The Essential Henry David Thoreau (Illustrated Collection of the Thoreau's Greatest Works). Генри Дэвид Торо
of cunning fell The thrilling Delphic oracle."
And yet, sometimes,
We should not mind if on our ear there fell
Some less of cunning, more of oracle.
It is Apollo shining in your face. O rare Contemporary, let us have far-off heats. Give us the subtler, the heavenlier though fleeting beauty, which passes through and through, and dwells not in the verse; even pure water, which but reflects those tints which wine wears in its grain. Let epic trade-winds blow, and cease this waltz of inspirations. Let us oftener feel even the gentle southwest wind upon our cheeks blowing from the Indian's heaven. What though we lose a thousand meteors from the sky, if skyey depths, if star-dust and undissolvable nebulae remain? What though we lose a thousand wise responses of the oracle, if we may have instead some natural acres of Ionian earth?
Though we know well,
"That 't is not in the power of kings (or presidents) to raise
A spirit for verse that is not born thereto,
Nor are they born in every prince's days";
yet spite of all they sang in praise of their "Eliza's reign," we have evidence that poets may be born and sing in our day, in the presidency of James K. Polk,
"And that the utmost powers of English rhyme,"
Were not "within her peaceful reign confined."
The prophecy of the poet Daniel is already how much more than fulfilled!
"And who in time knows whither we may vent
The treasure of our tongue? To what strange shores
This gain of our best glory shall be sent,
T' enrich unknowing nations with our stores?
What worlds in th' yet unformed occident,
May come refined with the accents that are ours."
Enough has been said in these days of the charm of fluent writing. We hear it complained of some works of genius, that they have fine thoughts, but are irregular and have no flow. But even the mountain peaks in the horizon are, to the eye of science, parts of one range. We should consider that the flow of thought is more like a tidal wave than a prone river, and is the result of a celestial influence, not of any declivity in its channel. The river flows because it runs down hill, and flows the faster the faster it descends. The reader who expects to float down stream for the whole voyage, may well complain of nauseating swells and choppings of the sea when his frail shore-craft gets amidst the billows of the ocean stream, which flows as much to sun and moon as lesser streams to it. But if we would appreciate the flow that is in these books, we must expect to feel it rise from the page like an exhalation, and wash away our critical brains like burr millstones, flowing to higher levels above and behind ourselves. There is many a book which ripples on like a freshet, and flows as glibly as a mill-stream sucking under a causeway; and when their authors are in the full tide of their discourse, Pythagoras and Plato and Jamblichus halt beside them. Their long, stringy, slimy sentences are of that consistency that they naturally flow and run together. They read as if written for military men, for men of business, there is such a despatch in them. Compared with these, the grave thinkers and philosophers seem not to have got their swaddling-clothes off; they are slower than a Roman army in its march, the rear camping to-night where the van camped last night. The wise Jamblichus eddies and gleams like a watery slough.
"How many thousands never heard the name
Of Sidney, or of Spenser, or their books?
And yet brave fellows, and presume of fame,
And seem to bear down all the world with looks."
The ready writer seizes the pen, and shouts, Forward! Alamo and Fanning! and after rolls the tide of war. The very walls and fences seem to travel. But the most rapid trot is no flow after all; and thither, reader, you and I, at least, will not follow.
A perfectly healthy sentence, it is true, is extremely rare. For the most part we miss the hue and fragrance of the thought; as if we could be satisfied with the dews of the morning or evening without their colors, or the heavens without their azure. The most attractive sentences are, perhaps, not the wisest, but the surest and roundest. They are spoken firmly and conclusively, as if the speaker had a right to know what he says, and if not wise, they have at least been well learned. Sir Walter Raleigh might well be studied if only for the excellence of his style, for he is remarkable in the midst of so many masters. There is a natural emphasis in his style, like a man's tread, and a breathing space between the sentences, which the best of modern writing does not furnish. His chapters are like English parks, or say rather like a Western forest, where the larger growth keeps down the underwood, and one may ride on horseback through the openings. All the distinguished writers of that period possess a greater vigor and naturalness than the more modern,—for it is allowed to slander our own time,—and when we read a quotation from one of them in the midst of a modern author, we seem to have come suddenly upon a greener ground, a greater depth and strength of soil. It is as if a green bough were laid across the page, and we are refreshed as by the sight of fresh grass in midwinter or early spring. You have constantly the warrant of life and experience in what you read. The little that is said is eked out by implication of the much that was done. The sentences are verdurous and blooming as evergreen and flowers, because they are rooted in fact and experience, but our false and florid sentence have only the tints of flowers without their sap or roots. All men are really most attracted by the beauty of plain speech, and they even write in a florid style in imitation of this. They prefer to be misunderstood rather than to come short of its exuberance. Hussein Effendi praised the epistolary style of Ibrahim Pasha to the French traveller Botta, because of "the difficulty of understanding it; there was," he said, "but one person at Jidda, who was capable of understanding and explaining the Pasha's correspondence." A man's whole life is taxed for the least thing well done. It is its net result. Every sentence is the result of a long probation. Where shall we look for standard English, but to the words of a standard man? The word which is best said came nearest to not being spoken at all, for it is cousin to a deed which the speaker could have better done. Nay, almost it must have taken the place of a deed by some urgent necessity, even by some misfortune, so that the truest writer will be some captive knight, after all. And perhaps the fates had such a design, when, having stored Raleigh so richly with the substance of life and experience, they made him a fast prisoner, and compelled him to make his words his deeds, and transfer to his expression the emphasis and sincerity of his action.
Men have a respect for scholarship and learning greatly out of proportion to the use they commonly serve. We are amused to read how Ben Jonson engaged, that the dull masks with which the royal family and nobility were to be entertained should be "grounded upon antiquity and solid learning." Can there be any greater reproach than an idle learning? Learn to split wood, at least. The necessity of labor and conversation with many men and things, to the scholar is rarely well remembered; steady labor with the hands, which engrosses the attention also, is unquestionably the best method of removing palaver and sentimentality out of one's style, both of speaking and writing. If he has worked hard from morning till night, though he may have grieved that he could not be watching the train of his thoughts during that time, yet the few hasty lines which at evening record his day's experience will be more musical and true than his freest but idle fancy could have furnished. Surely the writer is to address a world of laborers, and such therefore must be his own discipline. He will not idly dance at his work who has wood to cut and cord before nightfall in the short days of winter; but every stroke will be husbanded, and ring soberly through the wood; and so will the strokes of that scholar's pen, which at evening record the story of the day, ring soberly, yet cheerily, on the ear of the reader, long after the echoes of his axe have died away. The scholar may be sure that he writes the tougher truth for the calluses on his palms. They give firmness to the sentence. Indeed, the mind never makes a great and successful effort, without a corresponding energy of the body. We are often struck by the force and precision of style to which hard-working men, unpractised in writing, easily attain when required to make the effort. As if plainness, and vigor, and sincerity, the ornaments of style, were better learned on the farm and in the workshop, than in