The Atlantic Monthly, Volume 09, No. 56, June, 1862. Various
man from year to year, for the grove in our minds is laid waste,—sold to feed unnecessary fires of ambition, or sent to mill, and there is scarcely a twig left for them to perch on. They no longer build nor breed with us. In some more genial season, perchance, a faint shadow flits across the landscape of the mind, cast by the wings of some thought in its vernal or autumnal migration, but, looking up, we are unable to detect the substance of the thought itself. Our winged thoughts are turned to poultry. They no longer soar, and they attain only to a Shanghai and Cochin-China grandeur. Those gra-a-ate thoughts, those gra-a-ate men you hear of!
We hug the earth,—how rarely we mount! Methinks we might elevate ourselves a little more. We might climb a tree, at least. I found my account in climbing a tree once. It was a tall white pine, on the top of a hill; and though I got well pitched, I was well paid for it, for I discovered new mountains in the horizon which I had never seen before,– so much more of the earth and the heavens. I might have walked about the foot of the tree for threescore years and ten, and yet I certainly should never have seen them. But, above all, I discovered around me,—it was near the end of June,—on the ends of the topmost branches only, a few minute and delicate red cone-like blossoms, the fertile flower of the white pine looking heavenward. I carried straightway to the village the topmost spire, and showed it to stranger jurymen who walked the streets,—for it was court-week,—and to farmers and lumber-dealers and wood-choppers and hunters, and not one had ever seen the like before, but they wondered as at a star dropped down. Tell of ancient architects finishing their works on the tops of columns as perfectly as on the lower and more visible parts! Nature has from the first expanded the minute blossoms of the forest only toward the heavens, above men's heads and unobserved by them. We see only the flowers that are under our feet in the meadows. The pines have developed their delicate blossoms on the highest twigs of the wood every summer for ages, as well over the heads of Nature's red children as of her white ones; yet scarcely a farmer or hunter in the land has ever seen them.
Above all, we cannot afford not to live in the present. He is blessed over all mortals who loses no moment of the passing life in remembering the past. Unless our philosophy hears the cock crow in every barn-yard within our horizon, it is belated. That sound commonly reminds us that we are growing rusty and antique in our employments and habits of thought. His philosophy comes down to a more recent time than ours. There is something suggested by it that is a newer testament,—the gospel according to this moment. He has not fallen astern; he has got up early, and kept up early, and to be where he is is to be in season, in the foremost rank of time. It is an expression of the health and soundness of Nature, a brag for all the world,—healthiness as of a spring burst forth, a new fountain of the Muses, to celebrate this last instant of time. Where he lives no fugitive slave laws are passed. Who has not betrayed his master many times since last he heard that note?
The merit of this bird's strain is in its freedom from all plaintiveness. The singer can easily move us to tears or to laughter, but where is he who can excite in us a pure morning joy? When, in doleful dumps, breaking the awful stillness of our wooden sidewalk on a Sunday, or, perchance, a watcher in the house of mourning, I hear a cockerel crow far or near, I think to myself, "There is one of us well, at any rate,"—and with a sudden gush return to my senses.
We had a remarkable sunset one day last November. I was walking in a meadow, the source of a small brook, when the sun at last, just before setting, after a cold gray day, reached a clear stratum in the horizon, and the softest, brightest morning sunlight fell on the dry grass and on the stems of the trees in the opposite horizon, and on the leaves of the shrub-oaks on the hill-side, while our shadows stretched long over the meadow eastward, as if we were the only motes in its beams. It was such a light as we could not have imagined a moment before, and the air also was so warm and serene that nothing was wanting to make a paradise of that meadow. When we reflected that this was not a solitary phenomenon, never to happen again, but that it would happen forever and ever an infinite number of evenings, and cheer and reassure the latest child that walked there, it was more glorious still.
The sun sets on some retired meadow, where no house is visible, with all the glory and splendor that it lavishes on cities, and, perchance, as it has never set before,—where there is but a solitary marsh-hawk to have his wings gilded by it, or only a musquash looks out from his cabin, and there is some little black-veined brook in the midst of the marsh, just beginning to meander, winding slowly round a decaying stump. We walked in so pure and bright a light, gilding the withered grass and leaves, so softly and serenely bright, I thought I had never bathed in such a golden flood, without a ripple or a murmur to it. The west side of every wood and rising ground gleamed like the boundary of Elysium, and the sun on our backs seemed like a gentle herdsman driving us home at evening.
So we saunter toward the Holy Land, till one day the sun shall shine more brightly than ever he has done, shall perchance shine into our minds and hearts, and light up our whole lives with a great awakening light, as warm and serene and golden as on a bank-side in autumn.
WAR AND LITERATURE
It would be a task worthy of a volume, and requiring that space in order to be creditably performed, to show how war affects literature, at what points they meet, where they are at variance, if any wars stimulate, and what kinds depress the intellectual life of nations. The subject is very wide. It would embrace a discussion of the effects of war when it occurs during a period of great literary and artistic splendor, as in Athens and in the Italian Republics; whether intellectual decline is postponed or accelerated by the interests and passions of the strife; whether the preliminary concentration of the popular heart may claim the merit of adding either power or beauty to the intellectual forms which bloom together with the war.
These things are not entirely clear, and the experience of different countries is conflicting. The Thirty Years' War, though it commenced with the inspiration of great political and religious ideas, did not lift the German mind to any new demonstrations of truth or impassioned utterances of the imagination. The nation sank away from it into a barren and trivial life, although the war itself occasioned a multitude of poems, songs, hymns, and political disquisitions. The hymns of this period, which are filled with a sense of dependence, of the greatness and awfulness of an invisible eternity, and breathe a desire for the peaceful traits of a remote religious life, are at once a confession of the weariness of the best minds at the turmoil and uncertainty of the contest and a permanent contribution of the finest kind to that form of sacred literature. But princes and electors were fighting as much for the designation and establishment of their petty nationalities, which first checkered the map of Europe after the imperial Catholic power was rolled southwardly, as they were for the pure interest of Protestantism. The German intellect did eventually gain something from this political result, because it interrupted the literary absolutism which reigned at Vienna; no doubt literature grew more popular and German, but it did not very strikingly improve the great advantage, for there was at last exhaustion instead of a generously nourishing enthusiasm, and the great ideas of the period became the pieces with which diplomatists carried on their game. The Volkslied (popular song) came into vogue again, but it was not so fresh and natural as before; Opitz, one of the best poets of this period, is worth reading chiefly when he depicts his sources of consolation in the troubles of the time. Long poetical bulletins were written, in the epical form, to describe the battles and transactions of the war. They had an immense circulation, and served the place of newspapers. They were bright and characteristic enough for that; and indeed newspapers in Germany date from this time, and from the doggerel broadsides of satire and description which then supplanted minstrels of whatsoever name or guild, as they were carried by post, and read in every hamlet.1 But the best of these poems were pompous, dull, and tediously elaborated. They have met the fate of newspapers, and are now on file. The more considerable poets themselves appeared to be jealous of the war; they complained bitterly that Mars had displaced Apollo; but later readers regret the ferocious sack of Magdeburg, or the death of Gustavus Adolphus, more than the silencing of all those pens.
On the other hand, Spain, while fighting for religion and a secure nationality, had her Cervantes, Lope de Vega, and Calderon, all of whom saw service in the field, and other distinguished names, originators of literary forms and successful cultivators of established ones. They created brilliant epochs for a bigoted and cruel country.
Newspapers proper appeared as early as 1615 in Germany. But these rhymed gazettes were very numerous. They were more or less bulky pamphlets, with pithy sarcastic programmes for titles, and sometimes a wood or copper cut prefixed. A few of them were of Catholic origin, and one, entitled