oxford current essays and letters pdf

Style guide

The University’s style guide for internal use has been revised for Hilary term 2016. The current version can be found below.

The University of Oxford Style Guide aims to provide a guide to writing and formatting documents written by staff on behalf of the University (or one of its constituent departments etc). It is part of the University’s Visual identity guidelines which enables the University’s formal documentation to be presented consistently across all communications and is the graphic expression of the University.

Although this style guide is freely available online it has not been written with public or external use in mind. The University of Oxford Style Guide does not purport to compete with OUP’s professional writing guides and dictionaries.

Download the University of Oxford Style Guide here:

pdf University of Oxford Style Guide (updated Hilary term 2016).pdf 379.92 KB

The University of Oxford Glossaries, an appendix to the style guide comprising terms and abbreviations in use at Oxford, is now available and can be downloaded here:

pdf University of Oxford Glossaries.pdf 285.93 KB

New: 1-page style guide

For ease of use, we have created a 1-page quick reference guide with the most commonly requested information available in A–Z format. Download your guide here:

pdf Style Guide quick reference A-Z.pdf 59.43 KB

Please address any queries on the style guide to [email protected] .

Changes to Hilary term 2016 edition

The following items have changed in the HT 2016 edition:

how to refer to page and line numbers (p3)
capitalisation examples for names of courses/subjects (p4)
further examples of various punctuation items (pp9–16)
further examples of titles: associate professors, peers and clergy (pp17–19)
list of college/hall names and appropriate shortened versions (p22)
list of Oxford street names with apostrophes or without expected apostrophes (p22)
how to refer to multiple masters’ or bachelors’ degrees (p24)
correction to US spelling of ‘practice’(p25)
using ‘they’ as a gender-neutral singular pronoun (p26)
formatting footnotes and footnote markers (p27)

Thanks to everyone who has given us feedback.

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Referencing styles

Author-date citations (Harvard) Numbered notes Numbered reference citations (Vancouver) OSCOLA

Introduction

References to the works of other authors are important to acknowledge their contributions to the development of your work and advance scholarly discourse. Source references are vital to academic works (both print and digital) and so it is essential that they are clear, complete, and consistently formatted. Avoid print-specific terms and conventions (e.g. ‘op. cit.’) that don’t work for reference linking in digital versions. Online bibliographical material is hyperlinked to provide readers with instant access to relevant sources or additional information.

Reference styles vary greatly across disciplines. This section details the main reference styles supported by OUP (Harvard, Vancouver, and OSCOLA) and provides examples that you can follow. If you are in doubt, your OUP editorial contact will be able to advise you on the best citation system for your text.

Author-date citations (Harvard)

The author-date style is an efficient and clear method of providing citations to published sources, which appear in a reference list at the end of the chapter or book. No superscripts are used, which means that reordering of the text does not require renumbering of notes. Instead of superscript numbers, a parenthetical citation (consisting of author name and date of publication) appears in the text and leads the reader to a full entry in a reference list that appears at the end of the chapter or book.

The method works particularly well when most of your citations are to published books or journal articles. It works less well if you are citing a lot of unauthored material or untraditional sources. Unlike numbered notes, author-date citations cannot accommodate translations or commentary outside the main text, although it is possible to combine author-date citations (for bibliographic citations) with numbered notes (for explanatory text).

In-text citation

References are cited within the text by including the author’s last name and a date parenthetically. A page number can be added if needed. If the author’s name appears in the sentence containing the citation, you need only use the date. Complete bibliographical reference information is listed at the end of the chapter or text.

Up to two author names can be used in the in-text citation. When citing a work with three or more authors, use the first author’s last name plus ‘et al.’

If you cite multiple references by the same author that were published in the same year, distinguish between them by adding labels (e.g. ‘a’ and ‘b’) to the year, in both the citation and the reference list.

Structure of the reference list

The reference list appears at the end of the chapter or text in alphabetical order. The name of the first author is inverted. In science literature, initials are often used in place of author first names.

The bibliographic elements listed below are required for the most common types of reference citations. Additional elements are mentioned that may be optional or to be used in only certain instances (e.g. a page number or other locator that is required if you are quoting a precise part of a large work, but not if the reference is to the work as a whole). Consistency in application is important.

Do not use long dashes (“—") to substitute for the name of an author who is identified in the bibliography due to how that entry will be linked in digital versions. Because the entry may not appear immediately following the entry with the full name, repeat the name in full.

Examples of author-date references in British style

Authored book.

Required elements

Lastname, Firstname/initials. Year of Publication. Title of Work .

With optional elements

Lastname, Firstname/initials, and Firstname/initials Lastname. Year of Publication. Title of Work , 2nd ed. City of Publication: Publisher.

Chapter in an edited book

Lastname, Firstname/initials, Year of Publication. ‘Title of Chapter in an Edited Book’. In Title of Edited Volume , edited by Firstname Lastname.

Lastname, Firstname/initials, and Firstname/initials Lastname. Year of Publication. ‘Title of Chapter in an Edited Book’. In Title of Edited Volume , edited by Firstname Lastname, page number(s) [or alternative locator info]. 2nd ed. City of Publication: Publisher.

Journal article

Lastname, Firstname/initials,Year of Publication. ‘Title of Article’. Name of Journal vol. number: start page.

Lastname, Firstname/initials, and Firstname/initials Lastname. Year of Publication. ‘Title of Article’. Name of Journal vol. number (issue number) (Month or Season): start page–end page. doi: DOI [or stable URL].

Magazine article

Lastname, Firstname/initials, Year of Publication. ‘Title of Article’. Day and Month of Pub. doi: DOI [or stable URL].

Lastname, Firstname/initials, and Firstname/initials Lastname. Year of Publication. ‘Title of Article’. Name of Magazine , Day and Month of Pub. doi: DOI [or stable URL].

Required elements if a magazine article has no stated author

‘Title of Article’. Year of Publication. Name of Magazine , Month of Pub. doi: DOI [or stable URL].

Website or other source

Include as much of the following as possible in your bibliographic entry: author; title or description of the content; owner/publisher; month and/or day of publication, most recent revision (or, failing that, date accessed); and URL. The year of publication should be the second element in the entry.

Some flexibility is acceptable to accommodate the wide variety of content available, particularly online.

Website names are usually set in roman type, but the names of online magazines and books are italicized (like their print counterparts).

As you write ...

Example: author–date citation with a reference list and further reading —british style.

Psychoanalytic studies, along with other literary and cultural texts, not only contribute to the new discourse of the jungle but also reflect the imperialist history that brings West Europeans and Americans into contact with the geographic jungles of India, Africa, and other parts of the world (Rogers et al. 2010, 1). This colonial context needs to be sketched here as well in order to reveal how the birth of the jungle eventually produces new constructions of sexuality in the United States. Billops (1999a) notes that the word ‘jungle’ comes from the Hindi and Marathi word jangal, meaning ‘desert’, ‘waste’, ‘forest’; as well as from the Sanskrit jangala, meaning ‘dry’, ‘dry ground’, or ‘desert’. Its first appearance in English is in 1776, with its meaning already shifted towards what might be more recognizable today: ‘Land overgrown with underwood, long grass, or tangled vegetation; also, the luxuriant and often almost impenetrable growth of vegetation covering such a tract’ (Dreft and Smithers 1978, 87). Brought into English as a result of an imperialist presence in India, ‘jungle’ is intimately related to the larger rise of Western imperialism around the world, particularly in the nineteenth century (Billops 1999b). Western powers such as Britain and France went from controlling 35 per cent of the earth’s surface in 1800 to, by 1914, ‘a grand total of roughly 85 per cent of the earth as colonies, protectorates, dependencies, dominions, and commonwealths’ (Said 1993, ch.2, ‘Colonial impacts’).

Reference list

Billops, Camille. 1999a. ‘Indo-European Loan Words’. Annals of Linguistics 21 (4): pp. 38–44.

Billops, Camille. 1999b. ‘Indo-European Vowel Shift: Evidence and Interpretation’. Annals of Linguistics 21 (4): p. 45.

Dreft, Edward, and Susan Smithers. 1978. ‘Words Working’. International Journal of American Linguistics 62 (3): pp. 227–263. doi: 10.1111/j.1749-6632.1978.tb25475.x.

Rogers, Jason, Millicent Eng, and Rene Woo. 2010. ‘English-Based African Creoles’. In Spreading the People: Colonizing Languages in the Raj , edited by Jason Rogers, pp. 310–330. 2nd ed. London: Verso.

Said, Eleanor. 1993. The European Dream of Africa . New York: Random House.

Examples of author-date references in US style

Lastname, Firstname/initials, Year of Publication. Title of Work .

Lastname, Firstname/initials, and Firstname Lastname/initials. Year of Publication. Title of Work , 2nd ed. City of Publication: Publisher.

Lastname, Firstname/initials, Year of Publication. “Title of Chapter in an Edited Book.” In Title of Edited Volume , edited by Firstname Lastname.

Lastname, Firstname/initials, and Firstname Lastname/initials. Year of Publication. “Title of Chapter in an Edited Book.” In Title of Edited Volume , edited by Firstname Lastname, page number(s) [or alternative locator info]. 2nd ed. City of Publication: Publisher.

Lastname, Firstname/initials,Year of Publication. “Title of Article.” Name of Journal vol. number, start page.

Lastname, Firstname/initials, and Firstname Lastname/initials. Year of Publication. “Title of Article.” Name of Journal vol. number (issue number) (Month or Season Year): start page–end page. doi: DOI [or stable URL].

Lastname, Firstname/initials, Year of Publication. “Title of Article.” Name of Magazine , Month of Pub.

Lastname, Firstname/initials, and Firstname Lastname/initials. Year of Publication. “Title of Article.” Name of Magazine , Month and Day of Pub. doi: DOI [or stable URL].

Required elements If a magazine article has no stated author:

“Title of Article.” Year of Publication. Name of Magazine , Month of Pub.

“Title of Article.” Year of Publication. Name of Magazine , Month and Day of Pub, doi: DOI [or stable URL].

The names of websites are usually set in roman type, but the names of online magazines and books are italicized (like their print counterparts).

Reference list vs. bibliography

Note that a reference list in the author-date system can contain only items that are actually cited in the work. The reference list must contain all of those items. This differs from a bibliography in the numbered-note system, which can contain both cited items and items of interest that have not been specifically cited. If there are uncited works that you would like to draw to the reader’s attention, these can be placed after the references in a separate listed titled ‘Further reading’.

Example: author–date citation with a reference list and further reading—US style

Psychoanalytic studies, along with other literary and cultural texts, not only contribute to the new discourse of the jungle but also reflect the imperialist history that brings West Europeans and Americans into contact with the geographic jungles of India, Africa, and other parts of the world (Rogers et al. 2010, 1). This colonial context needs to be sketched here as well in order to reveal how the birth of the jungle eventually produces new constructions of sexuality in the United States. Billops (1999a) notes that the word “jungle” comes from the Hindi and Marathi word jangal, meaning “desert,” “waste,” “forest”; as well as from the Sanskrit jangala, meaning “dry,” “dry ground,” or “desert.” Its first appearance in English is in 1776, with its meaning already shifted toward what might be more recognizable today: “Land overgrown with underwood, long grass, or tangled vegetation; also, the luxuriant and often almost impenetrable growth of vegetation covering such a tract” (Dreft and Smithers 1978, 87). Brought into English as a result of an imperialist presence in India, “jungle” is intimately related to the larger rise of Western imperialism around the world, particularly in the nineteenth century (Billops 1999b). Western powers such as Britain and France went from controlling 35 percent of the earth’s surface in 1800 to, by 1914, “a grand total of roughly 85 percent of the earth as colonies, protectorates, dependencies, dominions, and commonwealths” (Said 1993, ch.2, “Colonial impacts”).

Billops, Camille. 1999a. “Indo-European Loan Words.” Annals of Linguistics 21 (4): pp. 38–44.

Billops, Camille. 1999b. “Indo-European Vowel Shift: Evidence and Interpretation.” Annals of Linguistics 21 (4): p. 45.

Dreft, Edward, and Susan Smithers. 1978. “Words Working.” International Journal of American Linguistics 62 (3): pp. 227–263. doi: 10.1111/j.1749-6632.1978.tb25475.x.

Rogers, Jason, Millicent Eng, and Rene Woo. 2010. “English-Based African Creoles.” In Spreading the People: Colonizing Languages in the Raj , edited by Jason Rogers, pp. 310–330. 2nd ed. London: Verso.

“Evolutionary Linguistics.” 2012. Wikipedia. Updated November 4. http://en.wikipedia.org/wiki/Evolutionary_linguistics.

Mfuti, Miriam. 2001. “Pidgin Town.” In The Oxford Handbook of Pidgins and Creoles , edited by Alain Smet, pp. 107–112. New York: Oxford University Press.

Rambow, John. 2007. “Will This Demon Fit in My Carry-On?” Bangalore Monkey blog. December 21. http://www.bangaloremonkey. com/2007/12/will-this-demon-fit-in-my-carry-on.html.

Numbered notes

Using numbered notes is a common method of citing sources, particularly in the humanities. Sequential superscript numbers appear in the text to direct the reader to bibliographic or explanatory information that appears in a note.

This is a flexible style that allows authors to combine bibliographic information with annotation, translation, or other commentary. Scholars who frequently cite unpublished material will find numbered notes more useful than author-date citations.

Endnotes or footnotes?

In print publishing, notes can be placed at the bottom of the page as footnotes or at the end of a chapter or book in a separate section as endnotes.

Footnotes are preferred in cases where the information in the note is important enough that readers need it to fully engage with the material. Please note that in a digital context, footnotes in the traditional sense are not possible. Depending on the format, footnotes can appear at the end of a section or chapter, or they may be viewed by clicking or hovering over the superscript numbers in the text to display individual footnotes.

Endnotes are a better choice in print if the material in the notes does not need immediate engagement by the reader. For digital publications where individual chapters may be made available to readers, the notes should appear with the chapter, rather than separately at the end of the work. This varies according to discipline, so please consult your OUP editorial contact if you are unsure.

The formatting of bibliographic information is identical for footnotes and endnotes.

Please use the following guidance:

Numbered notes appear sequentially in the text as superscripts, ideally at the end of a sentence, following the closing punctuation.
Use Arabic numerals.
Numbers should restart at 1 at the beginning of each chapter and run consecutively to the end of each chapter. Do not start renumbering within a chapter (e.g. per page or per double-page spread) or use asterisks, as this will cause confusion in a digital environment.
Do not number the notes continuously throughout a book, because a later change would necessitate extensive renumbering.

Note structure and format

Required bibliographic elements are given below for the most common types of reference citations, along with optional elements that if used, must be consistent.

Page numbers are useful locators when referencing in print publications.
Give page ranges using the fewest number of figures as possible (e.g. pp. 126–27, not pp. 126–127).
When referencing a digital publication, you may not have access to a print page number. Cite a specific locator (e.g. chapter titles and sub-headings). Do not use location numbers from a proprietary e-reader (e.g. Kindle location numbers).
Edition numbers are not required when citing a first edition but are necessary for subsequent editions.

Numbered notes in British style

Firstname Lastname, Title of Work (Year of Publication).

Firstname Lastname, Title of Work , 2nd ed. (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Michael Murray, Climate Change at the Poles (New York: Scribner, 2007), p. 9.
Darian Ibrahim and Carol Marche, Financing the Next Silicon Valley , 3rd ed. (San Francisco: Upbeat Press, 2010).

Edited book

Firstname Lastname, ed., Title of Work (Year of Publication).

Firstname Lastname, eds., Title of Work , 2nd ed. (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Anton Smirov, ed., Eastern Europe After the Iron Curtain (London: Chatto and Windus, 2012).

Firstname Lastname, ‘Title of Chapter in an Edited Volume’, in Title of Edited Volume , edited by Firstname Lastname (Year of Publication).

Firstname Lastname, ‘Title of Chapter in an Edited Volume’, in Title of Edited Volume , edited by Firstname Lastname (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Hanna Growiszc, ‘Far Right Ideologies in Czech Literature’, in Eastern Europe After the Iron Curtain , edited by Anton Smirov (London: Chatto and Windus, 2012), ch. 7.

Authored book with an editor or translator

Firstname Lastname, Title of Work , ed./trans. Firstname Lastname, (Year of Publication).

Firstname Lastname, Title of Work , ed./trans. Firstname Lastname, 2nd ed. (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Günter Grass, The Tin Drum , trans. Breon Mitchell (New York: Houghton Mifflin, 2009).

Aristotle, Nicomachean Ethics , ed. and trans. Terence Irwin (Indianapolis: Hackett Publishing, 1999).

Multi-volume work

References to multi-volume book citations can take a variety of forms, depending on whether an individual volume or the entire work is being cited, and the authorship of the work.

Citing one volume of a multi-volume work

Robert Caro, The Path to Power , vol. 1, The Years of Lyndon Johnson (New York: Knopf, 1982), p. 267.

Citing a multi-volume work as a whole

Robert Caro, The Years of Lyndon Johnson , 4 vols (New York: Knopf, 1982–2012).

Allison Wyste, ed. Indian and Tibetan Cooking , vol. 6, Cuisines of Asia, ed. Robert Trautmann (London: Brill Books, 2007).

Multi-volume work with series editor and individual author/editors

Whenever possible, include a DOI (preferred) or a stable URL for citations to journal articles. However, a URL or DOI is not sufficient to stand alone as a reference.

Firstname Lastname, ‘Title of Article’, Name of Journal vol. number, (Year): start page.

Firstname Lastname, ‘Title of Article’, Name of Journal vol. number, issue number (Month or Season Year): start page–end page, doi: DOI [or stable URL].

Barbara Eckstein, ‘The Body, the Word, and the State: J. M. Coetzee’s “Waiting for the Barbarians”’, Novel: A Forum on Fiction 22, no. 2 (Winter 1989): pp. 175–198, http://www.jstor.org/stable/1345802.

David Hyun-Su Kim, ‘The Brahmsian Hairpin’, 19th Century Music 36, no. 1 (Summer 2012): pp. 46–47, doi:10.1525/ncm.2012.36.1.046.

A DOI or URL can be included for articles that you consulted online. The citations for online-only magazines follow the same pattern as print-based magazines, with the addition of URLs. If an online journal or magazine has a stable home page that allows a user to search for articles by title or author, it is acceptable to include the URL for that page (rather than the longer, more specific URL).

‘Title of Article’, Name of Magazine , Month of Pub, Year.

Firstname Lastname, ‘Title of Article’, Name of Magazine , Month and Day of Pub, Year, doi: DOI [or stable URL].

Mary Rose Himler, ‘Religious Books as Best Sellers’, Publishers Weekly , 19 February 1927.

‘Amazon Best Books 2012 Revealed’, Publishers Weekly , 13 November 2012, http://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/54738-amazon-best-books-2012-revealed.html.

Fritz Allhoff, ‘The Paradox of Nonlethal Weapons’, Slate , 13 November 2012, http://www.slate.com.

Law citation styles vary widely depending on jurisdiction. The following examples are for citing law cases in a non-specialist academic context. If you are writing specialist legal content, see ‘Citing of Legal Materials’ for detailed citation information.

Case Number Name of Case [Year] Report VolNo-FirstPageNo

Case C-34/89 P Smith v EC Commission [1993] ECR I-454

Name of Case [Year] VolNo Report, PageNo

Ridge v Baldwin [1964] AC 40, 78

Name of Case , VolNo Reporter SeriesNo (Year)

Name of Case , VolNo Reporter SeriesNo (Name of Court Year)

Bowers v Hardwick 478 US 186 (1986).

Unpublished or informally published content

The titles of unpublished works are set in quotation marks rather than italics. In place of a publisher, location or institutional information can be given.

Troy Thibodeaux, ‘Modernism in Greenwich Village, 1908–1929’ (PhD dissertation, New York University, 1999), p. 59.

Mary Koo, ‘Prakriti and Purusha: Dualism in the Yoga of Patanjali’ (lecture, Theosophical Society, Chennai, India, 17 May 2008).

To cite a website or other source that does not fall within those covered here, include as much of the following as possible (in this order) in your citation: author; title or description of the content; owner/publisher; date of publication or most recent revision (or, failing that, date accessed); and URL. Some flexibility is acceptable to accommodate the wide variety of content available, especially online.

The names of websites are usually set in roman type but the names of online magazines and books are italicized (like their print counterparts).

‘The Board of Directors of the Coca-Cola Company Authorizes New Share Repurchase Program’, Coca- Cola Company, 18 October 2012, http://www.coca-colacompany.com/media-center/press-releases/the-board-of-directors-of-the-coca-cola-company-authorizes-new-share-repurchase-program.
John Rambow, ‘Will This Demon Fit in My Carry-On?’, Bangalore Monkey blog, 21 December 2007, http://www.bangaloremonkey.com/2007/12/will-this-demon-fit-in-my-carry-on.html.
Wikimedia privacy policy, Wikimedia Foundation, accessed 26 November 2010, http://wikimediafoundation.org/wiki/ Privacy policy.

Numbered notes in US style

Firstname Lastname, Title of Work , (Year of Publication).

Firstname Lastname, eds., Title of Work , (Year of Publication).

Hanna Growiszc, “Far Right Ideologies in Czech Literature,” in Eastern Europe After the Iron Curtain , edited by Anton Smirov (London: Chatto and Windus, 2012), ch. 7.
Aristotle, Nicomachean Ethics , ed. and trans. Terence Irwin (Indianapolis: Hackett Publishing, 1999).

Multi-volume book citations can take a variety of forms, depending on whether an individual volume or the work as a whole is being cited, and on how the multi-volume work was authored or edited.

Robert Caro, The Years of Lyndon Johnson , 4 vols. (New York: Knopf, 1982–2012).
Allison Wyste, Indian and Tibetan Cooking , vol. 6, Cuisines of Asia, ed. Robert Trautmann (London: Brill Books, 2007).

Firstname Lastname, “Title of Chapter in an Edited Volume,” in Title of Edited Volume , edited by Firstname Lastname (Year of Publication).

Firstname Lastname, “Title of Chapter in an Edited Volume,” in Title of Edited Volume , edited by Firstname Lastname (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Firstname Lastname, “Title of Article,” Name of Journal vol. number, (Year): start page.

Firstname Lastname, “Title of Article,” Name of Journal vol. number, issue number (Month or Season Year): start page–end page, doi: DOI [or stable URL].

Barbara Eckstein, “The Body, the Word, and the State: J. M. Coetzee’s ‘Waiting for the Barbarians,’” Novel: A Forum on Fiction 22, no. 2 (Winter 1989): pp. 175–198, http://www.jstor.org/stable/1345802.
David Hyun-Su Kim, “The Brahmsian Hairpin,” 19th Century Music 36, no. 1 (Summer 2012): pp. 46–47, doi:10.1525/ncm.2012.36.1.046.

A DOI or URL can be included for articles that you consulted online. Online-only magazines follow the same pattern as print-based magazines, with the addition of URLs. If an online journal or magazine has a stable home page that allows a user to search for articles by title or author, it is acceptable to cite that page rather than a longer, more specific URL.

“Title of Article,” Name of Magazine , Month of Pub, Year.

Firstname Lastname, “Title of Article,” Name of Magazine, Month and Day of Pub, Year, doi: DOI [or stable URL].

Mary Rose Himler, “Religious Books as Best Sellers,” Publishers Weekly , February 19, 1927.
“Amazon Best Books 2012 Revealed,” Publishers Weekly , November 13, 2012, http://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/54738-amazon-best-books-2012-revealed.html.
Fritz Allhoff, “The Paradox of Nonlethal Weapons,” Slate , November 13, 2012, http://www.slate.com.

Law - case law

Law citation styles can vary widely depending on jurisdiction. These examples are for citing legal case law in a non-specialist academic context. If you are writing specialist legal content, see ‘Citing of legal materials’ for detailed information on law citation.

Name of Case [Year] VolNo Report PageNo

Ridge v. Baldwin [1964] AC 40, 78

Name of Case , Vol No. Reporter Series No. (Year)

Bowers v Hardwick , 478 U.S. 186 (1986)

Name of Case , Vol No. Reporter Series No. (Name of Court Year)

Bowers v. Hardwick 478 U.S. 186 (1986)

The titles of unpublished works are set in quotation marks rather than italics. Since there is no publisher, location or institutional information can be cited.

Troy Thibodeaux, “Modernism in Greenwich Village, 1908–1929” (PhD dissertation, New York University, 1999), p. 59.
Mary Koo, “Prakriti and Purusha: Dualism in the Yoga of Patanjali’ (lecture, Theosophical Society, Chennai, India, May 17, 2008).

If you need to cite a website or other source that does not fall within those covered here, include as much of the following as possible (in this order): author; title or description of the content; owner/publisher; date of publication or most recent revision (or, failing that, date accessed); and URL. Some flexibility is acceptable to accommodate the wide variety of content available, especially online.

“The Board of Directors of the Coca-Cola Company Authorizes New Share Repurchase Program,” Coca-Cola Company, October 18, 2012, http://www.coca-colacompany.com/media-center/press-releases/the-board-of-directors-of-the-coca-cola-company-authorizes-new-share-repurchase-program.
John Rambow, “Will This Demon Fit in My Carry-On?,” Bangalore Monkey blog, December 21, 2007, http://www.bangaloremonkey. com/2007/12/will-this-demon-fit-in-my-carry-on.html.
Wikimedia privacy policy, Wikimedia Foundation, accessed November 26, 2010, http://wikimediafoundation.org/wiki/ Privacy_policy.

Short citations

When a work is cited for the first time in a chapter, full bibliographic information should be given (for an alternative, see ‘Numbered notes in combination with a bibliography’). Subsequent citations should be shortened as in the following examples.

Legal short citations

Give the first mention of legal cases in full. Subsequent mentions within the same article or chapter can be shortened to the case name alone, given in italics (even if italics are not used in the original citation)

Case C–34/89 P Smith v EC Commission [1993] ECR I–454
P Smith v EC Commission.

Example: short citations in US style

See, for example, Alan Hess, Googie: Fifties Coffee Shop Architecture (San Francisco: Chronicle Books, 1985) and Noah Sheldon, Ranch House (New York: Harry S. Abrams, 2004).
Sheldon, Ranch House , p. 207.
Ashraf Salama, “Evolutionary Paradigms in Mosque Architecture,” Faith & Form 40, no. 1 (2007): pp. 16–17.
Salama, “Evolutionary Paradigms.”
Hess, Googie , p. 21.
Wikimedia privacy policy, para. 16.

Numbered notes in combination with a bibliography

It is possible to combine notes and bibliography so that all the notes, including the first reference, are short citations that lead the reader to a full citation in the bibliography. This system results in shorter notes and less work for the reader, since complete information is easily available in the alphabetical bibliography and need not be hunted for through all the chapter notes. This requires that all cited sources appear in a bibliography, which can also contain works that are not cited but are germane to the topic.

Structure of a bibliography entry

Bibliographies are structured similarly to notes, but there are some important differences. The first author name (and only the first) is inverted for alphabetization. Punctuation format also varies slightly between notes and bibliographic entries.

Do not use long dashes (e.g. “—") to substitute for an author’s name if it is repeated in the bibliography. Repeat the name in full because in a digital version, the shortened entry may not follow the complete one immediately.

Bibliography entries in British Style

Lastname, Firstname, Title of Work , (Year of Publication).

Lastname, Firstname, and Firstname Lastname. Title of Work , 2nd ed. (City of Publication: Publisher, Year of Publication).

Lastname, Firstname. ‘Title of Chapter in an Edited Book’. In Title of Edited Volume , edited by Firstname Lastname (Year of Publication).

Lastname, Firstname, and Firstname Lastname. ‘Title of Chapter in an Edited Book’. In Title of Edited Volume , edited by Firstname Lastname (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Lastname, Firstname,‘Title of Article’. Name of Journal vol. number, no. X (Year): start page.

Lastname, Firstname, and Firstname Lastname. ‘Title of Article’. Name of Journal vol. number, no. X (Month or Season Year): start page–end page. doi: DOI [or stable URL].

‘Title of Article’. Name of Magazine , Month Year of Pub.

Lastname, Firstname, and Firstname Lastname. ‘Title of Article’. Name of Magazine , Day Month Year of Pub, doi: DOI [or stable URL].

If you need to cite a website or other source that does not fall within those covered here, include as much of the following as possible (in this order): author; title or description of the content; owner/publisher; date of publication, most recent revision (or, failing that, date accessed); and URL. Some flexibility is acceptable to accommodate the wide variety of content available, especially online.

Sample bibliography

Growiszc, Hanna. ‘Far Right Ideologies in Czech Literature’. In Eastern Europe After the Iron Curtain , edited by Anton Smirov (London: Chatto and Windus, 2012), ch. 7.

Himler, Mary Rose. ‘Religious Books as Best Sellers’. Publishers Weekly , 19 February 1927.

Khan, Imran, and Richard Collins. ‘True Belief: Hindu Metanarratives in Bollywood’. Journal of Cinema Studies 7, no. 4 (2009): pp. 104–115. doi:10.1086/jcs113.3.752.

Murray, Michael. ‘The Antarctic Summer Lengthens’. Journal of Climate Studies 20, no. 9 (2011): p. 203.

Murray, Michael. Climate Change at the Poles (New York: Scribner, 2007).

Rambow, John. ‘Will This Demon Fit in My Carry-On?’ Bangalore Monkey blog. 21 December 2007. http://www.bangaloremonkey.com/2007/12/will-this-demon-fit-in-my-carry-on.html.

Bibliography entries in US style

Lastname, Firstname, “Title of Chapter in an Edited Book.” In Title of Edited Volume , edited by Firstname Lastname (Year of Publication).

Lastname, Firstname, and Firstname Lastname. “Title of Chapter in an Edited Book.” In Title of Edited Volume , edited by Firstname Lastname (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Lastname, Firstname,“Title of Article.” Name of Journal vol. number, no. X (Year): start page.

Lastname, Firstname, and Firstname Lastname. “Title of Article.” Name of Journal vol. number, no. X (Month or Season Year): start page–end page. doi: DOI [or stable URL].

“Title of Article.” Name of Magazine , Month of Pub, Year.

Lastname, Firstname, and Firstname Lastname. “Title of Article.” Name of Magazine , Month and Day of Pub, Year, doi: DOI [or stable URL].

Growiszc, Hanna. “Far Right Ideologies in Czech Literature.” In Eastern Europe After the Iron Curtain, edited by Anton Smirov (London: Chatto and Windus, 2012), ch. 7.

Himler, Mary Rose. “Religious Books as Best Sellers.” Publishers Weekly, February 19, 1927.

Khan, Imran, and Richard Collins. “True Belief: Hindu Metanarratives in Bollywood.” Journal of Cinema Studies 7, no. 4 (2009): pp. 104–115. doi:10.1086/jcs113.3.752.

Murray, Michael. “The Antarctic Summer Lengthens.” Journal of Climate Studies 20, no. 9 (2011): p. 203.

Rambow, John. “Will This Demon Fit in My Carry-On?” Bangalore Monkey blog. December 21, 2007. http://www.bangaloremonkey.com/2007/12/will-this-demon-fit-in-my-carry-on.html.

Numbered reference citations (Vancouver)

Numbered reference citations (also known as author–number or Vancouver references) are used in scientific and medical texts. In this system, each reference used is assigned a number. When that reference is cited in the text, its number appears, either in parentheses or brackets or as a superscript. All cited references appear in a numbered reference list at the end of the chapter or book.

An advantage of numbered references over the author–date style is that less space in the main text is required for in-text citations. The system also avoids ambiguity in the case of two works by the same author published the same year, an occasional issue in author–date citations. A disadvantage is that late addition or removal of references usually requires renumbering of both the reference list and the citations. Numbered reference citations cannot be used to provide commentary or other explanatory material to the text.

References are cited within the text by using a number in a superscript, in parentheses, or in square brackets. Although each of these variants is acceptable, only one can be used in a single text. The examples in this guide will enclose citation numbers in parentheses. Note that although citations are numbered in the order of their first appearance in the text, non-consecutive note numbers are possible, to allow references to be cited more than once. Citations can take the form of a range: for example (4–7) would cite references 4, 5, 6, and 7 simultaneously. If it is necessary to cite specific page numbers that are not present in the reference list, page numbers can be inserted into the citation: for example (4p6, 5pp1–11).

Please note the following:

Author first names are usually given as initials only, with no full stops (e.g. “AN” not “A.N.”) between initials. In the case of multiple authors, you can list up to six full names; for more than six authors, list the first three plus ‘et al’. All author names are inverted (i.e. last name, first name).
Names of journals can be abbreviated, as in the examples in this section, but must follow the standard abbreviations used by PubMed. Journal article titles are given without quotation marks and in sentence-style capitalization.
Do not use long dashes (e.g. “—") to substitute for the name of an author whose name is repeated in the bibliography. Repeat the name in full because linking in a digital publication may not immediately follow the entry with the full name.
Citations are numbered in the order in which they first appear in the text.

Required bibliographic elements are given below for the most common types of reference citations, along with optional elements (if used, be consistent). Other elements below are required if applicable (for example, you need a page number or other locator if you are quoting a precise part of a large work, but you can skip it if the reference is to the work as a whole).

Numbered reference citations in British style

Lastname FI, Title of Work , Year of Publication.

Lastname FI, Lastname FI, Lastname FI. Title of Work , 2nd ed. City of Publication: Publisher; Year of Publication: startpage–endpage [or alternative locator info].

Unauthored book (books published by committee, agency, or group)

Title of Work . Year of Publication.

Title of Work . 16th ed. City of Publication: Publisher; Year of Publication: startpage–endpage [or alternative locator info].

Lastname FI. Title of chapter in sentence case. In: Lastname FI, eds. Title of Work. Year of Publication.

Lastname FI, Lastname FI, Lastname FI. Title of chapter in sentence case. In: Lastname FI, Lastname FI, Lastname FI, eds. Title of Work . 2nd ed. City of Publication: Publisher; Year of Publication: startpage–endpage [or alternative locator info].

Lastname FI, Title of article in sentence case. Abbreviated Journal Title . Year of Publication; Volume No.

Lastname FI, Lastname FI, Lastname FI, et al. Title of article in sentence case. Abbreviated Journal Title . Year of Publication; Volume No. (Issue No.) (Supplement No.): startpage–endpage [or alternative locator info]. doi: DOI [or stable URL].

Magazine or newspaper article

Lastname FI. Title of article in sentence case. Magazine or Newspaper Title . Month and Year of Publication.

Lastname FI. Title of article in sentence case. Magazine or Newspaper Title . Day Month and Year of Publication: startpage–endpage. doi: DOI [or stable URL].

If the article has no stated author:

Title of article in sentence case. Magazine or Newspaper Title . Month and Year of Publication.

Title of article in sentence case. Magazine or Newspaper Title . Day Month and Year of Publication: startpage–endpage. doi: DOI [or stable URL].

Include of the following (in this order) in your bibliographic entry: author; title or description of the content; owner/publisher; date of publication or most recent revision (or, failing that, date accessed); and URL. Some flexibility is acceptable to accommodate the wide variety of content available online and in non-traditional formats. Follow the capitalization and italicization patterns of the examples here as much as possible.

If the nature of the material you are citing is not clear from the bibliographic information, you can provide a descriptor in brackets after the first element of the reference.

Example: Numbered reference citations and reference list—British style

Colorectal cancer (cRc) is one of the most common malignancies and the second leading cause of death from cancer in Europe and North America (1). While early stage cRc is associated with an excellent 5-year survival rate (90% for localized disease), approximately 20% of patients present with metastatic disease, and many patients diagnosed with stage ii or iii cancer will experience a recurrence and develop distant metastases (2). At present, established clinico-pathological criteria are used to estimate risks of recurrence in stage ii and iii disease, and this is routinely used in the selection of patients or adjuvant systemic therapy following surgical resection. The clinical outcome of patients who receive such adjuvant treatment can, however, vary widely, when additional molecular factors are taken into consideration. Identification of novel prognostic markers is, therefore, vital in improving the prognosis of this disease (3). One of the recently described substances important for angiogenesis is endoglin. Endoglin, also known as cD105, is a receptor for transforming growth factor-ÃƒÅ¸1 molecule, which binds preferentially to the activated endothelial cells that participate in tumour angiogenesis, with weak or negative expression in vascular endothelium of normal tissues. Endoglin is induced by hypoxia. Therefore, it is very useful for assessment of neo-angiogenesis of malignant neoplasms (4–6). Many reports indicate that endoglin assessed immunohistochemically in colorectal cancer correlates not only with tumour microvessel density, but also with survival. It has also been reported as a valuable parameter predicting patients having an increased risk of developing metastatic disease. Endoglin is expressed not only on cell surfaces since its soluble form (sol-end) can be detected also in blood (4–7). A few studies evaluated the clinical significance of elevated sol-end levels in colorectal cancer patients (7).

1. Ferlay J, Autier P, Boniol M, Heanue M, Colombet M, Boyle P. Estimates of the cancer incidence and mortality in Europe in 2006. Ann Oncol . 2007; 18: pp. 581–592.

2. Meyerhardt JA, Mayer RJ. Systemic therapy for colorectal cancer. In: Boniol M, Smith J, eds. Oncological Research Reviews . 16th ed. New York, NY: Dekker; 2005; pp. 476–487.

3. Allegra CJ, Paik S, Colangelo LH, et al. Prognostic value of thymidylate synthase, Ki-67, and p53 in patients with Dukes’ B and C colon cancer: a National Cancer Institute-National Surgical Adjuvant Breast and Bowel Project collaborative study. J Clin Oncol. 2003; 21: pp. 241–250.

4. Drug Topics Red Book . Montvale, NJ: Thomson Healthcare, 2009: p. 232.

5. FDA approves new treatment for advanced colorectal cancer. 2012. US Food and Drug Administration website. 27 September. http://www.fda.gov/NewsEvents/Newsroom/PressAnnouncements/ucm321271.htm.

6. Stivarga [package insert]. Wayne, NJ: Bayer Healthcare Pharmaceuticals, 2012.

7. Mysliwiec P, Pawlak K, Kuklinski A, Kedra B. Combined perioperative plasma endoglin and vegF-a assessment in colorectal cancer patients. Folia Histochem Cytobiol . 2008; 46(2)(suppl. 1): pp. 487–49.

Numbered reference citations and reference list in US style

Lastname FI, Lastname FI, Lastname FI. Title of Work , 2nd ed. City of Publication: Publisher; Year of Publication.

Title of Work. Year of Publication.

Title of Work. 16th ed. City of Publication: Publisher; Year of Publication: startpage–endpage [or alternative locator info].

Lastname FI, Title of chapter in sentence case. In: Lastname FI, ed. Title of Work. Year of Publication.

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Colorectal cancer (cRc) is one of the most common malignancies and the second leading cause of death from cancer in Europe and North America (1). While early stage cRc is associated with an excellent 5-year survival rate (90% for localized disease), approximately 20% of patients present with metastatic disease, and many patients diagnosed with stage ii or iii cancer will experience a recurrence and develop distant metastases (2). At present, established clinico-pathological criteria are used to estimate risks of recurrence in stage ii and iii disease, and this is routinely used in the selection of patients or adjuvant systemic therapy following surgical resection. The clinical outcome of patients who receive such adjuvant treatment can, however, vary widely, when additional molecular factors are taken into consideration. Identification of novel prognostic markers is, therefore, vital in improving the prognosis of this disease (3). One of the recently described substances important for angiogenesis is endoglin. Endoglin, also known as cD105, is a receptor for transforming growth factor-ÃƒÅ¸1 molecule, which binds preferentially to the activated endothelial cells that participate in tumor angiogenesis, with weak or negative expression in vascular endothelium of normal tissues. Endoglin is induced by hypoxia. Therefore it is very useful for assessment of neo-angiogenesis of malignant neoplasms (4–6). Many reports indicate that endoglin assessed immunohistochemically in colorectal cancer correlates not only with tumor microvessel density, but also with survival. It has also been reported as a valuable parameter predicting patients having an increased risk of developing metastatic disease. Endoglin is expressed not only on cell surfaces, since its soluble form (sol-end) can be detected also in blood (4–7). A few studies evaluated the clinical significance of elevated sol-end levels in colorectal cancer patients (7).

1. Ferlay J, Autier P, Boniol M, Heanue M, Colombet M, Boyle P. Estimates of the cancer incidence and mortality in Europe in 2006. Ann Oncol. 2007; 18: pp. 581–592.

2. Meyerhardt JA, Mayer RJ. Systemic therapy for colorectal cancer. In: Boniol M, Smith J, eds. Oncological Research Reviews. 16th ed. New York, NY: Dekker; 2005; pp. 476–487.

3. Allegra CJ, Paik S, Colangelo LH, et al. Prognostic value of thymidylate synthase, Ki-67, and p. 53 in patients with Dukes’ B and C colon cancer: a National Cancer Institute-National Surgical Adjuvant Breast and Bowel Project collaborative study. J Clin Oncol. 2003; 21: pp. 241–250.

4. Drug Topics Red Book. Montvale, NJ: Thomson Healthcare, 2009: p. 232.

5. FDA approves new treatment for advanced colorectal cancer. US Food and Drug Administration website. September 27, 2012. http://www.fda. gov/NewsEvents/Newsroom/PressAnnouncements/ucm321271.htm.

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How to Write Good Letters and Emails: a Guide for Those Who are New to the English Language

If you are new to the English language, one aspect of English you possibly haven’t thought about yet is how to communicate appropriately in formal written situations, such as letters. This is a skill you’ll almost certainly need if you’re in the process of applying to UK schools or universities , so we thought we’d give you a handy guide on how to write formal letters and emails in English. Even if you’re a native speaker, this is still an essential skill to acquire if you haven’t already, both for university applications and in life beyond your student years, when you’ll almost certainly need to write covering letters for job applications, letters to the bank, emails to customer service departments of companies, and so on. So, if you’re not quite sure how to go about writing a formal letter or email, take heed of the advice in this article and you’ll soon be writing professional-sounding communications.

The right way to write a letter

When it comes to writing a formal letter, there are very clear right and wrong ways of going about it. To show you the right way of doing it, let’s make up a situation and pretend that you’re writing a letter to a university you’ve applied to, enquiring about the possibility of deferring your course for a year. We’ve written out the letter in full below, so that you can refer to it as you read through the following points. – Your address: the first thing to write is your own address. This goes at the top right-hand side of the letter. – Date: Beneath your address, you write the date of the letter. Note how we’ve formatted the date here, and left a space between the bottom of the address and the date. – Their address: Next, you write the recipient’s address. This is left-aligned and placed below the text of your own address and the date. – Salutation: we’ve written about these in more detail beneath our example letter, but for the purposes of this example we are addressing the recipient using “Mr” and his surname. – Subject line: a bit like an email, a formal letter has a one-line summary after the salutation, which summarises what the letter is about. – Body text: the main content of the letter. Use spaces to indicate a new paragraph and keep sentences clear and to the point. Make sure it’s clear exactly what you want the person to do as an outcome of your letter. In this example, we’ve put the direct question on its own separate line to make sure it stands out. – Sign-off: again, we’ll give you more guidance on how to sign off your letter later in this article. In this example we’ve used “Yours sincerely”, for reasons that will become clear later. – Signature: we’ve left a gap here, where you would handwrite your signature once you’ve printed off your letter ready to send. – Print name: beneath your signature is your name printed in full.

Salutations in more detail

Always begin a formal letter with “Dear”, rather than “hi” or any other more informal greeting. First names are best avoided if you want to be very formal, but may be acceptable in some situations, such as when you’re writing to someone you’ve met in person and who has encouraged you to address them by their first name. In terms of more formal greetings, you have the following options: – Sir/Madam – you start your letter with “Dear Sir or Madam” when you don’t know to whom your letter should be addressed; for example, if you’re writing to the general university admissions department and don’t know exactly who would be responsible for the handling of your enquiry. – Mr/Mrs/Dr etc – when you know the name of the person to whom you are writing, address them using their surname and title. For men, this should be Mr Smith (unless you know that he has another title, e.g. Dr Smith or Captain Smith) and for women, this should be Ms Smith unless you know for sure that she has another title or prefers to use Mrs or Miss.

Signing off a letter

There are several ways of signing off a formal letter. These are: – Yours faithfully, – this is used when you’ve started your letter with “Dear Sir or Madam”. – Yours sincerely, – this is used when you’ve addressed a named individual in your letter. – Yours truly, – this can be used when you’re writing to someone you know slightly. This is more common in America. These should all have a comma at the end, as in the examples above.

Email is generally considered less formal than a letter, but that’s not to say that you can descend into over-familiarity or slang when you’re writing to someone important, such as a university admissions tutor (who will not be impressed if you’re not able to communicate professionally). You must remain respectful and professional at all times, even in this more informal medium. You don’t need to lay out your email in the style of the letter in the example above, but there are a few special considerations and things that are done differently in emails as opposed to letters.

The email address you use

For the purposes of emailing important people – such as university tutors or potential employers – it’s best to have a professional-looking email address. Low-quality free email providers such as Hotmail and Yahoo are best avoided (Gmail is still considered acceptable), and although we probably all have childish email addresses with silly handles like “shopgirl1990” that we set up years ago, they won’t give a very good impression to the person you’re emailing. As a general rule, [email protected] is a good format for your email address.

To/from field

Subject line

Write something descriptive in the subject line that summarises what the email is about. Don’t make it too long. If you were emailing about the query covered in our example letter earlier, for instance, the subject line could simply be “Deferring course entry”. A descriptive subject line makes it easier for people to find an email among a mass of others, and will also ensure that they do bother to read it. Don’t forget, people receive dozens of emails every day, so yours could easily get lost in their inbox if you put a generic subject line such as “Enquiry”. Another word of caution: avoid words like “Urgent” unless it’s a genuine emergency (for instance, you could miss a deadline if they don’t respond quickly). Marking something as urgent when it isn’t will only annoy the recipient, who has many other demands on their time. For the same reason, avoid marking the email as “important” if your email provider has a dedicated button for this.

Email greetings are generally more relaxed than letters, though if you want to be formal then it’s still fine to start your email with “Dear Mr Smith” if you’re emailing a named individual or “Dear Sir or Madam” if you’re emailing a generic email address such as [email protected] . If you’ve met the person before, or they’ve emailed you before, first names are acceptable if this is how they have signed their emails to you previously. In such a situation, it’s also acceptable to use a slightly less formal greeting, such as “Hello” or even “Hi”. However, go by how they address you; if their emails to you start “Dear”, you reply with “Dear”; if they start “Hi”, you can reply with “Hi”. An alternative email greeting that lies somewhere between formal and informal is “Good morning” or “Good afternoon”. This is perhaps a little friendlier and more personal than “Dear”, so if your style is not naturally very formal then this is an acceptable form of email greeting.

Signing off an email

Again, with email being more informal than a letter, a very formal sign-off such as “Yours sincerely” can sound a little odd in an email. If you have started your email in the formal style of a letter then it makes sense to finish it in this way, but if you’ve adopted one of the less formal salutations outlined just now, you have a few different options for how you could sign off. These common conventions include: – Best wishes, – Kind regards, – Best regards, – All the best, – Thanks, – Thanks in advance, – Many thanks, The latter three can be used when you’ve asked for something or asked a question. With all of these, make sure you have a comma at the end of the line, as in the examples above. If you have a standard email signature that’s included automatically in all your emails, make sure that its contents are completely appropriate for the person to whom you are sending the email. Jokes, funny images and such like are not appropriate for a formal email.

Other tips for writing formally

There are a few more general pointers for writing formally to ensure that you maintain that professional image with which to impress your recipient. – Never use slang – avoid slang and colloquialisms when you’re writing formally. It goes without saying that you should never swear, either. – Don’t waffle – explain what you’re trying to say as clearly and concisely as possible if you expect them to read it in full. Keep your communication short and to the point. – Always proofread – good spelling and grammar are absolutely essential, so check your communication thoroughly before it gets sent off (the spell check will do for an initial check, but you’ll still need to read through it to correct anything that it might not have picked up on). Any errors will completely shatter your professional image! – In emails, avoid unnecessary attachments, emoticons and so on.

You will undoubtedly have occasion to write a formal letter at some point, and sending emails has become a daily occurrence for most of us. Taking on board the tips in this article will ensure that you convey a professional demeanour in your written communications, and this will stand you in good stead in any number of situations in which you find yourself in the future.

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Selected Essays

Virginia woolf and david bradshaw.

According to Virginia Woolf, the goal of the essay ‘is simply that it should give pleasure…It should lay us under a spell with its first word, and we should only wake, refreshed, with its last.’ One of the best practitioners of the art she analysed so rewardingly, Woolf displayed her essay-writing skills across a wide range of subjects, with all the craftsmanship, substance, and rich allure of her novels. This selection brings together thirty of her best essays, including the famous ‘Mr Bennett and Mrs Brown’, a clarion call for modern fiction. She discusses the arts of writing and of reading, and the particular role and reputation of women writers. She writes movingly about her father and the art of biography, and of the London scene in the early decades of the twentieth century. Overall, these pieces are as indispensable to an understanding of this great writer as they are enchanting in their own right.

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Virginia Woolf, author

David Bradshaw, editor

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Oxford World’s Classics: Selected Essays
Biographical Preface
Introduction
Note on the Text
Select Bibliography
A Chronology of Virginia Woolf
The Decay of Essay-Writing Virginia Woolf
Modern Fiction Virginia Woolf
The Modern Essay Virginia Woolf
How it Strikes a Contemporary Virginia Woolf
Mr Bennett and Mrs Brown Virginia Woolf
Character in Fiction Virginia Woolf
‘Impassioned Prose’ Virginia Woolf
How Should one Read a Book? Virginia Woolf
Poetry, Fiction and the Future Virginia Woolf
Craftsmanship Virginia Woolf
The New Biography Virginia Woolf
On Being Ill Virginia Woolf
Leslie Stephen Virginia Woolf
The Art of Biography Virginia Woolf
The Feminine Note in Fiction Virginia Woolf
Women Novelists Virginia Woolf
Women and Fiction Virginia Woolf
Professions for Women Virginia Woolf
Memories of a Working Women’s Guild Virginia Woolf
Why? Virginia Woolf
Thunder at Wembley Virginia Woolf
The Cinema Virginia Woolf
Street Haunting: A London Adventure Virginia Woolf
The Sun and the Fish Virginia Woolf
The Docks of London Virginia Woolf
Oxford Street Tide Virginia Woolf
Evening Over Sussex: Reflections in a Motor Car Virginia Woolf
Flying Over London Virginia Woolf
Why Art Today Follows Politics Virginia Woolf
Thoughts on Peace in an Air Raid Virginia Woolf
Explanatory Notes
Oxford University Press

date: 07 September 2024

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THE OXFORD BOOK OF AMERICAN ESSAYS

CHOSEN BY BRANDER MATTHEWS Professor in Columbia University Member of the American Academy of Arts and Letters NEW YORK OXFORD UNIVERSITY PRESS AMERICAN BRANCH: 35 West 32nd Street LONDON, TORONTO, MELBOURNE, AND BOMBAY HUMPHREY MILFORD 1914 ALL RIGHTS RESERVED Copyright , 1914 O XFORD U NIVERSITY P RESS AMERICAN BRANCH


Introduction
The Ephemera: an Emblem of Human Life
Benjamin Franklin (1706-1790).
The Whistle
Benjamin Franklin (1706-1790).
Dialogue Between Franklin and the Gout
Benjamin Franklin (1706-1790).
Consolation for the Old Bachelor
Francis Hopkinson (1737-1791).
John Bull
Washington Irving (1783-1859).
The Mutability of Literature
Washington Irving (1783-1859).
Kean’s Acting
Richard Henry Dana (1787-1879).
Gifts
Ralph Waldo Emerson (1803-1882).
Uses of Great Men
Ralph Waldo Emerson (1803-1882).
Buds and Bird-voices
Nathaniel Hawthorne (1804-1864).
The Philosophy of Composition
Edgar Allan Poe (1809-1849).
Bread and the Newspaper
Oliver Wendell Holmes (1809-1894).
Walking
Henry David Thoreau (1817-1862).
On a Certain Condescension in Foreigners
James Russell Lowell (1819-1891).
Preface To "Leaves of Grass"
Walt Whitman (1819-1892).
Americanism in Literature
Thomas Wentworth Higginson (1823-1911).
Thackeray in America
George William Curtis (1824-1892).
Our March To Washington
Theodore Winthrop (1828-1861).
Calvin (A Study of Character)
Charles Dudley Warner (1829-1900).
Five American Contributions To Civilization
Charles William Eliot (1834- ).
I Talk of Dreams
William Dean Howells (1837- ).
An Idyl of the Honey-bee
John Burroughs (1837- ).
Cut-off Copples’s
Clarence King (1842-1901).
The Théâtre Français
Henry James (1843- ).
Theocritus on Cape Cod
Hamilton Wright Mabie (1846- ).
Colonialism in the United States
Henry Cabot Lodge (1850- ).
New York After Paris
William Crary Brownell (1851- ).
The Tyranny of Things
Edward Sandford Martin (1856- ).
Free Trade Vs. Protection in Literature
Samuel McChord Crothers (1857- ).
Dante and the Bowery
Theodore Roosevelt (1858- ).
The Revolt of the Unfit
Nicholas Murray Butler (1862- ).
On Translating the Odes of Horace
William Peterfield Trent (1862- ).

INTRODUCTION

T HE customary antithesis between "American" literature and "English" literature is unfortunate and misleading in that it seems to exclude American authors from the noble roll of those who have contributed to the literature of our mother-tongue. Of course, when we consider it carefully we cannot fail to see that the literature of a language is one and indivisible and that the nativity or the domicile of those who make it matters nothing. Just as Alexandrian literature is Greek, so American literature is English; and as Theocritus demands inclusion in any account of Greek literature, so Thoreau cannot be omitted from any history of English literature as a whole. The works of Anthony Hamilton and Rousseau, Mme. de Staël and M. Maeterlinck are not more indisputably a part of the literature of the French language than the works of Franklin and Emerson, of Hawthorne and Poe are part of the literature of the English language. Theocritus may never have set foot on the soil of Greece, and Thoreau never adventured himself on the Atlantic to visit the island-home of his ancestors; yet the former expressed himself in Greek and the latter in English,—and how can either be neglected in any comprehensive survey of the literature of his own tongue?

None the less is it undeniable that there is in Franklin and Emerson, in Walt Whitman and Mark Twain, whatever their mastery of the idiom they inherited in common with Steele and Carlyle, with Browning and Lamb, an indefinable and intangible flavor which distinguishes the first group from the second. The men who have set down the feelings and the thoughts, the words and the deeds of the inhabitants of the United States have not quite the same outlook on life that we find in the men who have made a similar record in the British Isles. The social atmosphere is not the same on the opposite shores of the Western ocean; and the social organization is different in many particulars. For all that American literature is,—in the apt phrase of Mr. Howells,—"a condition of English literature," nevertheless it is also distinctively American. American writers are as loyal to the finer traditions of English literature as British writers are; they take an equal pride that they are also heirs of Chaucer and Dryden and subjects of King Shakspere; yet they cannot help having the note of their own nationality.

Green, when he came to the Fourth of July, 1776, declared that thereafter the history of the English-speaking people flowed in two currents; and it is equally obvious that the stream of English literature has now two channels. The younger and the smaller is American—and what can we call the older and the ampler except British? A century ago there were published collections entitled the British Poets , the British Novelists , and the British Essayists ; and the adjective was probably then chosen to indicate that these gatherings included the work of Scotch and Irish writers. Whatever the reason, the choice was happy; and the same adjective would serve to indicate now that the selections excluded the work of American writers. The British branch of English literature is the richer and the more various; yet the American branch has its own richness and its own variety, even if these qualities have revealed themselves only in the past hundred years.

It may be noted also that although American literature has not been adorned by so great a galaxy of brilliant names as illumined British literature in the nineteenth century, it has had the good fortune to possess more authors of cosmopolitan fame than can be found in the German literature of the past hundred years, in the Italian, or in the Spanish. A forgotten American essayist once asserted that "foreign nations are a contemporaneous posterity," and even if this smart saying is not to be taken too literally, it has its significance. There is therefore food for thought in the fact that at least half a dozen, not to say half a score, of American authors have won wide popularity outside the limits of their own language,—a statement which could not be made of as many German or Italian or Spanish authors of the nineteenth century. From the death of Goethe to the arrival of the playwrights of the present generation, perhaps Heine is the sole German writer either of prose or of verse who has established his reputation broadly among the readers of other tongues than his own. And not more than one or two Spanish or Italian authors have been received even by their fellow Latins, as warmly as the French and the Germans have welcomed Cooper and Poe, Emerson and Mark Twain.

It is to present typical and characteristic examples of the American contribution to English literature in the essay-form that this volume has been prepared. Perhaps the term "essay-form" is not happily chosen since the charm of the essay lies in the fact that it is not formal, that it may be whimsical in its point of departure, and capricious in its ramblings after it has got itself under way. Even the Essay is itself a chameleon, changing color while we study it. There is little in common between Locke’s austere Essay on the Human Understanding and Lamb’s fantastic and frolicsome essay on Roast Pig . He would be bold indeed who should take compass and chain to measure off the precise territory of the Essay and to mark with scientific exactness the boundaries which separate it from the Address on the one side and from the Letter on the other.

"Some (there are) that turn over all books and are equally searching in all papers," said Ben Jonson; "that write out of what they presently find or meet, without choice.... Such are all the Essayists, ever their master Montaigne." Bacon and Emerson followed in the footsteps of Montaigne, and present us with the results of their browsings among books and of their own dispersed meditations. In their hands the essay lacks cohesion and unity; it is essentially discursive. Montaigne never stuck to his text, when he had one; and the paragraphs of any of Emerson’s essays might be shuffled without increasing their fortuitous discontinuity.

After Montaigne and Bacon came Steele and Addison, in whose hands the essay broadened its scope and took on a new aspect. The eighteenth century essay is so various that it may be accepted as the forerunner of the nineteenth century magazine, with its character-sketches and its brief tales, its literary and dramatic criticism, its obituary commemorations and its serial stories—for what but a serial story is the succession of papers devoted to the sayings and doings of Sir Roger? It was a new departure, although the writers of the Tatler and of the Spectator had profited by the Conversations of Walton and by the Characters of La Bruyère, by the epistles of Horace and by the comedies of Molière. (Has it ever been pointed out that the method of Steele and Addison in depicting Sir Roger is curiously akin to the method of Molière in presenting M. Jourdain?)

The delightful form of poetry which we call by a French name, vers de société, (although it has flourished more abundantly in English literature than in French) and which Mr. Austin Dobson, one of its supreme masters, prefers to call by Cowper’s term, "familiar verse," may be accepted as the metrical equivalent of the prose essay as this was developed and expanded by the English writers of the eighteenth century. And as the familiar verse of our language is ampler and richer than that of any other tongue, so also is the familiar essay. Indeed, the essay is one of the most characteristic expressions of the quality of our race. In its ease and its lightness and its variety, it is almost unthinkable in German; and even in French it is far less frequent than in English and far less assiduously cultivated.

As Emerson trod in the footsteps of Bacon so Washington Irving walked in the trail blazed by Steele and Addison and Goldsmith; and Franklin earlier, although his essays are in fact only letters, had revealed his possession of the special quality the essay demands,—the playful wisdom of a man of the world who is also a man of letters. Indeed, Dr. Franklin was far better fitted to shine as an essayist than his more ponderous contemporary, Dr. Johnson; certainly Franklin would never have "made little fishes talk like whales." And in the nineteenth century the American branch of English literature has had a group of essayists less numerous than that which adorned the British branch, but not less interesting or less important to their own people.

Among these American essayists we may find all sorts and conditions of writers,—poets adventuring themselves in prose, novelists eschewing story-telling, statesmen turning for a moment to matters of less weight, men of science and men of affairs chatting about themselves and airing their opinions at large. In their hands, as in the hands of their British contemporaries, the essay remains infinitely various, refusing to conform to any single type, and insisting on being itself and on expressing its author. We find in the best of these American essayists the familiar style and the everyday vocabulary, the apparent simplicity and the seeming absence of effort, the horror of pedantry and the scorn of affectation, which are the abiding characteristics of the true essay. We find also the flavor of good talk, of the sprightly conversation that may sparkle in front of a wood fire and that often vanishes with the curling blue smoke.

It is the bounden duty of every maker of an anthology to set forth the principles that have guided him in the choice of the examples he is proffering to the public. The present editor has excluded purely literary criticism, as not quite falling within the boundaries of the essay, properly so-called. Then he has avoided all set orations, although he has not hesitated to include more than one paper originally prepared to be read aloud by its writer, because these examples seemed to him to fall within the boundaries of the essay. (Nearly all of Emerson’s essays, it may be noted, had been lectures in an early stage of their existence.) Furthermore he has omitted all fiction, strictly to be so termed, although he would gladly have welcomed an apologue like Mark Twain’s "Traveling with a Reformer," which is essentially an essay despite its use of dialogue. He has included also Franklin’s "Dialogue with the Gout," which is instinct with the true spirit of the essay; and he has accepted as essays Franklin’s "Ephemera" and "The Whistle," although they were both of them letters to the same lady. As the essay flowers out of leisure and out of culture, and as there has been in the United States no long background of easy tranquillity, there is in the American branch of English literature a relative deficiency in certain of the lighter forms of the essay more abundantly represented in the British branch; and therefore the less frequent examples of these lighter forms have here been companioned by graver discussions, never grave enough, however, to be described as disquisitions. Finally, every selection is presented entire, except that Dana’s paper on Kean’s acting has been shorn of a needless preparatory note.

B RANDER M ATTHEWS .

[The essays by Ralph Waldo Emerson, Nathaniel Hawthorne, Oliver Wendell Holmes, Henry D. Thoreau, Thomas Wentworth Higginson, Charles Dudley Warner, and John Burroughs, are used by permission of, and by arrangement with, The Houghton Mifflin Company, the authorized publishers of their works. The essays by George William Curtis and by William Dean Howells are used by permission of Harper and Brothers. The essays by William Crary Brownell, Edward Sanford Martin, Nicholas Murray Butler, and Theodore Roosevelt are printed by permission of Charles Scribner’s Sons, the essay by Charles William Eliot by permission of The Century Company, and that by Henry James by permission of The Macmillan Company.]

THE EPHEMERA: AN EMBLEM OF HUMAN LIFE TO MADAME BRILLON, OF PASSY B ENJAMIN F RANKLIN

Y OU may remember, my dear friend, that when we lately spent that happy day in the delightful garden and sweet society of the Moulin Joly, I stopped a little in one of our walks, and stayed some time behind the company. We had been shown numberless skeletons of a kind of little fly, called an ephemera, whose successive generations, we were told, were bred and expired within the day. I happened to see a living company of them on a leaf, who appeared to be engaged in conversation. You know I understand all the inferior animal tongues. My too great application to the study of them is the best excuse I can give for the little progress I have made in your charming language. I listened through curiosity to the discourse of these little creatures; but as they, in their national vivacity, spoke three or four together, I could make but little of their conversation. I found, however, by some broken expressions that I heard now and then, they were disputing warmly on the merit of two foreign musicians, one a cousin , the other a moscheto ; in which dispute they spent their time, seemingly as regardless of the shortness of life as if they had been sure of living a month. Happy people! thought I; you are certainly under a wise, just, and mild government, since you have no public grievances to complain of, nor any subject of contention but the perfections and imperfections of foreign music. I turned my head from them to an old gray-headed one, who was single on another leaf, and talking to himself. Being amused with his soliloquy, I put it down in writing, in hopes it will likewise amuse her to whom I am so much indebted for the most pleasing of all amusements, her delicious company and heavenly harmony.

"It was," said he, "the opinion of learned philosophers of our race, who lived and flourished long before my time, that this vast world, the Moulin Joly, could not itself subsist more than eighteen hours; and I think there was some foundation for that opinion, since, by the apparent motion of the great luminary that gives life to all nature, and which in my time has evidently declined considerably towards the ocean at the end of our earth, it must then finish its course, be extinguished in the waters that surround us, and leave the world in cold and darkness, necessarily producing universal death and destruction. I have lived seven of those hours, a great age, being no less than four hundred and twenty minutes of time. How very few of us continue so long! I have seen generations born, flourish, and expire. My present friends are the children and grandchildren of the friends of my youth, who are now, alas, no more! And I must soon follow them; for, by the course of nature, though still in health, I cannot expect to live above seven or eight minutes longer. What now avails all my toil and labor in amassing honey-dew on this leaf, which I cannot live to enjoy! What the political struggles I have been engaged in for the good of my compatriot inhabitants of this bush, or my philosophical studies for the benefit of our race in general! for in politics what can laws do without morals? Our present race of ephemeræ will in a course of minutes become corrupt, like those of other and older bushes, and consequently as wretched. And in philosophy how small our progress! Alas! art is long, and life is short! My friends would comfort me with the idea of a name they say I shall leave behind me; and they tell me I have lived long enough to nature and to glory. But what will fame be to an ephemera who no longer exists? And what will become of all history in the eighteenth hour, when the world itself, even the whole Moulin Joly, shall come to its end and be buried in universal ruin?"

To me, after all my eager pursuits, no solid pleasures now remain, but the reflection of a long life spent in meaning well, the sensible conversation of a few good lady ephemeræ, and now and then a kind smile and a tune from the ever amiable Brillante .

THE WHISTLE TO MADAME BRILLON B ENJAMIN F RANKLIN

I RECEIVED my dear friend’s two letters, one for Wednesday and one for Saturday. This is again Wednesday. I do not deserve one for to-day, because I have not answered the former. But, indolent as I am, and averse to writing, the fear of having no more of your pleasing epistles, if I do not contribute to the correspondence, obliges me to take up my pen; and as Mr. B. has kindly sent me word that he sets out to-morrow to see you, instead of spending this Wednesday evening, as I have done its namesakes, in your delightful company, I sit down to spend it in thinking of you, in writing to you, and in reading over and over again your letters.

I am charmed with your description of Paradise, and with your plan of living there; and I approve much of your conclusion, that, in the meantime, we should draw all the good we can from this world. In my opinion we might all draw more good from it than we do, and suffer less evil, if we would take care not to give too much for whistles . For to me it seems that most of the unhappy people we meet with are become so by neglect of that caution.

You ask what I mean? You love stories, and will excuse my telling one of myself.

When I was a child of seven years old, my friends, on a holiday, filled my pocket with coppers. I went directly to a shop where they sold toys for children; and being charmed with the sound of a whistle , that I met by the way in the hands of another boy, I voluntarily offered and gave all my money for one. I then came home, and went whistling all over the house, much pleased with my whistle , but disturbing all the family. My brothers, and sisters, and cousins, understanding the bargain I had made, told me I had given four times as much for it as it was worth; put me in mind what good things I might have bought with the rest of the money; and laughed at me so much for my folly, that I cried with vexation; and the reflection gave me more chagrin than the whistle gave me pleasure.

This, however, was afterwards of use to me, the impression continuing on my mind; so that often, when I was tempted to buy some unnecessary thing, I said to myself, Don’t give too much for the whistle ; and I saved my money.

As I grew up, came into the world, and observed the actions of men, I thought I met with many, very many, who gave too much for the whistle .

When I saw one too ambitious of court favor, sacrificing his time in attendance on levees, his repose, his liberty, his virtue, and perhaps his friends, to attain it, I have said to myself, This man gives too much for his whistle .

When I saw another fond of popularity, constantly employing himself in political bustles, neglecting his own affairs, and ruining them by that neglect, He pays, indeed , said I, too much for his whistle .

If I knew a miser, who gave up every kind of comfortable living, all the pleasure of doing good to others, all the esteem of his fellow-citizens, and the joys of benevolent friendship, for the sake of accumulating wealth, Poor man , said I, you pay too much for your whistle .

When I met with a man of pleasure, sacrificing every laudable improvement of the mind, or of his fortune, to mere corporeal sensations, and ruining his health in their pursuit, Mistaken man , said I, you are providing pain for yourself, instead of pleasure; you give too much for your whistle .

If I see one fond of appearance, or fine clothes, fine houses, fine furniture, fine equipages, all above his fortune, for which he contracts debts, and ends his career in a prison, Alas! say I, he has paid dear, very dear, for his whistle .

When I see a beautiful sweet-tempered girl married to an ill-natured brute of a husband, What a pity , say I, that she should pay so much for a whistle !

In short, I conceive that great part of the miseries of mankind are brought upon them by the false estimates they have made of the value of things, and by their giving too much for their whistles .

Yet I ought to have charity for these unhappy people, when I consider that, with all this wisdom of which I am boasting, there are certain things in the world so tempting, for example, the apples of King John, which happily are not to be bought; for if they were put to sale by auction, I might very easily be led to ruin myself in the purchase, and find that I had once more given too much for the whistle .

Adieu, my dear friend, and believe me ever yours very sincerely and with unalterable affection.

DIALOGUE BETWEEN FRANKLIN AND THE GOUT

Midnight, 22 October, 1780.

F RANKLIN . Eh! Oh! eh! What have I done to merit these cruel sufferings?

G OUT . Many things; you have ate and drank too freely, and too much indulged those legs of yours in their indolence.

F RANKLIN . Who is it that accuses me?

G OUT . It is I, even I, the Gout.

F RANKLIN . What! my enemy in person?

G OUT . No, not your enemy.

F RANKLIN . I repeat it, my enemy; for you would not only torment my body to death, but ruin my good name; you reproach me as a glutton and a tippler; now all the world, that knows me, will allow that I am neither the one nor the other.

G OUT . The world may think as it pleases; it is always very complaisant to itself, and sometimes to its friends; but I very well know that the quantity of meat and drink proper for a man, who takes a reasonable degree of exercise, would be too much for another, who never takes any.

F RANKLIN . I take—eh! oh!—as much exercise—eh!—as I can, Madam Gout. You know my sedentary state, and on that account, it would seem, Madam Gout, as if you might spare me a little, seeing it is not altogether my own fault.

G OUT . Not a jot; your rhetoric and your politeness are thrown away; your apology avails nothing. If your situation in life is a sedentary one, your amusements, your recreation, at least, should be active. You ought to walk or ride; or, if the weather prevents that, play at billiards. But let us examine your course of life. While the mornings are long, and you have leisure to go abroad, what do you do? Why, instead of gaining an appetite for breakfast, by salutary exercise, you amuse yourself with books, pamphlets, or newspapers, which commonly are not worth the reading. Yet you eat an inordinate breakfast, four dishes of tea, with cream, and one or two buttered toasts, with slices of hung beef, which I fancy are not things the most easily digested. Immediately afterwards you sit down to write at your desk, or converse with persons who apply to you on business. Thus the time passes till one, without any kind of bodily exercise. But all this I could pardon, in regard, as you say, to your sedentary condition. But what is your practice after dinner? Walking in the beautiful gardens of those friends with whom you have dined would be the choice of men of sense; yours is to be fixed down to chess, where you are found engaged for two or three hours! This is your perpetual recreation, which is the least eligible of any for a sedentary man, because, instead of accelerating the motion of the fluids, the rigid attention it requires helps to retard the circulation and obstruct internal secretions. Wrapt in the speculations of this wretched game, you destroy your constitution. What can be expected from such a course of living, but a body replete with stagnant humors, ready to fall prey to all kinds of dangerous maladies, if I, the Gout, did not occasionally bring you relief by agitating those humors, and so purifying or dissipating them? If it was in some nook or alley in Paris, deprived of walks, that you played awhile at chess after dinner, this might be excusable; but the same taste prevails with you in Passy, Auteuil, Montmartre, or Sanoy, places where there are the finest gardens and walks, a pure air, beautiful women, and most agreeable and instructive conversation; all which you might enjoy by frequenting the walks. But these are rejected for this abominable game of chess. Fie, then, Mr. Franklin! But amidst my instructions, I had almost forgot to administer my wholesome corrections; so take that twinge,—and that.

F RANKLIN . Oh! eh! oh! Ohhh! As much instruction as you please, Madam Gout, and as many reproaches; but pray, Madam, a truce with your corrections!

G OUT . No, Sir, no,—I will not abate a particle of what is so much for your good,—therefore——

F RANKLIN . Oh! ehhh!—It is not fair to say I take no exercise, when I do very often, going out to dine and returning in my carriage.

G OUT . That, of all imaginable exercises, is the most slight and insignificant, if you allude to the motion of a carriage suspended on springs. By observing the degree of heat obtained by different kinds of motion, we may form an estimate of the quantity of exercise given by each. Thus, for example, if you turn out to walk in winter with cold feet, in an hour’s time you will be in a glow all over; ride on horseback, the same effect will scarcely be perceived by four hours' round trotting; but if you loll in a carriage, such as you have mentioned, you may travel all day and gladly enter the last inn to warm your feet by a fire. Flatter yourself then no longer, that half an hour’s airing in your carriage deserves the name of exercise. Providence has appointed few to roll in carriages, while he has given to all a pair of legs, which are machines infinitely more commodious and serviceable. Be grateful, then, and make a proper use of yours. Would you know how they forward the circulation of your fluids, in the very action of transporting you from place to place; observe when you walk, that all your weight is alternately thrown from one leg to the other; this occasions a great pressure on the vessels of the foot, and repels their contents; when relieved, by the weight being thrown on the other foot, the vessels of the first are allowed to replenish, and, by a return of this weight, this repulsion again succeeds; thus accelerating the circulation of the blood. The heat produced in any given time depends on the degree of this acceleration; the fluids are shaken, the humors attenuated, the secretions facilitated, and all goes well; the cheeks are ruddy, and health is established. Behold your fair friend at Auteuil; a lady who received from bounteous nature more really useful science than half a dozen such pretenders to philosophy as you have been able to extract from all your books. When she honors you with a visit, it is on foot. She walks all hours of the day, and leaves indolence, and its concomitant maladies, to be endured by her horses. In this, see at once the preservative of her health and personal charms. But when you go to Auteuil, you must have your carriage, though it is no farther from Passy to Auteuil than from Auteuil to Passy.

F RANKLIN . Your reasonings grow very tiresome.

G OUT . I stand corrected. I will be silent and continue my office; take that, and that.

F RANKLIN . Oh! Ohh! Talk on, I pray you.

G OUT . No, no; I have a good number of twinges for you to-night, and you may be sure of some more to-morrow.

F RANKLIN . What, with such a fever! I shall go distracted. Oh! eh! Can no one bear it for me?

G OUT . Ask that of your horses; they have served you faithfully.

F RANKLIN . How can you so cruelly sport with my torments?

G OUT . Sport! I am very serious. I have here a list of offenses against your own health distinctly written, and can justify every stroke inflicted on you.

F RANKLIN . Read it then.

G OUT . It is too long a detail; but I will briefly mention some particulars.

F RANKLIN . Proceed. I am all attention.

G OUT . Do you remember how often you have promised yourself, the following morning, a walk in the grove of Boulogne, in the garden de la Muette, or in your own garden, and have violated your promise, alleging, at one time, it was too cold, at another too warm, too windy, too moist, or what else you pleased; when in truth it was too nothing, but your insuperable love of ease?

F RANKLIN . That I confess may have happened occasionally, probably ten times in a year.

G OUT . Your confession is very far short of the truth; the gross amount is one hundred and ninety-nine times.

F RANKLIN . Is it possible?

G OUT . So possible, that it is fact; you may rely on the accuracy of my statement. You know M. Brillon’s gardens, and what fine walks they contain; you know the handsome flight of an hundred steps, which lead from the terrace above to the lawn below. You have been in the practice of visiting this amiable family twice a week, after dinner, and it is a maxim of your own, that "a man may take as much exercise in walking a mile, up and down stairs, as in ten on level ground." What an opportunity was here for you to have had exercise in both these ways! Did you embrace it, and how often?

F RANKLIN . I cannot immediately answer that question.

G OUT . I will do it for you; not once.

F RANKLIN . Not once?

G OUT . Even so. During the summer you went there at six o’clock. You found the charming lady, with her lovely children and friends, eager to walk with you, and entertain you with their agreeable conversation; and what has been your choice? Why, to sit on the terrace, satisfy yourself with the fine prospect, and passing your eye over the beauties of the garden below, without taking one step to descend and walk about in them. On the contrary, you call for tea and the chess-board; and lo! you are occupied in your seat till nine o’clock, and that besides two hours' play after dinner; and then, instead of walking home, which would have bestirred you a little, you step into your carriage. How absurd to suppose that all this carelessness can be reconcilable with health, without my interposition!

F RANKLIN . I am convinced now of the justness of Poor Richard’s remark, that "Our debts and our sins are always greater than we think for."

G OUT . So it is. You philosophers are sages in your maxims, and fools in your conduct.

F RANKLIN . But do you charge among my crimes, that I return in a carriage from M. Brillon’s?

G OUT . Certainly; for, having been seated all the while, you cannot object the fatigue of the day, and cannot want therefore the relief of a carriage.

F RANKLIN . What then would you have me do with my carriage?

G OUT . Burn it if you choose; you would at least get heat out of it once in this way; or, if you dislike that proposal, here’s another for you; observe the poor peasants, who work in the vineyards and grounds about the villages of Passy, Auteuil, Chaillot, etc.; you may find every day among these deserving creatures, four or five old men and women, bent and perhaps crippled by weight of years, and too long and too great labor. After a most fatiguing day, these people have to trudge a mile or two to their smoky huts. Order your coachman to set them down. This is an act that will be good for your soul; and, at the same time, after your visit to the Brillons, if you return on foot, that will be good for your body.

F RANKLIN . Ah! how tiresome you are!

G OUT . Well, then, to my office; it should not be forgotten that I am your physician. There.

F RANKLIN . Ohhh! what a devil of a physician!

G OUT . How ungrateful you are to say so! Is it not I who, in the character of your physician, have saved you from the palsy, dropsy, and apoplexy? one or other of which would have done for you long ago, but for me.

F RANKLIN . I submit, and thank you for the past, but entreat the discontinuance of your visits for the future; for, in my mind, one had better die than be cured so dolefully. Permit me just to hint, that I have also not been unfriendly to you . I never feed physician or quack of any kind, to enter the list against you; if then you do not leave me to my repose, it may be said you are ungrateful too.

G OUT . I can scarcely acknowledge that as any objection. As to quacks, I despise them; they may kill you indeed, but cannot injure me. And, as to regular physicians, they are at last convinced that the gout, in such a subject as you are, is no disease, but a remedy; and wherefore cure a remedy?—but to our business,—there.

F RANKLIN . Oh! oh!—for Heaven’s sake leave me! and I promise faithfully never more to play at chess, but to take exercise daily, and live temperately.

G OUT . I know you too well. You promise fair; but, after a few months of good health, you will return to your old habits; your fine promises will be forgotten like the forms of the last year’s clouds. Let us then finish the account, and I will go. But I leave you with an assurance of visiting you again at a proper time and place; for my object is your good, and you are sensible now that I am your real friend .

CONSOLATION FOR THE OLD BACHELOR F RANCIS H OPKINSON

Mr. Aitken: Your Old Bachelor having pathetically represented the miseries of his solitary situation, severely reproaching himself for having neglected to marry in his younger days, I would fain alleviate his distress, by showing that it is possible he might have been as unhappy—even in the honorable state of matrimony.

I am a shoemaker in this city, and by my industry and attention have been enabled to maintain my wife and a daughter, now six years old, in comfort and respect; and to lay by a little at the year’s end, against a rainy day.

My good wife had long teased me to take her to New York, in order to visit Mrs. Snip, the lady of an eminent taylor in that city, and her cousin; from whom she had received many pressing invitations.

This jaunt had been the daily subject of discussion at breakfast, dinner, and supper for a month before the time fixed upon for putting it in execution. As our daughter Jenny could by no means be left at home, many and great were the preparations to equip Miss and her Mamma for this important journey; and yet, as my wife assured me, there was nothing provided but what was absolutely necessary , and which we could not possibly do without. My purse sweat at every pore.

At last, the long-expected day arrived, preceded by a very restless night. For, as my wife could not sleep for thinking on the approaching jaunt, neither would she suffer me to repose in quiet. If I happened through wearisomeness to fall into a slumber, she immediately roused me by some unseasonable question or remark: frequently asking if I was sure the apprentice had greased the chair-wheels, and seen that the harness was clean and in good order; often observing how surprised her cousin Snip would be to see us; and as often wondering how poor dear Miss Jenny would bear the fatigue of the journey. Thus past the night in delightful discourse, if that can with propriety be called a discourse, wherein my wife was the only speaker—my replies never exceeding the monosyllables yes or no , murmured between sleeping and waking.

No sooner was it fair daylight, but up started my notable wife, and soon roused the whole family. The little trunk was stuffed with baggage, even to bursting, and tied behind the chair, and the chair-box was crammed with trumpery which we could not possibly do without . Miss Jenny was drest, and breakfast devoured in haste: the old negro wench was called in, and the charge of the house committed to her care; and the two apprentices and the hired maid received many wholesome cautions and instructions for their conduct during our absence, all which they most liberally promised to observe; whilst I attended, with infinite patience, the adjustment of these preliminaries.

At length, however, we set off, and, turning the first corner, lost sight of our habitation, with great regret on my part, and no less joy on the part of Miss Jenny and her Mamma.

When we got to Poole’s Bridge, there happened to be a great concourse of wagons, carts, &c., so that we could not pass for some time—Miss Jenny frightened—my wife very impatient and uneasy—wondered I did not call out to those impudent fellows to make way for us; observing that I had not the spirit of a louse. Having got through this difficulty, we proceeded without obstruction—my wife in good-humor again—Miss Jenny in high spirits. At Kensington fresh troubles arise. "Bless me, Miss Jenny ," says my wife, "where is the bandbox?" "I don’t know, Mamma; the last time I saw it, it was on the table in your room." What’s to be done? The bandbox is left behind—it contains Miss Jenny ’s new wire-cap—there is no possibility of doing without it—as well no New York as no wire-cap—there is no alternative, we must e’en go back for it. Teased and mortified as I was, my good wife administered consolation by observing, "That it was my business to see that everything was put into the chair that ought to be, but there was no depending upon me for anything; and that she plainly saw I undertook this journey with an ill-will, merely because she had set her heart upon it." Silent patience was my only remedy. An hour and a half restored to us this essential requisite—the wire-cap—and brought us back to the place where we first missed it.

After innumerable difficulties and unparalleled dangers, occasioned by ruts, stumps, and tremendous bridges, we arrived at Neshamony ferry: but how to cross it was the question. My wife protested that neither she nor Jenny would go over in the boat with the horse. I assured her that there was not the least danger; that the horse was as quiet as a dog, and that I would hold him by the bridle all the way. These assurances had little weight: the most forcible argument was that she must go that way or not at all, for there was no other boat to be had. Thus persuaded, she ventured in—the flies were troublesome—the horse kicked—my wife in panics—Miss Jenny in tears. Ditto at Trenton-ferry .

As we started pretty early, and as the days were long, we reached Trenton by two o’clock. Here we dined. My wife found fault with everything; and whilst she disposed of what I thought a tolerable hearty meal, declared there was nothing fit to eat. Matters, however, would have gone on pretty well, but Miss Jenny began to cry with the toothache—sad lamentations over Miss Jenny —all my fault because I had not made the glazier replace a broken pane in her chamber window. N. B. I had been twice for him, and he promised to come, but was not so good as his word.

After dinner we again entered upon our journey—my wife in good-humor—Miss Jenny’s toothache much easier—various chat—I acknowledge everything my wife says for fear of discomposing her. We arrive in good time at Princetown. My wife and daughter admire the College. We refresh ourselves with tea, and go to bed early, in order to be up by times for the next day’s expedition.

In the morning we set off again in tolerable good-humor, and proceeded happily as far as Rocky-hill . Here my wife’s fears and terrors returned with great force. I drove as carefully as possible; but coming to a place where one of the wheels must unavoidably go over the point of a small rock, my wife, in a great fright, seized hold of one of the reins, which happening to be the wrong one, she pulled the horse so as to force the wheel higher up the rock than it would otherwise have gone, and overset the chair. We were all tumbled hickledy-pickledy, into the road—Miss Jenny’s face all bloody—the woods echo to her cries—my wife in a fainting-fit—and I in great misery; secretly and most devoutly wishing cousin Snip at the devil. Matters begin to mend—my wife recovers—Miss Jenny has only received a slight scratch on one of her cheeks—the horse stands quite still, and none of the harness broke. Matters grew worse again; the twine with which the bandbox was tied had broke in the fall, and the aforesaid wire-cap lay soaking in a nasty mudpuddle—grievous lamentations over the wire-cap—all my fault because I did not tie it better—no remedy—no wire-caps to be bought at Rocky-hill . At night my wife discovered a small bruise on her hip—was apprehensive it might mortify—did not know but the bone might be broken or splintered—many instances of mortifications occasioned by small injuries.

After passing unhurt over the imminent dangers of Passayack and Hackensack rivers, and the yet more tremendous horrors of Pawlas-hook ferry, we arrived, at the close of the third day, at cousin Snip’s in the city of New York.

Here we sojourned a tedious week; my wife spent as much money as would have maintained my family for a month at home, in purchasing a hundred useless articles which we could not possibly do without ; and every night when we went to bed fatigued me with encomiums on her cousin Snip ; leading to a history of the former grandeur of her family, and concluding with insinuations that I did not treat her with the attention and respect I ought.

On the seventh day my wife and cousin Snip had a pretty warm altercation respecting the comparative elegancies and advantages of New York and Philadelphia. The dispute ran high, and many aggravating words past between the two advocates. The next morning my wife declared that my business would not admit of a longer absence from home—and so after much ceremonious complaisance—in which my wife was by no means exceeded by her very polite cousin—we left the famous city of New York; and I with heart-felt satisfaction looked forward to the happy period of our safe arrival in Water-street, Philadelphia.

But this blessing was not to be obtained without much vexation and trouble. But lest I should seem tedious I shall not recount the adventures of our return—how we were caught in a thunderstorm—how our horse failed, by which we were benighted three miles from our stage—how my wife’s panics returned—how Miss Jenny howled, and how very miserable I was made. Suffice it to say, that, after many distressing disasters, we arrived at the door of our own habitation in Water-street.

No sooner had we entered the house than we were informed that one of my apprentices had run away with the hired-maid, nobody knew where; the old negro had got drunk, fallen into the fire, and burnt out one of her eyes; and our best china-bowl was broken.

My good wife contrived, with her usual ingenuity, to throw the blame of all these misfortunes upon me. As this was a consolation to which I had been long accustomed in all untoward cases, I had recourse to my usual remedy, viz., silent patience. After sincerely praying that I might never more see cousin Snip , I sat industriously down to my trade, in order to retrieve my manifold losses.

This is only a miniature picture of the married state, which I present to your Old Bachelor , in hopes it may abate his choler, and reconcile him to a single life. But, if this opiate should not be sufficient to give him some ease, I may, perhaps, send him a stronger dose hereafter.

JOHN BULL W ASHINGTON I RVING

T HERE is no species of humor in which the English more excel, than that which consists in caricaturing and giving ludicrous appellations, or nicknames. In this way they have whimsically designated, not merely individuals, but nations; and, in their fondness for pushing a joke, they have not spared even themselves. One would think that, in personifying itself, a nation would be apt to picture something grand, heroic and imposing, but it is characteristic of the peculiar humor of the English, and of their love for what is blunt, comic, and familiar, that they have embodied their national oddities in the figure of a sturdy, corpulent old fellow, with a three-cornered hat, red waistcoat, leather breeches, and stout oaken cudgel. Thus they have taken a singular delight in exhibiting their most private foibles in a laughable point of view; and have been so successful in their delineations, that there is scarcely a being in actual existence more absolutely present to the public mind than that eccentric personage, John Bull.

Perhaps the continual contemplation of the character thus drawn of them has contributed to fix it upon the nation; and thus to give reality to what at first may have been painted in a great measure from the imagination. Men are apt to acquire peculiarities that are continually ascribed to them. The common orders of English seem wonderfully captivated with the beau ideal which they have formed of John Bull, and endeavor to act up to the broad caricature that is perpetually before their eyes. Unluckily, they sometimes make their boasted Bull-ism an apology for their prejudice or grossness; and this I have especially noticed among those truly homebred and genuine sons of the soil who have never migrated beyond the sound of Bow-bells. If one of these should be a little uncouth in speech, and apt to utter impertinent truths, he confesses that he is a real John Bull, and always speaks his mind. If he now and then flies into an unreasonable burst of passion about trifles, he observes, that John Bull is a choleric old blade, but then his passion is over in a moment, and he bears no malice. If he betrays a coarseness of taste, and an insensibility to foreign refinements, he thanks heaven for his ignorance—he is a plain John Bull, and has no relish for frippery and nicknacks. His very proneness to be gulled by strangers, and to pay extravagantly for absurdities, is excused under the plea of munificence—for John is always more generous than wise.

Thus, under the name of John Bull, he will contrive to argue every fault into a merit, and will frankly convict himself of being the honestest fellow in existence.

However little, therefore, the character may have suited in the first instance, it has gradually adapted itself to the nation, or rather they have adapted themselves to each other; and a stranger who wishes to study English peculiarities, may gather much valuable information from the innumerable portraits of John Bull, as exhibited in the windows of the caricature-shops. Still, however, he is one of those fertile humorists, that are continually throwing out new portraits, and presenting different aspects from different points of view; and, often as he has been described, I cannot resist the temptation to give a slight sketch of him, such as he has met my eye.

John Bull, to all appearance, is a plain downright matter-of-fact fellow, with much less of poetry about him than rich prose. There is little of romance in his nature, but a vast deal of strong natural feeling. He excels in humor more than in wit; is jolly rather than gay; melancholy rather than morose; can easily be moved to a sudden tear, or surprised into a broad laugh; but he loathes sentiment, and has no turn for light pleasantry. He is a boon companion, if you allow him to have his humor, and to talk about himself; and he will stand by a friend in a quarrel, with life and purse, however soundly he may be cudgeled.

In this last respect, to tell the truth, he has a propensity to be somewhat too ready. He is a busy-minded personage, who thinks not merely for himself and family, but for all the country round, and is most generously disposed to be everybody’s champion. He is continually volunteering his services to settle his neighbors’ affairs, and takes it in great dudgeon if they engage in any matter of consequence without asking his advice; though he seldom engages in any friendly office of the kind without finishing by getting into a squabble with all parties, and then railing bitterly at their ingratitude. He unluckily took lessons in his youth in the noble science of defense, and having accomplished himself in the use of his limbs and his weapons, and become a perfect master at boxing and cudgel-play, he has had a troublesome life of it ever since. He cannot hear of a quarrel between the most distant of his neighbors, but he begins incontinently to fumble with the head of his cudgel, and consider whether his interest or honor does not require that he should meddle in the broil. Indeed he has extended his relations of pride and policy so completely over the whole country, that no event can take place, without infringing some of his finely-spun rights and dignities. Couched in his little domain, with these filaments stretching forth in every direction, he is like some choleric, bottle-bellied old spider, who has woven his web over a whole chamber, so that a fly cannot buzz, nor a breeze blow, without startling his repose, and causing him to sally forth wrathfully from his den.

Though really a good-hearted, good-tempered old fellow at bottom, yet he is singularly fond of being in the midst of contention. It is one of his peculiarities, however, that he only relishes the beginning of an affray; he always goes into a fight with alacrity, but comes out of it grumbling even when victorious; and though no one fights with more obstinacy to carry a contested point, yet, when the battle is over, and he comes to the reconciliation, he is so much taken up with the mere shaking of hands, that he is apt to let his antagonist pocket all that they have been quarreling about. It is not, therefore, fighting that he ought so much to be on his guard against, as making friends. It is difficult to cudgel him out of a farthing; but put him in a good humor, and you may bargain him out of all the money in his pocket. He is like a stout ship, which will weather the roughest storm uninjured, but roll its masts overboard in the succeeding calm.

He is a little fond of playing the magnifico abroad; of pulling out a long purse; flinging his money bravely about at boxing matches, horse races, cock fights, and carrying a high head among "gentlemen of the fancy:" but immediately after one of these fits of extravagance, he will be taken with violent qualms of economy; stop short at the most trivial expenditure; talk desperately of being ruined and brought upon the parish; and, in such moods, will not pay the smallest tradesman’s bill, without violent altercation. He is in fact the most punctual and discontented paymaster in the world; drawing his coin out of his breeches pocket with infinite reluctance; paying to the uttermost farthing, but accompanying every guinea with a growl.

With all his talk of economy, however, he is a bountiful provider, and a hospitable housekeeper. His economy is of a whimsical kind, its chief object being to devise how he may afford to be extravagant; for he will begrudge himself a beefsteak and pint of port one day, that he may roast an ox whole, broach a hogshead of ale, and treat all his neighbors on the next.

His domestic establishment is enormously expensive: not so much from any great outward parade, as from the great consumption of solid beef and pudding; the vast number of followers he feeds and clothes; and his singular disposition to pay hugely for small services. He is a most kind and indulgent master, and, provided his servants humor his peculiarities, flatter his vanity a little now and then, and do not peculate grossly on him before his face, they may manage him to perfection. Everything that lives on him seems to thrive and grow fat. His house-servants are well paid, and pampered, and have little to do. His horses are sleek and lazy, and prance slowly before his state carriage; and his house-dogs sleep quietly about the door, and will hardly bark at a housebreaker.

His family mansion is an old castellated manor-house, gray with age, and of a most venerable, though weather-beaten appearance. It has been built upon no regular plan, but is a vast accumulation of parts, erected in various tastes and ages. The center bears evident traces of Saxon architecture, and is as solid as ponderous stone and old English oak can make it. Like all the relics of that style, it is full of obscure passages, intricate mazes, and dusky chambers; and though these have been partially lighted up in modern days, yet there are many places where you must still grope in the dark. Additions have been made to the original edifice from time to time, and great alterations have taken place; towers and battlements have been erected during wars and tumults: wings built in time of peace; and out-houses, lodges, and offices, run up according to the whim or convenience of different generations, until it has become one of the most spacious, rambling tenements imaginable. An entire wing is taken up with the family chapel, a reverend pile, that must have been exceedingly sumptuous, and, indeed, in spite of having been altered and simplified at various periods, has still a look of solemn religious pomp. Its walls within are stored with the monuments of John’s ancestors; and it is snugly fitted up with soft cushions and well-lined chairs, where such of his family as are inclined to church services, may doze comfortably in the discharge of their duties.

To keep up this chapel has cost John much money; but he is stanch in his religion, and piqued in his zeal, from the circumstance that many dissenting chapels have been erected in his vicinity, and several of his neighbors, with whom he has had quarrels, are strong papists.

To do the duties of the chapel he maintains, at a large expense, a pious and portly family chaplain. He is a most learned and decorous personage, and a truly well-bred Christian, who always backs the old gentleman in his opinions, winks discreetly at his little peccadilloes, rebukes the children when refractory, and is of great use in exhorting the tenants to read their Bibles, say their prayers, and, above all, to pay their rents punctually, and without grumbling.

The family apartments are in a very antiquated taste, somewhat heavy, and often inconvenient, but full of the solemn magnificence of former times; fitted up with rich, though faded tapestry, unwieldy furniture, and loads of massy gorgeous old plate. The vast fireplaces, ample kitchens, extensive cellars, and sumptuous banqueting halls, all speak of the roaring hospitality of days of yore, of which the modern festivity at the manor-house is but a shadow. There are, however, complete suites of rooms apparently deserted and time-worn; and towers and turrets that are tottering to decay; so that in high winds there is danger of their tumbling about the ears of the household.

John has frequently been advised to have the old edifice thoroughly overhauled; and to have some of the useless parts pulled down, and the others strengthened with their materials; but the old gentleman always grows testy on this subject. He swears the house is an excellent house—that it is tight and weather proof, and not to be shaken by tempests—that it has stood for several hundred years, and, therefore, is not likely to tumble down now—that as to its being inconvenient, his family is accustomed to the inconveniences, and would not be comfortable without them—that as to its unwieldy size and irregular construction, these result from its being the growth of centuries, and being improved by the wisdom of every generation—that an old family, like his, requires a large house to dwell in; new, upstart families may live in modern cottages and snug boxes; but an old English family should inhabit an old English manor-house. If you point out any part of the building as superfluous, he insists that it is material to the strength or decoration of the rest, and the harmony of the whole; and swears that the parts are so built into each other, that if you pull down one, you run the risk of having the whole about your ears.

The secret of the matter is, that John has a great disposition to protect and patronize. He thinks it indispensable to the dignity of an ancient and honorable family, to be bounteous in its appointments, and to be eaten up by dependents; and so, partly from pride, and partly from kind-heartedness, he makes it a rule always to give shelter and maintenance to his superannuated servants.

The consequence is, that, like many other venerable family establishments, his manor is encumbered by old retainers whom he cannot turn off, and an old style which he cannot lay down. His mansion is like a great hospital of invalids, and, with all its magnitude, is not a whit too large for its inhabitants. Not a nook or corner but is of use in housing some useless personage. Groups of veteran beefeaters, gouty pensioners, and retired heroes of the buttery and the larder, are seen lolling about its walls, crawling over its lawns, dozing under its trees, or sunning themselves upon the benches at its doors. Every office and outhouse is garrisoned by these supernumeraries and their families; for they are amazingly prolific, and when they die off, are sure to leave John a legacy of hungry mouths to be provided for. A mattock cannot be struck against the most mouldering tumble-down tower, but out pops, from some cranny or loop-hole, the gray pate of some superannuated hanger-on, who has lived at John’s expense all his life, and makes the most grievous outcry at their pulling down the roof from over the head of a worn-out servant of the family. This is an appeal that John’s honest heart never can withstand; so that a man, who has faithfully eaten his beef and pudding all his life, is sure to be rewarded with a pipe and tankard in his old days.

A great part of his park, also, is turned into paddocks, where his broken-down chargers are turned loose to graze undisturbed for the remainder of their existence—a worthy example of grateful recollection, which if some of his neighbors were to imitate, would not be to their discredit. Indeed, it is one of his great pleasures to point out these old steeds to his visitors, to dwell on their good qualities, extol their past services, and boast, with some little vainglory, of the perilous adventures and hardy exploits through which they have carried him.

He is given, however, to indulge his veneration for family usages, and family encumbrances, to a whimsical extent. His manor is infested by gangs of gipsies; yet he will not suffer them to be driven off, because they have infested the place time out of mind, and been regular poachers upon every generation of the family. He will scarcely permit a dry branch to be lopped from the great trees that surround the house, lest it should molest the rooks, that have bred there for centuries. Owls have taken possession of the dovecote; but they are hereditary owls, and must not be disturbed. Swallows have nearly choked up every chimney with their nests; martins build in every frieze and cornice; crows flutter about the towers, and perch on every weathercock; and old gray-headed rats may be seen in every quarter of the house, running in and out of their holes undauntedly in broad daylight. In short, John has such a reverence for everything that has been long in the family, that he will not hear even of abuses being reformed, because they are good old family abuses.

All those whims and habits have concurred woefully to drain the old gentleman’s purse; and as he prides himself on punctuality in money matters, and wishes to maintain his credit in the neighborhood, they have caused him great perplexity in meeting his engagements. This, too, has been increased by the altercations and heart-burnings which are continually taking place in his family. His children have been brought up to different callings, and are of different ways of thinking; and as they have always been allowed to speak their minds freely, they do not fail to exercise the privilege most clamorously in the present posture of his affairs. Some stand up for the honor of the race, and are clear that the old establishment should be kept up in all its state, whatever may be the cost; others, who are more prudent and considerate, entreat the old gentleman to retrench his expenses, and to put his whole system of housekeeping on a more moderate footing. He has, indeed, at times, seemed inclined to listen to their opinions, but their wholesome advice has been completely defeated by the obstreperous conduct of one of his sons. This is a noisy, rattle-pated fellow, of rather low habits, who neglects his business to frequent ale-houses—is the orator of village clubs, and a complete oracle among the poorest of his father’s tenants. No sooner does he hear any of his brothers mention reform or retrenchment, than up he jumps, takes the words out of their mouths, and roars out for an overturn. When his tongue is once going nothing can stop it. He rants about the room; hectors the old man about his spendthrift practices; ridicules his tastes and pursuits; insists that he shall turn the old servants out of doors; give the broken-down horses to the hounds; send the fat chaplain packing, and take a field-preacher in his place—nay, that the whole family mansion shall be leveled with the ground, and a plain one of brick and mortar built in its place. He rails at every social entertainment and family festivity, and skulks away growling to the ale-house whenever an equipage drives up to the door. Though constantly complaining of the emptiness of his purse, yet he scruples not to spend all his pocket-money in these tavern convocations, and even runs up scores for the liquor over which he preaches about his father’s extravagance.

It may readily be imagined how little such thwarting agrees with the old cavalier’s fiery temperament. He has become so irritable, from repeated crossings, that the mere mention of retrenchment or reform is a signal for a brawl between him and the tavern oracle. As the latter is too sturdy and refractory for paternal discipline, having grown out of all fear of the cudgel, they have frequent scenes of wordy warfare, which at times run so high, that John is fain to call in the aid of his son Tom, an officer who has served abroad, but is at present living at home, on half-pay. This last is sure to stand by the old gentleman, right or wrong; likes nothing so much as a racketing, roystering life; and is ready at a wink or nod, to out saber, and flourish it over the orator’s head, if he dares to array himself against paternal authority.

These family dissensions, as usual, have got abroad, and are rare food for scandal in John’s neighborhood. People begin to look wise, and shake their heads, whenever his affairs are mentioned. They all "hope that matters are not so bad with him as represented; but when a man’s own children begin to rail at his extravagance, things must be badly managed. They understand he is mortgaged over head and ears, and is continually dabbling with money lenders. He is certainly an open-handed old gentleman, but they fear he has lived too fast; indeed, they never knew any good come of this fondness for hunting, racing, reveling and prize-fighting. In short, Mr. Bull’s estate is a very fine one, and has been in the family a long time; but, for all that, they have known many finer estates come to the hammer."

What is worst of all, is the effect which these pecuniary embarrassments and domestic feuds have had on the poor man himself. Instead of that jolly round corporation, and smug rosy face, which he used to present, he has of late become as shriveled and shrunk as a frost-bitten apple. His scarlet gold-laced waistcoat, which bellied out so bravely in those prosperous days when he sailed before the wind, now hangs loosely about him like a mainsail in a calm. His leather breeches are all in folds and wrinkles, and apparently have much ado to hold up the boots that yawn on both sides of his once sturdy legs.

Instead of strutting about as formerly, with his three-cornered hat on one side; flourishing his cudgel, and bringing it down every moment with a hearty thump upon the ground; looking everyone sturdily in the face, and trolling out a stave of a catch or a drinking song; he now goes about whistling thoughtfully to himself, with his head drooping down, his cudgel tucked under his arm, and his hands thrust to the bottom of his breeches pockets, which are evidently empty.

Such is the plight of honest John Bull at present; yet for all this the old fellow’s spirit is as tall and as gallant as ever. If you drop the least expression of sympathy or concern, he takes fire in an instant; swears that he is the richest and stoutest fellow in the country; talks of laying out large sums to adorn his house or buy another estate; and with a valiant swagger and grasping of his cudgel, longs exceedingly to have another bout at quarter-staff.

Though there may be something rather whimsical in all this, yet I confess I cannot look upon John’s situation without strong feelings of interest. With all his odd humors and obstinate prejudices, he is a sterling-hearted old blade. He may not be so wonderfully fine a fellow as he thinks himself, but he is at least twice as good as his neighbors represent him. His virtues are all his own; all plain, homebred, and unaffected. His very faults smack of the raciness of his good qualities. His extravagance savors of his generosity; his quarrelsomeness of his courage; his credulity of his open faith; his vanity of his pride; and his bluntness of his sincerity. They are all the redundancies of a rich and liberal character. He is like his own oak, rough without, but sound and solid within; whose bark abounds with excrescences in proportion to the growth and grandeur of the timber; and whose branches make a fearful groaning and murmuring in the least storm, from their very magnitude and luxuriance. There is something, too, in the appearance of his old family mansion that is extremely poetical and picturesque; and, as long as it can be rendered comfortably habitable, I should almost tremble to see it meddled with, during the present conflict of tastes and opinions. Some of his advisers are no doubt good architects, that might be of service; but many, I fear, are mere levelers, who, when they had once got to work with their mattocks on this venerable edifice, would never stop until they had brought it to the ground, and perhaps buried themselves among the ruins. All that I wish is, that John’s present troubles may teach him more prudence in future. That he may cease to distress his mind about other people’s affairs; that he may give up the fruitless attempt to promote the good of his neighbors, and the peace and happiness of the world, by dint of the cudgel; that he may remain quietly at home; gradually get his house into repair; cultivate his rich estate according to his fancy; husband his income—if he thinks proper; bring his unruly children into order—if he can; renew the jovial scenes of ancient prosperity; and long enjoy, on his paternal lands, a green, an honorable, and a merry old age.

THE MUTABILITY OF LITERATURE A COLLOQUY IN WESTMINSTER ABBEY W ASHINGTON I RVING

T HERE are certain half-dreaming moods of mind, in which we naturally steal away from noise and glare, and seek some quiet haunt, where we may indulge our reveries and build our air castles undisturbed. In such a mood I was loitering about the old gray cloisters of Westminster Abbey, enjoying that luxury of wandering thought which one is apt to dignify with the name of reflection; when suddenly an interruption of madcap boys from Westminster School, playing at football, broke in upon the monastic stillness of the place, making the vaulted passages and mouldering tombs echo with their merriment. I sought to take refuge from their noise by penetrating still deeper into the solitudes of the pile, and applied to one of the vergers for admission to the library. He conducted me through a portal rich with the crumbling sculpture of former ages, which opened upon a gloomy passage leading to the chapter-house and the chamber in which doomsday book is deposited. Just within the passage is a small door on the left. To this the verger applied a key; it was double locked, and opened with some difficulty, as if seldom used. We now ascended a dark narrow staircase, and, passing through a second door, entered the library.

I found myself in a lofty antique hall, the roof supported by massive joists of old English oak. It was soberly lighted by a row of Gothic windows at a considerable height from the floor, and which apparently opened upon the roofs of the cloisters. An ancient picture of some reverend dignitary of the church in his robes hung over the fireplace. Around the hall and in a small gallery were the books, arranged in carved oaken cases. They consisted principally of old polemical writers, and were much more worn by time than use. In the center of the library was a solitary table with two or three books on it, an inkstand without ink, and a few pens parched by long disuse. The place seemed fitted for quiet study and profound meditation. It was buried deep among the massive walls of the abbey, and shut up from the tumult of the world. I could only hear now and then the shouts of the school-boys faintly swelling from the cloisters, and the sound of a bell tolling for prayers, echoing soberly along the roofs of the abbey. By degrees the shouts of merriment grew fainter and fainter, and at length died away; the bell ceased to toll, and a profound silence reigned through the dusky hall.

I had taken down a little thick quarto, curiously bound in parchment, with brass clasps, and seated myself at the table in a venerable elbow-chair. Instead of reading, however, I was beguiled by the solemn monastic air, and lifeless quiet of the place, into a train of musing. As I looked around upon the old volumes in their mouldering covers, thus ranged on the shelves, and apparently never disturbed in their repose, I could not but consider the library a kind of literary catacomb, where authors, like mummies, are piously entombed, and left to blacken and moulder in dusty oblivion.

How much, thought I, has each of these volumes, now thrust aside with such indifference, cost some aching head! how many weary days! how many sleepless nights! How have their authors buried themselves in the solitude of cells and cloisters; shut themselves up from the face of man, and the still more blessed face of nature; and devoted themselves to painful research and intense reflection! And all for what? to occupy an inch of dusty shelf—to have the title of their works read now and then in a future age, by some drowsy churchman or casual straggler like myself; and in another age to be lost, even to remembrance. Such is the amount of this boasted immortality. A mere temporary rumor, a local sound; like the tone of that bell which has just tolled among these towers, filling the ear for a moment—lingering transiently in echo—and then passing away like a thing that was not.

While I sat half murmuring, half meditating these unprofitable speculations with my head resting on my hand, I was thrumming with the other hand upon the quarto, until I accidentally loosened the clasps; when, to my utter astonishment, the little book gave two or three yawns, like one awaking from a deep sleep; then a husky hem; and at length began to talk. At first its voice was very hoarse and broken, being much troubled by a cobweb which some studious spider had woven across it; and having probably contracted a cold from long exposure to the chills and damps of the abbey. In a short time, however, it became more distinct, and I soon found it an exceedingly fluent conversable little tome. Its language, to be sure, was rather quaint and obsolete, and its pronunciation, what, in the present day, would be deemed barbarous; but I shall endeavor, as far as I am able, to render it in modern parlance.

It began with railings about the neglect of the world—about merit being suffered to languish in obscurity, and other such commonplace topics of literary repining, and complained bitterly that it had not been opened for more than two centuries; that the dean only looked now and then into the library, sometimes took down a volume or two, trifled with them for a few moments, and then returned them to their shelves. "What a plague do they mean," said the little quarto, which I began to perceive was somewhat choleric, "what a plague do they mean by keeping several thousand volumes of us shut up here, and watched by a set of old vergers, like so many beauties in a harem, merely to be looked at now and then by the dean? Books were written to give pleasure and to be enjoyed; and I would have a rule passed that the dean should pay each of us a visit at least once a year; or if he is not equal to the task, let them once in a while turn loose the whole school of Westminster among us, that at any rate we may now and then have an airing."

"Softly, my worthy friend," replied I, "you are not aware how much better you are off than most books of your generation. By being stored away in this ancient library, you are like the treasured remains of those saints and monarchs, which lie enshrined in the adjoining chapels; while the remains of your contemporary mortals, left to the ordinary course of nature, have long since returned to dust."

"Sir," said the little tome, ruffling his leaves and looking big, "I was written for all the world, not for the bookworms of an abbey. I was intended to circulate from hand to hand, like other great contemporary works; but here have I been clasped up for more than two centuries, and might have silently fallen a prey to these worms that are playing the very vengeance with my intestines, if you had not by chance given me an opportunity of uttering a few last words before I go to pieces."

"My good friend," rejoined I, "had you been left to the circulation of which you speak, you would long ere this have been no more. To judge from your physiognomy, you are now well stricken in years: very few of your contemporaries can be at present in existence; and those few owe their longevity to being immured like yourself in old libraries; which, suffer me to add, instead of likening to harems, you might more properly and gratefully have compared to those infirmaries attached to religious establishments, for the benefit of the old and decrepit, and where, by quiet fostering and no employment, they often endure to an amazingly good-for-nothing old age. You talk of your contemporaries as if in circulation—where do we meet with their works? what do we hear of Robert Groteste, of Lincoln? No one could have toiled harder than he for immortality. He is said to have written nearly two hundred volumes. He built, as it were, a pyramid of books to perpetuate his name: but, alas! the pyramid has long since fallen, and only a few fragments are scattered in various libraries, where they are scarcely disturbed even by the antiquarian. What do we hear of Giraldus Cambrensis, the historian, antiquary, philosopher, theologian, and poet? He declined two bishoprics, that he might shut himself up and write for posterity; but posterity never inquires after his labors. What of Henry of Huntingdon, who, besides a learned history of England, wrote a treatise on the contempt of the world, which the world has revenged by forgetting him? What is quoted of Joseph of Exeter, styled the miracle of his age in classical composition? Of his three great heroic poems one is lost forever, excepting a mere fragment; the others are known only to a few of the curious in literature; and as to his love verses and epigrams, they have entirely disappeared. What is in current use of John Wallis, the Franciscan, who acquired the name of the tree of life? Of William of Malmsbury;—of Simeon of Durham;—of Benedict of Peterborough;—of John Hanvill of St. Albans;—of——"

"Prithee, friend," cried the quarto, in a testy tone, "how old do you think me? You are talking of authors that lived long before my time, and wrote either in Latin or French, so that they in a manner expatriated themselves, and deserved to be forgotten; [1] but I, sir, was ushered into the world from the press of the renowned Wynkyn de Worde. I was written in my own native tongue, at a time when the language had become fixed; and indeed I was considered a model of pure and elegant English."

(I should observe that these remarks were couched in such intolerably antiquated terms, that I have had infinite difficulty in rendering them into modern phraseology.)

"I cry your mercy," said I, "for mistaking your age; but it matters little: almost all the writers of your time have likewise passed into forgetfulness; and De Worde’s publications are mere literary rarities among book-collectors. The purity and stability of language, too, on which you found your claims to perpetuity, have been the fallacious dependence of authors of every age, even back to the times of the worthy Robert of Gloucester, who wrote his history in rhymes of mongrel Saxon. [2] Even now many talk of Spenser’s 'well of pure English undefiled,' as if the language ever sprang from a well or fountain-head, and was not rather a mere confluence of various tongues, perpetually subject to changes and intermixtures. It is this which has made English literature so extremely mutable, and the reputation built upon it so fleeting. Unless thought can be committed to something more permanent and unchangeable than such a medium, even thought must share the fate of everything else, and fall into decay. This should serve as a check upon the vanity and exultation of the most popular writer. He finds the language in which he has embarked his fame gradually altering, and subject to the dilapidations of time and the caprice of fashion. He looks back and beholds the early authors of his country, once the favorites of their day, supplanted by modern writers. A few short ages have covered them with obscurity, and their merits can only be relished by the quaint taste of the bookworm. And such, he anticipates, will be the fate of his own work, which, however it may be admired in its day, and held up as a model of purity, will in the course of years grow antiquated and obsolete; until it shall become almost as unintelligible in its native land as an Egyptian obelisk, or one of those Runic inscriptions said to exist in the deserts of Tartary. I declare," added I, with some emotion, "when I contemplate a modern library, filled with new works, in all the bravery of rich gilding and binding, I feel disposed to sit down and weep; like the good Xerxes, when he surveyed his army, pranked out in all the splendor of military array, and reflected that in one hundred years not one of them would be in existence!"

"Ah," said the little quarto, with a heavy sigh, "I see how it is; these modern scribblers have superseded all the good old authors. I suppose nothing is read now-a-days but Sir Philip Sydney’s Arcadia , Sackville’s stately plays, and Mirror for Magistrates, or the fine-spun euphuisms of the 'unparalleled John Lyly.'"

"There you are again mistaken," said I; "the writers whom you suppose in vogue, because they happened to be so when you were last in circulation, have long since had their day. Sir Philip Sydney’s Arcadia , the immortality of which was so fondly predicted by his admirers, [3] and which, in truth, is full of noble thoughts, delicate images, and graceful turns of language, is now scarcely ever mentioned. Sackville has strutted into obscurity; and even Lyly, though his writings were once the delight of a court, and apparently perpetuated by a proverb, is now scarcely known even by name. A whole crowd of authors who wrote and wrangled at the time, have likewise gone down, with all their writings and their controversies. Wave after wave of succeeding literature has rolled over them, until they are buried so deep, that it is only now and then that some industrious diver after fragments of antiquity brings up a specimen for the gratification of the curious.

"For my part," I continued, "I consider this mutability of language a wise precaution of Providence for the benefit of the world at large, and of authors in particular. To reason from analogy, we daily behold the varied and beautiful tribes of vegetables springing up, flourishing, adorning the fields for a short time, and then fading into dust, to make way for their successors. Were not this the case, the fecundity of nature would be a grievance instead of a blessing. The earth would groan with rank and excessive vegetation, and its surface become a tangled wilderness. In like manner the works of genius and learning decline, and make way for subsequent productions. Language gradually varies, and with it fade away the writings of authors who have flourished their allotted time; otherwise, the creative powers of genius would overstock the world, and the mind would be completely bewildered in the endless mazes of literature. Formerly there were some restraints on this excessive multiplication. Works had to be transcribed by hand, which was a slow and laborious operation; they were written either on parchment, which was expensive, so that one work was often erased to make way for another; or on papyrus, which was fragile and extremely perishable. Authorship was a limited and unprofitable craft, pursued chiefly by monks in the leisure and solitude of their cloisters. The accumulation of manuscripts was slow and costly, and confined almost entirely to monasteries. To these circumstances it may, in some measure, be owing that we have not been inundated by the intellect of antiquity; that the fountains of thought have not been broken up, and modern genius drowned in the deluge. But the inventions of paper and the press have put an end to all these restraints. They have made everyone a writer, and enabled every mind to pour itself into print, and diffuse itself over the whole intellectual world. The consequences are alarming. The stream of literature has swollen into a torrent—augmented into a river—expanded into a sea. A few centuries since, five or six hundred manuscripts constituted a great library; but what would you say to libraries such as actually exist, containing three or four hundred thousand volumes; legions of authors at the same time busy; and the press going on with fearfully increasing activity, to double and quadruple the number? Unless some unforeseen mortality should break out among the progeny of the muse, now that she has become so prolific, I tremble for posterity. I fear the mere fluctuation of language will not be sufficient. Criticism may do much. It increases with the increase of literature, and resembles one of those salutary checks on population spoken of by economists. All possible encouragement, therefore, should be given to the growth of critics, good or bad. But I fear all will be in vain; let criticism do what it may, writers will write, printers will print, and the world will inevitably be overstocked with good books. It will soon be the employment of a lifetime merely to learn their names. Many a man of passable information, at the present day, reads scarcely anything but reviews; and before long a man of erudition will be little better than a mere walking catalogue."

"My very good sir," said the little quarto, yawning most drearily in my face, "excuse my interrupting you, but I perceive you are rather given to prose. I would ask the fate of an author who was making some noise just as I left the world. His reputation, however, was considered quite temporary. The learned shook their heads at him, for he was a poor half-educated varlet, that knew little of Latin, and nothing of Greek, and had been obliged to run the country for deer-stealing. I think his name was Shakspeare. I presume he soon sunk into oblivion."

"On the contrary," said I, "it is owing to that very man that the literature of his period has experienced a duration beyond the ordinary term of English literature. There rise authors now and then, who seem proof against the mutability of language, because they have rooted themselves in the unchanging principles of human nature. They are like gigantic trees that we sometimes see on the banks of a stream; which, by their vast and deep roots, penetrating through the mere surface, and laying hold on the very foundations of the earth, preserve the soil around them from being swept away by the ever-flowing current, and hold up many a neighboring plant, and perhaps worthless weed, to perpetuity. Such is the case with Shakspeare, whom we behold defying the encroachments of time, retaining in modern use the language and literature of his day, and giving duration to many an indifferent author, merely from having flourished in his vicinity. But even he, I grieve to say, is gradually assuming the tint of age, and his whole form is overrun by a profusion of commentators, who, like clambering vines and creepers, almost bury the noble plant that upholds them."

Here the little quarto began to heave his sides and chuckle, until at length he broke out in a plethoric fit of laughter that had well nigh choked him, by reason of his excessive corpulency. "Mighty well!" cried he, as soon as he could recover breath, "mighty well! and so you would persuade me that the literature of an age is to be perpetuated by a vagabond deer-stealer! by a man without learning; by a poet, forsooth—a poet!" And here he wheezed forth another fit of laughter.

I confess that I felt somewhat nettled at this rudeness, which, however, I pardoned on account of his having flourished in a less polished age. I determined, nevertheless, not to give up my point.

"Yes," resumed I, positively, "a poet; for of all writers he has the best chance for immortality. Others may write from the head, but he writes from the heart, and the heart will always understand him. He is the faithful portrayer of nature, whose features are always the same and always interesting. Prose writers are voluminous and unwieldy; their pages are crowded with commonplaces, and their thoughts expanded into tediousness. But with the true poet everything is terse, touching, or brilliant. He gives the choicest thoughts in the choicest language. He illustrates them by everything that he sees most striking in nature and art. He enriches them by pictures of human life, such as it is passing before him. His writings, therefore, contain the spirit, the aroma, if I may use the phrase, of the age in which he lives. They are caskets which inclose within a small compass the wealth of the language—its family jewels, which are thus transmitted in a portable form to posterity. The setting may occasionally be antiquated, and require now and then to be renewed, as in the case of Chaucer; but the brilliancy and intrinsic value of the gems continue unaltered. Cast a look back over the long reach of literary history. What vast valleys of dullness, filled with monkish legends and academical controversies! what bogs of theological speculations! what dreary wastes of metaphysics! Here and there only do we behold the heaven-illuminated bards, elevated like beacons on their widely-separate heights, to transmit the pure light of poetical intelligence from age to age." [4]

I was just about to launch forth into eulogiums upon the poets of the day, when the sudden opening of the door caused me to turn my head. It was the verger, who came to inform me that it was time to close the library. I sought to have a parting word with the quarto, but the worthy little tome was silent; the clasps were closed: and it looked perfectly unconscious of all that had passed. I have been to the library two or three times since, and have endeavored to draw it into further conversation, but in vain; and whether all this rambling colloquy actually took place, or whether it was another of those odd day-dreams to which I am subject, I have never to this moment been able to discover.

KEAN’S ACTING R ICHARD H ENRY D ANA

"For, doubtless, that indeed according to art is most eloquent, which turns and approaches nearest to nature, from whence it came."

—M ILTON .

I HAD scarcely thought of the theater for some years, when Kean arrived in this country; and it was more from curiosity than from any other motive, that I went to see, for the first time, the great actor of the age. I was soon lost to the recollection of being in a theater, or looking upon a great display of the "mimic art." The simplicity, earnestness, and sincerity of his acting made me forgetful of the fiction, and bore me away with the power of reality and truth. If this be acting, said I, as I returned home, I may as well make the theater my school, and henceforward study nature at second hand.

How can I describe one who is almost as full of beauties as nature itself,—who grows upon us the more we become acquainted with him, and makes us sensible that the first time we saw him in any part, however much he may have moved us, we had but a partial apprehension of the many excellences of his acting? We cease to consider it as a mere amusement. It is an intellectual feast; and he who goes to it with a disposition and capacity to relish it, will receive from it more nourishment for his mind, than he would be likely to do in many other ways in twice the time. Our faculties are opened and enlivened by it; our reflections and recollections are of an elevated kind; and the voice which is sounding in our ears, long after we have left him, creates an inward harmony which is for our good.

Kean, in truth, stands very much in that relation to other players whom we have seen, that Shakspeare does to other dramatists. One player is called classical; another makes fine points here, and another there; Kean makes more fine points than all of them together; but in him these are only little prominences, showing their bright heads above a beautifully undulated surface. A continual change is going on in him, partaking of the nature of the varying scenes he is passing through, and the many thoughts and feelings which are shifting within him.

In a clear autumnal day we may see, here and there, a massed white cloud edged with a blazing brightness against a blue sky, and now and then a dark pine swinging its top in the wind, with the melancholy sound of the sea; but who can note the shifting and untiring play of the leaves of the wood, and their passing hues, when each seems a living thing full of sensations, and happy in its rich attire? A sound, too, of universal harmony is in our ears, and a wide-spread beauty before our eyes, which we cannot define; yet a joy is in our hearts. Our delight increases in these, day after day, the longer we give ourselves to them, till at last we become, as it were, a part of the existence without us. So it is with natural characters. They grow upon us imperceptibly, till we become bound up in them, we scarce know when or how. So, in its degree, it will fare with the actor who is deeply filled with nature, and is perpetually throwing off her beautiful evanescences. Instead of becoming tired of him, as we do, after a time, of others, he will go on giving something which will be new to the observing mind, and will keep the feelings alive, because their action will be natural. I have no doubt, that, excepting those who go to a play as children look into a show-box, to admire and exclaim at distorted figures, and raw, unharmonious colors, there is no man of a moderately warm temperament, and with a tolerable share of insight into human nature, who would not find his interest in Kean increasing with a study of him. It is very possible that the excitement would lessen, but there would be a quieter pleasure, instead of it, stealing upon him, as he became familiar with the character of the acting.

Taken within his range of characters, the versatility of his playing is striking. He seems not the same being, now representing Richard, and, again, Hamlet; but the two characters alone appear before you, and as distinct individuals who had never known or heard of each other. So does he become the character he is to represent, that we have sometimes thought it a reason why he was not universally better liked here, in Richard; and that because the player did not make himself a little more visible, he must needs bear a share of our dislike of the cruel king. And this may be still more the case, as his construction of the character, whether right or wrong, creates in us an unmixed dislike of Richard, till the anguish of his mind makes him the object of pity; from which time, to the close, all allow that he plays the part better than anyone has done before him.

In his highest-wrought passion, when the limbs and muscles are alive and quivering, and his gestures hurried and vehement, nothing appears ranted or overacted; because he makes us feel, that, with all this, there is something still within him struggling for utterance. The very breaking and harshness of his voice, in these parts, help to this impression, and make up, in a good degree, for this defect, if it be a defect here.

Though he is on the very verge of truth in his passionate parts, he does not fall into extravagance; but runs along the dizzy edge of the roaring and beating sea, with feet as sure as we walk our parlors. We feel that he is safe, for some preternatural spirit upholds him as it hurries him onward; and while all is uptorn and tossing in the whirl of the passions, we see that there is a power and order over the whole.

A man has feelings sometimes which can only be breathed out; there is no utterance for them in words. I had hardly written this when the terrible "Ha!" with which Kean makes Lear hail Cornwall and Regan as they enter in the fourth scene of the second act, came to my mind. That cry seemed at the time to take me up and sweep me along in its wild swell. No description in the world could give a tolerably clear notion of it;—it must be formed, as well as it may be, from what is here said of its effect.

Kean’s playing is sometimes but the outbreaking of inarticulate sounds;—the throttled struggle of rage, and the choking of grief,—the broken laugh of extreme suffering, when the mind is ready to deliver itself over to an insane joy,—the utterance of over-full love, which cannot and would not speak in express words, and that of wildering grief, which blanks all the faculties of man.

No other player whom I have heard has attempted these, except now and then; and should anyone have made the trial in the various ways in which Kean gives them, probably he would have failed. Kean thrills us with them, as if they were wrung from him in his agony. They have not the appearance of study or artifice. The truth is, that the labor of a mind of his genius constitutes its existence and delight. It is not like the toil of ordinary men at their task-work. What shows effort in them comes from him with the freedom and force of nature.

Some object to the frequent use of such sounds, and to others they are quite shocking. But those who permit themselves to consider that there are really violent passions in man’s nature, and that they utter themselves a little differently from our ordinary feelings, understand and feel their language as they speak to us in Kean. Probably no actor has conceived passion with the intenseness and life that he does. It seems to enter into him and possess him, as evil spirits possessed men of old. It is curious to observe how some, who have sat very contentedly, year after year, and called the face-making, which they have seen, expression, and the stage-stride, dignity, and the noisy declamation, and all the rhodomontade of acting, energy and passion, complain that Kean is apt to be extravagant; when in truth he seems to be little more than a simple personation of the feeling or passion to be expressed at the time.

It has been so common a saying, that Lear is the most difficult of characters to personate, that we had taken it for granted no man could play it so as to satisfy us. Perhaps it is the hardest to represent. Yet the part which has generally been supposed the most difficult, the insanity of Lear, is scarcely more so than that of the choleric old king. Inefficient rage is almost always ridiculous; and an old man, with a broken-down body and a mind falling in pieces from the violence of its uncontrolled passions, is in constant danger of exciting, along with our pity, a feeling of contempt. It is a chance matter to which we may be most moved. And this it is which makes the opening of Lear so difficult.

We may as well notice here the objection which some make to the abrupt violence with which Kean begins in Lear. If this be a fault, it is Shakspeare, and not Kean, who is to blame; for, no doubt, he has conceived it according to his author. Perhaps, however, the mistake lies in this case, where it does in most others, with those who put themselves into the seat of judgment to pass upon great men.

In most instances, Shakspeare has given us the gradual growth of a passion, with such little accompaniments as agree with it, and go to make up the whole man. In Lear, his object being to represent the beginning and course of insanity, he has properly enough gone but a little back of it, and introduced to us an old man of good feelings enough, but one who had lived without any true principle of conduct, and whose unruled passions had grown strong with age, and were ready, upon a disappointment, to make shipwreck of an intellect never strong. To bring this about, he begins with an abruptness rather unusual; and the old king rushes in before us, with his passions at their height, and tearing him like fiends.

Kean gives this as soon as the fitting occasion offers itself. Had he put more of melancholy and depression and less of rage into the character, we should have been much puzzled at his so suddenly going mad. It would have required the change to have been slower; and besides, his insanity must have been of another kind. It must have been monotonous and complaining, instead of continually varying; at one time full of grief, at another playful, and then wild as the winds that roared about him, and fiery and sharp as the lightning that shot by him. The truth with which he conceived this was not finer than his execution of it. Not for a moment, in his utmost violence, did he suffer the imbecility of the old man’s anger to touch upon the ludicrous, when nothing but the justest conception and feeling of the character could have saved him from it.

It has been said that Lear is a study for one who would make himself acquainted with the workings of an insane mind. And it is hardly less true, that the acting of Kean was an embodying of these workings. His eye, when his senses are first forsaking him, giving an inquiring look at what he saw, as if all before him was undergoing a strange and bewildering change which confused his brain,—the wandering, lost motions of his hands, which seemed feeling for something familiar to them, on which they might take hold and be assured of a safe reality,—the under monotone of his voice, as if he was questioning his own being, and what surrounded him,—the continuous, but slight, oscillating motion of the body,—all these expressed, with fearful truth, the bewildered state of a mind fast unsettling, and making vain and weak efforts to find its way back to its wonted reason. There was a childish, feeble gladness in the eye, and a half-piteous smile about the mouth at times, which one could scarce look upon without tears. As the derangement increased upon him, his eye lost its notice of objects about him, wandering over things as if he saw them not, and fastening upon the creatures of his crazed brain. The helpless and delighted fondness with which he clings to Edgar, as an insane brother, is another instance of the justness of Kean’s conceptions. Nor does he lose the air of insanity, even in the fine moralizing parts, and where he inveighs against the corruptions of the world. There is a madness even in his reason.

The violent and immediate changes of the passions in Lear, so difficult to manage without jarring upon us, are given by Kean with a spirit and with a fitness to nature which we had hardly thought possible. These are equally well done both before and after the loss of reason. The most difficult scene, in this respect, is the last interview between Lear and his daughters, Goneril and Regan,—(and how wonderfully does Kean carry it through!)—the scene which ends with the horrid shout and cry with which he runs out mad from their presence, as if the very brain had taken fire.

The last scene which we are allowed to have of Shakspeare’s Lear, for the simply pathetic, was played by Kean with unmatched power. We sink down helpless under the oppressive grief. It lies like a dead weight upon our hearts. We are denied even the relief of tears; and are thankful for the shudder that seizes us when he kneels to his daughter in the deploring weakness of his crazed grief.

It is lamentable that Kean should not be allowed to show his unequaled powers in the last scene of Lear, as Shakspeare wrote it; and that this mighty work of genius should be profaned by the miserable, mawkish sort of by-play of Edgar’s and Cordelia’s loves. Nothing can surpass the impertinence of the man who made the change, but the folly of those who sanctioned it.

When I began, I had no other intention than that of giving a few general impressions made upon me by Kean’s acting; but, falling accidentally upon his Lear, I have been led, unawares, into particulars. It is only to take these as some of the instances of his powers in Lear, and then to think of him as not inferior in his other characters, and some notion may be formed of the effect of Kean’s playing upon those who understand and like him. Neither this, nor anything I might add, would be likely to reach his great and various powers.

If it could be said of anyone, it might be said of Kean, that he does not fall behind his author, but stands forward, the living representative of the character he has drawn. When he is not playing in Shakspeare, he fills up where his author is wanting; and when in Shakspeare, he gives not only what is set down, but whatever the situation and circumstances attendant upon the being he personates would naturally call forth. He seems, at the time, to have possessed himself of Shakspeare’s imagination, and to have given it body and form. Read any scene in Shakspeare,—for instance, the last of Lear that is played,—and see how few words are there set down, and then remember how Kean fills out with varied and multiplied expression and circumstances, and the truth of this remark will be obvious enough. There are few men, I believe, let them have studied the plays of Shakspeare ever so attentively, who can see Kean in them without confessing that he has helped them to a truer and fuller conception of the author, notwithstanding what their own labors had done for them.

It is not easy to say in what character Kean plays best. He so fits himself to each in turn, that if the effect he produces at one time is less than at another, it is because of some inferiority in stage-effect in the character. Othello is probably the character best adapted to stage-effect, and Kean has an uninterrupted power over us in playing it. When he commands, we are awed; when his face is sensitive with love and love thrills in his soft tones, all that our imaginations had pictured to us is realized. His jealousy, his hate, his fixed purposes, are terrific and deadly; and the groans wrung from him in his grief have the pathos and anguish of Esau’s, when he stood before his old, blind father, and sent up "an exceeding bitter cry."

Again, in Richard, how does he hurry forward to his object, sweeping away all between him and it! The world and its affairs are nothing to him, till he gains his end. He is all life, and action, and haste,—he fills every part of the stage, and seems to do all that is done.

I have before said that his voice is harsh and breaking in his high tones, in his rage, but that this defect is of little consequence in such places. Nor is it well suited to the more declamatory parts. This, again, is scarce worth considering; for how very little is there of mere declamation in good English plays! But it is one of the finest voices in the world for all the passions and feelings which can be uttered in the middle and lower tones. In Lear,—

And again,—

Why should I cite passages? Can any man open upon the scene in which these are contained, without Kean’s piteous looks and tones being present to him? And does not the mere remembrance of them, as he reads, bring tears into his eyes? Yet, once more, in Othello,—

In the passage beginning with

there was "a mysterious confluence of sounds" passing off into infinite distance, and every thought and feeling within him seemed traveling with them.

How graceful he is in Othello! It is not a practiced, educated grace, but the "unbought grace" of his genius, uttering itself in its beauty and grandeur in the movements of the outward man. When he says to Iago so touchingly, "Leave me, leave me, Iago," and, turning from him, walks to the back of the stage, raising his hands, and bringing them down upon his head, with clasped fingers, and stands thus with his back to us, there is a grace and majesty in his figure which we look on with admiration.

Talking of these things in Kean is something like reading the Beauties of Shakspeare ; for he is as true in the subordinate as in the great parts. But he must be content to share with other men of genius, and think himself fortunate if one in a hundred sees his lesser beauties, and marks the truth and delicacy of his under-playing. For instance, when he has no share in the action going on, he is not busy in putting himself into attitudes to draw attention, but stands or sits in a simple posture, like one with an engaged mind. His countenance, too, is in a state of ordinary repose, with but a slight, general expression of the character of his thoughts; for this is all the face shows, when the mind is taken up in silence with its own reflections. It does not assume marked or violent expressions, as in soliloquy. When a man gives utterance to his thoughts, though alone, the charmed rest of the body is broken; he speaks in his gestures too, and the countenance is put into a sympathizing action.

I was first struck with this in his Hamlet; for the deep and quiet interest, so marked in Hamlet, made the justness of Kean’s playing, in this respect, the more obvious. And since then, I have observed him attentively, and have found the same true acting in his other characters.

This right conception of situation and its general effect seems to require almost as much genius as his conceptions of his characters, and, indeed, may be considered as one with them. He deserves praise for it; for there is so much of the subtilty of nature in it, if one may so speak, that while a few are able, with his help, to put themselves into the situation, and perceive the justness of his acting in it, the rest, both those who like him upon the whole, as well as those who profess to see little in him, will be apt to let it pass by without observing it.

Like most men, however, Kean receives a partial reward, at least, for his sacrifice of the praise of the many to what he feels to be the truth. For when he passes from the state of natural repose, even into that of gentle motion and ordinary discourse, he is immediately filled with a spirit and life, which he makes everyone feel who is not armor-proof against him. This helps to the sparkling brightness and warmth of his playing, the grand secret of which, like that of colors in a picture, lies in a just contrast. We can all speculate concerning the general rules upon this; but when the man of genius gives us their results, how few are there who can trace them out with an observant eye, or look with a discerning satisfaction upon the great whole. Perhaps this very beauty in Kean has helped to an opinion, which, no doubt, is true, that he is, at times, too sharp and abrupt. I well remember, while once looking at a picture in which the shadow of a mountain fell, in strong outline, upon a part of a stream, I overheard some quite sensible people expressing their wonder that the artist should have made the water of two colors, seeing it was all one and the same thing.

Instances of Kean’s keeping of situations were striking in the opening of the trial scene in The Iron Chest , and in Hamlet , when the father’s ghost tells the story of his death.

The composure to which he is bent up, in the former, must be present with all who saw him. And, though from the immediate purpose, shall I pass by the startling and appalling change, when madness seized upon his brain, with the swiftness and power of a fanged monster? Wonderfully as this last part was played, we cannot well imagine how much the previous calm, and the suddenness of the unlooked-for change from it, added to the terror of the scene. The temple stood fixed on its foundations; the earthquake shook it, and it was a heap. Is this one of Kean’s violent contrasts?

While Kean listened, in Hamlet, to the father’s story, the entire man was absorbed in deep attention, mingled with a tempered awe. His posture was simple, with a slight inclination forward. The spirit was the spirit of his father, whom he had loved and reverenced, and who was to that moment ever present in his thoughts. The first superstitious terror at meeting him had passed off. The account of his father’s appearance given him by Horatio and the watch, and his having followed him some distance, had, in a degree, familiarized him to the sight, and he stood before us in the stillness of one who was to hear, then or never, what was to be told, but without that eager reaching forward which other players give, and which would be right, perhaps, in any character but that of Hamlet, who connects the past and what is to come with the present, and mingles reflection with his immediate feelings, however deep.

As an instance of Kean’s familiar, and, if I may be allowed to term, domestic acting, the first scene in the fourth act of his Sir Giles Overreach may be taken. His manner at meeting Lovell and through the conversation with him, the way in which he turns his chair and leans upon it, were as easy and natural as they could have been in real life, had Sir Giles been actually existing, and engaged at that moment in conversation in Lovell’s room.

It is in these things, scarcely less than in the more prominent parts of his playing, that Kean shows himself the great actor. He must always make a deep impression; but to suppose the world at large capable of a right estimate of his different powers, would be forming a judgment against every-day proof. The gradual manner in which the character of his playing has opened upon me satisfies me, that in acting, as in everything else, however deep may be the first effect of genius upon us, we come slowly, and through study, to a perception of its minute beauties and delicate characteristics. After all, the greater part of men seldom get beyond the first general impression.

As there must needs go a modicum of fault-finding along with commendation, it may be well to remark, that Kean plays his hands too much at times, and moves about the dress over his breast and neck too frequently in his hurried and impatient passages, and that he does not always adhere with sufficient accuracy to the received readings of Shakspeare, and that the effect would be greater, upon the whole, were he to be more sparing of sudden changes from violent voice and gesticulation to a low conversation-tone and subdued manner.

His frequent use of these in Sir Giles Overreach is with good effect, for Sir Giles is playing his part; so, too, in Lear, for Lear’s passions are gusty and shifting; but, in the main, it is a kind of playing too marked and striking to bear so frequent repetition, and had better sometimes be spared, where, considered alone, it might be properly enough used, for the sake of bringing it in at some other place with greater effect.

It is well to speak of these defects, for though the little faults of genius, in themselves considered, but slightly affect those who can enter into its true character, yet such are made impatient at the thought, that an opportunity is given those to carp who know not how to commend.

Though I have taken up a good deal of room, I must end without speaking of many things which occur to me. Some will be of the opinion that I have already said enough. Thinking of Kean as I do, I could not honestly have said less; for I hold it to be a low and wicked thing to keep back from merit of any kind its due,—and, with Steele, that "there is something wonderful in the narrowness of those minds which can be pleased, and be barren of bounty to those who please them."

Although the self-important, out of self-concern, give praise sparingly, and the mean measure theirs by their likings or dislikings of a man, and the good even are often slow to allow the talents of the faulty their due, lest they bring the evil to repute; yet it is the wiser as well as the honester course, not to disparage an excellence because it neighbors upon a fault, nor to take away from another what is his of right, with a view to our own name, nor to rest our character for discernment upon the promptings of an unkind heart. Where God has not feared to bestow great powers, we may not fear giving them their due; nor need we be parsimonious of commendation, as if there were but a certain quantity for distribution, and our liberality would be to our loss; nor should we hold it safe to detract from another’s merit, as if we could always keep the world blind, lest we live to see him whom we disparaged, praised, and whom we hated, loved.

Whatever be his failings, give every man a full and ready commendation for that in which he excels; it will do good to our own hearts, while it cheers his. Nor will it bring our judgment into question with the discerning; for enthusiasm for what is great does not argue such an unhappy want of discrimination as that measured and cold approval, which is bestowed alike upon men of mediocrity and upon those of gifted minds.

GIFTS R ALPH W ALDO E MERSON

I T is said that the world is in a state of bankruptcy, that the world owes the world more than the world can pay, and ought to go into chancery, and be sold. I do not think this general insolvency, which involves in some sort all the population, to be the reason of the difficulty experienced at Christmas and New Year, and other times, in bestowing gifts; since it is always so pleasant to be generous, though very vexatious to pay debts. But the impediment lies in the choosing. If, at any time, it comes into my head that a present is due from me to somebody, I am puzzled what to give until the opportunity is gone. Flowers and fruits are always fit presents; flowers, because they are a proud assertion that a ray of beauty outvalues all the utilities of the world. These gay natures contrast with the somewhat stern countenance of ordinary nature; they are like music heard out of a workhouse. Nature does not cocker us: we are children, not pets: she is not fond: everything is dealt to us without fear or favor, after severe universal laws. Yet these delicate flowers look like the frolic and interference of love and beauty. Men used to tell us that we love flattery, even though we are not deceived by it, because it shows that we are of importance enough to be courted. Something like that pleasure the flowers give us: what am I to whom these sweet hints are addressed? Fruits are acceptable gifts because they are the flower of commodities, and admit of fantastic values being attached to them. If a man should send to me to come a hundred miles to visit him, and should set before me a basket of fine summer fruit, I should think there was some proportion between the labor and the reward.

For common gifts, necessity makes pertinences and beauty every day, and one is glad when an imperative leaves him no option, since if the man at the door have no shoes, you have not to consider whether you could procure him a paint-box. And as it is always pleasing to see a man eat bread, or drink water, in the house or out of doors, so it is always a great satisfaction to supply these first wants. Necessity does everything well. In our condition of universal dependence, it seems heroic to let the petitioner be the judge of his necessity, and to give all that is asked, though at great inconvenience. If it be a fantastic desire, it is better to leave to others the office of punishing him. I can think of many parts I should prefer playing to that of the Furies. Next to things of necessity, the rule for a gift which one of my friends prescribed is, that we might convey to some person that which properly belonged to his character, and was easily associated with him in thought. But our tokens of compliment and love are for the most part barbarous. Rings and other jewels are not gifts, but apologies for gifts. The only gift is a portion of thyself. Thou must bleed for me. Therefore the poet brings his poem; the shepherd, his lamb; the farmer, corn; the miner, a gem; the sailor, coral and shells; the painter, his picture; the girl, a handkerchief of her own sewing. This is right and pleasing, for it restores society in so far to the primary basis, when a man’s biography is conveyed in his gift, and every man’s wealth is an index of his merit. But it is a cold, lifeless business when you go to the shops to buy me something, which does not represent your life and talent, but a goldsmith’s. This is fit for kings, and rich men who represent kings, and a false state of property, to make presents of gold and silver stuffs, as a kind of symbolical sin-offering, or payment of blackmail.

The law of benefits is a difficult channel, which requires careful sailing, or rude boats. It is not the office of a man to receive gifts. How dare you give them? We wish to be self-sustained. We do not quite forgive a giver. The hand that feeds us is in some danger of being bitten. We can receive anything from love, for that is a way of receiving it from ourselves; but not from anyone who assumes to bestow. We sometimes hate the meat which we eat, because there seems something of degrading dependence in living by it.

We ask the whole. Nothing less will content us. We arraign society if it do not give us besides earth, and fire, and water, opportunity, love, reverence, and objects of veneration.

He is a good man who can receive a gift well. We are either glad or sorry at a gift, and both emotions are unbecoming. Some violence, I think, is done, some degradation borne, when I rejoice or grieve at a gift. I am sorry when my independence is invaded, or when a gift comes from such as do not know my spirit, and so the act is not supported; and if the gift pleases me overmuch, then I should be ashamed that the donor should read my heart, and see that I love his commodity, and not him. The gift, to be true, must be the flowing of the giver unto me, correspondent to my flowing unto him. When the waters are at level, then my goods pass to him, and his to me. All his are mine, all mine his. I say to him, How can you give me this pot of oil, or this flagon of wine, when all your oil and wine is mine, which belief of mine this gift seems to deny? Hence the fitness of beautiful, not useful things for gifts. This giving is flat usurpation, and therefore when the beneficiary is ungrateful, as all beneficiaries hate all Timons, not at all considering the value of the gift, but looking back to the greater store it was taken from, I rather sympathize with the beneficiary than with the anger of my lord Timon. For, the expectation of gratitude is mean, and is continually punished by the total insensibility of the obliged person. It is a great happiness to get off without injury and heart-burning, from one who has had the ill-luck to be served by you. It is a very onerous business, this of being served, and the debtor naturally wishes to give you a slap. A golden text for these gentlemen is that which I so admire in the Buddhist, who never thanks, and who says, "Do not flatter your benefactors."

The reason for these discords I conceive to be that there is no commensurability between a man and any gift. You cannot give anything to a magnanimous person. After you have served him he at once puts you in debt by his magnanimity. The service a man renders his friend is trivial and selfish, compared with the service he knows his friend stood in readiness to yield him, alike before he had begun to serve his friend, and now also. Compared with that good-will I bear my friend, the benefit it is in my power to render him seems small. Besides, our action on each other, good as well as evil, is so incidental and at random, that we can seldom hear the acknowledgments of any person who would thank us for a benefit, without some shame and humiliation. We can rarely strike a direct stroke, but must be content with an oblique one; we seldom have the satisfaction of yielding a direct benefit, which is directly received. But rectitude scatters favors on every side without knowing it, and receives with wonder the thanks of all people.

I fear to breathe any treason against the majesty of love, which is the genius and god of gifts, and to whom we must not affect to prescribe. Let him give kingdoms or flower-leaves indifferently. There are persons from whom we always expect fairy-tokens; let us not cease to expect them. This is prerogative, and not to be limited by our municipal rules. For the rest, I like to see that we cannot be bought and sold. The best of hospitality and of generosity is also not in the will, but in fate. I find that I am not much to you; you do not need me; you do not feel me; then am I thrust out of doors, though you proffer me house and lands. No services are of any value, but only likeness. When I have attempted to join myself to others by services, it proved an intellectual trick,—no more. They eat your service like apples, and leave you out. But love them, and they feel you, and delight in you all the time.

USES OF GREAT MEN R ALPH W ALDO E MERSON

I T is natural to believe in great men. If the companions of our childhood should turn out to be heroes, and their condition regal, it would not surprise us. All mythology opens with demigods, and the circumstance is high and poetic; that is, their genius is paramount. In the legends of the Gautama, the first men ate the earth, and found it deliciously sweet.

Nature seems to exist for the excellent. The world is upheld by the veracity of good men: they make the earth wholesome. They who lived with them found life glad and nutritious. Life is sweet and tolerable only in our belief in such society; and actually or ideally we manage to live with superiors. We call our children and our lands by their names. Their names are wrought into the verbs of language, their works and effigies are in our houses, and every circumstance of the day recalls an anecdote of them.

The search after the great is the dream of youth and the most serious occupation of manhood. We travel into foreign parts to find his works—if possible, to get a glimpse of him. But we are put off with fortune instead. You say the English are practical; the Germans are hospitable; in Valencia the climate is delicious; and in the hills of the Sacramento there is gold for the gathering. Yes, but I do not travel to find comfortable, rich, and hospitable people, or clear sky, or ingots that cost too much. But if there were any magnet that would point to the countries and houses where are the persons who are intrinsically rich and powerful, I would sell all, and buy it, and put myself on the road to-day.

The race goes with us on their credit. The knowledge that in the city is a man who invented the railroad raises the credit of all the citizens. But enormous populations, if they be beggars, are disgusting, like moving cheese, like hills of ants or of fleas—the more, the worse.

Our religion is the love and cherishing of these patrons. The gods of fable are the shining moments of great men. We run all our vessels into one mould. Our colossal theologies of Judaism, Christism, Buddhism, Mahometism, are the necessary and structural action of the human mind. The student of history is like a man going into a warehouse to buy cloths or carpets. He fancies he has a new article. If he go to the factory, he shall find that his new stuff still repeats the scrolls and rosettes which are found on the interior walls of the pyramids of Thebes. Our theism is the purification of the human mind. Man can paint, or make, or think nothing but man. He believes that the great material elements had their origin from his thought. And our philosophy finds one essence collected or distributed.

If now we proceed to inquire into the kinds of service we derive from others, let us be warned of the danger of modern studies, and begin low enough. We must not contend against love, or deny the substantial existence of other people. I know not what would happen to us. We have social strengths. Our affection towards others creates a sort of vantage or purchase which nothing will supply. I can do that by another which I cannot do alone. I can say to you what I cannot first say to myself. Other men are lenses through which we read our own minds. Each man seeks those of different quality from his own, and such as are good of their kind; that is, he seeks other men, and the otherest . The stronger the nature, the more it is reactive. Let us have the quality pure. A little genius let us leave alone. A main difference betwixt men is, whether they attend their own affair or not. Man is that noble endogenous plant which grows, like the palm, from within outward. His own affair, though impossible to others, he can open with celerity and in sport. It is easy to sugar to be sweet, and to nitre to be salt. We take a great deal of pains to waylay and entrap that which of itself will fall into our hands. I count him a great man who inhabits a higher sphere of thought, into which other men rise with labor and difficulty; he has but to open his eyes to see things in a true light, and in large relations; whilst they must make painful corrections, and keep a vigilant eye on many sources of error. His service to us is of like sort. It costs a beautiful person no exertion to paint her image on our eyes; yet how splendid is that benefit! It costs no more for a wise soul to convey his quality to other men. And everyone can do his best thing easiest. " Peu de moyens, beaucoup d’effét. " He is great who is what he is from nature, and who never reminds us of others.

But he must be related to us, and our life receive from him some promise of explanation. I cannot tell what I would know; but I have observed there are persons who, in their character and actions, answer questions which I have not skill to put. One man answers some questions which none of his contemporaries put, and is isolated. The past and passing religions and philosophies answer some other question. Certain men affect us as rich possibilities, but helpless to themselves and to their times,—the sport perhaps, of some instinct that rules in the air,—they do not speak to our want. But the great are near; we know them at sight. They satisfy expectation, and fall into place. What is good is effective, generative; makes for itself room, food, and allies. A sound apple produces seed—a hybrid does not. Is a man in his place, he is constructive, fertile, magnetic, inundating armies with his purpose, which is thus executed. The river makes its own shores, and each legitimate idea makes its own channels and welcome—harvests for food, institutions for expression, weapons to fight with, and disciples to explain it. The true artist has the planet for his pedestal; the adventurer, after years of strife, has nothing broader than his own shoes.

Our common discourse respects two kinds of use or service from superior men. Direct giving is agreeable to the early belief of men; direct giving of material or metaphysical aid, as of health, eternal youth, fine senses, arts of healing, magical power, and prophecy. The boy believes there is a teacher who can sell him wisdom. Churches believe in imputed merit. But, in strictness, we are not much cognizant of direct serving. Man is endogenous, and education is his unfolding. The aid we have from others is mechanical, compared with the discoveries of nature in us. What is thus learned is delightful in the doing, and the effect remains. Right ethics are central, and go from the soul outward. Gift is contrary to the law of the universe. Serving others is serving us. I must absolve me to myself. "Mind thy affair," says the spirit; "coxcomb, would you meddle with the skies, or with other people?" Indirect service is left. Men have a pictorial or representative quality, and serve us in the intellect. Behmen and Swedenborg saw that things were representative. Men are also representative; first, of things, and secondly, of ideas.

As plants convert the minerals into food for animals, so each man converts some raw material in nature to human use. The inventors of fire, electricity, magnetism, iron, lead, glass, linen, silk, cotton; the makers of tools; the inventor of decimal notation; the geometer; the engineer; the musician, severally make an easy way for all through unknown and impossible confusions. Each man is, by secret liking, connected with some district of nature, whose agent and interpreter he is, as Linnæus, of plants; Huber, of bees; Fries, of lichens; Van Mons, of pears; Dalton, of atomic forms; Euclid, of lines; Newton, of fluxions.

A man is a center for nature, running out threads of relation through everything, fluid and solid, material and elemental. The earth rolls; every clod and stone comes to the meridian; so every organ, function, acid, crystal, grain of dust, has its relation to the brain. It waits long, but its turn comes. Each plant has its parasite, and each created thing its lover and poet. Justice has already been done to steam, to iron, to wood, to coal, to loadstone, to iodine, to corn and cotton; but how few materials are yet used by our arts! The mass of creatures and of qualities are still hid and expectant. It would seem as if each waited, like the enchanted princess in fairy tales, for a destined human deliverer. Each must be disenchanted, and walk forth to the day in human shape. In the history of discovery, the ripe and latent truth seems to have fashioned a brain for itself. A magnet must be made man, in some Gilbert, or Swedenborg, or Oersted, before the general mind can come to entertain its powers.

If we limit ourselves to the first advantages: a sober grace adheres to the mineral and botanic kingdoms, which in the highest moments comes up as the charm of nature, the glitter of the spar, the sureness of affinity, the veracity of angles. Light and darkness, heat and cold, hunger and food, sweet and sour, solid, liquid, and gas, circle us round in a wreath of pleasures, and, by their agreeable quarrel, beguile the day of life. The eye repeats every day the first eulogy on things—"He saw that they were good." We know where to find them; and these performers are relished all the more after a little experience of the pretending races. We are entitled, also, to higher advantages. Something is wanting to science, until it has been humanized. The table of logarithms is one thing, and its vital play, in botany, music, optics, and architecture, another. There are advancements to numbers, anatomy, architecture, astronomy, little suspected at first, when, by union with intellect and will, they ascend into the life, and reappear in conversation, character, and politics.

But this comes later. We speak now only of our acquaintance with them in their own sphere, and the way in which they seem to fascinate and draw to them some genius who occupies himself with one thing all his life long. The possibility of interpretation lies in the identity of the observer with the observed. Each material thing has its celestial side; has its translation, through humanity, into the spiritual and necessary sphere, where it plays a part as indestructible as any other. And to these, their ends, all things continually ascend. The gases gather to the solid firmament; the chemic lump arrives at the plant, and grows; arrives at the quadruped, and walks; arrives at the man, and thinks. But also the constituency determines the vote of the representative. He is not only representative, but participant. Like can only be known by like. The reason why he knows about them is, that he is of them; he has just come out of nature, or from being a part of that thing. Animated chlorine knows of chlorine, and incarnate zinc, of zinc. Their quality makes his career; and he can variously publish their virtues, because they compose him. Man, made of the dust of the world, does not forget his origin; and all that is yet inanimate will one day speak and reason. Unpublished nature will have its whole secret told. Shall we say that quartz mountains will pulverize into innumerable Werners, Von Buchs, and Beaumonts; and the laboratory of the atmosphere holds in solution I know not what Berzeliuses and Davys?

Thus we sit by the fire, and take hold on the poles of the earth. This quasi omnipresence supplies the imbecility of our condition. In one of those celestial days, when heaven and earth meet and adorn each other, it seems a poverty that we can only spend it once: we wish for a thousand heads, a thousand bodies, that we might celebrate its immense beauty in many ways and places. Is this fancy? Well, in good faith, we are multiplied by our proxies. How easily we adopt their labors. Every ship that comes to America got its chart from Columbus. Every novel is a debtor to Homer. Every carpenter who shaves with a foreplane borrows the genius of a forgotten inventor. Life is girt all round with a zodiac of sciences, the contributions of men who have perished to add their point of light to our sky. Engineer, broker, jurist, physician, moralist, theologian, and every man, inasmuch as he has any science, is a definer and map-maker of the latitudes and longitudes of our condition. These road-makers on every hand enrich us. We must extend the area of life, and multiply our relations. We are as much gainers by finding a new property in the old earth as by acquiring a new planet.

We are too passive in the reception of these material or semi-material aids. We must not be sacks and stomachs. To ascend one step—we are better served through our sympathy. Activity is contagious. Looking where others look, and conversing with the same things, we catch the charm which lured them. Napoleon said, "You must not fight too often with one enemy, or you will teach him all your art of war." Talk much with any man of vigorous mind, and we acquire very fast the habit of looking at things in the same light, and, on each occurrence, we anticipate his thought.

Men are helpful through the intellect and the affections. Other help, I find a false appearance. If you affect to give me bread and fire, I perceive that I pay for it the full price, and at last it leaves me as it found me, neither better nor worse; but all mental and moral force is a positive good. It goes out from you, whether you will or not, and profits me whom you never thought of. I cannot even hear of personal vigor of any kind, great power of performance, without fresh resolution. We are emulous of all that man can do. Cecil’s saying of Sir Walter Raleigh, "I know that he can toil terribly," is an electric touch. So are Clarendon’s portraits—of Hampden: "who was of an industry and vigilance not to be tired out or wearied by the most laborious, and of parts not to be imposed on by the most subtle and sharp, and of a personal courage equal to his best parts;"—of Falkland: "who was so severe an adorer of truth that he could as easily have given himself leave to steal as to dissemble." We cannot read Plutarch without a tingling of the blood; and I accept the saying of the Chinese Mencius: "A sage is the instructor of a hundred ages. When the manners of Loo are heard of, the stupid become intelligent, and the wavering, determined."

This is the moral of biography; yet it is hard for departed men to touch the quick like our own companions, whose names may not last as long. What is he whom I never think of? whilst in every solitude are those who succor our genius, and stimulate us in wonderful manners. There is a power in love to divine another’s destiny better than that other can, and, by heroic encouragements, hold him to his task. What has friendship so signal as its sublime attraction to whatever virtue is in us? We will never more think cheaply of ourselves, or of life. We are piqued to some purpose, and the industry of the diggers on the railroad will not again shame us.

Under this head, too, falls that homage, very pure, as I think, which all ranks pay to the hero of the day, from Coriolanus and Gracchus, down to Pitt, Lafayette, Wellington, Webster, Lamartine. Hear the shouts in the street! The people cannot see him enough. They delight in a man. Here is a head and a trunk! What a front! What eyes! Atlantean shoulders, and the whole carriage heroic, with equal inward force to guide the great machine! This pleasure of full expression to that which, in their private experience, is usually cramped and obstructed, runs, also, much higher, and is the secret of the reader’s joy in literary genius. Nothing is kept back. There is fire enough to fuse the mountain of ore. Shakspeare’s principal merit may be conveyed in saying that he, of all men, best understands the English language, and can say what he will. Yet these unchoked channels and floodgates of expression are only health or fortunate constitution. Shakspeare’s name suggests other and purely intellectual benefits.

Senates and sovereigns have no compliment, with their medals, swords, and armorial coats, like the addressing to a human being thoughts out of a certain height, and presupposing his intelligence. This honor, which is possible in personal intercourse scarcely twice in a lifetime, genius perpetually pays; contented, if now and then, in a century, the proffer is accepted. The indicators of the values of matter are degraded to a sort of cooks and confectioners, on the appearance of the indicators of ideas. Genius is the naturalist or geographer of the supersensible regions, and draws their map; and, by acquainting us with new fields of activity, cools our affection for the old. These are at once accepted as the reality, of which the world we have conversed with is the show.

We go to the gymnasium and the swimming-school to see the power and beauty of the body; there is the like pleasure, and higher benefit, from witnessing intellectual feats of all kinds; as feats of memory, of mathematical combination, great power of abstraction, the transmutings of the imagination, even versatility and concentration, as these acts expose the invisible organs and members of the mind, which respond, member for member, to the parts of the body. For we thus enter a new gymnasium, and learn to choose men by their truest marks, taught, with Plato, "to choose those who can, without aid from the eyes or any other sense, proceed to truth and to being." Foremost among these activities are the summersaults, spells, and resurrections wrought by the imagination. When this wakes, a man seems to multiply ten times or a thousand times his force. It opens the delicious sense of indeterminate size, and inspires an audacious mental habit. We are as elastic as the gas of gunpowder, and a sentence in a book or a word dropped in conversation sets free our fancy, and instantly our heads are bathed with galaxies, and our feet tread the floor of the pit. And this benefit is real, because we are entitled to these enlargements, and, once having passed the bounds, shall never again be quite the miserable pedants we were.

The high functions of the intellect are so allied that some imaginative power usually appears in all eminent minds, even in arithmeticians of the first class, but especially in meditative men of an intuitive habit of thought. This class serve us, so that they have the perception of identity and the perception of reaction. The eyes of Plato, Shakspeare, Swedenborg, Goethe, never shut on either of these laws. The perception of these laws is a kind of meter of the mind. Little minds are little, through failure to see them.

Even these feasts have their surfeit. Our delight in reason degenerates into idolatry of the herald. Especially when a mind of powerful method has instructed men, we find the examples of oppression. The dominion of Aristotle, the Ptolemaic astronomy, the credit of Luther, of Bacon, of Locke,—in religion, the history of hierarchies, of saints, and the sects which have taken the name of each founder,—are in point. Alas! every man is such a victim. The imbecility of men is always inviting the impudence of power. It is the delight of vulgar talent to dazzle and to blind the beholder. But true genius seeks to defend us from itself. True genius will not impoverish, but will liberate, and add new senses. If a wise man should appear in our village, he would create, in those who conversed with him, a new consciousness of wealth, by opening their eyes to unobserved advantages; he would establish a sense of immovable equality, calm us with assurances that we could not be cheated; as everyone would discern the checks and guaranties of condition. The rich would see their mistakes and poverty, the poor their escapes and their resources.

But nature brings all this about in due time. Rotation is her remedy. The soul is impatient of masters, and eager for change. Housekeepers say of a domestic who has been valuable, "She had lived with me long enough." We are tendencies, or rather symptoms, and none of us complete. We touch and go, and sip the foam of many lives. Rotation is the law of nature. When nature removes a great man, people explore the horizon for a successor; but none comes, and none will. His class is extinguished with him. In some other and quite different field, the next man will appear; not Jefferson, not Franklin, but now a great salesman; than a road-contractor; then a student of fishes; then a buffalo-hunting explorer, or a semi-savage Western general. Thus we make a stand against our rougher masters; but against the best there is a finer remedy. The power which they communicate is not theirs. When we are exalted by ideas, we do not owe this to Plato, but to the idea, to which, also, Plato was debtor.

I must not forget that we have a special debt to a single class. Life is a scale of degrees. Between rank and rank of our great men are wide intervals. Mankind have, in all ages, attached themselves to a few persons, who, either by the quality of that idea they embodied, or by the largeness of their reception, were entitled to the position of leaders and law-givers. These teach us the qualities of primary nature—admit us to the constitution of things. We swim, day by day, on a river of delusions, and are effectually amused with houses and towns in the air, of which the men about us are dupes. But life is a sincerity. In lucid intervals we say, "Let there be an entrance opened for me into realties; I have worn the fool’s cap too long." We will know the meaning of our economies and politics. Give us the cipher, and, if persons and things are scores of a celestial music, let us read off the strains. We have been cheated of our reason; yet there have been sane men who enjoyed a rich and related existence. What they know they know for us. With each new mind, a new secret of nature transpires; nor can the Bible be closed until the last great man is born. These men correct the delirium of the animal spirits, make us considerate, and engage us to new aims and powers. The veneration of mankind selects these for the highest place. Witness the multitude of statues, pictures, and memorials which recall their genius in every city, village, house, and ship:

How to illustrate the distinctive benefit of ideas, the service rendered by those who introduce moral truths into the general mind?—I am plagued, in all my living, with a perpetual tariff of prices. If I work in my garden and prune an apple-tree, I am well enough entertained, and could continue indefinitely in the like occupation. But it comes to mind that a day is gone, and I have got this precious nothing done. I go to Boston or New York, and run up and down on my affairs: they are sped, but so is the day. I am vexed by the recollection of this price I have paid for a trifling advantage. I remember the peau d’âne , on which whoso sat should have his desire, but a piece of the skin was gone for every wish. I go to a convention of philanthropists. Do what I can, I cannot keep my eyes off the clock. But if there should appear in the company some gentle soul who knows little of persons or parties, of Carolina or Cuba, but who announces a law that disposes these particulars, and so certifies me of the equity which checkmates every false player, bankrupts every self-seeker, and apprises me of my independence on any conditions of country, or time, or human body, that man liberates me; I forget the clock. I pass out of the sore relation to persons. I am healed of my hurts. I am made immortal by apprehending my possession of incorruptible goods. Here is great competition of rich and poor. We live in a market, where is only so much wheat, or wool, or land; and if I have so much more, every other must have so much less. I seem to have no good, without breach of good manners. Nobody is glad in the gladness of another, and our system is one of war, of an injurious superiority. Every child of the Saxon race is educated to wish to be first. It is our system; and a man comes to measure his greatness by the regrets, envies, and hatreds of his competitors. But in these new fields there is room: here are no self-esteems, no exclusions.

I admire great men of all classes, those who stand for facts and for thoughts; I like rough and smooth, "scourges of God" and "darlings of the human race." I like the first Cæsar; and Charles V, of Spain; and Charles XII, of Sweden; Richard Plantagenet; and Bonaparte, in France. I applaud a sufficient man, an officer equal to his office; captains, ministers, senators. I like a master standing firm on legs of iron, well-born, rich, handsome, eloquent, loaded with advantages, drawing all men by fascination into tributaries and supports of his power. Sword and staff, or talents sword-like or staff-like, carry on the work of the world. But I find him greater when he can abolish himself, and all heroes, by letting in this element of reason, irrespective of persons; this subtilizer, and irresistible upward force, into our thought, destroying individualism; the power so great that the potentate is nothing. Then he is a monarch who gives a constitution to his people; a pontiff who preaches the equality of souls, and releases his servants from their barbarous homages; an emperor who can spare his empire.

But I intended to specify, with a little minuteness, two or three points of service. Nature never spares the opium or nepenthe; but, wherever she mars her creature with some deformity or defect, lays her poppies plentifully on the bruise, and the sufferer goes joyfully through life, ignorant of the ruin, and incapable of seeing it, though all the world point their finger at it every day. The worthless and offensive members of society, whose existence is a social pest, invariably think themselves the most ill-used people alive, and never get over their astonishment at the ingratitude and selfishness of their contemporaries. Our globe discovers its hidden virtues, not only in heroes and archangels, but in gossips and nurses. Is it not a rare contrivance that lodged the due inertia in every creature, the conserving, resisting energy, the anger at being waked or changed? Altogether independent of the intellectual force in each is the pride of opinion, the security that we are right. Not the feeblest grandame, not a mowing idiot, but uses what spark of perception and faculty is left, to chuckle and triumph in his or her opinion over the absurdities of all the rest. Difference from me is the measure of absurdity. Not one has a misgiving of being wrong. Was it not a bright thought that made things cohere with this bitumen, fastest of cements? But, in the midst of this chuckle of self-gratulation, some figure goes by which Thersites too can love and admire. This is he that should marshal us the way we were going. There is no end to his aid. Without Plato, we should almost lose our faith in the possibility of a reasonable book. We seem to want but one, but we want one. We love to associate with heroic persons, since our receptivity is unlimited; and, with the great, our thoughts and manners easily become great. We are all wise in capacity, though so few in energy. There needs but one wise man in a company, and all are wise, so rapid is the contagion.

Great men are thus a collyrium to clear our eyes from egotism, and enable us to see other people and their works. But there are vices and follies incident to whole populations and ages. Men resemble their contemporaries, even more than their progenitors. It is observed in old couples, or in persons who have been housemates for a course of years, that they grow like; and if they should live long enough, we should not be able to know them apart. Nature abhors these complaisances, which threaten to melt the world into a lump, and hastens to break up such maudlin agglutinations. The like assimilation goes on between men of one town, of one sect, of one political party; and the ideas of the time are in the air, and infect all who breathe it. Viewed from any high point, this city of New York, yonder city of London, the western civilization, would seem a bundle of insanities. We keep each other in countenance, and exasperate by emulation the frenzy of the time. The shield against the stingings of conscience is the universal practice, or our contemporaries. Again: it is very easy to be as wise and good as your companions. We learn of our contemporaries what they know, without effort, and almost through the pores of the skin. We catch it by sympathy, or as a wife arrives at the intellectual and moral elevations of her husband. But we stop where they stop. Very hardly can we take another step. The great, or such as hold of nature, and transcend fashions, by their fidelity to universal ideas, are saviors from these federal errors, and defend us from our contemporaries. They are the exceptions which we want, where all grows alike. A foreign greatness is the antidote for cabalism.

Thus we feed on genius, and refresh ourselves from too much conversation with our mates, and exult in the depth of nature in that direction in which he leads us. What indemnification is one great man for populations of pygmies! Every mother wishes one son a genius, though all the rest should be mediocre. But a new danger appears in the excess of influence of the great man. His attractions warp us from our place. We have become underlings and intellectual suicides. Ah! yonder in the horizon is our help: other great men, new qualities, counterweights and checks on each other. We cloy of the honey of each peculiar greatness. Every hero becomes a bore at last. Perhaps Voltaire was not bad-hearted, yet he said of the good Jesus, even, "I pray you, let me never hear that man’s name again." They cry up the virtues of George Washington—"Damn George Washington!" is the poor Jacobin’s whole speech and confutation. But it is human nature’s indispensable defense. The centripetence augments the centrifugence. We balance one man with his opposite, and the health of the State depends on the see-saw.

There is, however, a speedy limit to the use of heroes. Every genius is defended from approach by quantities of unavailableness. They are very attractive, and seem at a distance our own; but we are hindered on all sides from approach. The more we are drawn, the more we are repelled. There is something not solid in the good that is done for us. The best discovery the discoverer makes for himself. It has something unreal for his companion, until he too has substantiated it. It seems as if the Deity dressed each soul which he sends into nature in certain virtues and powers not communicable to other men, and, sending it to perform one more turn through the circle of beings, wrote, " Not transferable ," and " Good for this trip only ," on these garments of the soul. There is somewhat deceptive about the intercourse of minds. The boundaries are invisible, but they are never crossed. There is such good will to impart, and such good will to receive, that each threatens to become the other; but the law of individuality collects its secret strength: you are you, and I am I, and so we remain.

For Nature wishes everything to remain itself; and whilst every individual strives to grow and exclude, and to exclude and grow, to the extremities of the universe, and to impose the law of its being on every other creature, Nature steadily aims to protect each against every other. Each is self-defended. Nothing is more marked than the power by which individuals are guarded from individuals, in a world where every benefactor becomes so easily a malefactor, only by continuation of his activity into places where it is not due; where children seem so much at the mercy of their foolish parents, and where almost all men are too social and interfering. We rightly speak of the guardian angels of children. How superior in their security from infusions of evil persons, from vulgarity and second thought! They shed their own abundant beauty on the objects they behold. Therefore, they are not at the mercy of such poor educators as we adults. If we huff and chide them, they soon come not to mind it, and get a self-reliance; and if we indulge them to folly, they learn the limitation elsewhere.

We need not fear excessive influence. A more generous trust is permitted. Serve the great. Stick at no humiliation. Grudge no office thou canst render. Be the limb of their body, the breath of their mouth. Compromise thy egotism. Who cares for that, so thou gain aught wider and nobler? Never mind the taunt of Boswellism: the devotion may easily be greater than the wretched pride which is guarding its own skirts. Be another—not thyself, but a Platonist; not a soul, but a Christian; not a naturalist, but a Cartesian; not a poet, but a Shaksperian. In vain; the wheels of tendency will not stop, nor will all the forces of inertia, fear, or of love itself, hold thee there. On, and forever onward! The microscope observes a monad or wheel-insect among the infusories circulating in water. Presently a dot appears on the animal, which enlarges to a slit, and it becomes two perfect animals. The ever-proceeding detachment appears not less in all thought, and in society. Children think they cannot live without their parents. But long before they are aware of it, the black dot has appeared, and the detachment taken place. Any accident will now reveal to them their independence.

But great men —the word is injurious. Is there caste? Is there fate? What becomes of the promise to virtue? The thoughtful youth laments the superfœtation of nature. "Generous and handsome," he says, "is your hero; but look at yonder poor Paddy, whose country is his wheelbarrow; look at his whole nation of Paddies." Why are the masses, from the dawn of history down, food for knives and powder? The idea dignifies a few leaders, who have sentiment, opinion, love, self-devotion; and they make war and death sacred; but what for the wretches whom they hire and kill? The cheapness of man is every day’s tragedy. It is as real a loss that others should be low as that we should be low; for we must have society.

Is it a reply to these suggestions, to say society is a Pestalozzian school; all are teachers and pupils in turn. We are equally served by receiving and by imparting. Men who know the same things are not long the best company for each other. But bring to each an intelligent person of another experience, and it is as if you let off water from a lake, by cutting a lower basin. It seems a mechanical advantage, and great benefit it is to each speaker, as he can now paint out his thought to himself. We pass very fast, in our personal moods, from dignity to dependence. And if any appear never to assume the chair, but always to stand and serve, it is because we do not see the company in a sufficiently long period for the whole rotation of parts to come about. As to what we call the masses and common men—there are no common men. All men are at last of a size; and true art is only possible on the conviction that every talent has its apotheosis somewhere. Fair play, and an open field, and freshest laurels to all who have won them! But heaven reserves an equal scope for every creature. Each is uneasy until he has produced his private ray unto the concave sphere, and beheld his talent also in its last nobility and exaltation.

The heroes of the hour are relatively great—of a faster growth; or they are such, in whom, at the moment of success, a quality is ripe which is then in request. Other days will demand other qualities. Some rays escape the common observer, and want a finely adapted eye. Ask the great man if there be none greater. His companions are; and not the less great, but the more, that society cannot see them. Nature never sends a great man into the planet without confiding the secret to another soul.

One gracious fact emerges from these studies—that there is true ascension in our love. The reputations of the nineteenth century will one day be quoted to prove its barbarism. The genius of humanity is the real subject whose biography is written in our annals. We must infer much, and supply many chasms in the record. The history of the universe is symptomatic, and life is mnemonical. No man, in all the procession of famous men, is reason or illumination, or that essence we were looking for, but is an exhibition, in some quarter, of new possibilities. Could we one day complete the immense figure which these flagrant points compose! The study of many individuals leads us to an elemental region wherein the individual is lost, or wherein all touch by their summits. Thought and feeling, that break out there, cannot be impounded by any fence of personality. This is the key to the power of the greatest men—their spirit diffuses itself. A new quality of mind travels by night and by day, in concentric circles from its origin, and publishes itself by unknown methods; the union of all minds appears intimate; what gets admission to one cannot be kept out of any other; the smallest acquisition of truth or of energy, in any quarter, is so much good to the commonwealth of souls. If the disparities of talent and position vanish when the individuals are seen in the duration which is necessary to complete the career of each, even more swiftly the seeming injustice disappears when we ascend to the central identity of all the individuals, and know that they are made of the substance which ordaineth and doeth.

The genius of humanity is the right point of view of history. The qualities abide; the men who exhibit them have now more, now less, and pass away; the qualities remain on another brow. No experience is more familiar. Once you saw phœnixes: they are gone; the world is not therefore disenchanted. The vessels on which you read sacred emblems turn out to be common pottery; but the sense of the pictures is sacred, and you may still read them transferred to the walls of the world. For a time our teachers serve us personally, as meters or milestones of progress. Once they were angels of knowledge, and their figures touched the sky. Then we drew near, saw their means, culture, and limits; and they yielded their place to other geniuses. Happy, if a few names remain so high that we have not been able to read them nearer, and age and comparison have not robbed them of a ray. But, at last, we shall cease to look in men for completeness, and shall content ourselves with their social and delegated quality. All that respects the individual is temporary and prospective, like the individual himself, who is ascending out of his limits into a catholic existence. We have never come at the true and best benefit of any genius, so long as we believe him an original force. In the moment when he ceases to help us as a cause, he begins to help us more as an effect. Then he appears as an exponent of a vaster mind and will. The opaque self becomes transparent with the light of the First Cause.

Yet, within the limits of human education and agency, we may say great men exist that there may be greater men. The destiny of organized nature is amelioration, and who can tell its limits? It is for man to tame the chaos; on every side, whilst he lives, to scatter the seeds of science and of song, that climate, corn, animals, men, may be milder, and the germs of love and benefit may be multiplied.

BUDS AND BIRD-VOICES N ATHANIEL H AWTHORNE

B ALMY Spring—weeks later than we expected, and months later than we longed for her—comes at last to revive the moss on the roof and walls of our old mansion. She peeps brightly into my study window, inviting me to throw it open and create a summer atmosphere by the intermixture of her genial breath with the black and cheerless comfort of the stove. As the casement ascends, forth into infinite space fly the innumerable forms of thought or fancy that have kept me company in the retirement of this little chamber during the sluggish lapse of wintry weather—visions gay, grotesque and sad, pictures of real life tinted with nature’s homely gray and russet, scenes in dreamland bedizened with rainbow-hues which faded before they were well laid on. All these may vanish now, and leave me to mold a fresh existence out of sunshine. Brooding Meditation may flap her dusky wings and take her owl-like flight, blinking amid the cheerfulness of noontide. Such companions befit the season of frosted window-panes and crackling fires, when the blast howls through the black-ash trees of our avenue, and the drifting snowstorm chokes up the wood paths and fills the highway from stone wall to stone wall. In the spring and summer time all somber thoughts should follow the winter northward with the somber and thoughtful crows. The old paradisiacal economy of life is again in force: we live, not to think nor to labor, but for the simple end of being happy; nothing for the present hour is worthy of man’s infinite capacity save to imbibe the warm smile of heaven and sympathize with the reviving earth.

The present Spring comes onward with fleeter footsteps because Winter lingered so unconscionably long that with her best diligence she can hardly retrieve half the allotted period of her reign. It is but a fortnight since I stood on the brink of our swollen river and beheld the accumulated ice of four frozen months go down the stream. Except in streaks here and there upon the hillsides, the whole visible universe was then covered with deep snow the nethermost layer of which had been deposited by an early December storm. It was a sight to make the beholder torpid, in the impossibility of imagining how this vast white napkin was to be removed from the face of the corpse-like world in less time than had been required to spread it there. But who can estimate the power of gentle influences, whether amid material desolation or the moral winter of man’s heart? There have been no tempestuous rains—even no sultry days—but a constant breath of southern winds, with now a day of kindly sunshine, and now a no less kindly mist, or a soft descent of showers, in which a smile and a blessing seemed to have been steeped. The snow has vanished as if by magic; whatever heaps may be hidden in the woods and deep gorges of the hills, only two solitary specks remain in the landscape, and those I shall almost regret to miss when to-morrow I look for them in vain. Never before, methinks, has spring pressed so closely on the footsteps of retreating winter. Along the roadside the green blades of grass have sprouted on the very edge of the snowdrifts. The pastures and mowing fields have not yet assumed a general aspect of verdure, but neither have they the cheerless brown tint which they wear in later autumn, when vegetation has entirely ceased; there is now a faint shadow of life, gradually brightening into the warm reality. Some tracts in a happy exposure—as, for instance, yonder southwestern slope of an orchard, in front of that old red farmhouse beyond the river—such patches of land already wear a beautiful and tender green to which no future luxuriance can add a charm. It looks unreal—a prophecy, a hope, a transitory effect of some peculiar light, which will vanish with the slightest motion of the eye. But beauty is never a delusion; not these verdant tracts but the dark and barren landscape all around them is a shadow and a dream. Each moment wins some portion of the earth from death to life; a sudden gleam of verdure brightens along the sunny slope of a bank which an instant ago was brown and bare. You look again, and, behold an apparition of green grass!

The trees in our orchard and elsewhere are as yet naked, but already appear full of life and vegetable blood. It seems as if by one magic touch they might instantaneously burst into full foliage, and that the wind which now sighs through their naked branches might make sudden music amid innumerable leaves. The moss-grown willow tree which for forty years past has overshadowed these western windows will be among the first to put on its green attire. There are some objections to the willow: it is not a dry and cleanly tree, and impresses the beholder with an association of sliminess. No trees, I think, are perfectly agreeable as companions unless they have glossy leaves, dry bark, and a firm and hard texture of trunk and branches. But the willow is almost the earliest to gladden us with the promise and reality of beauty in its graceful and delicate foliage, and the last to scatter its yellow, yet scarcely-withered, leaves upon the ground. All through the winter, too, its yellow twigs give it a sunny aspect which is not without a cheering influence even in the grayest and gloomiest day. Beneath a clouded sky it faithfully remembers the sunshine. Our old house would lose a charm were the willow to be cut down, with its golden crown over the snow-covered roof, and its heap of summer verdure.

The lilac shrubs under my study windows are likewise almost in leaf; in two or three days more I may put forth my hand and pluck the topmost bough in its freshest green. These lilacs are very aged, and have lost the luxuriant foliage of their prime. The heart or the judgment or the moral sense or the taste is dissatisfied with their present aspect. Old age is not venerable when it embodies itself in lilacs, rose-bushes, or any other ornamental shrubs; it seems as if such plants, as they grow only for beauty, ought to flourish only in immortal youth—or, at least, to die before their sad decrepitude. Trees of beauty are trees of paradise, and therefore not subject to decay by their original nature, though they have lost that precious birthright by being transplanted to an earthly soil. There is a kind of ludicrous unfitness in the idea of a time-stricken and grandfatherly lilac-bush. The analogy holds good in human life. Persons who can only be graceful and ornamental—who can give the world nothing but flowers—should die young, and never be seen with gray hair and wrinkles, any more than the flower-shrubs with mossy bark and blighted foliage, like the lilacs under my window. Not that beauty is worthy of less than immortality. No; the beautiful should live forever, and thence, perhaps, the sense of impropriety when we see it triumphed over by time. Apple trees, on the other hand, grow old without reproach. Let them live as long as they may, and contort themselves into whatever perversity of shape they please, and deck their withered limbs with a springtime gaudiness of pink-blossoms, still they are respectable, even if they afford us only an apple or two in a season. Those few apples—or, at all events, the remembrance of apples in bygone years—are the atonement which utilitarianism inexorably demands for the privilege of lengthened life. Human flower shrubs, if they will grow old on earth, should, besides their lovely blossoms, bear some kind of fruit that will satisfy earthly appetites, else neither man nor the decorum of nature will deem it fit that the moss should gather on them.

One of the first things that strikes the attention when the white sheet of winter is withdrawn is the neglect and disarray that lay hidden beneath it. Nature is not cleanly, according to our prejudices. The beauty of preceding years, now transformed to brown and blighted deformity, obstructs the brightening loveliness of the present hour. Our avenue is strewn with the whole crop of autumn’s withered leaves. There are quantities of decayed branches which one tempest after another has flung down, black and rotten, and one or two with the ruin of a bird’s nest clinging to them. In the garden are the dried bean-vines, the brown stalks of the asparagus-bed, and melancholy old cabbages which were frozen into the soil before their unthrifty cultivator could find time to gather them. How invariable throughout all the forms of life do we find these intermingled memorials of death! On the soil of thought and in the garden of the heart, as well as in the sensual world, lie withered leaves—the ideas and feelings that we have done with. There is no wind strong enough to sweep them away; infinite space will not garner them from our sight. What mean they? Why may we not be permitted to live and enjoy as if this were the first life and our own the primal enjoyment, instead of treading always on these dry bones and mouldering relics from the aged accumulation of which springs all that now appears so young and new? Sweet must have been the spring-time of Eden, when no earlier year had strewn its decay upon the virgin turf, and no former experience had ripened into summer and faded into autumn in the hearts of its inhabitants! That was a world worth living in.—Oh, thou murmurer, it is out of the very wantonness of such a life that thou feignest these idle lamentations. There is no decay. Each human soul is the first created inhabitant of its own Eden.—We dwell in an old moss-covered mansion and tread in the worn footprints of the past and have a gray clergyman’s ghost for our daily and nightly inmate, yet all these outward circumstances are made less than visionary by the renewing power of the spirit. Should the spirit ever lose this power—should the withered leaves and the rotten branches and the moss-covered house and the ghost of the gray past ever become its realities, and the verdure and the freshness merely its faint dream—then let it pray to be released from earth. It will need the air of heaven to revive its pristine energies.

What an unlooked for flight was this from our shadowy avenue of black-ash and balm-of-gilead trees into the infinite! Now we have our feet again upon the turf. Nowhere does the grass spring up so industriously as in this homely yard, along the base of the stone wall and in the sheltered nooks of the buildings, and especially around the southern door-step—a locality which seems particularly favorable to its growth, for it is already tall enough to bend over and wave in the wind. I observe that several weeds—and, most frequently, a plant that stains the fingers with its yellow juice—have survived and retained their freshness and sap throughout the winter. One knows not how they have deserved such an exception from the common lot of their race. They are now the patriarchs of the departed year, and may preach mortality to the present generation of flowers and weeds.

Among the delights of spring, how is it possible to forget the birds? Even the crows were welcome, as the sable harbingers of a brighter and livelier race. They visited us before the snow was off, but seem mostly to have betaken themselves to remote depths of the woods, which they haunt all summer long. Many a time shall I disturb them there, and feel as if I had intruded among a company of silent worshipers as they sit in Sabbath stillness among the treetops. Their voices, when they speak, are in admirable accordance with the tranquil solitude of a summer afternoon, and, resounding so far above the head, their loud clamor increases the religious quiet of the scene instead of breaking it. A crow, however, has no real pretensions to religion, in spite of his gravity of mien and black attire; he is certainly a thief, and probably an infidel. The gulls are far more respectable, in a moral point of view. These denizens of sea-beaten rocks and haunters of the lonely beach come up our inland river at this season, and soar high overhead, flapping their broad wings in the upper sunshine. They are among the most picturesque of birds, because they so float and rest upon the air as to become almost stationary parts of the landscape. The imagination has time to grow acquainted with them; they have not flitted away in a moment. You go up among the clouds and greet these lofty-flighted gulls, and repose confidently with them upon the sustaining atmosphere. Ducks have their haunts along the solitary places of the river, and alight in flocks upon the broad bosom of the overflowed meadows. Their flight is too rapid and determined for the eye to catch enjoyment from it, although it never fails to stir up the heart with the sportsman’s ineradicable instinct. They have now gone farther northward, but will visit us again in autumn.

The smaller birds—the little songsters of the woods, and those that haunt man’s dwellings and claim human friendship by building their nests under the sheltering eaves or among the orchard trees—these require a touch more delicate and a gentler heart than mine to do them justice. Their outburst of melody is like a brook let loose from wintry chains. We need not deem it a too high and solemn word to call it a hymn of praise to the Creator, since Nature, who pictures the reviving year in so many sights of beauty, has expressed the sentiment of renewed life in no other sound save the notes of these blessed birds. Their music, however, just now seems to be incidental, and not the result of a set purpose. They are discussing the economy of life and love and the site and architecture of their summer residences, and have no time to sit on a twig and pour forth solemn hymns or overtures, operas, symphonies and waltzes. Anxious questions are asked, grave subjects are settled in quick and animated debate, and only by occasional accident, as from pure ecstasy, does a rich warble roll its tiny waves of golden sound through the atmosphere. Their little bodies are as busy as their voices; they are in a constant flutter and restlessness. Even when two or three retreat to a tree-top to hold council, they wag their tails and heads all the time with the irrepressible activity of their nature, which perhaps renders their brief span of life in reality as long as the patriarchal age of sluggish man. The blackbirds—three species of which consort together—are the noisiest of all our feathered citizens. Great companies of them—more than the famous "four-and-twenty" whom Mother Goose has immortalized—congregate in contiguous tree-tops and vociferate with all the clamor and confusion of a turbulent political meeting. Politics, certainly, must be the occasion of such tumultuous debates, but still, unlike all other politicians, they instill melody into their individual utterances and produce harmony as a general effect. Of all bird-voices, none are more sweet and cheerful to my ear than those of swallows in the dim, sun-streaked interior of a lofty barn; they address the heart with even a closer sympathy than Robin Redbreast. But, indeed, all these winged people that dwell in the vicinity of homesteads seem to partake of human nature and possess the germ, if not the development, of immortal souls. We hear them saying their melodious prayers at morning’s blush and eventide. A little while ago, in the deep of night, there came the lively thrill of a bird’s note from a neighboring tree—a real song such as greets the purple dawn or mingles with the yellow sunshine. What could the little bird mean by pouring it forth at midnight? Probably the music gushed out of the midst of a dream in which he fancied himself in paradise with his mate, but suddenly awoke on a cold, leafless bough with a New England mist penetrating through his feathers. That was a sad exchange of imagination for reality.

Insects are among the earliest births of spring. Multitudes, of I know not what species, appeared long ago on the surface of the snow. Clouds of them almost too minute for sight hover in a beam of sunshine, and vanish as if annihilated when they pass into the shade. A mosquito has already been heard to sound the small horror of his bugle-horn. Wasps infest the sunny windows of the house. A bee entered one of the chambers with a prophecy of flowers. Rare butterflies came before the snow was off, flaunting in the chill breeze, and looking forlorn and all astray in spite of the magnificence of their dark velvet cloaks with golden borders.

The fields and wood-paths have as yet few charms to entice the wanderer. In a walk the other day I found no violets nor anemones, nor anything in the likeness of a flower. It was worth while, however, to ascend our opposite hill for the sake of gaining a general idea of the advance of spring, which I had hitherto been studying in its minute developments. The river lay round me in a semi-circle, overflowing all the meadows which give it its Indian name, and offering a noble breadth to sparkle in the sunbeams. Along the hither shore a row of trees stood up to their knees in water, and afar off, on the surface of the stream, tufts of bushes thrust up their heads, as it were, to breathe. The most striking objects were great solitary trees here and there with a mile-wide waste of water all around them. The curtailment of the trunk by its immersion in the river quite destroys the fair proportions of the tree, and thus makes us sensible of a regularity and propriety in the usual forms of nature. The flood of the present season, though it never amounts to a freshet on our quiet stream, has encroached farther upon the land than any previous one for at least a score of years. It has overflowed stone fences, and even rendered a portion of the highway navigable for boats. The waters, however, are now gradually subsiding; islands become annexed to the mainland, and other islands emerge like new creations from the watery waste. The scene supplies an admirable image of the receding of the Nile—except that there is no deposit of black slime—or of Noah’s flood, only that there is a freshness and novelty in these recovered portions of the continent which give the impression of a world just made rather than of one so polluted that a deluge had been requisite to purify it. These upspringing islands are the greenest spots in the landscape; the first gleam of sunlight suffices to cover them with verdure.

Thank Providence for spring! The earth—and man himself, by sympathy with his birthplace—would be far other than we find them if life toiled wearily onward without this periodical infusion of the primal spirit. Will the world ever be so decayed that spring may not renew its greenness? Can man be so dismally age-stricken that no faintest sunshine of his youth may revisit him once a year? It is impossible. The moss on our time-worn mansion brightens into beauty, the good old pastor who once dwelt here renewed his prime, regained his boyhood, in the genial breezes of his ninetieth spring. Alas for the worn and heavy soul if, whether in youth or age, it have outlived its privilege of springtime sprightliness! From such a soul the world must hope no reformation of its evil—no sympathy with the lofty faith and gallant struggles of those who contend in its behalf. Summer works in the present and thinks not of the future; autumn is a rich conservative; winter has utterly lost its faith, and clings tremulously to the remembrance of what has been; but spring, with its outgushing life, is the true type of the movement.

THE PHILOSOPHY OF COMPOSITION E DGAR A LLAN P OE

C HARLES D ICKENS , in a note now lying before me, alluding to an examination I once made of the mechanism of Barnaby Rudge , says—"By the way, are you aware that Godwin wrote his Caleb Williams backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done."

I cannot think this the precise mode of procedure on the part of Godwin—and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens’ idea—but the author of Caleb Williams was too good an artist not to perceive the advantage derivable from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before anything be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention.

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

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

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

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

For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions; and, since the interest of an analysis, or reconstruction, such as I have considered a desideratum , is quite independent of any real or fancied interest in the thing analyzed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select "The Raven," as the most generally known. It is my design to render it manifest that no one point in its composition is referable either to accident or intuition—that the work proceeded, step by step, to its completion with the precision and rigid consequence of a mathematical problem.

Let us dismiss, as irrelevant to the poem, per se , the circumstance—or say the necessity—which, in the first place, gave rise to the intention of composing a poem that should suit at once the popular and the critical taste.

We commence, then, with this intention.

The initial consideration was that of extent. If any literary work is too long to be read at one sitting, we must be content to dispense with the immensely important effect derivable from unity of impression—for, if two sittings be required, the affairs of the world interfere, and everything like totality is at once destroyed. But since, ceteris paribus , no poet can afford to dispense with anything that may advance his design, it but remains to be seen whether there is, in extent, any advantage to counterbalance the loss of unity which attends it. Here I say no, at once. What we term a long poem is, in fact, merely a succession of brief ones—that is to say, of brief poetical effects. It is needless to demonstrate that a poem is such, only inasmuch as it intensely excites, by elevating, the soul; and all intense excitements are, through a psychal necessity, brief. For this reason, at least one-half of the Paradise Lost is essentially prose—a succession of poetical excitements interspersed, inevitably , with corresponding depressions—the whole being deprived, through the extremeness of its length, of the vastly important artistic element, totality, or unity, of effect.

It appears evident, then, that there is a distinct limit, as regards length, to all works of literary art—the limit of a single sitting—and that, although in certain classes of prose composition, such as Robinson Crusoe , (demanding no unity,) this limit may be advantageously overpassed, it can never properly be overpassed in a poem. Within this limit, the extent of a poem may be made to bear mathematical relation to its merit—in other words, to the excitement or elevation—again in other words, to the degree of the true poetical effect which it is capable of inducing; for it is clear that the brevity must be in direct ratio of the intensity of the intended effect:—this, with one proviso—that a certain degree of duration is absolutely requisite for the production of any effect at all.

Holding in view these considerations, as well as that degree of excitement which I deemed not above the popular, while not below the critical, taste, I reached at once what I conceived the proper length for my intended poem—a length of about one hundred lines. It is, in fact, a hundred and eight.

My next thought concerned the choice of an impression, or effect, to be conveyed: and here I may as well observe that, throughout the construction, I kept steadily in view the design of rendering the work universally appreciable. I should be carried too far out of my immediate topic were I to demonstrate a point upon which I have repeatedly insisted, and which, with the poetical, stands not in the slightest need of demonstration—the point, I mean, that Beauty is the sole legitimate province of the poem. A few words, however, in elucidation of my real meaning, which some of my friends have evinced a disposition to misrepresent. That pleasure which is at once the most intense, the most elevating, and the most pure, is, I believe, found in the contemplation of the beautiful. When, indeed, men speak of Beauty, they mean, precisely, not a quality, as is supposed, but an effect—they refer, in short, just to that intense and pure elevation of soul — not of intellect, or of heart—upon which I have commented, and which is experienced in consequence of contemplating "the beautiful." Now I designate Beauty as the province of the poem, merely because it is an obvious rule of Art that effects should be made to spring from direct causes—that objects should be attained through means best adapted for their attainment—no one as yet having been weak enough to deny that the peculiar elevation alluded to is most readily attained in the poem. Now the object, Truth, or the satisfaction of the intellect, and the object Passion, or the excitement of the heart, are, although attainable, to a certain extent, in poetry, far more readily attainable in prose. Truth, in fact, demands a precision, and Passion, a homeliness (the truly passionate will comprehend me) which are absolutely antagonistic to that Beauty which, I maintain, is the excitement, or pleasurable elevation, of the soul. It by no means follows from anything here said, that passion, or even truth, may not be introduced, and even profitably introduced, into a poem—for they may serve in elucidation, or aid the general effect, as do discords in music, by contrast—but the true artist will always contrive, first, to tone them into proper subservience to the predominant aim, and, secondly, to enveil them, as far as possible, in that Beauty which is the atmosphere and the essence of the poem.

Regarding, then, Beauty as my province, my next question referred to the tone of its highest manifestation—and all experience has shown that this tone is one of sadness . Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears. Melancholy is thus the most legitimate of all the poetical tones.

The length, the province, and the tone, being thus determined, I betook myself to ordinary induction, with the view of obtaining some artistic piquancy which might serve me as a key-note in the construction of the poem—some pivot upon which the whole structure might turn. In carefully thinking over all the usual artistic effects—or more properly points , in the theatrical sense—I did not fail to perceive immediately that no one had been so universally employed as that of the refrain . The universality of its employment sufficed to assure me of its intrinsic value, and spared me the necessity of submitting it to analysis. I considered it, however, with regard to its susceptibility of improvement, and soon saw it to be in a primitive condition. As commonly used, the refrain , or burden, not only is limited to lyric verse, but depends for its impression upon the force of monotone—both in sound and thought. The pleasure is deduced solely from the sense of identity—of repetition. I resolved to diversify, and so vastly heighten, the effect, by adhering, in general, to the monotone of sound, while I continually varied that of thought: that is to say, I determined to produce continuously novel effects, by the variation of the application of the refrain —the refrain itself remaining, for the most part, unvaried.

These points being settled, I next bethought me of the nature of my refrain . Since its application was to be repeatedly varied, it was clear that the refrain itself must be brief, for there would have been an insurmountable difficulty in frequent variations of application in any sentence of length. In proportion to the brevity of the sentence, would, of course, be the facility of the variation. This led me at once to a single word as the best refrain .

The question now arose as to the character of the word. Having made up my mind to a refrain , the division of the poem into stanzas was, of course, a corollary: the refrain forming the close to each stanza. That such a close, to have force, must be sonorous and susceptible of protracted emphasis, admitted no doubt: and these considerations inevitably led me to the long o as the most sonorous vowel, in connection with r as the most producible consonant.

The sound of the refrain being thus determined, it became necessary to select a word embodying this sound, and at the same time in the fullest possible keeping with that melancholy which I had predetermined as the tone of the poem. In such a search it would have been absolutely impossible to overlook the word "Nevermore." In fact, it was the very first which presented itself.

The next desideratum was a pretext for the continuous use of the one word "nevermore." In observing the difficulty which I at once found in inventing a sufficiently plausible reason for its continuous repetition, I did not fail to perceive that this difficulty arose solely from the pre-assumption that the word was to be so continuously or monotonously spoken by a human being—I did not fail to perceive, in short, that the difficulty lay in the reconciliation of this monotony with the exercise of reason on the part of the creature repeating the word. Here, then, immediately arose the idea of a non -reasoning creature capable of speech; and, very naturally, a parrot, in the first instance, suggested itself, but was superseded forthwith by a Raven, as equally capable of speech, and infinitely more in keeping with the intended tone .

I had now gone so far as the conception of a Raven—the bird of ill omen—monotonously repeating the one word, "Nevermore," at the conclusion of each stanza, in a poem of melancholy tone, and in length about one hundred lines. Now, never losing sight of the object supremeness , or perfection, at all points, I asked myself—"Of all melancholy topics, what, according to the universal understanding of mankind, is the most melancholy?" Death—was the obvious reply. "And when," I said, "is this most melancholy of topics most poetical?" From what I have already explained at some length, the answer, here also, is obvious—"When it most closely allies itself to Beauty : the death, then, of a beautiful woman is, unquestionably, the most poetical topic in the world—and equally is it beyond doubt that the lips best suited for such topic are those of a bereaved lover."

I had now to combine the two ideas, of a lover lamenting his deceased mistress and a Raven continuously repeating the word "Nevermore"—I had to combine these, bearing in mind my design of varying, at every turn, the application of the word repeated; but the only intelligible mode of such combination is that of imagining the Raven employing the word in answer to the queries of the lover. And here it was that I saw at once the opportunity afforded for the effect on which I had been depending—that is to say, the effect of the variation of application . I saw that I could make the first query propounded by the lover—the first query to which the Raven should reply "Nevermore"—that I could make this first query a commonplace one—the second less so—the third still less, and so on—until at length the lover, startled from his original nonchalance by the melancholy character of the word itself—by its frequent repetition—and by a consideration of the ominous reputation of the fowl that uttered it—is at length excited to superstition, and wildly propounds queries of a far different character—queries whose solution he has passionately at heart—propounds them half in superstition and half in that species of despair which delights, in self-torture—propounds them not altogether because he believes in the prophetic or demoniac character of the bird (which, reason assures him, is merely repeating a lesson learned by rote) but because he experiences a frenzied pleasure in so modeling his questions as to receive from the expected "Nevermore" the most delicious because the most intolerable of sorrow. Perceiving the opportunity thus afforded me—or, more strictly, thus forced upon me in the progress of the construction—I first established in mind the climax, or concluding query—that to which "Nevermore" should be in the last place an answer—that in reply to which this word "Nevermore" should involve the utmost conceivable amount of sorrow and despair.

Here then the poem may be said to have its beginning—at the end, where all works of art should begin—for it was here, at this point of my preconsiderations, that I first put pen to paper in the composition of the stanza:

I composed this stanza, at this point, first that, by establishing the climax, I might the better vary and graduate, as regards seriousness and importance, the preceding queries of the lover—and, secondly, that I might definitely settle the rhythm, the meter, and the length and general arrangement of the stanza—as well as graduate the stanzas which were to precede, so that none of them might surpass this in rhythmical effect. Had I been able, in the subsequent composition, to construct more vigorous stanzas, I should, without scruple, have purposely enfeebled them, so as not to interfere with the climacteric effect.

And here I may as well say a few words of the versification. My first object (as usual) was originality. The extent to which this has been neglected, in versification, is one of the most unaccountable things in the world. Admitting that there is little possibility of variety in mere rhythm , it is still clear that the possible varieties of meter and stanza are absolutely infinite—and yet, for centuries, no man, in verse, has ever done, or ever seemed to think of doing, an original thing . The fact is, originality (unless in minds of very unusual force) is by no means a matter, as some suppose, of impulse or intuition. In general, to be found, it must be elaborately sought, and although a positive merit of the highest class, demands in its attainment less of invention than negation.

Of course, I pretend to no originality in either the rhythm or meter of the "Raven." The former is trochaic—the latter is octameter acatalectic, alternating with heptameter catalectic repeated in the refrain of the fifth verse, and terminating with tetrameter catalectic. Less pedantically—the feet employed throughout (trochees) consist of a long syllable followed by a short: the first line of the stanza consists of eight of these feet—the second of seven and a half (in effect two-thirds)—the third of eight—the fourth of seven and a half—the fifth the same—the sixth three and a half. Now, each of these lines, taken individually, has been employed before, and what originality the "Raven" has, is in their combination into stanza ; nothing even remotely approaching this combination has ever been attempted. The effect of this originality of combination is aided by other unusual, and some altogether novel effects, arising from an extension of the application of the principles of rhyme and alliteration.

The next point to be considered was the mode of bringing together the lover and the Raven—and the first branch of this consideration was the locale . For this the most natural suggestion might seem to be a forest, or the fields—but it has always appeared to me that a close circumscription of space is absolutely necessary to the effect of insulated incident:—it has the force of a frame to a picture. It has an indisputable moral power in keeping concentrated the attention, and, of course, must not be confounded with mere unity of place.

I determined, then, to place the lover in his chamber—in a chamber rendered sacred to him by memories of her who had frequented it. The room is represented as richly furnished—this in mere pursuance of the ideas I have already explained on the subject of Beauty, as the sole true poetical thesis.

The locale being thus determined, I had now to introduce the bird—and the thought of introducing him through the window, was inevitable. The idea of making the lover suppose, in the first instance, that the flapping of the wings of the bird against the shutter, is a "tapping" at the door, originated in a wish to increase, by prolonging, the reader’s curiosity, and in a desire to admit the incidental effect arising from the lover’s throwing open the door, finding all dark, and thence adopting the half-fancy that it was the spirit of his mistress that knocked.

I made the night tempestuous, first, to account for the Raven’s seeking admission, and secondly, for the effect of contrast with the (physical) serenity within the chamber.

I made the bird alight on the bust of Pallas, also for the effect of contrast between the marble and the plumage—it being understood that the bust was absolutely suggested by the bird—the bust of Pallas being chosen, first, as most in keeping with the scholarship of the lover, and, secondly, for the sonorousness of the word, Pallas, itself.

About the middle of the poem, also, I have availed myself of the force of contrast, with a view of deepening the ultimate impression. For example, an air of the fantastic—approaching as nearly to the ludicrous as was admissible—is given to the Raven’s entrance. He comes in "with many a flirt and flutter."

In the two stanzas which follow, the design is more obviously carried out:—

The effect of the dénouement being thus provided for, I immediately drop the fantastic for a tone of the most profound seriousness:—this tone commencing in the stanza directly following the one last quoted, with the line,

From this epoch the lover no longer jests—no longer sees anything even of the fantastic in the Raven’s demeanor. He speaks of him as a "grim, ungainly, ghastly, gaunt, and ominous bird of yore," and feels the "fiery eyes" burning into his "bosom’s core." This revolution of thought, or fancy, on the lover’s part, is intended to induce a similar one on the part of the reader—to bring the mind into a proper frame for the dénouement —which is now brought about as rapidly and as directly as possible.

With the dénouement proper—with the Raven’s reply, "Nevermore," to the lover’s final demand if he shall meet his mistress in another world—the poem, in its obvious phase, that of a simple narrative, may be said to have its completion. So far, everything is within the limits of the accountable—of the real. A raven, having learned by rote the single word "Nevermore," and having escaped from the custody of its owner, is driven at midnight, through the violence of a storm, to seek admission at a window from which a light still gleams—the chamber-window of a student, occupied half in poring over a volume, half in dreaming of a beloved mistress deceased. The casement being thrown open at the fluttering of the bird’s wings, the bird itself perches on the most convenient seat out of the immediate reach of the student, who, amused by the incident and the oddity of the visitor’s demeanor, demands of it, in jest and without looking for a reply, its name. The raven addressed, answers with its customary word, "Nevermore"—a word which finds immediate echo in the melancholy heart of the student, who, giving utterance aloud to certain thoughts suggested by the occasion, is again startled by the fowl’s repetition of "Nevermore." The student now guesses the state of the case, but is impelled, as I have before explained, by the human thirst for self-torture, and in part by superstition, to propound such queries to the bird as will bring him, the lover, the most of the luxury of sorrow, through the anticipated answer "Nevermore." With the indulgence, to the utmost extreme, of this self-torture, the narration, in what I have termed its first or obvious phase, has a natural termination, and so far there has been no overstepping of the limits of the real.

But in subjects so handled, however skillfully, or with however vivid an array of incident, there is always a certain hardness or nakedness, which repels the artistical eye. Two things are invariably required—first, some amount of complexity, or more properly, adaptation; and, secondly, some amount of suggestiveness—some undercurrent, however indefinite, of meaning. It is this latter, in especial, which imparts to a work of art so much of that richness (to borrow from colloquy a forcible term) which we are too fond of confounding with the ideal . It is the excess of the suggested meaning—it is the rendering this the upper instead of the under current of the theme—which turns into prose (and that of the very flattest kind) the so-called poetry of the so-called transcendentalists.

Holding these opinions, I added the two concluding stanzas of the poem—their suggestiveness being thus made to pervade all the narrative which has preceded them. The undercurrent of meaning is rendered first apparent in the lines—

It will be observed that the words, "from out my heart," involve the first metaphorical expression in the poem. They, with the answer, "Nevermore," dispose the mind to seek a moral in all that has been previously narrated. The reader begins now to regard the Raven as emblematical—but it is not until the very last line of the very last stanza, that the intention of making him emblematical of Mournful and Never-ending Remembrance is permitted distinctly to be seen:

BREAD AND THE NEWSPAPER O LIVER W ENDELL H OLMES

T HIS is the new version of the Panem et Circenses of the Roman populace. It is our ultimatum , as that was theirs. They must have something to eat, and the circus-shows to look at. We must have something to eat, and the papers to read.

Everything else we can give up. If we are rich, we can lay down our carriages, stay away from Newport or Saratoga, and adjourn the trip to Europe sine die . If we live in a small way, there are at least new dresses and bonnets and every-day luxuries which we can dispense with. If the young Zouave of the family looks smart in his new uniform, its respectable head is content, though he himself grow seedy as a caraway-umbel late in the season. He will cheerfully calm the perturbed nap of his old beaver by patient brushing in place of buying a new one, if only the Lieutenant’s jaunty cap is what it should be. We all take a pride in sharing the epidemic economy of the time. Only bread and the newspaper we must have, whatever else we do without.

How this war is simplifying our mode of being! We live on our emotions, as the sick man is said in the common speech to be nourished by his fever. Our ordinary mental food has become distasteful, and what would have been intellectual luxuries at other times, are now absolutely repulsive.

All this change in our manner of existence implies that we have experienced some very profound impression, which will sooner or later betray itself in permanent effects on the minds and bodies of many among us. We cannot forget Corvisart’s observation of the frequency with which diseases of the heart were noticed as the consequence of the terrible emotions produced by the scenes of the great French Revolution. Laennec tells the story of a convent, of which he was the medical director, where all the nuns were subjected to the severest penances and schooled in the most painful doctrines. They all became consumptive soon after their entrance, so that, in the course of his ten years’ attendance, all the inmates died out two or three times, and were replaced by new ones. He does not hesitate to attribute the disease from which they suffered to those depressing moral influences to which they were subjected.

So far we have noticed little more than disturbances of the nervous system as a consequence of the war excitement in non-combatants. Take the first trifling example which comes to our recollection. A sad disaster to the Federal army was told the other day in the presence of two gentlemen and a lady. Both the gentlemen complained of a sudden feeling at the epigastrium , or, less learnedly, the pit of the stomach, changed color, and confessed to a slight tremor about the knees. The lady had a " grande révolution ," as French patients say,—went home, and kept her bed for the rest of the day. Perhaps the reader may smile at the mention of such trivial indispositions, but in more sensitive natures death itself follows in some cases from no more serious cause. An old gentleman fell senseless in fatal apoplexy, on hearing of Napoleon’s return from Elba. One of our early friends, who recently died of the same complaint, was thought to have had his attack mainly in consequence of the excitements of the time.

We all know what the war fever is in our young men,— what a devouring passion it becomes in those whom it assails. Patriotism is the fire of it, no doubt, but this is fed with fuel of all sorts. The love of adventure, the contagion of example, the fear of losing the chance of participating in the great events of the time, the desire of personal distinction, all help to produce those singular transformations which we often witness, turning the most peaceful of our youth into the most ardent of our soldiers. But something of the same fever in a different form reaches a good many non-combatants, who have no thought of losing a drop of precious blood belonging to themselves or their families. Some of the symptoms we shall mention are almost universal; they are as plain in the people we meet everywhere as the marks of an influenza, when that is prevailing.

The first is a nervous restlessness of a very peculiar character. Men cannot think, or write, or attend to their ordinary business. They stroll up and down the streets, or saunter out upon the public places. We confessed to an illustrious author that we laid down the volume of his work which we were reading when the war broke out. It was as interesting as a romance, but the romance of the past grew pale before the red light of the terrible present. Meeting the same author not long afterwards, he confessed that he had laid down his pen at the same time that we had closed his book. He could not write about the sixteenth century any more than we could read about it, while the nineteenth was in the very agony and bloody sweat of its great sacrifice.

Another most eminent scholar told us in all simplicity that he had fallen into such a state that he would read the same telegraphic dispatches over and over again in different papers, as if they were new, until he felt as if he were an idiot. Who did not do just the same thing, and does not often do it still, now that the first flush of the fever is over? Another person always goes through the side streets on his way for the noon extra ,—he is so afraid somebody will meet him and tell the news he wishes to read , first on the bulletin-board, and then in the great capitals and leaded type of the newspaper.

When any startling piece of war-news comes, it keeps repeating itself in our minds in spite of all we can do. The same trains of thought go tramping round in circle through the brain, like the supernumeraries that make up the grand army of a stage-show. Now, if a thought goes round through the brain a thousand times in a day, it will have worn as deep a track as one which has passed through it once a week for twenty years. This accounts for the ages we seem to have lived since the twelfth of April last, and, to state it more generally, for that ex post facto operation of a great calamity, or any very powerful impression, which we once illustrated by the image of a stain spreading backwards from the leaf of life open before us through all those which we have already turned.

Blessed are those who can sleep quietly in times like these! Yet, not wholly blessed, either: for what is more painful than the awaking from peaceful unconsciousness to a sense that there is something wrong,—we cannot at first think what,—and then groping our way about through the twilight of our thoughts until we come full upon the misery, which, like some evil bird, seemed to have flown away, but which sits waiting for us on its perch by our pillow in the gray of the morning?

The converse of this is perhaps still more painful. Many have the feeling in their waking hours that the trouble they are aching with is, after all, only a dream,—if they will rub their eyes briskly enough and shake themselves, they will awake out of it, and find all their supposed grief is unreal. This attempt to cajole ourselves out of an ugly fact always reminds us of those unhappy flies who have been indulging in the dangerous sweets of the paper prepared for their especial use.

Watch one of them. He does not feel quite well,—at least, he suspects himself of indisposition. Nothing serious,—let us just rub our fore-feet together, as the enormous creature who provides for us rubs his hands, and all will be right. He rubs them with that peculiar twisting movement of his, and pauses for the effect. No! all is not quite right yet. Ah! it is our head that is not set on just as it ought to be. Let us settle that where it should be, and then we shall certainly be in good trim again. So he pulls his head about as an old lady adjusts her cap, and passes his fore-paw over it like a kitten washing herself.—Poor fellow! It is not a fancy, but a fact, that he has to deal with. If he could read the letters at the head of the sheet, he would see they were Fly-Paper .—So with us, when, in our waking misery, we try to think we dream! Perhaps very young persons may not understand this; as we grow older, our waking and dreaming life run more and more into each other.

Another symptom of our excited condition is seen in the breaking up of old habits. The newspaper is as imperious as a Russian Ukase; it will be had, and it will be read. To this all else must give place. If we must go out at unusual hours to get it, we shall go, in spite of after-dinner nap or evening somnolence. If it finds us in company, it will not stand on ceremony, but cuts short the compliment and the story by the divine right of its telegraphic dispatches.

War is a very old story, but it is a new one to this generation of Americans. Our own nearest relation in the ascending line remembers the Revolution well. How should she forget it? Did she not lose her doll, which was left behind, when she was carried out of Boston, about that time growing uncomfortable by reason of cannon-balls dropping in from the neighboring heights at all hours,—in token of which see the tower of Brattle Street Church at this very day? War in her memory means ’76. As for the brush of 1812, "we did not think much about that"; and everybody knows that the Mexican business did not concern us much, except in its political relations. No! war is a new thing to all of us who are not in the last quarter of their century. We are learning many strange matters from our fresh experience. And besides, there are new conditions of existence which make war as it is with us very different from war as it has been.

The first and obvious difference consists in the fact that the whole nation is now penetrated by the ramifications of a network of iron nerves which flash sensation and volition backward and forward to and from towns and provinces as if they were organs and limbs of a single living body. The second is the vast system of iron muscles which, as it were, move the limbs of the mighty organism one upon another. What was the railroad-force which put the Sixth Regiment in Baltimore on the 19th of April but a contraction and extension of the arm of Massachusetts with a clenched fist full of bayonets at the end of it?

This perpetual intercommunication, joined to the power of instantaneous action, keeps us always alive with excitement. It is not a breathless courier who comes back with the report from an army we have lost sight of for a month, nor a single bulletin which tells us all we are to know for a week of some great engagement, but almost hourly paragraphs, laden with truth or falsehood as the case may be, making us restless always for the last fact or rumor they are telling. And so of the movements of our armies. Tonight the stout lumbermen of Maine are encamped under their own fragrant pines. In a score or two of hours they are among the tobacco-fields and the slave-pens of Virginia. The war passion burned like scattered coals of fire in the households of Revolutionary times; now it rushes all through the land like a flame over the prairie. And this instant diffusion of every fact and feeling produces another singular effect in the equalizing and steadying of public opinion. We may not be able to see a month ahead of us; but as to what has passed a week afterwards it is as thoroughly talked out and judged as it would have been in a whole season before our national nervous system was organized.

We indulged in the above apostrophe to War in a Phi Beta Kappa poem of long ago, which we liked better before we read Mr. Cutler’s beautiful prolonged lyric delivered at the recent anniversary of that Society.

Oftentimes, in paroxysms of peace and good-will towards all mankind, we have felt twinges of conscience about the passage,—especially when one of our orators showed us that a ship of war costs as much to build and keep as a college, and that every port-hole we could stop would give us a new professor. Now we begin to think that there was some meaning in our poor couplet. War has taught us, as nothing else could, what we can be and are. It has exalted our manhood and our womanhood, and driven us all back upon our substantial human qualities, for a long time more or less kept out of sight by the spirit of commerce, the love of art, science, or literature, or other qualities not belonging to all of us as men and women.

It is at this very moment doing more to melt away the petty social distinctions which keep generous souls apart from each other, than the preaching of the Beloved Disciple himself would do. We are finding out that not only "patriotism is eloquence," but that heroism is gentility. All ranks are wonderfully equalized under the fire of a masked battery. The plain artisan or the rough fireman, who faces the lead and iron like a man, is the truest representative we can show of the heroes of Crécy and Agincourt. And if one of our fine gentlemen puts off his straw-colored kids and stands by the other, shoulder to shoulder, or leads him on to the attack, he is as honorable in our eyes and in theirs as if he were ill-dressed and his hands were soiled with labor.

Even our poor "Brahmins,"—whom a critic in ground-glass spectacles (the same who grasps his statistics by the blade and strikes at his supposed antagonist with the handle) oddly confounds with the "bloated aristocracy," whereas they are very commonly pallid, undervitalized, shy, sensitive creatures, whose only birthright is an aptitude for learning,—even these poor New England Brahmins of ours, subvirates of an organizable base as they often are, count as full men, if their courage is big enough for the uniform which hangs so loosely about their slender figures.

A young man was drowned not very long ago in the river running under our windows. A few days afterwards a field-piece was dragged to the water’s edge, and fired many times over the river. We asked a bystander, who looked like a fisherman, what that was for. It was to "break the gall," he said, and so bring the drowned person to the surface. A strange physiological fancy and a very odd non sequitur ; but that is not our present point. A good many extraordinary objects do really come to the surface when the great guns of war shake the waters, as when they roared over Charleston harbor.

Treason came up, hideous, fit only to be huddled into its dishonorable grave. But the wrecks of precious virtues, which had been covered with the waves of prosperity, came up also. And all sorts of unexpected and unheard-of things, which had lain unseen during our national life of fourscore years, came up and are coming up daily, shaken from their bed by the concussions of the artillery bellowing around us.

It is a shame to own it, but there were persons otherwise respectable not unwilling to say that they believed the old valor of Revolutionary times had died out from among us. They talked about our own Northern people as the English in the last centuries used to talk about the French,—Goldsmith’s old soldier, it may be remembered, called one Englishman good for five of them. As Napoleon spoke of the English, again, as a nation of shopkeepers, so these persons affected to consider the multitude of their countrymen as unwarlike artisans,—forgetting that Paul Revere taught himself the value of liberty in working upon gold, and Nathanael Greene fitted himself to shape armies in the labor of forging iron.

These persons have learned better now. The bravery of our free working-people was overlaid, but not smothered; sunken, but not drowned. The hands which had been busy conquering the elements had only to change their weapons and their adversaries, and they were as ready to conquer the masses of living force opposed to them as they had been to build towns, to dam rivers, to hunt whales, to harvest ice, to hammer brute matter into every shape civilization can ask for.

Another great fact came to the surface, and is coming up every day in new shapes,—that we are one people. It is easy to say that a man is a man in Maine or Minnesota, but not so easy to feel it, all through our bones and marrow. The camp is deprovincializing us very fast. Brave Winthrop, marching with the city élégants , seems to have been a little startled to find how wonderfully human were the hard-handed men of the Eighth Massachusetts. It takes all the nonsense out of everybody, or ought to do it, to see how fairly the real manhood of a country is distributed over its surface. And then, just as we are beginning to think our own soil has a monopoly of heroes as well as of cotton, up turns a regiment of gallant Irishmen, like the Sixty-ninth, to show us that continental provincialism is as bad as that of Coos County, New Hampshire, or of Broadway, New York.

Here, too, side by side in the same great camp, are half a dozen chaplains, representing half a dozen modes of religious belief. When the masked battery opens, does the "Baptist" Lieutenant believe in his heart that God takes better care of him than of his "Congregationalist" Colonel? Does any man really suppose, that, of a score of noble young fellows who have just laid down their lives for their country, the Homoousians are received to the mansions of bliss, and the Homoiousians translated from the battle-field to the abodes of everlasting woe? War not only teaches what man can be, but it teaches also what he must not be. He must not be a bigot and a fool in the presence of that day of judgment proclaimed by the trumpet which calls to battle, and where a man should have but two thoughts: to do his duty, and trust his Maker. Let our brave dead come back from the fields where they have fallen for law and liberty, and if you will follow them to their graves, you will find out what the Broad Church means; the narrow church is sparing of its exclusive formulæ over the coffins wrapped in the flag which the fallen heroes had defended! Very little comparatively do we hear at such times of the dogmas on which men differ; very much of the faith and trust in which all sincere Christians can agree. It is a noble lesson, and nothing less noisy than the voice of cannon can teach it so that it shall be heard over all the angry cries of theological disputants.

Now, too, we have a chance to test the sagacity of our friends, and to get at their principles of judgment. Perhaps most of us will agree that our faith in domestic prophets has been diminished by the experience of the last six months. We had the notable predictions attributed to the Secretary of State, which so unpleasantly refused to fulfill themselves. We were infested at one time with a set of ominous-looking seers, who shook their heads and muttered obscurely about some mighty preparations that were making to substitute the rule of the minority for that of the majority. Organizations were darkly hinted at; some thought our armories would be seized; and there are not wanting ancient women in the neighboring University town who consider that the country was saved by the intrepid band of students who stood guard, night after night, over the G. R. cannon and the pile of balls in the Cambridge Arsenal.

As a general rule, it is safe to say that the best prophecies are those which the sages remember after the event prophesied of has come to pass, and remind us that they have made long ago. Those who are rash enough to predict publicly beforehand commonly give us what they hope, or what they fear, or some conclusion from an abstraction of their own, or some guess founded on private information not half so good as what everybody gets who reads the papers,— never by any possibility a word that we can depend on, simply because there are cobwebs of contingency between every to-day and to-morrow that no field-glass can penetrate when fifty of them lie woven one over another. Prophesy as much as you like, but always hedge . Say that you think the rebels are weaker than is commonly supposed, but, on the other hand, that they may prove to be even stronger than is anticipated. Say what you like,—only don’t be too peremptory and dogmatic; we know that wiser men than you have been notoriously deceived in their predictions in this very matter.

Let that be your model; and remember, on peril of your reputation as a prophet, not to put a stop before or after the nunquam .

There are two or three facts connected with time , besides that already referred to, which strike us very forcibly in their relation to the great events passing around us. We spoke of the long period seeming to have elapsed since this war began. The buds were then swelling which held the leaves that are still green. It seems as old as Time himself. We cannot fail to observe how the mind brings together the scenes of to-day and those of the old Revolution. We shut up eighty years into each other like the joints of a pocket-telescope. When the young men from Middlesex dropped in Baltimore the other day, it seemed to bring Lexington and the other Nineteenth of April close to us. War has always been the mint in which the world’s history has been coined, and now every day or week or month has a new medal for us. It was Warren that the first impression bore in the last great coinage; if it is Ellsworth now, the new face hardly seems fresher than the old. All battle-fields are alike in their main features. The young fellows who fell in our earlier struggle seemed like old men to us until within these few months; now we remember they were like these fiery youth we are cheering as they go to the fight; it seems as if the grass of our bloody hillside was crimsoned but yesterday, and the cannon-ball imbedded in the church-tower would feel warm, if we laid our hand upon it.

Nay, in this our quickened life we feel that all the battles from earliest time to our own day, where Right and Wrong have grappled, are but one great battle, varied with brief pauses or hasty bivouacs upon the field of conflict. The issues seem to vary, but it is always a right against a claim, and, however the struggle of the hour may go, a movement onward of the campaign, which uses defeat as well as victory to serve its mighty ends. The very implements of our warfare change less than we think. Our bullets and cannon-balls have lengthened into bolts like those which whistled out of old arbalests. Our soldiers fight with weapons, such as are pictured on the walls of Theban tombs, wearing a newly invented head-gear as old as the days of the Pyramids.

Whatever miseries this war brings upon us, it is making us wiser, and, we trust, better. Wiser, for we are learning our weakness, our narrowness, our selfishness, our ignorance, in lessons of sorrow and shame. Better, because all that is noble in men and women is demanded by the time, and our people are rising to the standard the time calls for. For this is the question the hour is putting to each of us: Are you ready, if need be, to sacrifice all that you have and hope for in this world, that the generations to follow you may inherit a whole country whose natural conditions shall be peace, and not a broken province which must live under the perpetual threat, if not in the constant presence, of war and all that war brings with it? If we are all ready for this sacrifice, battles may be lost, but the campaign and its grand object must be won.

Heaven is very kind in its way of putting questions to mortals. We are not abruptly asked to give up all that we most care for, in view of the momentous issues before us. Perhaps we shall never be asked to give up all, but we have already been called upon to part with much that is dear to us, and should be ready to yield the rest as it is called for. The time may come when even the cheap public print shall be a burden our means cannot support, and we can only listen in the square that was once the market-place to the voices of those who proclaim defeat or victory. Then there will be only our daily food left. When we have nothing to read and nothing to eat, it will be a favorable moment to offer a compromise. At present we have all that nature absolutely demands,—we can live on bread and the newspaper.

WALKING H ENRY D AVID T HOREAU

I WISH to speak a word for Nature, for absolute freedom and wildness, as contrasted with a freedom and culture merely civil,—to regard man as an inhabitant, or a part and parcel of Nature, rather than a member of society. I wish to make an extreme statement, if so I may make an emphatic one, for there are enough champions of civilization: the minister and the school-committee, and every one of you will take care of that.

I have met with but one or two persons in the course of my life who understood the art of Walking, that is, of taking walks,—who had a genius, so to speak, for sauntering : which word is beautifully derived from "idle people who roved about the country, in the Middle Ages, and asked charity, under pretense of going à la Sainte Terre ," to the Holy Land, till the children exclaimed, "There goes a Sainte-Terrer ," a Saunterer,—a Holy-Lander. They who never go to the Holy Land in their walks, as they pretend, are indeed mere idlers and vagabonds; but they who do go there are saunterers in the good sense, such as I mean. Some, however, would derive the word from sans terre , without land or a home, which, therefore, in the good sense, will mean, having no particular home, but equally at home everywhere. For this is the secret of successful sauntering. He who sits still in a house all the time may be the greatest vagrant of all; but the saunterer, in the good sense, is no more vagrant than the meandering river, which is all the while sedulously seeking the shortest course to the sea. But I prefer the first, which, indeed, is the most probable derivation. For every walk is a sort of crusade, preached by some Peter the Hermit in us, to go forth and reconquer this Holy Land from the hands of the Infidels.

It is true, we are but faint-hearted crusaders, even the walkers, nowadays, who undertake no persevering, never-ending enterprises. Our expeditions are but tours, and come round again at evening to the old hearth-side from which we set out. Half the walk is but retracing our steps. We should go forth on the shortest walk, perchance, in the spirit of undying adventure, never to return,—prepared to send back our embalmed hearts only as relics to our desolate kingdoms. If you are ready to leave father and mother, and brother and sister, and wife and child and friends, and never see them again,—if you have paid your debts, and made your will, and settled all your affairs, and are a free man, then you are ready for a walk.

To come down to my own experience, my companion and I, for I sometimes have a companion, take pleasure in fancying ourselves knights of a new, or rather an old, order,—not Equestrians or Chevaliers, not Ritters or riders, but Walkers, a still more ancient and honorable class, I trust. The chivalric and heroic spirit which once belonged to the Rider seems now to reside in, or perchance to have subsided into, the Walker,—not the Knight, but Walker Errant. He is a sort of fourth estate, outside of Church and State and People.

We have felt that we almost alone hereabouts practiced this noble art; though, to tell the truth, at least, if their own assertions are to be received, most of my townsmen would fain walk sometimes, as I do, but they cannot. No wealth can buy the requisite leisure, freedom, and independence, which are the capital in this profession. It comes only by the grace of God. It requires a direct dispensation from Heaven to become a walker. You must be born into the family of the Walkers. Ambulator nascitur, non fit. Some of my townsmen, it is true, can remember and have described to me some walks which they took ten years ago, in which they were so blessed as to lose themselves for half an hour in the woods; but I know very well that they have confined themselves to the highway ever since, whatever pretensions they may make to belong to this select class. No doubt they were elevated for a moment as by the reminiscence of a previous state of existence, when even they were foresters and outlaws.

I think that I cannot preserve my health and spirits, unless I spend four hours a day at least,—and it is commonly more than that,—sauntering through the woods and over the hills and fields, absolutely free from all worldly engagements. You may safely say, A penny for your thoughts, or a thousand pounds. When sometimes I am reminded that the mechanics and shopkeepers stay in their shops not only all the forenoon, but all the afternoon too, sitting with crossed legs, so many of them,—as if the legs were made to sit upon, and not to stand or walk upon,—I think that they deserve some credit for not having all committed suicide long ago.

I, who cannot stay in my chamber for a single day without acquiring some rust, and when sometimes I have stolen forth for a walk at the eleventh hour of four o’clock in the afternoon, too late to redeem the day, when the shades of night were already beginning to be mingled with the daylight, have felt as if I had committed some sin to be atoned for,—I confess that I am astonished at the power of endurance, to say nothing of the moral insensibility, of my neighbors who confine themselves to shops and offices the whole day for weeks and months, ay, and years almost together. I know not what manner of stuff they are of,—sitting there now at three o’clock in the afternoon, as if it were three o’clock in the morning. Bonaparte may talk of the three-o’clock-in-the-morning courage, but it is nothing to the courage which can sit down cheerfully at this hour in the afternoon over against one’s self whom you have known all the morning, to starve out a garrison to whom you are bound by such strong ties of sympathy. I wonder that about this time, or say between four and five o’clock in the afternoon, too late for the morning papers and too early for the evening ones, there is not a general explosion heard up and down the street, scattering a legion of antiquated and house-bred notions and whims to the four winds for an airing,—and so the evil cure itself.

How womankind, who are confined to the house still more than men, stand it I do not know; but I have ground to suspect that most of them do not stand it at all. When, early in a summer afternoon, we have been shaking the dust of the village from the skirts of our garments, making haste past those houses with purely Doric or Gothic fronts, which have such an air of repose about them, my companion whispers that probably about these times their occupants are all gone to bed. Then it is that I appreciate the beauty and the glory of architecture, which itself never turns in, but forever stands out and erect, keeping watch over the slumberers.

No doubt temperament, and, above all, age, have a good deal to do with it. As a man grows older, his ability to sit still and follow indoor occupations increases. He grows vespertinal in his habits as the evening of life approaches, till at last he comes forth only just before sundown, and gets all the walk that he requires in half an hour.

But the walking of which I speak has nothing in it akin to taking exercise, as it is called, as the sick take medicine at stated hours,—as the swinging of dumb-bells or chairs; but is itself the enterprise and adventure of the day. If you would get exercise, go in search of the springs of life. Think of a man’s swinging dumb-bells for his health, when those springs are bubbling up in far-off pastures unsought by him!

Moreover, you must walk like a camel, which is said to be the only beast which ruminates when walking. When a traveler asked Wordsworth’s servant to show him her master’s study, she answered, "Here is his library, but his study is out of doors."

Living much out of doors, in the sun and wind, will no doubt produce a certain roughness of character,—will cause a thicker cuticle to grow over some of the finer qualities of our nature, as on the face and hands, or as severe manual labor robs the hands of some of their delicacy of touch. So staying in the house, on the other hand, may produce a softness and smoothness, not to say thinness of skin, accompanied by an increased sensibility to certain impressions. Perhaps we should be more susceptible to some influences important to our intellectual and moral growth, if the sun had shone and the wind blown on us a little less; and no doubt it is a nice matter to proportion rightly the thick and thin skin. But methinks that is a scurf that will fall off fast enough,—that the natural remedy is to be found in the proportion which the night bears to the day, the winter to the summer, thought to experience. There will be so much the more air and sunshine in our thoughts. The callous palms of the laborer are conversant with finer tissues of self-respect and heroism, whose touch thrills the heart, than the languid fingers of idleness. That is mere sentimentality that lies abed by day and thinks itself white, far from the tan and callus of experience.

When we walk, we naturally go to the fields and woods: what would become of us, if we walked only in a garden or a mall? Even some sects of philosophers have felt the necessity of importing the woods to themselves, since they did not go to the woods. "They planted groves and walks of Platanes," where they took subdiales ambulationes in porticos open to the air. Of course it is of no use to direct our steps to the woods, if they do not carry us thither. I am alarmed when it happens that I have walked a mile into the woods bodily, without getting there in spirit. In my afternoon walk I would fain forget all my morning occupations and my obligations to society. But it sometimes happens that I cannot easily shake off the village. The thought of some work will run in my head, and I am not where my body is,—I am out of my senses. In my walks I would fain return to my senses. What business have I in the woods, if I am thinking of something out of the woods? I suspect myself, and cannot help a shudder, when I find myself so implicated even in what are called good works,—for this may sometimes happen.

My vicinity affords many good walks; and though for so many years I have walked almost every day, and sometimes for several days together, I have not yet exhausted them. An absolutely new prospect is a great happiness, and I can still get this any afternoon. Two or three hours’ walking will carry me to as strange a country as I expect ever to see. A single farmhouse which I had not seen before is sometimes as good as the dominions of the King of Dahomey. There is in fact a sort of harmony discoverable between the capabilities of the landscape within a circle of ten miles’ radius, or the limits of an afternoon walk, and the threescore years and ten of human life. It will never become quite familiar to you.

Nowadays almost all man’s improvements, so called, as the building of houses, and the cutting down of the forest and of all large trees, simply deform the landscape, and make it more and more tame and cheap. A people who would begin by burning the fences and let the forest stand! I saw the fences half consumed, their ends lost in the middle of the prairie, and some worldly miser with a surveyor looking after his bounds, while heaven had taken place around him, and he did not see the angels going to and fro, but was looking for an old post-hole in the midst of paradise. I looked again, and saw him standing in the middle of a boggy, stygian fen, surrounded by devils, and he had found his bounds without a doubt, three little stones, where a stake had been driven, and looking nearer, I saw that the Prince of Darkness was his surveyor.

I can easily walk ten, fifteen, twenty, any number of miles, commencing at my own door, without going by any house, without crossing a road except where the fox and the mink do: first along by the river, and then the brook, and then the meadow and the woodside. There are square miles in my vicinity which have no inhabitant. From many a hill I can see civilization and the abodes of man afar. The farmers and their works are scarcely more obvious than woodchucks and their burrows. Man and his affairs, church and state and school, trade and commerce, and manufactures and agriculture, even politics, the most alarming of them all,—I am pleased to see how little space they occupy in the landscape. Politics is but a narrow field, and that still narrower highway yonder leads to it. I sometimes direct the traveler thither. If you would go to the political world, follow the great road,—follow that market-man, keep his dust in your eyes, and it will lead you straight to it; for it, too, has its place merely, and does not occupy all space. I pass from it as from a bean-field into the forest, and it is forgotten. In one half-hour I can walk off to some portion of the earth’s surface where a man does not stand from one year’s end to another, and there, consequently, politics are not, for they are but as the cigar-smoke of a man.

The village is the place to which the roads tend, a sort of expansion of the highway, as a lake of a river. It is the body of which roads are the arms and legs,—a trivial or quadrivial place, the thoroughfare and ordinary of travelers. The word is from the Latin villa , which, together with via , a way, or more anciently ved and vella , Varro derives from veho , to carry, because the villa is the place to and from which things are carried. They who got their living by teaming were said vellaturam facere . Hence, too, apparently, the Latin word vilis and our vile; also villain . This suggests what kind of degeneracy villagers are liable to. They are wayworn by the travel that goes by and over them, without traveling themselves.

Some do not walk at all; others walk in the highways; a few walk across lots. Roads are made for horses and men of business. I do not travel in them much, comparatively, because I am not in a hurry to get to any tavern or grocery or livery-stable or depot to which they lead. I am a good horse to travel, but not from choice a roadster. The landscape-painter uses the figures of men to mark a road. He would not make that use of my figure. I walk out into a Nature such as the old prophets and poets, Menu, Moses, Homer, Chaucer, walked in. You may name it America, but it is not America: neither Americus Vespucius, nor Columbus, nor the rest were the discoverers of it. There is a truer account of it in mythology than in any history of America, so called, that I have seen.

However, there are a few old roads that may be trodden with profit, as if they led somewhere now that they are nearly discontinued. There is the Old Marlborough Road, which does not go to Marlborough now, methinks, unless that is Marlborough where it carries me. I am the bolder to speak of it here, because I presume that there are one or two such roads in every town.

At present, in this vicinity, the best part of the land is not private property; the landscape is not owned, and the walker enjoys comparative freedom. But possibly the day will come when it will be partitioned off into so-called pleasure-grounds, in which a few will take a narrow and exclusive pleasure only,—when fences shall be multiplied, and man-traps and other engines invented to confine men to the public road, and walking over the surface of God’s earth shall be construed to mean trespassing on some gentleman’s grounds. To enjoy a thing exclusively is commonly to exclude yourself from the true enjoyment of it. Let us improve our opportunities, then, before the evil days come.

What is it that makes it so hard sometimes to determine whither we will walk? I believe that there is a subtile magnetism in Nature, which, if we unconsciously yield to it, will direct us aright. It is not indifferent to us which way we walk. There is a right way; but we are very liable from heedlessness and stupidity to take the wrong one. We would fain take that walk, never yet taken by us through this actual world, which is perfectly symbolical of the path which we love to travel in the interior and ideal world; and sometimes, no doubt, we find it difficult to choose our direction, because it does not yet exist distinctly in our idea.

When I go out of the house for a walk, uncertain as yet whither I will bend my steps, and submit myself to my instinct to decide for me, I find, strange and whimsical as it may seem, that I finally and inevitably settle southwest, toward some particular wood or meadow or deserted pasture or hill in that direction. My needle is slow to settle,—varies a few degrees, and does not always point due south-west, it is true, and it has good authority for this variation, but it always settles between west and south-south-west. The future lies that way to me, and the earth seems more unexhausted and richer on that side. The outline which would bound my walks would be, not a circle, but a parabola, or rather like one of those cometary orbits which have been thought to be non-returning curves, in this case opening westward, in which my house occupies the place of the sun. I turn round and round irresolute sometimes for a quarter of an hour, until I decide, for a thousandth time, that I will walk into the southwest or west. Eastward I go only by force; but westward I go free. Thither no business leads me. It is hard for me to believe that I shall find fair landscapes or sufficient wildness and freedom behind the eastern horizon. I am not excited by the prospect of a walk thither; but I believe that the forest which I see in the western horizon stretches uninterruptedly toward the setting sun, and there are no towns nor cities in it of enough consequence to disturb me. Let me live where I will, on this side is the city, on that the wilderness, and ever I am leaving the city more and more, and withdrawing into the wilderness. I should not lay so much stress on this fact, if I did not believe that something like this is the prevailing tendency of my countrymen. I must walk toward Oregon, and not toward Europe. And that way the nation is moving, and I may say that mankind progress from east to west. Within a few years we have witnessed the phenomenon of a southeastward migration, in the settlement of Australia; but this affects us as a retrograde movement, and judging from the moral and physical character of the first generation of Australians, has not yet proved a successful experiment. The eastern Tartars think that there is nothing west beyond Thibet. "The world ends there," say they, "beyond there is nothing but a shoreless sea." It is unmitigated East where they live.

We go eastward to realize history and study the works of art and literature, retracing the steps of the race; we go westward as into the future, with a spirit of enterprise and adventure. The Atlantic is a Lethean stream, in our passage over which we have had an opportunity to forget the Old World and its institutions. If we do not succeed this time, there is perhaps one more chance for the race left before it arrives on the banks of the Styx; and that is in the Lethe of the Pacific, which is three times as wide.

I know not how significant it is, or how far it is an evidence of singularity, that an individual should thus consent in his pettiest walk with the general movement of the race; but I know that something akin to the migratory instinct in birds and quadrupeds,—which, in some instances, is known to have affected the squirrel tribe, impelling them to a general and mysterious movement, in which they were seen, say some, crossing the broadest rivers, each on its particular chip, with its tail raised for a sail, and bridging narrower streams with their dead,—that something like the furor which affects the domestic cattle in the spring, and which is referred to a worm in their tails,—affects both nations and individuals, either perennially or from time to time. Not a flock of wild geese cackles over our town, but it to some extent unsettles the value of real estate here, and, if I were a broker, I should probably take that disturbance into account.

Every sunset which I witness inspires me with the desire to go to a West as distant and as fair as that into which the sun goes down. He appears to migrate westward daily, and tempt us to follow him. He is the Great Western Pioneer whom the nations follow. We dream all night of those mountain-ridges in the horizon, though they may be of vapor only, which were last gilded by his rays. The island of Atlantis, and the islands and gardens of the Hesperides, a sort of terrestrial paradise, appear to have been the Great West of the ancients, enveloped in mystery and poetry. Who has not seen in imagination, when looking into the sunset sky, the gardens of the Hesperides, and the foundation of all those fables?

Columbus felt the westward tendency more strongly than any before. He obeyed it, and found a New World for Castile and Leon. The herd of men in those days scented fresh pastures from afar.

Where on the globe can there be found an area of equal extent with that occupied by the bulk of our States, so fertile and so rich and varied in its productions, and at the same time so habitable by the European, as this is? Michaux, who knew but part of them, says that "the species of large trees are much more numerous in North America than in Europe; in the United States there are more than one hundred and forty species that exceed thirty feet in height; in France there are but thirty that attain this size." Later botanists more than confirm his observations. Humboldt came to America to realize his youthful dreams of a tropical vegetation, and he beheld it in its greatest perfection in the primitive forests of the Amazon, the most gigantic wilderness on the earth, which he has so eloquently described. The geographer Guyot, himself a European, goes farther,—farther than I am ready to follow him; yet not when he says,—"As the plant is made for the animal, as the vegetable world is made for the animal world, America is made for the man of the Old World.... The man of the Old World sets out upon his way. Leaving the highlands of Asia, he descends from station to station towards Europe. Each of his steps is marked by a new civilization superior to the preceding, by a greater power of development. Arrived at the Atlantic, he pauses on the shore of this unknown ocean, the bounds of which he knows not, and turns upon his footprints for an instant." When he has exhausted the rich soil of Europe, and reinvigorated himself, "then recommences his adventurous career westward as in the earliest ages." So far Guyot.

From this western impulse coming in contact with the barrier of the Atlantic sprang the commerce and enterprise of modern times. The younger Michaux, in his Travels West of the Alleghanies in 1802 , says that the common inquiry in the newly settled West was, "'From what part of the world have you come?' As if these vast and fertile regions would naturally be the place of meeting and common country of all the inhabitants of the globe."

To use an obsolete Latin word, I might say, Ex Oriente lux; ex Occidente FRUX . From the East light; from the West fruit.

Sir Francis Head, an English traveler and a Governor-General of Canada, tells us that "in both the northern and southern hemispheres of the New World, Nature has not only outlined her works on a larger scale, but has painted the whole picture with brighter and more costly colors than she used in delineating and in beautifying the Old World.... The heavens of America appear infinitely higher, the sky is bluer, the air is fresher, the cold is intenser, the moon looks larger, the stars are brighter, the thunder is louder, the lightning is vivider, the wind is stronger, the rain is heavier, the mountains are higher, the rivers longer, the forests bigger, the plains broader." This statement will do at least to set against Buffon’s account of this part of the world and its productions.

Linnæus said long ago, "Nescio quæ facies læta, glabra plantis Americanis: I know not what there is of joyous and smooth in the aspect of American plants;" and I think that in this country there are no, or at most very few, Africanæ bestiæ , African beasts, as the Romans called them, and that in this respect also it is peculiarly fitted for the habitation of man. We are told that within three miles of the center of the East-Indian city of Singapore, some of the inhabitants are annually carried off by tigers; but the traveler can lie down in the woods at night almost anywhere in North America without fear of wild beasts.

These are encouraging testimonies. If the moon looks larger here than in Europe, probably the sun looks larger also. If the heavens of America appear infinitely higher, and the stars brighter, I trust that these facts are symbolical of the height to which the philosophy and poetry and religion of her inhabitants may one day soar. At length, perchance, the immaterial heaven will appear as much higher to the American mind, and the intimations that star it as much brighter. For I believe that climate does thus react on man,—as there is something in the mountain-air that feeds the spirit and inspires. Will not man grow to greater perfection intellectually as well as physically under these influences? Or is it unimportant how many foggy days there are in his life? I trust that we shall be more imaginative, that our thoughts will be clearer, fresher, and more ethereal, as our sky,—our understanding more comprehensive and broader, like our plains,—our intellect generally on a grander scale, like our thunder and lightning, our rivers and mountains and forests,—and our hearts shall even correspond in breadth and depth and grandeur to our inland seas. Perchance there will appear to the traveler something, he knows not what, of læta and glabra , of joyous and serene, in our very faces. Else to what end does the world go on, and why was America discovered?

To Americans I hardly need to say,—

As a true patriot, I should be ashamed to think that Adam in paradise was more favorably situated on the whole than the backwoodsman in this country.

Our sympathies in Massachusetts are not confined to New England; though we may be estranged from the South, we sympathize with the West. There is the home of the younger sons, as among the Scandinavians they took to the sea for their inheritance. It is too late to be studying Hebrew; it is more important to understand even the slang of to-day.

Some months ago I went to see a panorama of the Rhine. It was like a dream of the Middle Ages. I floated down its historic stream in something more than imagination, under bridges built by the Romans, and repaired by later heroes, past cities and castles whose very names were music to my ears, and each of which was the subject of a legend. There were Ehrenbreitstein and Rolandseck and Coblentz, which I knew only in history. They were ruins that interested me chiefly. There seemed to come up from its waters and its vine-clad hills and valleys a hushed music as of Crusaders departing for the Holy Land. I floated along under the spell of enchantment, as if I had been transported to an heroic age, and breathed an atmosphere of chivalry.

Soon after, I went to see a panorama of the Mississippi, and as I worked my way up the river in the light of to-day, and saw the steamboats wooding up, counted the rising cities, gazed on the fresh ruins of Nauvoo, beheld the Indians moving west across the stream, and, as before I had looked up the Moselle now looked up the Ohio and the Missouri, and heard the legends of Dubuque and of Wenona’s Cliff,—still thinking more of the future than of the past or present,—I saw that this was a Rhine stream of a different kind; that the foundations of castles were yet to be laid, and the famous bridges were yet to be thrown over the river; and I felt that this was the heroic age itself , though we know it not, for the hero is commonly the simplest and obscurest of men.

The West of which I speak is but another name for the Wild; and what I have been preparing to say is, that in Wildness is the preservation of the World. Every tree sends its fibers forth in search of the Wild. The cities import it at any price. Men plow and sail for it. From the forest and wilderness come the tonics and barks which brace mankind. Our ancestors were savages. The story of Romulus and Remus being suckled by a wolf is not a meaningless fable. The founders of every State which has risen to eminence have drawn their nourishment and vigor from a similar wild source. It was because the children of the Empire were not suckled by the wolf that they were conquered and displaced by the children of the Northern forests who were.

I believe in the forest, and in the meadow, and in the night in which the corn grows. We require an infusion of hemlock-spruce or arbor-vitæ in our tea. There is a difference between eating and drinking for strength and from mere gluttony. The Hottentots eagerly devour the marrow of the koodoo and other antelopes raw, as a matter of course. Some of our Northern Indians eat raw the marrow of the Arctic reindeer, as well as various other parts, including the summits of the antlers, as long as they are soft. And herein, perchance, they have stolen a match on the cooks of Paris. They get what usually goes to feed the fire. This is probably better than stall-fed beef and slaughter-house pork to make a man of. Give me a wildness whose glance no civilization can endure,—as if we lived on the marrow of koodoos devoured raw.

There are some intervals which border the strain of the wood-thrush, to which I would migrate,—wild lands where no settler has squatted; to which, methinks, I am already acclimated.

The African hunter Cummings tells us that the skin of the eland, as well as that of most other antelopes just killed, emits the most delicious perfume of trees and grass. I would have every man so much like a wild antelope, so much a part and parcel of Nature, that his very person should thus sweetly advertise our senses of his presence, and remind us of those parts of Nature which he most haunts. I feel no disposition to be satirical, when the trapper’s coat emits the odor of musquash even; it is a sweeter scent to me than that which commonly exhales from the merchant’s or the scholar’s garments. When I go into their wardrobes and handle their vestments, I am reminded of no grassy plains and flowery meads which they have frequented, but of dusty merchants’ exchanges and libraries rather.

A tanned skin is something more than respectable, and perhaps olive is a fitter color than white for a man,—a denizen of the woods. "The pale white man!" I do not wonder that the African pitied him. Darwin the naturalist says, "A white man bathing by the side of a Tahitian was like a plant bleached by the gardener’s art, compared with a fine, dark green one, growing vigorously in the open fields."

Ben Jonson exclaims,—

So I would say,—

Life consists with wildness. The most alive is the wildest. Not yet subdued to man, its presence refreshes him. One who pressed forward incessantly and never rested from his labors, who grew fast and made infinite demands on life, would always find himself in a new country or wilderness, and surrounded by the raw material of life. He would be climbing over the prostrate stems of primitive forest-trees.

Hope and the future for me are not in lawns and cultivated fields, not in towns and cities, but in the impervious and quaking swamps. When, formerly, I have analyzed my partiality for some farm which I had contemplated purchasing, I have frequently found that I was attracted solely by a few square rods of impermeable and unfathomable bog,—a natural sink in one corner of it. That was the jewel which dazzled me. I derive more of my subsistence from the swamps which surround my native town than from the cultivated gardens in the village. There are no richer parterres to my eyes than the dense beds of dwarf andromeda (Cassandra calyculata) which cover these tender places on the earth’s surface. Botany cannot go farther than tell me the names of the shrubs which grow there,—the high-blueberry, panicled andromeda, lamb-kill, azalea, and rhodora,—all standing in the quaking sphagnum. I often think that I should like to have my house front on this mass of dull red bushes, omitting other flower pots and borders, transplanted spruce and trim box, even graveled walks,—to have this fertile spot under my windows, not a few imported barrow-fulls of soil only to cover the sand which was thrown out in digging the cellar. Why not put my house, my parlor, behind this plot, instead of behind that meager assemblage of curiosities, that poor apology for a Nature and Art, which I call my front-yard? It is an effort to clear up and make a decent appearance when the carpenter and mason have departed, though done as much for the passer-by as the dweller within. The most tasteful front-yard fence was never an agreeable object of study to me; the most elaborate ornaments, acorn-tops, or what not, soon wearied and disgusted me. Bring your sills up to the very edge of the swamp, then, (though it may not be the best place for a dry cellar,) so that there be no access on that side to citizens. Front-yards are not made to walk in, but, at most, through, and you could go in the back way.

Yes, though you may think me perverse, if it were proposed to me to dwell in the neighborhood of the most beautiful garden that ever human art contrived, or else of a Dismal swamp, I should certainly decide for the swamp. How vain, then, have been all your labors, citizens, for me!

My spirits infallibly rise in proportion to the outward dreariness. Give me the ocean, the desert, or the wilderness! In the desert, pure air and solitude compensate for want of moisture and fertility. The traveler Burton says of it,—"Your morale improves; you become frank and cordial, hospitable and single-minded.... In the desert, spirituous liquors excite only disgust. There is a keen enjoyment in a mere animal existence." They who have been traveling long on the steppes of Tartary say,—"On reëntering cultivated lands, the agitation, perplexity, and turmoil of civilization oppressed and suffocated us; the air seemed to fail us, and we felt every moment as if about to die of asphyxia." When I would recreate myself, I seek the darkest wood, the thickest and most interminable, and, to the citizen, most dismal swamp. I enter a swamp as a sacred place,—a sanctum sanctorum . There is the strength, the marrow of Nature. The wild-wood covers the virgin mold,—and the same soil is good for men and for trees. A man’s health requires as many acres of meadow to his prospect as his farm does loads of muck. There are the strong meats on which he feeds. A town is saved, not more by the righteous men in it than by the woods and swamps that surround it. A township where one primitive forest waves above, while another primitive forest rots below,—such a town is fitted to raise not only corn and potatoes, but poets and philosophers for the coming ages. In such a soil grew Homer and Confucius and the rest, and out of such a wilderness comes the Reformer eating locusts and wild honey.

To preserve wild animals implies generally the creation of a forest for them to dwell in or resort to. So it is with man. A hundred years ago they sold bark in our streets peeled from our own woods. In the very aspect of those primitive and rugged trees, there was, methinks, a tanning principle which hardened and consolidated the fibers of men’s thoughts. Ah! already I shudder for these comparatively degenerate days of my native village, when you cannot collect a load of bark of good thickness,—and we no longer produce tar and turpentine.

The civilized nations—Greece, Rome, England—have been sustained by the primitive forests which anciently rotted where they stand. They survive as long as the soil is not exhausted. Alas for human culture! little is to be expected of a nation, when the vegetable mould is exhausted, and it is compelled to make manure of the bones of its fathers. There the poet sustains himself merely by his own superfluous fat, and the philosopher comes down on his marrow-bones.

It is said to be the task of the American "to work the virgin soil," and that "agriculture here already assumes proportions unknown everywhere else." I think that the farmer displaces the Indian even because he redeems the meadow, and so makes himself stronger and in some respects more natural. I was surveying for a man the other day a single straight line one hundred and thirty-two rods long, through a swamp, at whose entrance might have been written the words which Dante read over the entrance to the infernal regions,—"Leave all hope, ye that enter,"—that is, of ever getting out again; where at one time I saw my employer actually up to his neck and swimming for his life in his property, though it was still winter. He had another similar swamp which I could not survey at all, because it was completely under water, and nevertheless, with regard to a third swamp, which I did survey from a distance, he remarked to me, true to his instincts, that he would not part with it for any consideration, on account of the mud which it contained. And that man intends to put a girdling ditch round the whole in the course of forty months, and so redeem it by the magic of his spade. I refer to him only as the type of a class.

The weapons with which we have gained our most important victories, which should be handed down as heirlooms from father to son, are not the sword and the lance, but the bushwhack, the turf-cutter, the spade, and the bog-hoe, rusted with the blood of many a meadow, and begrimed with the dust of many a hard-fought field. The very winds blew the Indian’s cornfield into the meadow, and pointed out the way which he had not the skill to follow. He had no better implement with which to intrench himself in the land than a clam-shell. But the farmer is armed with plow and spade.

In literature it is only the wild that attracts us. Dullness is but another name for tameness. It is the uncivilized free and wild thinking in Hamlet and the Iliad , in all the scriptures and mythologies, not learned in the schools, that delights us. As the wild duck is more swift and beautiful than the tame, so is the wild—the mallard—thought, which 'mid falling dews wings its way above the fens. A truly good book is something as natural, and as unexpectedly and unaccountably fair and perfect, as a wild flower discovered on the prairies of the West or in the jungles of the East. Genius is a light which makes the darkness visible, like the lightning’s flash, which perchance shatters the temple of knowledge itself,—and not a taper lighted at the hearthstone of the race, which pales before the light of common day.

English literature, from the days of the minstrels to the Lake Poets,—Chaucer and Spenser and Milton, and even Shakespeare, included,—breathes no quite fresh and, in this sense, wild strain. It is an essentially tame and civilized literature, reflecting Greece and Rome. Her wilderness is a green wood,—her wild man a Robin Hood. There is plenty of genial love of Nature, but not so much of Nature herself. Her chronicles inform us when her wild animals, but not when the wild man in her, became extinct.

The science of Humboldt is one thing, poetry is another thing. The poet to-day, notwithstanding all the discoveries of science, and the accumulated learning of mankind, enjoys no advantage over Homer.

Where is the literature which gives expression to Nature? He would be a poet who could impress the winds and streams into his service, to speak for him; who nailed words to their primitive senses, as farmers drive down stakes in the spring, which the frost has heaved; who derived his words as often as he used them,—transplanted them to his page with earth adhering to their roots; whose words were so true and fresh and natural that they would appear to expand like the buds at the approach of spring, though they lay half-smothered between two musty leaves in a library,—ay, to bloom and bear fruit there, after their kind, annually, for the faithful reader, in sympathy with surrounding Nature.

I do not know of any poetry to quote which adequately expresses this yearning for the Wild. Approached from this side, the best poetry is tame. I do not know where to find in any literature, ancient or modern, any account which contents me of that Nature with which even I am acquainted. You will perceive that I demand something which no Augustan nor Elizabethan age, which no culture , in short, can give. Mythology comes nearer to it than anything. How much more fertile a Nature, at least, has Grecian mythology its root in than English literature! Mythology is the crop which the Old World bore before its soil was exhausted, before the fancy and imagination were affected with blight; and which it still bears, wherever its pristine vigor is unabated. All other literatures endure only as the elms which overshadow our houses; but this is like the great dragon-tree of the Western Isles, as old as mankind, and, whether that does or not, will endure as long; for the decay of other literatures makes the soil in which it thrives.

The West is preparing to add its fables to those of the East. The valleys of the Ganges, the Nile, and the Rhine, having yielded their crop, it remains to be seen what the valleys of the Amazon, the Plate, the Orinoco, the St. Lawrence, and the Mississippi will produce. Perchance, when, in the course of ages, American liberty has become a fiction of the past,—as it is to some extent a fiction of the present,—the poets of the world will be inspired by American mythology.

The wildest dreams of wild men, even, are not the less true, though they may not recommend themselves to the sense which is most common among Englishmen and Americans to-day. It is not every truth that recommends itself to the common sense. Nature has a place for the wild clematis as well as for the cabbage. Some expressions of truth are reminiscent,—others merely sensible , as the phrase is,—others prophetic. Some forms of disease, even, may prophesy forms of health. The geologist has discovered that the figures of serpents, griffins, flying dragons, and other fanciful embellishments of heraldry, have their prototypes in the forms of fossil species which were extinct before man was created, and hence "indicate a faint and shadowy knowledge of a previous state of organic existence." The Hindoos dreamed that the earth rested on an elephant, and the elephant on a tortoise, and the tortoise on a serpent; and though it may be an unimportant coincidence, it will not be out of place here to state, that a fossil tortoise has lately been discovered in Asia large enough to support an elephant. I confess that I am partial to these wild fancies, which transcend the order of time and development. They are the sublimest recreation of the intellect. The partridge loves peas, but not those that go with her into the pot.

In short, all good things are wild and free. There is something in a strain of music, whether produced by an instrument or by the human voice,—take the sound of a bugle in a summer night, for instance,—which by its wildness, to speak without satire, reminds me of the cries emitted by wild beasts in their native forests. It is so much of their wildness as I can understand. Give me for my friends and neighbors wild men, not tame ones. The wildness of the savage is but a faint symbol of the awful ferity with which good men and lovers meet.

I love even to see the domestic animals reassert their native rights,—any evidence that they have not wholly lost their original wild habits and vigor; as when my neighbor’s cow breaks out of her pasture early in the spring and boldly swims the river, a cold, gray tide, twenty-five or thirty rods wide, swollen by the melted snow. It is the buffalo crossing the Mississippi. This exploit confers some dignity on the herd in my eyes,—already dignified. The seeds of instinct are preserved under the thick hides of cattle and horses, like seeds in the bowels of the earth, an indefinite period.

Any sportiveness in cattle is unexpected. I saw one day a herd of a dozen bullocks and cows running about and frisking in unwieldy sport, like huge rats, even like kittens. They shook their heads, raised their tails, and rushed up and down a hill, and I perceived by their horns, as well as by their activity, their relation to the deer tribe. But, alas! a sudden loud Whoa! would have damped their ardor at once, reduced them from venison to beef, and stiffened their sides and sinews like the locomotive. Who but the Evil One has cried, "Whoa!" to mankind? Indeed, the life of cattle, like that of many men, is but a sort of locomotiveness; they move a side at a time, and man, by his machinery, is meeting the horse and the ox half-way. Whatever part the whip has touched is thenceforth palsied. Who would ever think of a side of any of the supple cat tribe, as we speak of a side of beef?

I rejoice that horses and steers have to be broken before they can be made the slaves of men, and that men themselves have some wild oats still left to sow before they become submissive members of society. Undoubtedly, all men are not equally fit subjects for civilization; and because the majority, like dogs and sheep, are tame by inherited disposition, this is no reason why the others should have their natures broken that they may be reduced to the same level. Men are in the main alike, but they were made several in order that they might be various. If a low use is to be served, one man will do nearly or quite as well as another; if a high one, individual excellence is to be regarded. Any man can stop a hole to keep the wind away, but no other man could serve so rare a use as the author of this illustration did. Confucius says,—"The skins of the tiger and the leopard, when they are tanned, are as the skins of the dog and the sheep tanned." But it is not the part of a true culture to tame tigers, any more than it is to make sheep ferocious; and tanning their skins for shoes is not the best use to which they can be put.

When looking over a list of men’s names in a foreign language, as of military officers, or of authors who have written on a particular subject, I am reminded once more that there is nothing in a name. The name Menschikoff, for instance, has nothing in it to my ears more human than a whisker, and it may belong to a rat. As the names of the Poles and Russians are to us, so are ours to them. It is as if they had been named by the child’s rigmarole,— Iery wiery ichery van, tittle-tol-tan . I see in my mind a herd of wild creatures swarming over the earth, and to each the herdsman has affixed some barbarous sound in his own dialect. The names of men are of course as cheap and meaningless as Bose and Tray , the names of dogs.

Methinks it would be some advantage to philosophy, if men were named merely in the gross, as they are known. It would be necessary only to know the genus and perhaps the race or variety, to know the individual. We are not prepared to believe that every private soldier in a Roman army had a name of his own,—because we have not supposed that he had a character of his own. At present our only true names are nicknames. I knew a boy who, from his peculiar energy, was called "Buster" by his playmates, and this rightly supplanted his Christian name. Some travelers tell us that an Indian had no name given him at first, but earned it, and his name was his fame; and among some tribes he acquired a new name with every new exploit. It is pitiful when a man bears a name for convenience merely, who has earned neither name nor fame.

I will not allow mere names to make distinctions for me, but still see men in herds for all them. A familiar name cannot make a man less strange to me. It may be given to a savage who retains in secret his own wild title earned in the woods. We have a wild savage in us, and a savage name is perchance somewhere recorded as ours. I see that my neighbor, who bears the familiar epithet William, or Edwin, takes it off with his jacket. It does not adhere to him when asleep or in anger, or aroused by any passion or inspiration. I seem to hear pronounced by some of his kin at such a time his original wild name in some jaw-breaking or else melodious tongue.

Here is this vast, savage, howling mother of ours, Nature, lying all around, with such beauty, and such affection for her children, as the leopard; and yet we are so early weaned from her breast to society, to that culture which is exclusively an interaction of man on man,—a sort of breeding in and in, which produces at most a merely English nobility, a civilization destined to have a speedy limit.

In society, in the best institutions of men, it is easy to detect a certain precocity. When we should still be growing children, we are already little men. Give me a culture which imports much muck from the meadows, and deepens the soil,—not that which trusts to heating manures, and improved implements and modes of culture only!

Many a poor, sore-eyed student that I have heard of would grow faster, both intellectually and physically, if, instead of sitting up so very late, he honestly slumbered a fool’s allowance.

There may be an excess even of informing light. Niepce, a Frenchman, discovered "actinism," that power in the sun’s rays which produces a chemical effect,—that granite rocks, and stone structures, and statues of metal, "are all alike destructively acted upon during the hours of sunshine, and, but for provisions of Nature no less wonderful, would soon perish under the delicate touch of the most subtile of the agencies of the universe." But he observed that "those bodies which underwent this change during the daylight possessed the power of restoring themselves to their original conditions during the hours of night, when this excitement was no longer influencing them." Hence it has been inferred that "the hours of darkness are as necessary to the inorganic creation as we know night and sleep are to the organic kingdom." Not even does the moon shine every night, but gives place to darkness.

I would not have every man nor every part of a man cultivated, any more than I would have every acre of earth cultivated: part will be tillage, but the greater part will be meadow and forest, not only serving an immediate use, but preparing a mould against a distant future, by the annual decay of the vegetation which it supports.

There are other letters for the child to learn than those which Cadmus invented. The Spaniards have a good term to express this wild and dusky knowledge— Gramática parda , tawny grammar,—a kind of mother-wit derived from that same leopard to which I have referred.

We have heard of a Society for the Diffusion of Useful Knowledge. It is said that knowledge is power; and the like. Methinks there is equal need of a Society for the Diffusion of Useful Ignorance, what we will call Beautiful Knowledge, a knowledge useful in a higher sense: for what is most of our boasted so-called knowledge but a conceit that we know something, which robs us of the advantage of our actual ignorance? What we call knowledge is often our positive ignorance; ignorance our negative knowledge. By long years of patient industry and reading of the newspapers,—for what are the libraries of science but files of newspapers?—a man accumulates a myriad facts, lays them up in his memory, and then when in some spring of his life he saunters abroad into the Great Fields of thought, he, as it were, goes to grass like a horse, and leaves all his harness behind in the stable. I would say to the Society for the Diffusion of Useful Knowledge, sometimes,—Go to grass. You have eaten hay long enough. The spring has come with its green crop. The very cows are driven to their country pastures before the end of May; though I have heard of one unnatural farmer who kept his cow in the barn and fed her on hay all the year round. So, frequently, the Society for the Diffusion of Useful Knowledge treats its cattle.

A man’s ignorance sometimes is not only useful, but beautiful,—while his knowledge, so called, is oftentimes worse than useless, besides being ugly. Which is the best man to deal with,—he who knows nothing about a subject, and, what is extremely rare, knows that he knows nothing, or he who really knows something about it, but thinks that he knows all?

My desire for knowledge is intermittent; but my desire to bathe my head in atmospheres unknown to my feet is perennial and constant. The highest that we can attain to is not Knowledge, but Sympathy with Intelligence. I do not know that this higher knowledge amounts to anything more definite than a novel and grand surprise on a sudden revelation of the insufficiency of all that we called Knowledge before,—a discovery that there are more things in heaven and earth than are dreamed of in our philosophy. It is the lighting up of the mist by the sun. Man cannot know in any higher sense than this, any more than he can look serenely and with impunity in the face of sun: 'Ως τἱ νοὡν, οὑ κενον νοἡσεις ,—"You will not perceive that, as perceiving a particular thing," say the Chaldean Oracles.

There is something servile in the habit of seeking after a law which we may obey. We may study the laws of matter at and for our convenience, but a successful life knows no law. It is an unfortunate discovery certainly, that of a law which binds us where we did not know before that we were bound. Live free, child of the mist,—and with respect to knowledge we are all children of the mist. The man who takes the liberty to live is superior to all the laws, by virtue of his relation to the law-maker. "That is active duty," says the Vishnu Purana, "which is not for our bondage; that is knowledge which is for our liberation: all other duty is good only unto weariness; all other knowledge is only the cleverness of an artist."

It is remarkable how few events or crises there are in our histories; how little exercised we have been in our minds; how few experiences we have had. I would fain be assured that I am growing apace and rankly, though my very growth disturb this dull equanimity,—though it be with struggle through long, dark, muggy nights or seasons of gloom. It would be well, if all our lives were a divine tragedy even, instead of this trivial comedy or farce. Dante, Bunyan, and others, appear to have been exercised in their minds more than we: they were subjected to a kind of culture such as our district schools and colleges do not contemplate. Even Mahomet, though many may scream at his name, had a good deal more to live for, ay, and to die for, than they have commonly.

When, at rare intervals, some thought visits one, as perchance he is walking on a railroad, then indeed the cars go by without his hearing them. But soon, by some inexorable law, our life goes by and the cars return.

While almost all men feel an attraction drawing them to society, few are attracted strongly to Nature. In their relation to Nature men appear to me for the most part, notwithstanding their arts, lower than the animals. It is not often a beautiful relation, as in the case of the animals. How little appreciation of the beauty of the landscape there is among us! We have to be told that the Greeks called the world Κὁσμος , Beauty, or Order, but we do not see clearly why they did so, and we esteem it at best only a curious philological fact.

For my part, I feel that with regard to Nature I live a sort of border life, on the confines of a world into which I make occasional and transional and transient forays only, and my patriotism and allegiance to the State into whose territories I seem to retreat are those of a moss-trooper. Unto a life which I call natural I would gladly follow even a will-o'-the-wisp through bogs and sloughs unimaginable, but no moon nor firefly has shown me the causeway to it. Nature is a personality so vast and universal that we have never seen one of her features. The walker in the familiar fields which stretch around my native town sometimes finds himself in another land than is described in their owners’ deeds, as it were in some far-away field on the confines of the actual Concord, where her jurisdiction ceases, and the idea which the word Concord suggests ceases to be suggested. These farms which I have myself surveyed, these bounds which I have set up, appear dimly still as through a mist; but they have no chemistry to fix them; they fade from the surface of the glass; and the picture which the painter painted stands out dimly from beneath. The world with which we are commonly acquainted leaves no trace, and it will have no anniversary.

I took a walk on Spaulding’s Farm the other afternoon. I saw the setting sun lighting up the opposite side of a stately pine wood. Its golden rays straggled into the aisles of the wood as into some noble hall. I was impressed as if some ancient and altogether admirable and shining family had settled there in that part of the land called Concord, unknown to me,—to whom the sun was servant,—who had not gone into society in the village,—who had not been called on. I saw their park, their pleasure-ground, beyond through the wood, in Spaulding’s cranberry-meadow. The pines furnished them with gables as they grew. Their house was not obvious to vision; the trees grew through it. I do not know whether I heard the sounds of a suppressed hilarity or not. They seemed to recline on the sunbeams. They have sons and daughters. They are quite well. The farmer’s cart-path, which leads directly through their hall, does not in the least put them out,—as the muddy bottom of a pool is sometimes seen through the reflected skies. They never heard of Spaulding, and do not know that he is their neighbor,—notwithstanding I heard him whistle as he drove his team through the house. Nothing can equal the serenity of their lives. Their coat of arms is simply a lichen. I saw it painted on the pines and oaks. Their attics were in the tops of the trees. They are of no politics. There was no noise of labor. I did not perceive that they were weaving or spinning. Yet I did detect, when the wind lulled and hearing was done away, the finest imaginable sweet musical hum,—as of a distant hive in May, which perchance was the sound of their thinking. They had no idle thoughts, and no one without could see their work, for their industry was not as in knots and excrescences embayed.

But I find it difficult to remember them. They fade irrevocably out of my mind even now while I speak and endeavor to recall them, and recollect myself. It is only after a long and serious effort to recollect my best thoughts that I become again aware of their cohabitancy. If it were not for such families as this, I think I should move out of Concord.

We are accustomed to say in New England that few and fewer pigeons visit us every year. Our forests furnish no mast for them. So, it would seem, few and fewer thoughts visit each growing 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 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.

ON A CERTAIN CONDESCENSION IN FOREIGNERS [5] J AMES R USSELL L OWELL

W ALKING one day toward the Village, as we used to call it in the good old days when almost every dweller in the town had been born in it, I was enjoying that delicious sense of disenthralment from the actual which the deepening twilight brings with it, giving as it does a sort of obscure novelty to things familiar. The coolness, the hush, broken only by the distant bleat of some belated goat, querulous to be disburdened of her milky load, the few faint stars, more guessed as yet than seen, the sense that the coming dark would so soon fold me in the secure privacy of its disguise,—all things combined in a result as near absolute peace as can be hoped for by a man who knows that there is a writ out against him in the hands of the printer’s devil. For the moment, I was enjoying the blessed privilege of thinking without being called on to stand and deliver what I thought to the small public who are good enough to take any interest therein. I love old ways, and the path I was walking felt kindly to the feet it had known for almost fifty years. How many fleeting impressions it had shared with me! How many times I had lingered to study the shadows of the leaves mezzotinted upon the turf that edged it by the moon, of the bare boughs etched with a touch beyond Rembrandt by the same unconscious artist on the smooth page of snow! If I turned round, through dusky tree-gaps came the first twinkle of evening lamps in the dear old homestead. On Corey’s hill I could see these tiny pharoses of love and home and sweet domestic thoughts flash out one by one across the blackening salt-meadow between. How much has not kerosene added to the cheerfulness of our evening landscape! A pair of night-herons flapped heavily over me toward the hidden river. The war was ended. I might walk townward without that aching dread of bulletins that had darkened the July sunshine and twice made the scarlet leaves of October seem stained with blood. I remembered with a pang, half-proud, half-painful, how, so many years ago, I had walked over the same path and felt round my finger the soft pressure of a little hand that was one day to harden with faithful grip of saber. On how many paths, leading to how many homes where proud Memory does all she can to fill up the fireside gaps with shining shapes, must not men be walking in just such pensive mood as I? Ah, young heroes, safe in immortal youth as those of Homer, you at least carried your ideal hence untarnished! It is locked for you beyond moth or rust in the treasure-chamber of Death.

Is not a country, I thought, that has had such as they in it, that could give such as they a brave joy in dying for it, worth something, then? And as I felt more and more the soothing magic of evening’s cool palm upon my temples, as my fancy came home from its revery, and my senses, with reawakened curiosity, ran to the front windows again from the viewless closet of abstraction, and felt a strange charm in finding the old tree and shabby fence still there under the travesty of falling night, nay, were conscious of an unsuspected newness in familiar stars and the fading outlines of hills my earliest horizon, I was conscious of an immortal soul, and could not but rejoice in the unwaning goodliness of the world into which I had been born without any merit of my own. I thought of dear Henry Vaughan’s rainbow, "Still young and fine!" I remembered people who had to go over to the Alps to learn what the divine silence of snow was, who must run to Italy before they were conscious of the miracle wrought every day under their very noses by the sunset, who must call upon the Berkshire hills to teach them what a painter autumn was, while close at hand the Fresh Pond meadows made all oriels cheap with hues that showed as if a sunset-cloud had been wrecked among their maples. One might be worse off than even in America, I thought. There are some things so elastic that even the heavy roller of democracy cannot flatten them altogether down. The mind can weave itself warmly in the cocoon of its own thoughts and dwell a hermit anywhere. A country without traditions, without ennobling associations, a scramble of parvenus , with a horrible consciousness of shoddy running through politics, manners, art, literature, nay, religion itself? I confess, it did not seem so to me there in that illimitable quiet, that serene self-possession of nature, where Collins might have brooded his "Ode to Evening," or where those verses on Solitude in Dodsley’s Collection, that Hawthorne liked so much, might have been composed. Traditions? Granting that we had none, all that is worth having in them is the common property of the soul,—an estate in gavelkind for all the sons of Adam,—and, moreover, if a man cannot stand on his two feet (the prime quality of whoever has left any tradition behind him), were it not better for him to be honest about it at once, and go down on all fours? And for associations, if one have not the wit to make them for himself out of native earth, no ready-made ones of other men will avail much. Lexington is none the worse to me for not being in Greece, nor Gettysburg that its name is not Marathon. "Blessed old fields," I was just exclaiming to myself, like one of Mrs. Radcliffe’s heroes, "dear acres, innocently secure from history, which these eyes first beheld, may you be also those to which they shall at last slowly darken!" when I was interrupted by a voice which asked me in German whether I was the Herr Professor, Doctor, So-and-so? The "Doctor" was by brevet or vaticination, to make the grade easier to my pocket.

One feels so intimately assured that he is made up, in part, of shreds and leavings of the past, in part of the interpolations of other people, that an honest man would be slow in saying yes to such a question. But "my name is So-and-so" is a safe answer, and I gave it. While I had been romancing with myself, the street-lamps had been lighted, and it was under one of these detectives that have robbed the Old Road of its privilege of sanctuary after nightfall that I was ambushed by my foe. The inexorable villain had taken my description, it appears, that I might have the less chance to escape him. Dr. Holmes tells us that we change our substance, not every seven years, as was once believed, but with every breath we draw. Why had I not the wit to avail myself of the subterfuge, and, like Peter, to renounce my identity, especially, as in certain moods of mind, I have often more than doubted of it myself? When a man is, as it were, his own front-door, and is thus knocked at, why may he not assume the right of that sacred wood to make every house a castle, by denying himself to all visitations? I was truly not at home when the question was put to me, but had to recall myself from all out-of-doors, and to piece my self-consciousness hastily together as well as I could before I answered it.

I knew perfectly well what was coming. It is seldom that debtors or good Samaritans waylay people under gaslamps in order to force money upon them, so far as I have seen or heard. I was also aware, from considerable experience, that every foreigner is persuaded that, by doing this country the favor of coming to it, he has laid every native thereof under an obligation, pecuniary or other, as the case may be, whose discharge he is entitled to on demand duly made in person or by letter. Too much learning (of this kind) had made me mad in the provincial sense of the word. I had begun life with the theory of giving something to every beggar that came along, though sure of never finding a native-born countryman among them. In a small way, I was resolved to emulate Hatem Tai’s tent, with its three hundred and sixty-five entrances, one for every day in the year,—I know not whether he was astronomer enough to add another for leap-years. The beggars were a kind of German-silver aristocracy; not real plate, to be sure, but better than nothing. Where everybody was overworked, they supplied the comfortable equipoise of absolute leisure, so æsthetically needful. Besides, I was but too conscious of a vagrant fiber in myself, which too often thrilled me in my solitary walks with the temptation to wander on into infinite space, and by a single spasm of resolution to emancipate myself from the drudgery of prosaic serfdom to respectability and the regular course of things. This prompting has been at times my familiar demon, and I could not but feel a kind of respectful sympathy for men who had dared what I had only sketched out to myself as a splendid possibility. For seven years I helped maintain one heroic man on an imaginary journey to Portland,—as fine an example as I have ever known of hopeless loyalty to an ideal. I assisted another so long in a fruitless attempt to reach Mecklenburg-Schwerin, that at last we grinned in each other’s faces when we met, like a couple of augurs. He was possessed by this harmless mania as some are by the North Pole, and I shall never forget his look of regretful compassion (as for one who was sacrificing his higher life to the fleshpots of Egypt) when I at last advised him somewhat strenuously to go to the D——, whither the road was so much traveled that he could not miss it. General Banks, in his noble zeal for the honor of his country, would confer on the Secretary of State the power of imprisoning, in case of war, all these seekers of the unattainable, thus by a stroke of the pen annihilating the single poetic element in our humdrum life. Alas! not everybody has the genius to be a Bobbin-Boy, or doubtless all these also would have chosen that more prosperous line of life! But moralists, sociologists, political economists, and taxes have slowly convinced me that my beggarly sympathies were a sin against society. Especially was the Buckle doctrine of averages (so flattering to our free-will) persuasive with me; for as there must be in every year a certain number who would bestow an alms on these abridged editions of the Wandering Jew, the withdrawal of my quota could make no possible difference, since some destined proxy must always step forward to fill my gap. Just so many misdirected letters every year and no more! Would it were as easy to reckon up the number of men on whose backs fate has written the wrong address, so that they arrive by mistake in Congress and other places where they do not belong! May not these wanderers of whom I speak have been sent into the world without any proper address at all? Where is our Dead-Letter Office for such? And if wiser social arrangements should furnish us with something of the sort, fancy (horrible thought!) how many a workingman’s friend (a kind of industry in which the labor is light and the wages heavy) would be sent thither because not called for in the office where he at present lies!

But I am leaving my new acquaintance too long under the lamp-post. The same Gano which had betrayed me to him revealed to me a well-set young man of about half my own age, as well dressed, so far as I could see, as I was, and with every natural qualification for getting his own livelihood as good, if not better, than my own. He had been reduced to the painful necessity of calling upon me by a series of crosses beginning with the Baden Revolution (for which, I own, he seemed rather young,—but perhaps he referred to a kind of revolution practiced every season at Baden-Baden), continued by repeated failures in business, for amounts which must convince me of his entire respectability, and ending with our Civil War. During the latter, he had served with distinction as a soldier, taking a main part in every important battle, with a rapid list of which he favored me, and no doubt would have admitted that, impartial as Jonathan Wild’s great ancestor, he had been on both sides, had I baited him with a few hints of conservative opinions on a subject so distressing to a gentleman wishing to profit by one’s sympathy and unhappily doubtful as to which way it might lean. For all these reasons, and, as he seemed to imply, for his merit in consenting to be born in Germany, he considered himself my natural creditor to the extent of five dollars, which he would handsomely consent to accept in greenbacks, though he preferred specie. The offer was certainly a generous one, and the claim presented with an assurance that carried conviction. But, unhappily, I had been led to remark a curious natural phenomenon. If I was ever weak enough to give anything to a petitioner of whatever nationality, it always rained decayed compatriots of his for a month after. Post hoc ergo propter hoc may not always be safe logic, but here I seemed to perceive a natural connection of cause and effect. Now, a few days before I had been so tickled with a paper (professedly written by a benevolent American clergyman) certifying that the bearer, a hard-working German, had long "sofered with rheumatic paints in his limps," that, after copying the passage into my note-book, I thought it but fair to pay a trifling honorarium to the author. I had pulled the string of the shower-bath! It had been running shipwrecked sailors for some time, but forthwith it began to pour Teutons, redolent of lager-bier . I could not help associating the apparition of my new friend with this series of otherwise unaccountable phenomena. I accordingly made up my mind to deny the debt, and modestly did so, pleading a native bias towards impecuniosity to the full as strong as his own. He took a high tone with me at once, such as an honest man would naturally take with a confessed repudiator. He even brought down his proud stomach so far as to join himself to me for the rest of my townward walk, that he might give me his views of the American people, and thus inclusively of myself.

I know not whether it is because I am pigeon-livered and lack gall, or whether it is from an overmastering sense of drollery, but I am apt to submit to such bastings with a patience which afterwards surprises me, being not without my share of warmth in the blood. Perhaps it is because I so often meet with young persons who know vastly more than I do, and especially with so many foreigners whose knowledge of this country is superior to my own. However it may be, I listened for some time with tolerable composure as my self-appointed lecturer gave me in detail his opinions of my country and its people. America, he informed me, was without arts, science, literature, culture, or any native hope of supplying them. We were a people wholly given to money-getting, and who, having got it, knew no other use for it than to hold it fast. I am fain to confess that I felt a sensible itching of the biceps, and that my fingers closed with such a grip as he had just informed me was one of the effects of our unhappy climate. But happening just then to be where I could avoid temptation by dodging down a by-street, I hastily left him to finish his diatribe to the lamp-post, which could stand it better than I. That young man will never know how near he came to being assaulted by a respectable gentleman of middle age, at the corner of Church Street. I have never felt quite satisfied that I did all my duty by him in not knocking him down. But perhaps he might have knocked me down, and then?

The capacity of indignation makes an essential part of the outfit of every honest man, but I am inclined to doubt whether he is a wise one who allows himself to act upon its first hints. It should be rather, I suspect, a latent heat in the blood, which makes itself felt in character, a steady reserve for the brain, warming the ovum of thought to life, rather than cooking it by a too hasty enthusiasm in reaching the boiling-point. As my pulse gradually fell back to its normal beat, I reflected that I had been uncomfortably near making a fool of myself,—a handy salve of euphuism for our vanity, though it does not always make a just allowance to Nature for her share in the business. What possible claim had my Teutonic friend to rob me of my composure? I am not, I think, specially thin-skinned as to other people’s opinions of myself, having, as I conceive, later and fuller intelligence on that point than anybody else can give me. Life is continually weighing us in very sensitive scales, and telling every one of us precisely what his real weight is to the last grain of dust. Whoever at fifty does not rate himself quite as low as most of his acquaintance would be likely to put him, must be either a fool or a great man, and I humbly disclaim being either. But if I was not smarting in person from any scattering shot of my late companion’s commination, why should I grow hot at any implication of my country therein? Surely her shoulders are broad enough, if yours or mine are not, to bear up under a considerable avalanche of this kind. It is the bit of truth in every slander, the hint of likeness in every caricature, that makes us smart. "Art thou there , old Truepenny?" How did your blade know its way so well to that one loose rivet in our armor? I wondered whether Americans were over-sensitive in this respect, whether they were more touchy than other folks. On the whole, I thought we were not. Plutarch, who at least had studied philosophy, if he had not mastered it, could not stomach something Herodotus had said of Bœotia, and devoted an essay to showing up the delightful old traveler’s malice and ill-breeding. French editors leave out of Montaigne’s "Travels" some remarks of his about France, for reasons best known to themselves. Pachydermatous Deutschland, covered with trophies from every field of letters, still winces under that question which Père Bouhours put two centuries ago, Si un Allemand peut être bel-esprit? John Bull grew apoplectic with angry amazement at the audacious persiflage of Pückler-Muskau. To be sure, he was a prince,—but that was not all of it, for a chance phrase of gentle Hawthorne sent a spasm through all the journals of England. Then this tenderness is not peculiar to us ? Console yourself, dear man and brother, whatever else you may be sure of, be sure at least of this, that you are dreadfully like other people. Human nature has a much greater genius for sameness than for originality, or the world would be at a sad pass shortly. The surprising thing is that men have such a taste for this somewhat musty flavor, that an Englishman, for example, should feel himself defrauded, nay, even outraged, when he comes over here and finds a people speaking what he admits to be something like English, and yet so very different from (or, as he would say, to) those he left at home. Nothing, I am sure, equals my thankfulness when I meet an Englishman who is not like every other, or, I may add, an American of the same odd turn.

Certainly it is no shame to a man that he should be as nice about his country as about his sweetheart, and who ever heard even the friendliest appreciation of that unexpressive she that did not seem to fall infinitely short? Yet it would hardly be wise to hold everyone an enemy who could not see her with our own enchanted eyes. It seems to be the common opinion of foreigners that Americans are too tender upon this point. Perhaps we are; and if so, there must be a reason for it. Have we had fair play? Could the eyes of what is called Good Society (though it is so seldom true either to the adjective or noun) look upon a nation of democrats with any chance of receiving an undistorted image? Were not those, moreover, who found in the old order of things an earthly paradise, paying them quarterly dividends for the wisdom of their ancestors, with the punctuality of the seasons, unconsciously bribed to misunderstand if not to misrepresent us? Whether at war or at peace, there we were, a standing menace to all earthly paradises of that kind, fatal underminers of the very credit on which the dividends were based, all the more hateful and terrible that our destructive agency was so insidious, working invisible in the elements, as it seemed, active while they slept, and coming upon them in the darkness like an armed man. Could Laius have the proper feelings of a father towards Œdipus, announced as his destined destroyer by infallible oracles, and felt to be such by every conscious fiber of his soul? For more than a century the Dutch were the laughing-stock of polite Europe. They were butter-firkins, swillers of beer and schnaps, and their vrouws from whom Holbein painted the all-but loveliest of Madonnas, Rembrandt the graceful girl who sits immortal on his knee in Dresden, and Rubens his abounding goddesses, were the synonymes of clumsy vulgarity. Even so late as Irving the ships of the greatest navigators in the world were represented as sailing equally well stern-foremost. That the aristocratic Venetians should have

was heroic. But the far more marvelous achievement of the Dutch in the same kind was ludicrous even to republican Marvell. Meanwhile, during that very century of scorn, they were the best artists, sailors, merchants, bankers, printers, scholars, jurisconsults, and statesmen in Europe, and the genius of Motley has revealed them to us, earning a right to themselves by the most heroic struggle in human annals. But, alas! they were not merely simple burghers who had fairly made themselves High Mightinesses, and could treat on equal terms with anointed kings, but their commonwealth carried in its bosom the germs of democracy. They even unmuzzled, at least after dark, that dreadful mastiff, the Press, whose scent is, or ought to be, so keen for wolves in sheep’s clothing and for certain other animals in lions’ skins. They made fun of Sacred Majesty, and, what was worse, managed uncommonly well without it. In an age when periwigs made so large a part of the natural dignity of man, people with such a turn of mind were dangerous. How could they seem other than vulgar and hateful?

In the natural course of things we succeeded to this unenviable position of general butt. The Dutch had thriven under it pretty well, and there was hope that we could at least contrive to worry along. And we certainly did in a very redoubtable fashion. Perhaps we deserved some of the sarcasm more than our Dutch predecessors in office. We had nothing to boast of in arts or letters, and were given to bragging overmuch of our merely material prosperity, due quite as much to the virtue of our continent as to our own. There was some truth in Carlyle’s sneer, after all. Till we had succeeded in some higher way than this, we had only the success of physical growth. Our greatness, like that of enormous Russia, was greatness on the map,—barbarian mass only; but had we gone down, like that other Atlantis, in some vast cataclysm, we should have covered but a pin’s point on the chart of memory, compared with those ideal spaces occupied by tiny Attica and cramped England. At the same time, our critics somewhat too easily forgot that material must make ready the foundation for ideal triumphs, that the arts have no chance in poor countries. And it must be allowed that democracy stood for a great deal in our shortcoming. The Edinburgh Review never would have thought of asking, "Who reads a Russian book?" and England was satisfied with iron from Sweden without being impertinently inquisitive after her painters and statuaries. Was it that they expected too much from the mere miracle of Freedom? Is it not the highest art of a Republic to make men of flesh and blood, and not the marble ideals of such? It may be fairly doubted whether we have produced this higher type of man yet. Perhaps it is the collective, not the individual, humanity that is to have a chance of nobler development among us. We shall see. We have a vast amount of imported ignorance, and, still worse, of native ready-made knowledge, to digest before even the preliminaries of such a consummation can be arranged. We have got to learn that statesmanship is the most complicated of all arts, and to come back to the apprenticeship-system too hastily abandoned. At present, we trust a man with making constitutions on less proof of competence than we should demand before we gave him our shoe to patch. We have nearly reached the limit of the reaction from the old notion, which paid too much regard to birth and station as qualifications for office, and have touched the extreme point in the opposite direction, putting the highest of human functions up at auction to be bid for by any creature capable of going upright on two legs. In some places, we have arrived at a point at which civil society is no longer possible, and already another reaction has begun, not backwards to the old system, but towards fitness either from natural aptitude or special training. But will it always be safe to let evils work their own cure by becoming unendurable? Every one of them leaves its taint in the constitution of the body-politic, each in itself, perhaps, trifling, but all together powerful for evil.

But whatever we might do or leave undone, we were not genteel, and it was uncomfortable to be continually reminded that, though we should boast that we were the Great West till we were black in the face, it did not bring us an inch nearer to the world’s West-End. That sacred inclosure of respectability was tabooed to us. The Holy Alliance did not inscribe us on its visiting-list. The Old World of wigs and orders and liveries would shop with us, but we must ring at the area-bell, and not venture to awaken the more august clamors of the knocker. Our manners, it must be granted, had none of those graces that stamp the caste of Vere de Vere, in whatever museum of British antiquities they may be hidden. In short, we were vulgar.

This was one of those horribly vague accusations, the victim of which has no defense. An umbrella is of no avail against a Scotch mist. It envelops you, it penetrates at every pore, it wets you through without seeming to wet you at all. Vulgarity is an eighth deadly sin, added to the list in these latter days, and worse than all the others put together, since it perils your salvation in this world,—far the more important of the two in the minds of most men. It profits nothing to draw nice distinctions between essential and conventional, for the convention in this case is the essence, and you may break every command of the decalogue with perfect good-breeding, nay, if you are adroit, without losing caste. We, indeed, had it not to lose, for we had never gained it. " How am I vulgar?" asks the culprit, shudderingly. "Because thou art not like unto Us," answers Lucifer, Son of the Morning, and there is no more to be said. The god of this world may be a fallen angel, but he has us there! We were as clean,—so far as my observation goes, I think we were cleaner, morally and physically, than the English, and therefore, of course, than everybody else. But we did not pronounce the diphthong ou as they did, and we said eether and not eyther , following therein the fashion of our ancestors, who unhappily could bring over no English better than Shakespeare’s; and we did not stammer as they had learned to do from the courtiers, who in this way flattered the Hanoverian king, a foreigner among the people he had come to reign over. Worse than all, we might have the noblest ideas and the finest sentiments in the world, but we vented them through that organ by which men are led rather than leaders, though some physiologists would persuade us that Nature furnishes her captains with a fine handle to their faces that Opportunity may get a good purchase on them for dragging them to the front.

This state of things was so painful that excellent people were not wanting who gave their whole genius to reproducing here the original Bull, whether by gaiters, the cut of their whiskers, by a factitious brutality in their tone, or by an accent that was forever tripping and falling flat over the tangled roots of our common tongue. Martyrs to a false ideal, it never occurred to them that nothing is more hateful to gods and men than a second-rate Englishman, and for the very reason that this planet never produced a more splendid creature than the first-rate one, witness Shakespeare and the Indian Mutiny. If we could contrive to be not too unobtrusively our simple selves, we should be the most delightful of human beings, and the most original; whereas, when the plating of Anglicism rubs off, as it always will in points that come to much wear, we are liable to very unpleasing conjectures about the quality of the metal underneath. Perhaps one reason why the average Briton spreads himself here with such an easy air of superiority may be owing to the fact that he meets with so many bad imitations as to conclude himself the only real thing in a wilderness of shams. He fancies himself moving through an endless Bloomsbury, where his mere apparition confers honor as an avatar of the court-end of the universe. Not a Bull of them all but is persuaded he bears Europa upon his back. This is the sort of fellow whose patronage is so divertingly insufferable. Thank Heaven he is not the only specimen of cater-cousinship from the dear old Mother Island that is shown to us! Among genuine things, I know nothing more genuine than the better men whose limbs were made in England. So manly-tender, so brave, so true, so warranted to wear, they make us proud to feel that blood is thicker than water.

But it is not merely the Englishman; every European candidly admits in himself some right of primogeniture in respect of us, and pats this shaggy continent on the back with a lively sense of generous unbending. The German who plays the bass-viol has a well-founded contempt, which he is not always nice in concealing, for a country so few of whose children ever take that noble instrument between their knees. His cousin, the Ph.D. from Göttingen, cannot help despising a people who do not grow loud and red over Aryans and Turanians, and are indifferent about their descent from either. The Frenchman feels an easy mastery in speaking his mother tongue, and attributes it to some native superiority of parts that lifts him high above us barbarians of the West. The Italian prima donna sweeps a curtsy of careless pity to the over-facile pit which unsexes her with the bravo! innocently meant to show a familiarity with foreign usage. But all without exception make no secret of regarding us as the goose bound to deliver them a golden egg in return for their cackle. Such men as Agassiz, Guyot, and Goldwin Smith come with gifts in their hands; but since it is commonly European failures who bring hither their remarkable gifts and acquirements, this view of the case is sometimes just the least bit in the world provoking. To think what a delicious seclusion of contempt we enjoyed till California and our own ostentatious parvenus , flinging gold away in Europe that might have endowed libraries at home, gave us the ill repute of riches! What a shabby downfall from the Arcadia which the French officers of our Revolutionary War fancied they saw here through Rousseau-tinted spectacles! Something of Arcadia there really was, something of the Old Age; and that divine provincialism were cheaply repurchased could we have it back again in exchange for the tawdry upholstery that has taken its place.

For some reason or other, the European has rarely been able to see America except in caricature. Would the first Review of the world have printed the niaiseries of Mr. Maurice Sand as a picture of society in any civilized country? Mr. Sand, to be sure, has inherited nothing of his famous mother’s literary outfit, except the pseudonyme. But since the conductors of the Revue could not have published his story because it was clever, they must have thought it valuable for its truth. As true as the last-century Englishman’s picture of Jean Crapaud! We do not ask to be sprinkled with rosewater, but may perhaps fairly protest against being drenched with the rinsings of an unclean imagination. The next time the Revue allows such ill-bred persons to throw their slops out of its first-floor windows, let it honestly preface the discharge with a gardez-l’eau! that we may run from under in season. And Mr. Duvergier d’Hauranne, who knows how to be entertaining! I know le Français est plutôt indiscret que confiant , and the pen slides too easily when indiscretions will fetch so much a page; but should we not have been tant-soit-peu more cautious had we been writing about people on the other side of the Channel? But then it is a fact in the natural history of the American long familiar to Europeans, that he abhors privacy, knows not the meaning of reserve, lives in hotels because of their greater publicity, and is never so pleased as when his domestic affairs (if he may be said to have any) are paraded in the newspapers. Barnum, it is well known, represents perfectly the average national sentiment in this respect. However it be, we are not treated like other people, or perhaps I should say like people who are ever likely to be met with in society.

Is it in the climate? Either I have a false notion of European manners, or else the atmosphere affects them strangely when exported hither. Perhaps they suffer from the sea-voyage like some of the more delicate wines. During our Civil War an English gentleman of the highest description was kind enough to call upon me, mainly, as it seemed, to inform me how entirely he sympathized with the Confederates, and how sure he felt that we could never subdue them,—"they were the gentlemen of the country, you know." Another, the first greetings hardly over, asked me how I accounted for the universal meagerness of my countrymen. To a thinner man than I, or from a stouter man than he, the question might have been offensive. The Marquis of Hartington [6] wore a secession badge at a public ball in New York. In a civilized country he might have been roughly handled; but here, where the bienséances are not so well understood, of course nobody minded it. A French traveler told me he had been a good deal in the British colonies, and had been astonished to see how soon the people became Americanized. He added, with delightful bonhomie , and as if he were sure it would charm me, that "they even began to talk through their noses, just like you!" I was naturally ravished with this testimony to the assimilating power of democracy, and could only reply that I hoped they would never adopt our democratic patent-method of seeming to settle one’s honest debts, for they would find it paying through the nose in the long-run. I am a man of the New World, and do not know precisely the present fashion of May-Fair, but I have a kind of feeling that if an American ( mutato nomine, de te is always frightfully possible) were to do this kind of thing under a European roof, it would induce some disagreeable reflections as to the ethical results of democracy. I read the other day in print the remark of a British tourist who had eaten large quantities of our salt, such as it is (I grant it has not the European savor), that the Americans were hospitable, no doubt, but that it was partly because they longed for foreign visitors to relieve the tedium of their dead-level existence, and partly from ostentation. What shall we do? Shall we close our doors? Not I, for one, if I should so have forfeited the friendship of L. S., most lovable of men. He somehow seems to find us human, at least, and so did Clough, whose poetry will one of these days, perhaps, be found to have been the best utterance in verse of this generation.

The fine old Tory aversion of former times was not hard to bear. There was something even refreshing in it, as in a northeaster to a hardy temperament. When a British parson, traveling in Newfoundland while the slash of our separation was still raw, after prophesying a glorious future for an island that continued to dry its fish under the ægis of Saint George, glances disdainfully over his spectacles in parting at the U. S. A., and forebodes for them a "speedy relapse into barbarism," now that they have madly cut themselves off from the humanizing influences of Britain, I smile with barbarian self-conceit. But this kind of thing became by degrees an unpleasant anachronism. For meanwhile the young giant was growing, was beginning indeed to feel tight in his clothes, was obliged to let in a gore here and there in Texas, in California, in New Mexico, in Alaska, and had the scissors and needle and thread ready for Canada when the time came. His shadow loomed like a Brocken-specter over against Europe,—the shadow of what they were coming to, that was the unpleasant part of it. Even in such misty image as they had of him, it was painfully evident that his clothes were not of any cut hitherto fashionable, nor conceivable by a Bond Street tailor,—and this in an age, too, when everything depends upon clothes, when, if we do not keep up appearances, the seeming-solid frame of this universe, nay, your very God, would slump into himself, like a mockery king of snow, being nothing, after all, but a prevailing mode. From this moment the young giant assumed the respectable aspect of a phenomenon, to be got rid of if possible, but at any rate as legitimate a subject of human study as the glacial period or the silurian what-d’ye-call-ems. If the man of the primeval drift-heaps be so absorbingly interesting, why not the man of the drift that is just beginning, of the drift into whose irresistible current we are just being sucked whether we will or no? If I were in their place, I confess I should not be frightened. Man has survived so much, and contrived to be comfortable on this planet after surviving so much! I am something of a protestant in matters of government also, and am willing to get rid of vestments and ceremonies and to come down to bare benches, if only faith in God take the place of a general agreement to profess confidence in ritual and sham. Every mortal man of us holds stock in the only public debt that is absolutely sure of payment, and that is the debt of the Maker of this Universe to the Universe he has made. I have no notion of selling out my shares in a panic.

It was something to have advanced even to the dignity of a phenomenon, and yet I do not know that the relation of the individual American to the individual European was bettered by it; and that, after all, must adjust itself comfortably before there can be a right understanding between the two. We had been a desert, we became a museum. People came hither for scientific and not social ends. The very cockney could not complete his education without taking a vacant stare at us in passing. But the sociologists (I think they call themselves so) were the hardest to bear. There was no escape. I have even known a professor of this fearful science to come disguised in petticoats. We were cross-examined as a chemist cross-examines a new substance. Human? yes, all the elements are present, though abnormally combined. Civilized? Hm! that needs a stricter assay. No entomologist could take a more friendly interest in a strange bug. After a few such experiences, I, for one, have felt as if I were merely one of those horrid things preserved in spirits (and very bad spirits, too) in a cabinet. I was not the fellow-being of these explorers: I was a curiosity; I was a specimen . Hath not an American organs, dimensions, senses, affections, passions even as a European hath? If you prick us, do we not bleed? If you tickle us, do we not laugh? I will not keep on with Shylock to his next question but one.

Till after our Civil War it never seemed to enter the head of any foreigner, especially of any Englishman, that an American had what could be called a country, except as a place to eat, sleep, and trade in. Then it seemed to strike them suddenly. "By Jove, you know, fellahs don’t fight like that for a shop-till!" No, I rather think not. To Americans America is something more than a promise and an expectation. It has a past and traditions of its own. A descent from men who sacrificed everything and came hither, not to better their fortunes, but to plant their idea in virgin soil, should be a good pedigree. There was never colony save this that went forth, not to seek gold, but God. Is it not as well to have sprung from such as these as from some burly beggar who came over with Wilhelmus Conquestor, unless, indeed, a line grow better as it runs farther away from stalwart ancestors? And for our history, it is dry enough, no doubt, in the books, but, for all that, is of a kind that tells in the blood. I have admitted that Carlyle’s sneer had a show of truth in it. But what does he himself, like a true Scot, admire in the Hohenzollerns? First of all, that they were canny , a thrifty, forehanded race. Next, that they made a good fight from generation to generation with the chaos around them. That is precisely the battle which the English race on this continent has been carrying doughtily on for two centuries and a half. Doughtily and silently, for you cannot hear in Europe "that crash, the death-song of the perfect tree," that has been going on here from sturdy father to sturdy son, and making this continent habitable for the weaker Old World breed that has swarmed to it during the last half-century. If ever men did a good stroke of work on this planet, it was the forefathers of those whom you are wondering whether it would not be prudent to acknowledge as far-off cousins. Alas, man of genius, to whom we owe so much, could you see nothing more than the burning of a foul chimney in that clash of Michael and Satan which flamed up under your very eyes?

Before our war we were to Europe but a huge mob of adventurers and shopkeepers. Leigh Hunt expressed it well enough when he said that he could never think of America without seeing a gigantic counter stretched all along the seaboard. Feudalism had by degrees made commerce, the great civilizer, contemptible. But a tradesman with sword on thigh and very prompt of stroke was not only redoubtable, he had become respectable also. Few people, I suspect, alluded twice to a needle in Sir John Hawkwood’s presence, after that doughty fighter had exchanged it for a more dangerous tool of the same metal. Democracy had been hitherto only a ludicrous effort to reverse the laws of nature by thrusting Cleon into the place of Pericles. But a democracy that could fight for an abstraction, whose members held life and goods cheap compared with that larger life which we call country, was not merely unheard of, but portentous. It was the nightmare of the Old World taking upon itself flesh and blood, turning out to be substance and not dream. Since the Norman crusader clanged down upon the throne of the porphyrogeniti , carefully-draped appearances had never received such a shock, had never been so rudely called on to produce their titles to the empire of the world. Authority has had its periods not unlike those of geology, and at last comes Man claiming kingship in right of his mere manhood. The world of the Saurians might be in some respects more picturesque, but the march of events is inexorable, and it is bygone.

The young giant had certainly got out of long-clothes. He had become the enfant terrible of the human household. It was not and will not be easy for the world (especially for our British cousins) to look upon us as grown up. The youngest of nations, its people must also be young and to be treated accordingly, was the syllogism. Youth has its good qualities, as people feel who are losing it, but boyishness is another thing. We had been somewhat boyish as a nation, a little loud, a little pushing, a little braggart. But might it not partly have been because we felt that we had certain claims to respect that were not admitted? The war which established our position as a vigorous nationality has also sobered us. A nation, like a man, cannot look death in the eye for four years without some strange reflections, without arriving at some clearer consciousness of the stuff it is made of, without some great moral change. Such a change, or the beginning of it, no observant person can fail to see here. Our thought and our politics, our bearing as a people, are assuming a manlier tone. We have been compelled to see what was weak in democracy as well as what was strong. We have begun obscurely to recognize that things do not go of themselves, and that popular government is not in itself a panacea, is no better than any other form except as the virtue and wisdom of the people make it so, and that when men undertake to do their own kingship, they enter upon the dangers and responsibilities as well as the privileges of the function. Above all, it looks as if we were on the way to be persuaded that no government can be carried on by declamation. It is noticeable also that facility of communication has made the best English and French thought far more directly operative here than ever before. Without being Europeanized, our discussion of important questions in statesmanship, in political economy, in æsthetics, is taking a broader scope and a higher tone. It had certainly been provincial, one might almost say local, to a very unpleasant extent. Perhaps our experience in soldiership has taught us to value training more than we have been popularly wont. We may possibly come to the conclusion, one of these days, that self-made men may not be always equally skillful in the manufacture of wisdom, may not be divinely commissioned to fabricate the higher qualities of opinion on all possible topics of human interest.

So long as we continue to be the most common-schooled and the least cultivated people in the world, I suppose we must consent to endure this condescending manner of foreigners toward us. The more friendly they mean to be the more ludicrously prominent it becomes. They can never appreciate the immense amount of silent work that has been done here, making this continent slowly fit for the abode of man, and which will demonstrate itself, let us hope, in the character of the people. Outsiders can only be expected to judge a nation by the amount it has contributed to the civilization of the world; the amount, that is, that can be seen and handled. A great place in history can only be achieved by competitive examinations, nay, by a long course of them. How much new thought have we contributed to the common stock? Till that question can be triumphantly answered, or needs no answer, we must continue to be simply interesting as an experiment, to be studied as a problem, and not respected as an attained result or an accomplished solution. Perhaps, as I have hinted, their patronizing manner toward us is the fair result of their failing to see here anything more than a poor imitation, a plaster-cast of Europe. And are they not partly right? If the tone of the uncultivated American has too often the arrogance of the barbarian, is not that of the cultivated as often vulgarly apologetic? In the American they meet with is there the simplicity, the manliness, the absence of sham, the sincere human nature, the sensitiveness to duty and implied obligation, that in any way distinguishes us from what our orators call "the effete civilization of the Old World"? Is there a politician among us daring enough (except a Dana here and there) to risk his future on the chance of our keeping our word with the exactness of superstitious communities like England? Is it certain that we shall be ashamed of a bankruptcy of honor, if we can only keep the letter of our bond? I hope we shall be able to answer all these questions with a frank yes . At any rate, we would advise our visitors that we are not merely curious creatures, but belong to the family of man, and that, as individuals, we are not to be always subjected to the competitive examination above mentioned, even if we acknowledged their competence as an examining board. Above all, we beg them to remember that America is not to us, as to them, a mere object of external interest to be discussed and analyzed, but in us, part of our very marrow. Let them not suppose that we conceive of ourselves as exiles from the graces and amenities of an older date than we, though very much at home in a state of things not yet all it might be or should be, but which we mean to make so, and which we find both wholesome and pleasant for men (though perhaps not for dilettanti ) to live in. "The full tide of human existence" may be felt here as keenly as Johnson felt it at Charing Cross, and in a larger sense. I know one person who is singular enough to think Cambridge the very best spot on the habitable globe. "Doubtless God could have made a better, but doubtless he never did."

It will take England a great while to get over her airs of patronage toward us, or even passably to conceal them. She cannot help confounding the people with the country, and regarding us as lusty juveniles. She has a conviction that whatever good there is in us is wholly English, when the truth is that we are worth nothing except so far as we have disinfected ourselves of Anglicism. She is especially condescending just now, and lavishes sugar-plums on us as if we had not outgrown them. I am no believer in sudden conversions, especially in sudden conversions to a favorable opinion of people who have just proved you to be mistaken in judgment and therefore unwise in policy. I never blamed her for not wishing well to democracy,—how should she?—but Alabamas are not wishes. Let her not be too hasty in believing Mr. Reverdy Johnson’s pleasant words. Though there is no thoughtful man in America who would not consider a war with England the greatest of calamities, yet the feeling towards her here is very far from cordial, whatever our Minister may say in the effusion that comes after ample dining. Mr. Adams, with his famous "My Lord, this means war," perfectly represented his country. Justly or not, we have a feeling that we have been wronged, not merely insulted. The only sure way of bringing about a healthy relation between the two countries is for Englishmen to clear their minds of the notion that we are always to be treated as a kind of inferior and deported Englishman whose nature they perfectly understand, and whose back they accordingly stroke the wrong way of the fur with amazing perseverance. Let them learn to treat us naturally on our merits as human beings, as they would a German or a Frenchman, and not as if we were a kind of counterfeit Briton whose crime appeared in every shade of difference, and before long there would come that right feeling which we naturally call a good understanding. The common blood, and still more the common language, are fatal instruments of misapprehension. Let them give up trying to understand us, still more thinking that they do, and acting in various absurd ways as the necessary consequence, for they will never arrive at that devoutly-to-be-wished consummation, till they learn to look at us as we are and not as they suppose us to be. Dear old long-estranged mother-in-law, it is a great many years since we parted. Since 1660, when you married again, you have been a stepmother to us. Put on your spectacles, dear madam. Yes, we have grown, and changed likewise. You would not let us darken your doors, if you could help it. We know that perfectly well. But pray, when we look to be treated as men, don’t shake that rattle in our faces, nor talk baby to us any longer.

PREFACE TO "LEAVES OF GRASS" 1855 W ALT W HITMAN

A MERICA does not repel the past, or what the past has produced under its forms, or amid other politics, or the idea of castes, or the old religions—accepts the lesson with calmness—is not impatient because the slough still sticks to opinions and manners in literature, while the life which served its requirements has passed into the new life of the new forms—perceives that the corpse is slowly borne from the eating and sleeping rooms of the house—perceives that it waits a little while in the door—that it was fittest for its days—that its action has descended to the stalwart and well-shaped heir who approaches—and that he shall be fittest for his days.

The Americans of all nations at any time upon the earth, have probably the fullest poetical nature. The United States themselves are essentially the greatest poem. In the history of the earth hitherto, the largest and most stirring appear tame and orderly to their ampler largeness and stir. Here at last is something in the doings of man that corresponds with the broadcast doings of the day and night. Here is action untied from strings, necessarily blind to particulars and details, magnificently moving in masses. Here is the hospitality which for ever indicates heroes. Here the performance, disdaining the trivial, unapproach’d in the tremendous audacity of its crowds and groupings, and the push of its perspective, spreads with crampless and flowing breadth, and showers its prolific and splendid extravagance. One sees it must indeed own the riches of the summer and winter, and need never be bankrupt while corn grows from the ground, or the orchards drop apples, or the bays contain fish, or men beget children upon women.

Other states indicate themselves in their deputies—but the genius of the United States is not best or most in its executives or legislatures, nor in its ambassadors or authors, or colleges or churches or parlors, nor even in its newspapers or inventors—but always most in the common people, south, north, west, east, in all its States, through all its mighty amplitude. The largeness of the nation, however, were monstrous without a corresponding largeness and generosity of the spirit of the citizen. Not swarming states, nor streets and steamships, nor prosperous business, nor farms, nor capital, nor learning, may suffice for the ideal of man—nor suffice the poet. No reminiscences may suffice either. A live nation can always cut a deep mark, and can have the best authority the cheapest—namely, from its own soul. This is the sum of the profitable uses of individuals or states, and of present action and grandeur, and of the subjects of poets. (As if it were necessary to trot back generation after generation to the eastern records! As if the beauty and sacredness of the demonstrable must fall behind that of the mythical! As if men do not make their mark out of any times! As if the opening of the western continent by discovery, and what has transpired in North and South America, were less than the small theater of the antique, or the aimless sleep-walking of the middle ages!) The pride of the United States leaves the wealth and finesse of the cities, and all returns of commerce and agriculture, and all the magnitude of geography or shows of exterior victory, to enjoy the sight and realization of full-sized men, or one full-sized man unconquerable and simple.

The American poets are to inclose old and new, for America is the race of races. The expression of the American poet is to be transcendent and new. It is to be indirect, and not direct or descriptive or epic. Its quality goes through these to much more. Let the age and wars of other nations be chanted, and their eras and characters be illustrated, and that finish the verse. Not so the great psalm of the republic. Here the theme is creative, and has vista. Whatever stagnates in the flat of custom or obedience or legislation, the great poet never stagnates. Obedience does not master him, he masters it. High up out of reach he stands, turning a concentrated light—he turns the pivot with his finger—he baffles the swiftest runners as he stands, and easily overtakes and envelopes them. The time straying toward infidelity and confections and persiflage he withholds by steady faith. Faith is the antiseptic of the soul—it pervades the common people and preserves them—they never give up believing and expecting and trusting. There is that indescribable freshness and unconsciousness about an illiterate person, that humbles and mocks the power of the noblest expressive genius. The poet sees for a certainty how one not a great artist may be just as sacred and perfect as the greatest artist.

The power to destroy or remould is freely used by the greatest poet, but seldom the power of attack. What is past is past. If he does not expose superior models, and prove himself by every step he takes, he is not what is wanted. The presence of the great poet conquers—not parleying, or struggling, or any prepared attempts. Now he has passed that way, see after him! There is not left any vestige of despair, or misanthropy, or cunning, or exclusiveness, or the ignominy of a nativity or color, or delusion of hell or the necessity of hell—and no man thenceforward shall be degraded for ignorance or weakness or sin. The greatest poet hardly knows pettiness or triviality. If he breathes into anything that was before thought small, it dilates with the grandeur and life of the universe. He is a seer—he is individual—he is complete in himself—the others are as good as he, only he sees it, and they do not. He is not one of the chorus—he does not stop for any regulation—he is the president of regulation. What the eyesight does to the rest, he does to the rest. Who knows the curious mystery of the eyesight? The other senses corroborate themselves, but this is removed from any proof but its own, and foreruns the identities of the spiritual world. A single glance of it mocks all the investigations of man, and all the instruments and books of the earth, and all reasoning. What is marvelous? what is unlikely? what is impossible or baseless or vague—after you have once just open’d the space of a peach-pit, and given audience to far and near, and to the sunset, and had all things enter with electric swiftness, softly and duly, without confusion or jostling or jam?

The land and sea, the animals, fishes and birds, the sky of heaven and the orbs, the forests, mountains and rivers, are not small themes—but folks expect of the poet to indicate more than the beauty and dignity which always attach to dumb real objects—they expect him to indicate the path between reality and their souls. Men and women perceive the beauty well enough—probably as well as he. The passionate tenacity of hunters, woodmen, early risers, cultivators of gardens and orchards and fields, the love of healthy women for the manly form, seafaring persons, drivers of horses, the passion for light and the open air, all is an old varied sign of the unfailing perception of beauty, and of a residence of the poetic in out-door people. They can never be assisted by poets to perceive—some may, but they never can. The poetic quality is not marshal’d in rhyme or uniformity, or abstract addresses to things, nor in melancholy complaints or good precepts, but is the life of these and much else, and is in the soul. The profit of rhyme is that it drops seeds of a sweeter and more luxuriant rhyme, and of uniformity that it conveys itself into its own roots in the ground out of sight. The rhyme and uniformity of perfect poems show the free growth of metrical laws, and bud from them as unerringly and loosely as lilacs and roses on a bush, and take shapes as compact as the shapes of chestnuts and oranges, and melons and pears, and shed the perfume impalpable to form. The fluency and ornaments of the finest poems or music or orations or recitations, are not independent but dependent. All beauty comes from beautiful blood and a beautiful brain. If the greatnesses are in conjunction in a man or woman, it is enough—the fact will prevail through the universe; but the gaggery and gilt of a million years will not prevail. Who troubles himself about his ornaments or fluency is lost. This is what you shall do: Love the earth and sun and the animals, despise riches, give alms to everyone that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown, or to any man or number of men—go freely with powerful uneducated persons, and with the young, and with the mothers of families—re-examine all you have been told in school or church or in any book, and dismiss whatever insults your own soul; and your very flesh shall be a great poem, and have the richest fluency, not only in its words, but in the silent lines of its lips and face, and between the lashes of your eyes, and in every motion and joint of your body. The poet shall not spend his time in unneeded work. He shall know that the ground is already plow’d and manured; others may not know it, but he shall. He shall go directly to the creation. His trust shall master the trust of everything he touches—and shall master all attachment.

The known universe has one complete lover, and that is the greatest poet. He consumes an eternal passion, and is indifferent which chance happens, and which possible contingency of fortune or misfortune, and persuades daily and hourly his delicious pay. What balks or breaks others is fuel for his burning progress to contact and amorous joy. Other proportions of the reception of pleasure dwindle to nothing to his proportions. All expected from heaven or from the highest, he is rapport with in the sight of the daybreak, or the scenes of the winter woods, or the presence of children playing, or with his arm round the neck of a man or woman. His love above all love has leisure and expanse—he leaves room ahead of himself. He is no irresolute or suspicious lover—he is sure—he scorns intervals. His experience and the showers and thrills are not for nothing. Nothing can jar him—suffering and darkness cannot—death and fear cannot. To him complaint and jealousy and envy are corpses buried and rotten in the earth—he saw them buried. The sea is not surer of the shore, or the shore of the sea, than he is of the fruition of his love, and of all perfection and beauty.

The fruition of beauty is no chance of miss or hit—it is as inevitable as life—it is exact and plumb as gravitation. From the eyesight proceeds another eyesight, and from the hearing proceeds another hearing, and from the voice proceeds another voice, eternally curious of the harmony of things with man. These understand the law of perfection in masses and floods—that it is profuse and impartial—that there is not a minute of the light or dark, nor an acre of the earth and sea, without it—nor any direction of the sky, nor any trade or employment, nor any turn of events. This is the reason that about the proper expression of beauty there is precision and balance. One part does not need to be thrust above another. The best singer is not the one who has the most lithe and powerful organ. The pleasure of poems is not in them that take the handsomest measure and sound.

Without effort, and without exposing in the least how it is done, the greatest poet brings the spirit of any or all events and passions and scenes and persons, some more and some less, to bear on your individual character as you hear or read. To do this well is to compete with the laws that pursue and follow Time. What is the purpose must surely be there, and the clew of it must be there—and the faintest indication is the indication of the best, and then becomes the clearest indication. Past and present and future are not disjoin’d but join’d. The greatest poet forms the consistence of what is to be, from what has been and is. He drags the dead out of their coffins and stands them again on their feet. He says to the past, Rise and walk before me that I may realize you. He learns the lesson—he places himself where the future becomes present. The greatest poet does not only dazzle his rays over character and scenes and passions—he finally ascends, and finishes all—he exhibits the pinnacles that no man can tell what they are for, or what is beyond—he glows a moment on the extremest verge. He is most wonderful in his last half-hidden smile or frown; by that flash of the moment of parting the one that sees it shall be encouraged or terrified afterward for many years. The greatest poet does not moralize or make applications of morals—he knows the soul. The soul has that measureless pride which consists in never acknowledging any lessons or deductions but its own. But it has sympathy as measureless as its pride, and the one balances the other, and neither can stretch too far while it stretches in company with the other. The inmost secrets of art sleep with the twain. The greatest poet has lain close betwixt both, and they are vital in his style and thoughts.

The art of art, the glory of expression and the sunshine of the light of letters, is simplicity. Nothing is better than simplicity—nothing can make up for excess, or for the lack of definiteness. To carry on the heave of impulse and pierce intellectual depths and give all subjects their articulations, are powers neither common nor very uncommon. But to speak in literature with the perfect rectitude and insouciance of the movements of animals, and the unimpeachableness of the sentiment of trees in the woods and grass by the roadside, is the flawless triumph of art. If you have look’d on him who has achiev’d it you have look’d on one of the masters of the artists of all nations and times. You shall not contemplate the flight of the gray gull over the bay, or the mettlesome action of the blood horse, or the tall leaning of sunflowers on their stalk, or the appearance of the sun journeying through heaven, or the appearance of the moon afterward, with any more satisfaction than you shall contemplate him. The great poet has less a mark’d style, and is more the channel of thoughts and things without increase or diminution, and is the free channel of himself. He swears to his art, I will not be meddlesome, I will not have in my writing any elegance, or effect, or originality, to hang in the way between me and the rest like curtains. I will have nothing hang in the way, not the richest curtains. What I tell I tell for precisely what it is. Let who may exalt or startle or fascinate or soothe, I will have purposes as health or heat or snow has, and be as regardless of observation. What I experience or portray shall go from my composition without a shred of my composition. You shall stand by my side and look in the mirror with me.

The old red blood and stainless gentility of great poets will be proved by their unconstraint. A heroic person walks at his ease through and out of that custom or precedent or authority that suits him not. Of the traits of the brotherhood of first-class writers, savans, musicians, inventors and artists, nothing is finer than silent defiance advancing from new free forms. In the need of poems, philosophy, politics, mechanism, science, behavior, the craft of art, an appropriate native grand opera, shipcraft, or any craft, he is greatest for ever and ever who contributes the greatest original practical example. The cleanest expression is that which finds no sphere worthy of itself, and makes one.

The messages of great poems to each man and woman are, Come to us on equal terms, only then can you understand us. We are no better than you, what we inclose you inclose, what we enjoy you may enjoy. Did you suppose there could be only one Supreme? We affirm there can be unnumber’d Supremes, and that one does not countervail another any more than one eyesight countervails another—and that men can be good or grand only of the consciousness of their supremacy within them. What do you think is the grandeur of storms and dismemberments, and the deadliest battles and wrecks, and the wildest fury of the elements, and the power of the sea, and the motion of Nature, and the throes of human desires, and dignity and hate and love? It is that something in the soul which says, Rage on, whirl on, I tread master here and everywhere—Master of the spasms of the sky and of the shatter of the sea, Master of nature and passion and death, and of all terror and all pain.

The American bards shall be mark’d for generosity and affection, and for encouraging competitors. They shall be Kosmos, without monopoly or secrecy, glad to pass anything to anyone—hungry for equals night and day. They shall not be careful of riches and privilege—they shall be riches and privilege—they shall perceive who the most affluent man is. The most affluent man is he that confronts all the shows he sees by equivalents out of the stronger wealth of himself. The American bard shall delineate no class of persons, nor one or two out of the strata of interests, nor love most nor truth most, nor the soul most, nor the body most—and not be for the Eastern States more than the Western, or the Northern States more than the Southern.

Exact science and its practical movements are no checks on the greatest poet, but always his encouragement and support. The outset and remembrance are there—there the arms that lifted him first, and braced him best—there he returns after all his goings and comings. The sailor and traveler—the anatomist, chemist, astronomer, geologist, phrenologist, spiritualist, mathematician, historian, and lexicographer, are not poets, but they are the lawgivers of poets, and their construction underlies the structure of every perfect poem. No matter what rises or is utter’d, they sent the seed of the conception of it—of them and by them stand the visible proofs of souls. If there shall be love and content between the father and the son, and if the greatness of the son is the exuding of the greatness of the father, there shall be love between the poet and the man of demonstrable science. In the beauty of poems are henceforth the tuft and final applause of science.

Great is the faith of the flush of knowledge, and of the investigation of the depths of qualities and things. Cleaving and circling here swells the soul of the poet, yet is president of itself always. The depths are fathomless, and therefore calm. The innocence and nakedness are resumed—they are neither modest nor immodest. The whole theory of the supernatural, and all that was twined with it or educed out of it, departs as a dream. What has ever happen’d—what happens, and whatever may or shall happen, the vital laws inclose all. They are sufficient for any case and for all cases—none to be hurried or retarded—any special miracle of affairs or persons inadmissible in the vast clear scheme where every motion and every spear of grass, and the frames and spirits of men and women and all that concerns them, are unspeakably perfect miracles, all referring to all, and each distinct and in its place. It is also not consistent with the reality of the soul to admit that there is anything in the known universe more divine than men and women.

Men and women, and the earth and all upon it, are to be taken as they are, and the investigation of their past and present and future shall be unintermitted, and shall be done with perfect candor. Upon this basis philosophy speculates, ever looking towards the poet, ever regarding the eternal tendencies of all toward happiness, never inconsistent with what is clear to the senses and to the soul. For the eternal tendencies of all toward happiness make the only point of sane philosophy. Whatever comprehends less than that—whatever is less than the laws of light and of astronomical motion—or less than the laws that follow the thief, the liar, the glutton and the drunkard, through this life and doubtless afterward—or less than vast stretches of time, or the slow formation of density, or the patient upheaving of strata—is of no account. Whatever would put God in a poem or system of philosophy as contending against some being or influence, is also of no account. Sanity and ensemble characterize the great master—spoilt in one principle, all is spoilt. The great master has nothing to do with miracles. He sees health for himself in being one of the mass—he sees the hiatus in singular eminence. To the perfect shape comes common ground. To be under the general law is great, for that is to correspond with it. The master knows that he is unspeakably great, and that all are unspeakably great—that nothing, for instance, is greater than to conceive children, and bring them up well—that to be is just as great as to perceive or tell.

In the make of the great masters the idea of political liberty is indispensable. Liberty takes the adherence of heroes wherever man and woman exist—but never takes any adherence or welcome from the rest more than from poets. They are the voice and exposition of liberty. They out of ages are worthy the grand idea—to them it is confided, and they must sustain it. Nothing has precedence of it, and nothing can warp or degrade it.

As the attributes of the poets of the kosmos concenter in the real body, and in the pleasure of things, they possess the superiority of genuineness over all fiction and romance. As they emit themselves, facts are shower’d over with light—the daylight is lit with more volatile light—the deep between the setting and rising sun goes deeper many fold. Each precise object or condition or combination or process exhibits a beauty—the multiplication table its—old age its—the carpenter’s trade its—the grand opera its—the huge-hull’d clean-shap’d New York clipper at sea under steam or full sail gleams with unmatch’d beauty—the American circles and large harmonies of government gleam with theirs—and the commonest definite intentions and actions with theirs. The poets of the kosmos advance through all interpositions and coverings and turmoils and stratagems to first principles. They are of use—they dissolve poverty from its need, and riches from its conceit. You large proprietor, they say, shall not realize or perceive more than anyone else. The owner of the library is not he who holds a legal title to it, having bought and paid for it. Anyone and everyone is owner of the library, (indeed he or she alone is owner,) who can read the same through all the varieties of tongues and subjects and styles, and in whom they enter with ease, and make supple and powerful and rich and large.

These American States, strong and healthy and accomplish’d, shall receive no pleasure from violations of natural models, and must not permit them. In paintings or mouldings or carvings in mineral or wood, or in the illustrations of books or newspapers, or in the patterns of woven stuffs, or anything to beautify rooms or furniture or costumes, or to put upon cornices or monuments, or on the prows or sterns of ships, or to put anywhere before the human eye indoors or out, that which distorts honest shapes, or which creates unearthly beings or places or contingencies, is a nuisance and revolt. Of the human form especially, it is so great it must never be made ridiculous. Of ornaments to a work nothing outre can be allow’d—but those ornaments can be allow’d that conform to the perfect facts of the open air, and that flow out of the nature of the work, and come irrepressibly from it, and are necessary to the completion of the work. Most works are most beautiful without ornament. Exaggerations will be revenged in human physiology. Clean and vigorous children are jetted and conceiv’d only in those communities where the models of natural forms are public every day. Great genius and the people of these States must never be demean’d to romances. As soon as histories are properly told, no more need of romances.

The great poets are to be known by the absence in them of tricks, and by the justification of perfect personal candor. All faults may be forgiven of him who has perfect candor. Henceforth let no man of us lie, for we have seen that openness wins the inner and outer world, and that there is no single exception, and that never since our earth gather’d itself in a mass have deceit or subterfuge or prevarication attracted its smallest particle or the faintest tinge of a shade—and that through the enveloping wealth and rank of a state, or the whole republic of states, a sneak or sly person shall be discover’d and despised—and that the soul has never once been fool’d and never can be fool’d—and thrift without the loving nod of the soul is only a fœtid puff—and there never grew up in any of the continents of the globe, nor upon any planet or satellite, nor in that condition which precedes the birth of babes, nor at any time during the changes of life, nor in any stretch of abeyance or action of vitality, nor in any process of formation or reformation anywhere, a being whose instinct hated the truth.

Extreme caution or prudence, the soundest organic health, large hope and comparison and fondness for women and children, large alimentiveness and destructiveness and causality, with a perfect sense of the oneness of nature, and the propriety of the same spirit applied to human affairs, are called up of the float of the brain of the world to be parts of the greatest poet from his birth out of his mother’s womb, and from her birth out of her mother’s. Caution seldom goes far enough. It has been thought that the prudent citizen was the citizen who applied himself to solid gains, and did well for himself and for his family, and completed a lawful life without debt or crime. The greatest poet sees and admits these economies as he sees the economies of food and sleep, but has higher notions of prudence than to think he gives much when he gives a few slight attentions at the latch of the gate. The premises of the prudence of life are not the hospitality of it, or the ripeness and harvest of it. Beyond the independence of a little sum laid aside for burial-money, and of a few clap-boards around and shingles overhead on a lot of American soil own’d, and the easy dollars that supply the year’s plain clothing and meals, the melancholy prudence of the abandonment of such a great being as a man is, to the toss and pallor of years of money-making, with all their scorching days and icy nights, and all their stifling deceits and underhand dodgings, or infinitesimals of parlors, or shameless stuffing while others starve, and all the loss of the bloom and odor of the earth, and of the flowers and atmosphere, and of the sea, and of the true taste of the women and men you pass or have to do with in youth or middle age, and the issuing sickness and desperate revolt at the close of a life without elevation or naïveté, (even if you have achiev’d a secure 10,000 a year, or election to Congress or the Governorship,) and the ghastly chatter of a death without serenity or majesty, is the great fraud upon modern civilization and forethought, blotching the surface and system which civilization undeniably drafts, and moistening with tears the immense features it spreads and spreads with such velocity before the reach’d kisses of the soul.

Ever the right explanation remains to be made about prudence. The prudence of the mere wealth and respectability of the most esteem’d life appears too faint for the eye to observe at all, when little and large alike drop quietly aside at the thought of the prudence suitable for immortality. What is the wisdom that fills the thinness of a year, or seventy or eighty years—to the wisdom spaced out by ages, and coming back at a certain time with strong reinforcements and rich presents, and the clear faces of wedding-guests as far as you can look, in every direction, running gayly toward you? Only the soul is of itself—all else has reference to what ensues. All that a person does or thinks is of consequence. Nor can the push of charity or personal force ever be anything else than the profoundest reason, whether it brings argument to hand or no. No specification is necessary—to add or subtract or divide is in vain. Little or big, learn’d or unlearn’d, white or black, legal or illegal, sick or well, from the first inspiration down the windpipe to the last expiration out of it, all that a male or female does that is vigorous and benevolent and clean is so much sure profit to him or her in the unshakable order of the universe, and through the whole scope of it forever. The prudence of the greatest poet answers at last the craving and glut of the soul, puts off nothing, permits no let-up for its own case or any case, has no particular sabbath or judgment day, divides not the living from the dead, or the righteous from the unrighteous, is satisfied with the present, matches every thought or act by its correlative, and knows no possible forgiveness or deputed atonement.

The direct trial of him who would be the greatest poet is to-day. If he does not flood himself with the immediate age as with vast oceanic tides—if he be not himself the age transfigur’d, and if to him is not open’d the eternity which gives similitude to all periods and locations and processes, and animate and inanimate forms, and which is the bond of time, and rises up from its inconceivable vagueness and infiniteness in the swimming shapes of to-day, and is held by the ductile anchors of life, and makes the present spot the passage from what was to what shall be, and commits itself to the representation of this wave of an hour, and this one of the sixty beautiful children of the wave—let him merge in the general run, and wait his development.

Still the final test of poems, or any character or work, remains. The prescient poet projects himself centuries ahead, and judges performer or performance after the changes of time. Does it live through them? Does it still hold on untired? Will the same style, and the direction of genius to similar points, be satisfactory now? Have the marches of tens and hundreds and thousands of years made willing detours to the right hand and the left hand for his sake? Is he beloved long and long after he is buried? Does the young man think often of him? and the young woman think often of him? and do the middle-aged and the old think of him?

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The Oxford University Style Guide aims to provide a guide to writing and ... The style guide is intended to be read as an interactive PDF, where it can be cross-referenced. However, the PDF can be printed if preferred for ease ... The current British government is a coalition. names with prefixes Follow the preference of the individual, if ...
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hyphens. four-year course, full-time students, world-leading research, and practice-based teaching. But our research is world leading and the work is computer related. Use a hyphen where vowels or consonants collide, eg take-off, part-time, co-operate.
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Five letters from J.T. Looney published in the British press during the early 1920s expand upon Looney's evidence as to why Oxford's poetry and Shakespeare's are so similar in vocabulary, theme and philosophy. These letters were unknown to modern scholars until they were recently re-discovered by historian James Warren in the British Library.
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INTRODUCTION. THE customary antithesis between "American" literature and "English" literature is unfortunate and misleading in that it seems to exclude American authors from the noble roll of those who have contributed to the literature of our mother-tongue. Of course, when we consider it carefully we cannot fail to see that the literature of a language is one and indivisible and that the ...
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