Chapter 9

The day is indelibly stamped on my memory when I exposed my Chloe for sale in the public market-place. It was in November, a bright, dreamy, Indian summer day. A sadness oppressed me, not unmixed with guilt and remorse. An old Irish woman came to the market also with her pets to sell, a sow and five pigs, and took up a position next me. We condoled with each other; we bewailed the fate of our darlings together; we berated in chorus the white-aproned but blood-stained fraternity who prowled about us. When she went away for a moment I minded the pigs, and when I strolled about she minded my cow. How shy the innocent beast was of those carnal marketmen! How she would shrink away from them! When they put out a hand to feel her condition she would "scrooch" down her back, or bend this way or that, as if the hand were a branding-iron. So long as I stood by her head she felt safe--deluded creature!--and chewed the cud of sweet content; but the moment I left her side she seemed filled with apprehension, and followed me with her eyes, lowing softly and entreatingly till I returned.

At last the money was counted out for her, and her rope surrendered to the hand of another. How that last look of alarm and incredulity, which I caught as I turned for a parting glance, went to my heart!

Her stall was soon filled, or partly filled, and this time with a native,--a specimen of what may be called the cornstalk breed of Virginia; a slender, furtive, long-geared heifer just verging on cowhood, that in spite of my best efforts would wear a pinched and hungry look. She evidently inherited a humped back. It was a family trait, and evidence of the purity of her blood. For the native blooded cow of Virginia, from shivering over half rations of cornstalks in the open air during those bleak and windy winters, and roaming over those parched fields in summer, has come to have some marked features. For one thing, her pedal extremities seem lengthened; for another, her udder does not impede her traveling; for a third, her backbone inclines strongly to the curve; then, she despiseth hay. This last is a sure test. Offer a thorough-bred Virginia cow hay, and she will laugh in your face; but rattle the husks or shucks, and she knows you to be her friend.

The new-comer even declined corn-meal at first. She eyed it furtively, then sniffed it suspiciously, but finally discovered that it bore some relation to her native "shucks," when she fell to eagerly.

I cherish the memory of this cow, however, as the most affectionate brute I ever knew. Being deprived of her calf, she transferred her affections to her master, and would fain have made a calf of him, lowing in the most piteous and inconsolable manner when he was out of her sight, hardly forgetting her grief long enough to eat her meal, and entirely neglecting her beloved husks. Often in the middle of the night she would set up that sonorous lamentation, and continue it till sleep was chased from every eye in the household. This generally had the effect of bringing the object of her affection before her, but in a mood anything but filial or comforting. Still, at such times a kick seemed a comfort to her, and she would gladly have kissed the rod that was the instrument of my midnight wrath.

But her tender star was destined soon to a fatal eclipse. Being tied with too long a rope on one occasion during my temporary absence, she got her head into the meal-barrel, and stopped not till she had devoured nearly half a bushel of dry meal. The singularly placid and benevolent look that beamed from the meal-besmeared face when I discovered her was something to be remembered. For the first time, also, her spinal column came near assuming a horizontal line. But the grist proved too much for her frail mill, and her demise took place on the third day, not of course without some attempt to relieve her on my part. I gave her, as is usual in such emergencies, everything I "could think of," and everything my neighbors could think of, besides some fearful prescriptions which I obtained from a German veterinary surgeon, but to no purpose. I imagined her poor maw distended and inflamed with the baking sodden mass which no physic could penetrate or enliven.

Thus ended my second venture in live-stock. My third, which followed sharp upon the heels of this disaster, was scarcely more of a success. This time I led to the altar a buffalo cow, as they call the "muley" down South,--a large, spotted, creamy-skinned cow, with a fine udder, that I persuaded a Jew drover to part with for ninety dollars. "Pag like a dish rack (rag)," said he, pointing to her udder after she had been milked. "You vill come pack and gif me the udder ten tollar" (for he had demanded an even hundred), he continued, "after you have had her a gouple of days." True, I felt like returning to him after a "gouple of days," but not to pay the other ten dollars. The cow proved to be as blind as a bat, though capable of counterfeiting the act of seeing to perfection. For did she not lift up her head and follow with her eyes a dog that scaled the fence and ran through the other end of the lot, and the next moment dash my hopes thus raised by trying to walk over a locust-tree thirty feet high? And when I set the bucket before her containing her first mess of meal, she missed it by several inches, and her nose brought up against the ground. Was it a kind of far-sightedness and near blindness? That was it, I think; she had genius, but not talent; she could see the man in the moon, but was quite oblivious to the man immediately in her front. Her eyes were telescopic and required a long range.

As long as I kept her in the stall, or confined to the inclosure, this strange eclipse of her sight was of little consequence. But when spring came, and it was time for her to go forth and seek her livelihood in the city's waste places, I was embarrassed. Into what remote corners or into what _terra incognita_ might she not wander! There was little doubt but that she would drift around home in the course of the summer, or perhaps as often as every week or two; but could she be trusted to find her way back every night? Perhaps she could be taught. Perhaps her other senses were acute enough to compensate in a measure for her defective vision. So I gave her lessons in the topography of the country. I led her forth to graze for a few hours each day and led her home again. Then I left her to come home alone, which feat she accomplished very encouragingly. She came feeling her way along, stepping very high, but apparently a most diligent and interested sight-seer. But she was not sure of the right house when she got to it, though she stared at it very hard.

Again I turned her forth, and again she came back, her telescopic eyes apparently of some service to her. On the third day, there was a fierce thunder-storm late in the afternoon, and old buffalo did not come home. It had evidently scattered and bewildered what little wits she had. Being barely able to navigate those streets on a calm day, what could she be expected to do in a tempest?

After the storm had passed, and near sundown, I set out in quest of her, but could get no clew. I heard that two cows had been struck by lightning about a mile out on the commons. My conscience instantly told me that one of them was mine. It would be a fit closing of the third act of this pastoral drama. Thitherward I bent my steps, and there upon the smooth plain I beheld the scorched and swollen forms of two cows slain by thunderbolts, but neither of them had ever been mine.

The next day I continued the search, and the next, and the next. Finally I hoisted an umbrella over my head, for the weather had become hot, and set out deliberately and systematically to explore every foot of open common on Capitol Hill. I tramped many miles, and found every man's cow but my own,--some twelve or fifteen hundred, I should think. I saw many vagrant boys and Irish and colored women, nearly all of whom had seen a buffalo cow that very day that answered exactly to my description, but in such diverse and widely separate places that I knew it was no cow of mine. And it was astonishing how many times I was myself deceived; how many rumps or heads, or line backs or white flanks, I saw peeping over knolls, or from behind fences or other objects, that could belong to no cow but mine!

Finally I gave up the search, concluded the cow had been stolen, and advertised her, offering a reward. But days passed, and no tidings were obtained. Hope began to burn pretty low,--was indeed on the point of going out altogether,--when one afternoon, as I was strolling over the commons (for in my walks I still hovered about the scenes of my lost milcher), I saw the rump of a cow, over a grassy knoll, that looked familiar. Coming nearer, the beast lifted up her head; and, behold! it was she! only a few squares from home, where doubtless she had been most of the time. I had overshot the mark in my search. I had ransacked the far-off, and had neglected the near-at-hand, as we are so apt to do. But she was ruined as a milcher, and her history thenceforward was brief and touching!

VII BEFORE GENIUS

If there did not something else go to the making of literature besides mere literary parts, even the best of them, how long ago the old bards and the Biblical writers would have been superseded by the learned professors and the gentlemanly versifiers of later times! Is there to-day a popular poet, using the English language, who does not, in technical acquirements and in the artificial adjuncts of poetry,--rhyme, metre, melody, and especially sweet, dainty fancies,--surpass Europe's and Asia's loftiest and oldest? Indeed, so marked is the success of the latter-day poets in this respect, that any ordinary reader may well be puzzled, and ask, if the shaggy antique masters are poets, what are the refined and euphonious producers of our own day?

If we were to inquire what this something else is which is prerequisite to any deep and lasting success in literature, we should undoubtedly find that it is the man behind the book. It is the fashion of the day to attribute all splendid results to genius and culture. But genius and culture are not enough. "All other knowledge is hurtful to him who has not the science of honesty and goodness," says Montaigne. The quality of simple manhood, and the universal human traits which form the bond of union between man and man,--which form the basis of society, of the family, of government, of friendship,--are quite overlooked; and the credit is given to some special facility, or to brilliant and lucky hit. Does any one doubt that the great poets and artists are made up mainly of the most common universal human and heroic characteristics?--that in them, though working to other ends, is all that construct the soldier, the sailor, the farmer, the discoverer, the bringer-to-pass in any field, and that their work is good and enduring in proportion as it is saturated and fertilized by the qualities of these? Good human stock is the main dependence. No great poet ever appeared except from a race of good fighters, good eaters, good sleepers, good breeders. Literature dies with the decay of the _un-_literary element. It is not in the spirit of something far away in the clouds or under the moon, something ethereal, visionary, and anti-mundane, that Angelo, Dante, and Shakespeare work, but in the spirit of common Nature and of the homeliest facts; through these, and not away from them, the path of the creator lies.

It is no doubt this tendency, always more or less marked in highly refined and cultivated times, to forget or overlook the primary basic qualities, and to parade and make much of verbal and technical acquirements, that led Huxley to speak with such bitter scorn of the "sensual caterwauling of the literary classes," for this is not the only country in which books are produced that are a mere skin of elegant words blown up by copious literary gas.

In imaginative works, especially, much depends upon the quality of mere weight. A stern, material inertia is indispensable. It is like the immobility and the power of resistance of a piece of ordnance, upon which the force and efficacy of the projectile finally depend. In the most daring flights of the master, there is still something which remains indifferent and uncommitted, and which acts as reserve power, making the man always superior to his work. He must always leave the impression that if he wanted to pull harder or to fly higher he could easily do so. In Homer there is much that is not directly available for Homer's purposes as poet. This is his personality,--the real Homer,--which lies deeper than his talents and skill, and which works through these by indirections. This gives the authority; this is the unseen backer, which makes every promise good.

What depths can a man sound but his own, or what heights explore? "We carry within us," says Sir Thomas Browne, "the wonders we seek without us."

Indeed, there is a strict moral or ethical dependence of the capacity to conceive or to project great things upon the capacity to be or to do them. It is as true as any law of hydraulics or of statics, that the workmanship of a man can never rise above the level of his character. He can never adequately say or do anything greater than he himself is. There is no such thing, for instance, as deep insight into the mystery of Creation, without integrity and simplicity of character.

In the highest mental results and conditions the whole being sympathizes. The perception of a certain range of truth, such as is indicated by Plato, Hegel, Swedenborg, and which is very far from what is called "religious" or "moral," I should regard as the best testimonial that could be offered of a man's probity and essential nobility of soul. Is it possible to imagine a fickle, inconstant, or a sly, vain, mean person reading and appreciating Emerson? Think of the real men of science, the great geologists and astronomers, one opening up time, the other space! Shall mere intellectual acumen be accredited with these immense results? What noble pride, self-reliance, and continuity of character underlie Newton's deductions!

Only those books are for the making of men into which a man has gone in the making. Mere professional skill and sleight of hand, of themselves, are to be apprized as lightly in letters as in war or in government, or in any kind of leadership. Strong native qualities only avail in the long run; and the more these dominate over the artificial endowments, sloughing or dropping the latter in the final result, the more we are refreshed and enlarged. Who has not, at some period of his life, been captivated by the rhetoric and fine style of nearly all the popular authors of a certain sort, but at last waked up to discover that behind these brilliant names was no strong, loving man, but only a refined taste, a fertile invention, or a special talent of one kind or another.

Think of the lather of the modern novel, and the fashion-plate men and women that figure in it! What noble person has Dickens sketched, or has any novelist since Scott? The utter poverty of almost every current novelist, in any grand universal human traits in his own character, is shown in nothing more clearly than in the _kind_ of interest the reader takes in his books. We are led along solely by the ingenuity of the plot, and a silly desire to see how the affair came out. What must be the effect, long continued, of this class of jugglers working upon the sympathies and the imagination of a nation of gestating women?

How the best modern novel collapses before the homely but immense human significance of Homer's celestial swineherd entertaining divine Ulysses, or even the solitary watchman in Aeschylus' "Agamemnon," crouched, like a night-dog, on the roofs of the Atreidae, waiting for the signal fires that should announce the fall of sacred Ilion!

But one need not look long, even in contemporary British literature, to find a man. In the author of "Characteristics" and "Sartor Resartus" we surely encounter one of the true heroic cast. We are made aware that here is something more than a _litterateur,_ something more than genius. Here is veracity, homely directness and sincerity, and strong primary idiosyncrasies. Here the man enters into the estimate of the author. There is no separating them, as there never is in great examples. A curious perversity runs through all, but in no way vitiates the result. In both his moral and intellectual nature, Carlyle seems made with a sort of stub and twist, like the best gun-barrels. The knotty and corrugated character of his sentences suits well the peculiar and intense activity of his mind. What a transition from his terse and sharply articulated pages, brimming with character and life, and a strange mixture of rage, humor, tenderness, poetry, philosophy, to the cold disbelief and municipal splendor of Macaulay! Nothing in Carlyle's contributions seems fortuitous. It all flows from a good and sufficient cause in the character of the man.

Every great man is, in a certain way, an Atlas, with the weight of the world upon him. And if one is to criticise at all, he may say that, if Carlyle had not been quite so conscious of this weight, his work would have been better done. Yet to whom do we owe more, even as Americans? Anti-democratic in his opinions, he surely is not so in spirit, or in the quality of his make. The nobility of labor and the essential nobility of man were never so effectively preached before. The deadliest enemy of democracy is not the warning or dissenting voice, but it is the spirit, rife among us, which would engraft upon our hardy Western stock the sickly and decayed standards of the expiring feudal world.

With two or three exceptions, there is little as yet in American literature that shows much advance beyond the merely conventional and scholastic,--little, I mean, in which one gets a whiff of the strong, unbreathed air of mountain or prairie, or a taste of rude, new power that is like the tonic of the sea. Thoreau occupies a niche by himself. Thoreau was not a great personality, yet his writings have a strong characteristic flavor. He is anti-scorbutic, like leeks and onions. He has reference, also, to the highest truths.

It is very likely true that our most native and original characters do not yet take to literature. It is, perhaps, too early in the day. Iron and lime have to pass through the vegetable before they can reach the higher organization of the animal, and maybe this Western nerve and heartiness will yet emerge on the intellectual plane. Let us hope that it will indeed be Western nerve and heartiness when it gets there, and not Eastern wit and epigram!

In Abraham Lincoln we had a character of very marked and lofty type, the most suggestive study or sketch of the future American man that has yet appeared in our history. How broad, unconventional, and humane! How democratic! how adhesive! No fine arabesque carvings, but strong, unhewn, native traits, and deep lines of care, toil, and human sympathy. Lincoln's Gettysburg speech is one of the most genuine and characteristic utterances in our annals. It has the true antique simplicity and impressiveness. It came straight from the man, and is as sure an index of character as the living voice, or the physiognomy, or the personal presence. Indeed, it may be said of Mr. Lincoln's entire course while at the head of the nation, that no President, since the first, ever in his public acts allowed the man so fully to appear, or showed so little disposition to retreat behind the featureless political mask which seems to adhere to the idea of gubernatorial dignity.

It would be hardly fair to cite Everett's speech on the same occasion as a specimen of the opposite style, wherein ornate scholarship and the pride of talents dominate. Yet a stern critic would be obliged to say that, as an author, Everett allowed, for the most part, only the expurgated, complimenting, drawing-room man to speak; and that, considering the need of America to be kept virile and broad at all hazards, his contribution, both as man and writer, falls immeasurably short of Abraham Lincoln's.

What a noble specimen of its kind, and how free from any verbal tricks or admixture of literary sauce, is Thoreau's "Maine Woods"! And what a marked specimen of the opposite style is a certain other book I could mention in which these wild and grand scenes serve but as a medium to advertise the author's fund of classic lore!

Can there be any doubt about the traits and outward signs of a noble character, and is not the style of an author the manners of his soul?

Is there a lyceum lecturer in the country who is above manoeuvring for the applause of his audience? or a writer who is willing to make himself of no account for the sake of what he has to say? Even in the best there is something of the air and manners of a performer on exhibition. The newspaper, or magazine, or book is a sort of raised platform upon which the advertiser advances before a gaping and expectant crowd. Truly, how well he _handles_ his subject! He turns it over, and around, and inside out, and top-side down. He tosses it about; he twirls it; he takes it apart and puts it together again, and knows well beforehand where the applause will come in. Any reader, in taking up the antique authors, must be struck by the contrast.

"In Aeschylus," says Landor, "there is no trickery, no trifling, no delay, no exposition, no garrulity, no dogmatism, no declamation, no prosing,... but the loud, clear challenge, the firm, unstealthy step, of an erect, broad-breasted soldier."

On the whole, the old authors are better than the new. The real question of literature is not simplified by culture or a multiplication of books, as the conditions of life are always the same, and are not made one whit easier by all the myriads of men and women who have lived upon the globe. The standing want is never for more skill, but for newer, fresher power,--a more plentiful supply of arterial blood. The discoverer, or the historian, or the man of science, may begin where his predecessor left off, but the poet or any artist must go back for a fresh start. With him it is always the first day of creation, and he must begin at the stump or nowhere.

VIII BEFORE BEAUTY

I

Before genius is manliness, and before beauty is power. The Russian novelist and poet, Turgenieff, scattered all through whose works you will find unmistakable traits of greatness, makes one of his characters say, speaking of beauty, "The old masters,--they never hunted after it; it comes of itself into their compositions, God knows whence, from heaven or elsewhere. The whole world belonged to them, but we are unable to clasp its broad spaces; our arms are too short."

From the same depth of insight come these lines from "Leaves of Grass," apropos of true poems:--

"They do not seek beauty--they are sought; Forever touching them, or close upon them, follows beauty, longing, fain, love-sick."