in Columbus’s first voyage the natives "pointed towards the heavens, making signs that they believed that there was all power and holiness." We have reason to be grateful for celestial phenomena, for they chiefly answer to the ideal in man. The stars are distant and unobtrusive, but bright and enduring as our fairest and most memorable experiences. "Let the immortal depth of your soul lead you, but earnestly extend your eyes upwards."

        [99] As the truest society approaches always nearer to solitude, so the most excellent speech finally falls into Silence. Silence is audible to all men, at all times, and in all places. She is when we hear inwardly, sound when we hear outwardly. Creation has not displaced her, but is her visible framework and foil. All sounds are her servants, and purveyors, proclaiming not only that their mistress is, but is a rare mistress, and earnestly to be sought after. They are so far akin to Silence, that they are but bubbles on her surface, which straightway burst, an evidence of the strength and prolificness of the under-current; a faint utterance of Silence, and then only agreeable to our auditory nerves when they contrast themselves with and relieve the former. In proportion as they do this, and are heighteners and intensifiers of the Silence, they are harmony and purest melody.
        [100] Silence is the universal refuge, the sequel to all dull discourses and all foolish acts, a balm to our every chagrin, as welcome after satiety as after disappointment; that background which the painter may not daub, be he master or bungler, and which, however awkward a figure we may have made in the foreground, remains ever our inviolable asylum, where no indignity can assail, no personality disturb us.
        [101] The orator puts off his individuality, and is then most eloquent when most silent. He listens while he speaks, and is a hearer along with his audience. Who has not hearkened to Her infinite din? She is Truth’s speaking-trumpet, the sole oracle, the true Delphi and Dodona, which kings and courtiers would do well to consult, nor will they be balked by an ambiguous answer. For through Her all revelations have been made, and just in proportion as men have consulted her oracle within, they have obtained a clear insight, and their age has been marked as an enlightened one. But as often as they have gone gadding abroad to a strange Delphi and her mad priestess, their age has been dark and leaden. Such were garrulous and noisy eras, which no longer yield any sound, but the Grecian or silent and melodious era is ever sounding and resounding in the ears of men.
        [102] A good book is the plectrum with which our else silent lyres are struck. We not unfrequently refer the interest which belongs to our own unwritten sequel, to the written and comparatively lifeless body of the work. Of all books this sequel is the most indispensable part. It should be the author’s aim to say once and emphatically, "He said," "efh," "e." This is the most the book-maker can attain to. If he make his volume a mole whereon the waves of Silence may break, it is well.
        [103] It were vain for me to endeavor to interrupt the Silence. She cannot be done into English. For six thousand years men have translated her with what fidelity belonged to each, and still she is little better than a sealed book. A man may run on confidently for a time, thinking he has her under his thumb, and shall one day exhaust her, but he too must at last be silent, and men remark only how brave a beginning he made; for when he at length dives into her, so vast is the disproportion of the told to the untold, that the former will seem but the bubble on the surface where he disappeared. Nevertheless, we will go on, like those Chinese cliff swallows, feathering our nests with the froth, which may one day be bread of life to such as dwell by the sea-shore.
        [104] We had made about fifty miles this day with sail and oar, and now, far in the evening, our boat was grating against the bulrushes of its native port, and its keel recognized the Concord mud, where some semblance of its outline was still preserved in the flattened flags which had scarce yet erected themselves since our departure; and we leaped gladly on shore, drawing it up, and fastening it to the wild apple-tree, whose stem still bore the mark which its chain had worn in the chafing of the spring freshets.