Part 3

“Men scarcely know how beautiful fire is,” says Shelley; and I am apt to think there are a good many other things concerning which their knowledge might be largely increased without becoming burdensome. Nor are they altogether reluctant to be taught,--not so reluctant, perhaps, as unable,--and education is sure to find one fulcrum ready to her hand by which to get a purchase on them. For most of us, I have noticed, are not without an amiable willingness to assist at any spectacle or entertainment (loosely so called) for which no fee is charged at the door. If special tickets are sent us, another element of pleasure is added in a sense of privilege and pre-eminence (pitiably scarce in a democracy) so deeply rooted in human nature that I have seen people take a strange satisfaction in being near of kin to the mute chief personage in a funeral. It gave them a moment’s advantage over the rest of us whose grief was rated at a lower place in the procession. But the words “admission free” at the bottom of a handbill, though holding out no bait of inequality, have yet a singular charm for many minds, especially in the country. There is something touching in the constancy with which men attend free lectures, and in the honest patience with which they listen to them. He who pays may yawn or shift testily in his seat, or even go out with an awful reverberation of criticism, for he has bought the right to do any or all of these and paid for it. But gratuitous hearers are anæsthetized to suffering by a sense of virtue. They are performing perhaps the noblest, as it is one of the most difficult, of human functions in getting Something (no matter how small) for Nothing. They are not pestered by the awful duty of securing their money’s worth. They are wasting time, to do which elegantly and without lassitude is the highest achievement of civilization. If they are cheated, it is, at worst, only of a superfluous hour which was rotting on their hands. Not only is mere amusement made more piquant, but instruction more palatable, by this universally relished sauce of gratuity. And if the philosophic observer finds an object of agreeable contemplation in the audience, as they listen to a discourse on the probability of making missionaries go down better with the Feejee-Islanders by balancing the hymn-book in one pocket with a bottle of Worcestershire in the other, or to a plea for arming the female gorilla with the ballot, he also takes a friendly interest in the lecturer, and admires the wise economy of Nature who thus contrives an ample field of honest labor for her bores. Even when the insidious hat is passed round after one of these eleemosynary feasts, the relish is but heightened by a conscientious refusal to disturb the satisfaction’s completeness with the rattle of a single contributory penny. So firmly persuaded am I of this _gratis_-instinct in our common humanity, that I believe I could fill a house by advertising a free lecture on Tupper considered as a philosophic poet, or on my personal recollections of the late James K. Polk. This being so, I have sometimes wondered that the peep-shows which Nature provides with such endless variety for her children, and to which we are admitted on the bare condition of having eyes, should be so generally neglected. To be sure, eyes are not so common as people think, or poets would be plentier, and perhaps also these exhibitions of hers are cheapened in estimation by the fact that in enjoying them we are not getting the better of anybody else. Your true lovers of nature, however, contrive to get even _this_ solace; and Wordsworth looking upon mountains as his own peculiar sweethearts, was jealous of anybody else who ventured upon even the most innocent flirtation with them. As if _such_ fellows, indeed, could pretend to that nicer sense of what-d’ye-call-it which was so remarkable in him! Marry come up! Mountains, no doubt, may inspire a profounder and more exclusive passion, but on the whole I am not sorry to have been born and bred among more domestic scenes, where I can be hospitable without a pang. I am going to ask you presently to take potluck with me at a board where Winter shall supply whatever there is of cheer.

I think the old fellow has hitherto had scant justice done him in the main. We make him the symbol of old age or death, and think we have settled the matter. As if old age were never kindly as well as frosty; as if it had no reverend graces of its own as good in their way as the noisy impertinence of childhood, the elbowing self-conceit of youth, or the pompous mediocrity of middle life! As if there were anything discreditable in death, or nobody had ever longed for it! Suppose we grant that Winter is the sleep of the year, what then? I take it upon me to say that his dreams are finer than the best reality of his waking rivals.

“Sleep, Silence’ child, the father of soft Rest,”

is a very agreeable acquaintance, and most of us are better employed in his company than anywhere else. For my own part, I think Winter a pretty wide-awake old boy, and his bluff sincerity and hearty ways are more congenial to my mood, and more wholesome for me, than any charms of which his rivals are capable. Spring is a fickle mistress, who either does not know her own mind, or is so long in making it up, whether you shall have her or not have her, that one gets tired at last of her pretty miffs and reconciliations. You go to her to be cheered up a bit, and ten to one catch her in the sulks, expecting you to find enough good-humor for both. After she has become Mrs. Summer she grows a little more staid in her demeanor; and her abundant table, where you are sure to get the earliest fruits and vegetables of the season, is a good foundation for steady friendship; but she has lost that delicious aroma of maidenhood, and what was delicately rounded grace in the girl gives more than hints of something like redundance in the matron. Autumn is the poet of the family. He gets you up a splendor that you would say was made out of real sunset; but it is nothing more than a few hectic leaves, when all is done. He is but a sentimentalist, after all; a kind of Lamartine whining along the ancestral avenues he has made bare timber of, and begging a contribution of good-spirits from your own savings to keep him in countenance. But Winter has his delicate sensibilities too, only he does not make them as good as indelicate by thrusting them forever in your face. He is a better poet than Autumn, when he has a mind, but, like a truly great one as he is, he brings you down to your bare manhood, and bids you understand him out of that, with no adventitious helps of association, or he will none of you. He does not touch those melancholy chords on which Autumn is as great a master as Heine. Well, is there no such thing as thrumming on them and maundering over them till they get out of tune, and you wish some manly hand would crash through them and leave them dangling brokenly forever? Take Winter as you find him, and he turns out to be a thoroughly honest fellow, with no nonsense in him, and tolerating none in you, which is a great comfort in the long run. He is not what they call a genial critic; but bring a real man along with you, and you will find there is a crabbed generosity about the old cynic that you would not exchange for all the creamy concessions of Autumn. “Season of mists and mellow fruitfulness,” quotha? That’s just it; Winter soon blows your head clear of fog and makes you see things as they are; I thank him for it! The truth is, between ourselves, I have a very good opinion of the whole family, who always welcome me without making me feel as if I were too much of a poor relation. There ought to be some kind of distance, never so little, you know, to give the true relish. They are as good company, the worst of them, as any I know, and I am not a little flattered by a condescension from any one of them; but I happen to hold Winter’s retainer, this time, and, like an honest advocate, am bound to make as good a showing as I can for him, even if it cost a few slurs upon the rest of the household. Moreover, Winter is coming, and one would like to get on the blind side of him.

The love of Nature in and for herself, or as a mirror for the moods of the mind, is a modern thing. The fleeing to her as an escape from man was brought into fashion by Rousseau; for his prototype Petrarch, though he had a taste for pretty scenery, had a true antique horror for the grander aspects of nature. He got once to the top of Mont Ventoux, but it is very plain that he did not enjoy it. Indeed, it is only within a century or so that the search after the picturesque has been a safe employment. It is not so even now in Greece or Southern Italy. Where the Anglo-Saxon carves his cold fowl, and leaves the relics of his picnic, the ancient or mediæval man might be pretty confident that some ruffian would try the edge of his knife on a chicken of the Platonic sort, and leave more precious bones as an offering to the genius of the place. The ancients were certainly more social than we, though that, perhaps, was natural enough, when a good part of the world was still covered with forest. They huddled together in cities as well for safety as to keep their minds warm. The Romans had a fondness for country life, but they had fine roads, and Rome was always within easy reach. The author of the Book of Job is the earliest I know of who showed any profound sense of the moral meaning of the outward world; and I think none has approached him since, though Wordsworth comes nearest with the first two books of the “Prelude.” But their feeling is not precisely of the kind I speak of as modern, and which gave rise to what is called descriptive poetry. Chaucer opens his Clerk’s Tale with a bit of landscape admirable for its large style, and as well composed as any Claude.

“There is right at the west end of Itaille, Down at the root of Vesulus the cold, A lusty plain abundant of vitaille, Where many a tower and town thou mayst behold, That founded were in time of fathers old, And many an other délectable sight; And Salucës this noble country hight.”

What an airy precision of touch there is here, and what a sure eye for the points of character in landscape! But the picture is altogether subsidiary. No doubt the works of Salvator Rosa and Gaspar Poussin show that there must have been some amateur taste for the grand and terrible in scenery; but the British poet Thomson (“sweet-souled” is Wordsworth’s apt word) was the first to do with words what they had done partially with colors. He was turgid, no good metrist, and his English is like a translation from one of those poets who wrote in Latin after it was dead; but he was a man of sincere genius, and not only English, but European literature is largely in his debt. He was the inventor of cheap amusement for the million, to be had of All-out-doors for the asking. It was his impulse which unconsciously gave direction to Rousseau, and it is to the school of Jean Jacques that we owe St. Pierre, Cowper, Châteaubriand, Wordsworth, Byron, Lamartine, George Sand, Ruskin,--the great painters of ideal landscape.

So long as men had slender means, whether of keeping out cold or checkmating it with artificial heat, Winter was an unwelcome guest, especially in the country. There he was the bearer of a _lettre de cachet_, which shut its victims in solitary confinement with few resources but to boose round the fire and repeat ghost-stories, which had lost all their freshness and none of their terror. To go to bed was to lie awake of cold, with an added shudder of fright whenever a loose casement or a waving curtain chose to give you the goose-flesh. Bussy Rabutin, in one of his letters, gives us a notion how uncomfortable it was in the country, with green wood, smoky chimneys, and doors and windows that thought it was their duty to make the wind whistle, not to keep it out. With fuel so dear, it could not have been much better in the city, to judge by Ménage’s warning against the danger of our dressing-gowns taking fire, while we cuddle too closely over the sparing blaze. The poet of Winter himself is said to have written in bed, with his hand through a hole in the blanket; and we may suspect that it was the warmth quite as much as the company that first drew men together at the coffee-house. Coleridge, in January, 1800, writes to Wedgewood: “I am sitting by a fire in a rug greatcoat.... It is most barbarously cold, and you, I fear, can shield yourself from it only by perpetual imprisonment.” This thermometrical view of winter is, I grant, a depressing one; for I think there is nothing so demoralizing as cold. I know of a boy who, when his father, a bitter economist, was brought home dead, said only, “Now we can burn as much wood as we like.” I would not off-hand prophesy the gallows for that boy. I remember with a shudder a pinch I got from the cold once in a railroad-car. A born fanatic of fresh air, I found myself glad to see the windows hermetically sealed by the freezing vapor of our breath, and plotted the assassination of the conductor every time he opened the door. I felt myself sensibly barbarizing, and would have shared Colonel Jack’s bed in the ash-hole of the glass-furnace with a grateful heart. Since then I have had more charity for the prevailing ill-opinion of winter. It was natural enough that Ovid should measure the years of his exile in Pontus by the number of winters.

Ut sumus in Ponto, ter frigore constitit Ister, Facta est Euxini dura ter unda maris:

Thrice hath the cold bound Ister fast, since I In Pontus was, thrice Euxine’s wave made hard.

Jubinal has printed an Anglo-Norman piece of doggerel in which Winter and Summer dispute which is the better man. It is not without a kind of rough and inchoate humor, and I like it because old Whitebeard gets tolerably fair play. The jolly old fellow boasts of his rate of living, with that contempt of poverty which is the weak spot in the burly English nature.

Jà Dieu ne place que me avyenge Que ne face plus honour Et plus despenz en un soul jour Que vus en tote vostre vie:

Now God forbid it hap to me That I make not more great display, And spend more in a single day Than you can do in all your life.

The best touch, perhaps, is Winter’s claim for credit as a mender of the highways, which was not without point when every road in Europe was a quagmire during a good part of the year unless it was bottomed on some remains of Roman engineering.

Je su, fet-il, seignur et mestre Et à bon droit le dey estre, Quant de la bowe face caucé Par un petit de geelé:

Master and lord I am, says he, And of good right so ought to be, Since I make causeys, safely crost, Of mud, with just a pinch of frost.

But there is no recognition of Winter as the best of out-door company.

Even Emerson, an open-air man, and a bringer of it, if ever any, confesses,

“The frost-king ties my fumbling feet, Sings in my ear, my hands are stones, Curdles the blood to the marble bones, Tugs at the heartstrings, numbs the sense, And hems in life with narrowing fence.”

Winter was literally “the inverted year,” as Thomson called him; for such entertainments as could be had must be got within doors. What cheerfulness there was in brumal verse was that of Horace’s _dissolve frigus ligna super foco large reponens_, so pleasantly associated with the cleverest scene in Roderick Random. This is the tone of that poem of Walton’s friend Cotton, which won the praise of Wordsworth:--

“Let us home, Our mortal enemy is come; Winter and all his blustering train Have made a voyage o’er the main.

* * * * *

“Fly, fly, the foe advances fast; Into our fortress let us haste. Where all the roarers of the north Can neither storm nor starve us forth.

“There underground a magazine Of sovereign juice is cellared in, Liquor that will the siege maintain Should Phœbus ne’er return again.

* * * * *

“Whilst we together jovial sit Careless, and crowned with mirth and wit, Where, though bleak winds confine us home Our fancies round the world shall roam.”

Thomson’s view of Winter is also, on the whole, a hostile one, though he does justice to his grandeur.

“Thus Winter falls, A heavy gloom oppressive o’er the world, Through Nature shedding influence malign.”

He finds his consolations, like Cotton, in the house, though more refined:--

“While without The ceaseless winds blow ice, be my retreat Between the groaning forest and the shore Beat by the boundless multitude of waves, A rural, sheltered, solitary scene, Where ruddy fire and beaming tapers join To cheer the gloom. There studious let me sit And hold high converse with the mighty dead.”

Doctor Akenside, a man to be spoken of with respect, follows Thomson. With him, too, “Winter desolates the year,” and

“How pleasing wears the wintry night Spent with the old illustrious dead! While by the taper’s trembling light I seem those awful scenes to tread Where chiefs or legislators lie,” &c.

Akenside had evidently been reading Thomson. He had the conceptions of a great poet with less faculty than many a little one, and is one of those versifiers of whom it is enough to say that we are always willing to break him off in the middle with an &c., well knowing that what follows is but the coming-round again of what went before, marching in a circle with the cheap numerosity of a stage-army. In truth, it is no wonder that the short days of that cloudy northern climate should have added to winter a gloom borrowed of the mind. We hardly know, till we have experienced the contrast, how sensibly our winter is alleviated by the longer daylight and the pellucid atmosphere. I once spent a winter in Dresden, a southern climate compared with England, and really almost lost my respect for the sun when I saw him groping among the chimney-pots opposite my windows as he described his impoverished arc in the sky. The enforced seclusion of the season makes it the time for serious study and occupations that demand fixed incomes of unbroken time. This is why Milton said “that his vein never happily flowed but from the autumnal equinox to the vernal,” though in his twentieth year he had written, on the return of spring,--

Fallor? an et nobis redeunt in carmina vires Ingeniumque mihi munere veris adest?

Err I? or do the powers of song return To me, and genius too, the gifts of Spring?

Goethe, so far as I remember, was the first to notice the cheerfulness of snow in sunshine. His _Harz-reise im Winter_ gives no hint of it, for that is a diluted reminiscence of Greek tragic choruses and the Book of Job in nearly equal parts. In one of the singularly interesting and characteristic letters to Frau von Stein, however, written during the journey, he says: “It is beautiful indeed; the mist heaps itself together in light snow-clouds, the sun looks through, and the snow over everything gives back a feeling of gayety.” But I find in Cowper the first recognition of a general amiability in Winter. The gentleness of his temper, and the wide charity of his sympathies, made it natural for him to find good in everything except the human heart. A dreadful creed distilled from the darkest moments of dyspeptic solitaries compelled him against his will to see in _that_ the one evil thing made by a God whose goodness is over all his works. Cowper’s two walks in the morning and noon of a winter’s day are delightful, so long as he contrives to let himself be happy in the graciousness of the landscape. Your muscles grow springy, and your lungs dilate with the crisp air as you walk along with him. You laugh with him at the grotesque shadow of your legs lengthened across the snow by the just-risen sun. I know nothing that gives a purer feeling of out-door exhilaration than the easy verses of this escaped hypochondriac. But Cowper also preferred his sheltered garden-walk to those robuster joys, and bitterly acknowledged the depressing influence of the darkened year. In December, 1780, he writes: “At this season of the year, and in this gloomy uncomfortable climate, it is no easy matter for the owner of a mind like mine to divert it from sad subjects, and to fix it upon such as may administer to its amusement.” Or was it because he was writing to the dreadful Newton? Perhaps his poetry bears truer witness to his habitual feeling, for it is only there that poets disenthral themselves of their reserve and become fully possessed of their greatest charm,--the power of being franker than other men. In the Third Book of the Task he boldly affirms his preference of the country to the city even in winter:--

“But are not wholesome airs, though unperfumed By roses, and clear suns, though scarcely felt, And groves, if inharmonious, yet secure From clamor, and whose very silence charms, To be preferred to smoke?... They would be, were not madness in the head And folly in the heart; were England now What England was, plain, hospitable, kind, And undebauched.”

The conclusion shows, however, that he was thinking mainly of fireside delights, not of the blusterous companionship of nature. This appears even more clearly in the Fourth Book:--

“O Winter, ruler of the inverted year”;

but I cannot help interrupting him to say how pleasant it always is to track poets through the gardens of their predecessors and find out their likings by a flower snapped off here and there to garnish their own nosegays. Cowper had been reading Thomson, and “the inverted year” pleased his fancy with its suggestion of that starry wheel of the zodiac moving round through its spaces infinite. He could not help loving a handy Latinism (especially with elision beauty added), any more than Gray, any more than Wordsworth,--on the sly. But the member for Olney has the floor:--

“O Winter, ruler of the inverted year, Thy scattered hair with sleet like ashes filled, Thy breath congealed upon thy lips, thy cheeks Fringed with a beard made white with other snows Than those of age, thy forehead wrapt in clouds, A leafless branch thy sceptre, and thy throne A sliding car, indebted to no wheels, But urged by storms along its slippery way, I love thee all unlovely as thou seem’st, And dreaded as thou art! Thou hold’st the sun A prisoner in the yet undawning east, Shortening his journey between morn and noon, And hurrying him, impatient of his stay, Down to the rosy west, but kindly still Compensating his loss with added hours Of social converse and instructive ease, And gathering at short notice, in one group, The family dispersed, and fixing thought, Not less dispersed by daylight and its cares. I crown thee king of intimate delights, Fireside enjoyments, homeborn happiness, And all the comforts that the lowly roof Of undisturbed Retirement, and the hours Of long uninterrupted evening know.”