Chapter 9
Thoreau's friends and neighbors seem to have persuaded themselves that his natural-history lore was infallible, and, moreover, that he possessed some mysterious power over the wild creatures about him that other men did not possess. I recall how Emerson fairly bristled up when on one occasion while in conversation with him I told him I thought Thoreau in his trips to the Maine woods had confounded the hermit thrush with the wood thrush, as the latter was rarely or never found in Maine. As for Thoreau's influence over the wild creatures, Emerson voiced this superstition when he said, "Snakes coiled round his leg, the fishes swam into his hand, and he took them from the water; he pulled the woodchuck out of its hole by the tail, and took the foxes under his protection from the hunters." Of course Thoreau could do nothing with the wild creatures that you or I could not do under the same conditions. A snake will coil around any man's leg if he steps on its tail, but it will not be an embrace of affection; and a fish will swim into his hands under the same conditions that it will into Thoreau's. As for pulling a woodchuck out of its hole by the tail, the only trouble is to get hold of the tail. The 'chuck is pretty careful to keep his tail behind him, but many a farm boy, aided by his dog, has pulled one out of the stone wall by the tail, much against the 'chuck's will. If Thoreau's friends were to claim that he could carry _Mephitis mephitica_ by the tail with impunity, I can say I have done the same thing, and had my photograph taken in the act. The skunk is no respecter of persons, and here again the trouble is to get hold of the tail at the right moment--and, I may add, to let go of it at the right moment.
Thoreau's influence over the wild creatures is what every man possesses who is alike gentle in his approach to them. Bradford Torrey succeeded, after a few experiments, in so dispelling the fears of an incubating red-eyed vireo that she would take insect food from his hand, and I have known several persons to become so familiar with the chickadees that they would feed from the hand, and in some instances even take food from between the lips. If you have a chipmunk for a neighbor, you may soon become on such intimate terms with him that he will search your pockets for nuts and sit on your knee and shoulder and eat them. But why keep alive and circulate as truth these animal legends of the prescientific ages?
Thoreau was not a born naturalist, but a born supernaturalist. He was too intent upon the bird behind the bird always to take careful note of the bird itself. He notes the birds, but not too closely. He was at times a little too careless in this respect to be a safe guide to the bird-student. Even the saunterer to the Holy Land ought to know the indigo bunting from the black-throated blue warbler, with its languid, midsummery, "Zee, zee, zee-eu."
Many of his most interesting natural-history notes Thoreau got from his farmer friends--Melvin, Minott, Miles, Hubbard, Wheeler. Their eyes were more single to the life around them than were his; none of them had lost a hound, a turtle-dove, and a bay horse, whose trail they were daily in quest of.
A haunter of swamps and river marshes all his life, he had never yet observed how the night bittern made its booming or pumping sound, but accepted the explanation of one of his neighbors that it was produced by the bird thrusting its bill in water, sucking up as much as it could hold, and then pumping it out again with four or five heaves of the neck, throwing the water two or three feet--in fact, turning itself into a veritable pump! I have stood within a few yards of the bird when it made the sound, and seen the convulsive movement of the neck and body, and the lifting of the head as the sound escaped. The bird seems literally to vomit up its notes, but it does not likewise emit water.
Every farmer and fox-hunter would smile if he read Thoreau's statement, made in his paper on the natural history of Massachusetts, that "when the snow lies light and but five or six inches deep, you may give chase and come up with the fox on foot." Evidently Thoreau had never tried it. With a foot and a half, or two feet of snow on the ground, and traveling on snowshoes, you might force a fox to take to his hole, but you would not come up to him. In four or five feet of soft snow hunters come up with the deer, and ride on their backs for amusement, but I doubt if a red fox ever ventures out in such a depth of snow. In one of his May walks in 1860, Thoreau sees the trail of the musquash in the mud along the river-bottoms, and he is taken by the fancy that, as our roads and city streets often follow the early tracks of the cow, so "rivers in another period follow the trail of the musquash." As if the river was not there before the musquash was!
Again, his mysterious "night warbler," to which he so often alludes, was one of our common everyday birds which most school-children know, namely, the oven-bird, or wood-accentor, yet to Thoreau it was a sort of phantom bird upon which his imagination loved to dwell. Emerson told him he must beware of finding and booking it, lest life should have nothing more to show him. But how such a haunter of woods escaped identifying the bird is a puzzle.
In his walks in the Maine woods Thoreau failed to discriminate the song of the hermit thrush from that of the wood thrush. The melody, no doubt, went to his heart, and that was enough. Though he sauntered through orchards and rested under apple trees, he never observed that the rings of small holes in the bark were usually made by the yellow-bellied woodpecker, instead of by Downy, and that the bird was not searching for grubs or insects, but was feeding upon the milky cambium layer of the inner bark.
But Thoreau's little slips of the kind I have called attention to count as nothing against the rich harvest of natural-history notes with which his work abounds. He could describe bird-songs and animal behavior and give these things their right emphasis in the life of the landscape as no other New England writer has done. His account of the battle of the ants in Walden atones an hundred-fold for the lapses I have mentioned.
One wonders just what Thoreau means when he says in "Walden," in telling of his visit to "Baker Farm": "Once it chanced that I stood in the very abutment of a rainbow's arch, which filled the lower stratum of the atmosphere, tinging the grass and leaves around, and dazzling me as if I looked through colored crystal." Is it possible, then, to reach the end of the rainbow? Why did he not dig for the pot of gold that is buried there? How he could be aware that he was standing at the foot of one leg of the glowing arch is to me a mystery. When I see a rainbow, it is always immediately in front of me. I am standing exactly between the highest point of the arch and the sun, and the laws of optics ordain that it can be seen in no other way. You can never see a rainbow at an angle. It always faces you squarely. Hence no two persons see exactly the same bow, because no two persons can occupy exactly the same place at the same time. The bow you see is directed to you alone. Move to the right or the left, and it moves as fast as you do. You cannot flank it or reach its end. It is about the most subtle and significant phenomenon that everyday Nature presents to us. Unapproachable as a spirit, like a visitant from another world, yet the creation of the familiar sun and rain!
How Thoreau found himself standing in the bow's abutment will always remain a puzzle to me. Observers standing on high mountains with the sun low in the west have seen the bow as a complete circle. This one can understand.
We can point many a moral and adorn many a tale with Thoreau's shortcomings and failures in his treatment of nature themes. Channing quotes him as saying that sometimes "you must see with the inside of your eye." I think that Thoreau saw, or tried to see, with the inside of his eye too often. He does not always see correctly, and many times he sees more of Thoreau than he does of the nature he assumes to be looking at. Truly it is "needless to travel for wonders," but the wonderful is not one with the fantastic or the far-fetched. Forcible expression, as I have said, was his ruling passion as a writer. Only when he is free from its thrall, which in his best moments he surely is, does he write well. When he can forget Thoreau and remember only nature, we get those delightful descriptions and reflections in "Walden." When he goes to the Maine woods or to Cape Cod or to Canada, he leaves all his fantastic rhetoric behind him and gives us sane and refreshing books. In his walks with Channing one suspects he often let himself go to all lengths, did his best to turn the world inside out, as he did at times in his Journals, for his own edification and that of his wondering disciple.
To see analogies and resemblances everywhere is the gift of genius, but to see a resemblance to volcanoes in the hubs or gnarls on birch or beech trees, or cathedral windows in the dead leaves of the andromeda in January, or a suggestion of Teneriffe in a stone-heap, does not indicate genius. To see the great in the little, or the whole of Nature in any of her parts, is the poet's gift, but to ask, after seeing the andropogon grass, "Are there no purple reflections from the culms of thought in my mind?"--a remark which Channing quotes as very significant--is not to be poetical. Thoreau is full of these impossible and fantastic comparisons, thinking only of striking expressions and not at all about the truth. "The flowing of the sap under the dull rind of the trees" is suggestive, but what suggestion is there in the remark, "May I ever be in as good spirits as a willow"? The mood of the scrub oak was more habitual with him.
Thoreau was in no sense an interpreter of nature; he did not draw out its meanings or seize upon and develop its more significant phases. Seldom does he relate what he sees or thinks to the universal human heart and mind. He has rare power of description, but is very limited in his power to translate the facts and movements of nature into human emotion. His passage on the northern lights, which Channing quotes from the Journals, is a good sample of his failure in this respect:
Now the fire in the north increases wonderfully, not shooting up so much as creeping along, like a fire on the mountains of the north seen afar in the night. The Hyperborean gods are burning brush, and it spread, and all the hoes in heaven couldn't stop it. It spread from west to east over the crescent hill. Like a vast fiery worm it lay across the northern sky, broken into many pieces; and each piece, with rainbow colors skirting it, strove to advance itself toward the east, worm-like, on its own annular muscles. It has spread into their choicest wood-lots. Now it shoots up like a single solitary watch-fire or burning bush, or where it ran up a pine tree like powder, and still it continues to gleam here and there like a fat stump in the burning, and is reflected in the water. And now I see the gods by great exertions have got it under, and the stars have come out without fear, in peace.
I get no impression of the mysterious almost supernatural character of the aurora from such a description in terms of a burning wood-lot or a hay-stack; it is no more like a conflagration than an apparition is like solid flesh and blood. Its wonderful, I almost said its spiritual, beauty, its sudden vanishings and returnings, its spectral, evanescent character--why, it startles and awes one as if it were the draperies around the throne of the Eternal. And then his mixed metaphor--the Hyperborean gods turned farmers and busy at burning brush, then a fiery worm, and then the burning wood-lots! But this is Thoreau--inspired with the heavenly elixir one moment, and drunk with the brew in his own cellar the next.
V
Thoreau's faults as a writer are as obvious as his merits. Emerson hit upon one of them when he said, "The trick of his rhetoric is soon learned; it consists in substituting for the obvious word and thought, its diametrical antagonist." He praises wild mountains and winter forests for their domestic air, snow and ice for their warmth, and so on. (Yet Emerson in one of his poems makes frost burn and fire freeze.) One frequently comes upon such sentences as these: "If I were sadder, I should be happier"; "The longer I have forgotten you, the more I remember you." It may give a moment's pleasure when a writer takes two opposites and rubs their ears together in that way, but one may easily get too much of it. Words really mean nothing when used in such a manner. When Emerson told Channing that if he (Emerson) could write as well as he did, he would write a great deal better, one readily sees what he means. And when Thoreau says of one of his callers, "I like his looks and the sound of his silence," the contradiction pleases one. But when he tells his friend that hate is the substratum of his love for him, words seem to have lost their meaning. Now and then he is guilty of sheer bragging, as when he says, "I would not go around the corner to see the world blow up."
He often defies all our sense of fitness and proportion by the degree in which he magnifies the little and belittles the big. He says of the singing of a cricket which he heard under the border of some rock on the hillside one mid-May day, that it "makes the finest singing of birds outward and insignificant." "It is not so wildly melodious, but it is wiser and more mature than that of the wood thrush." His forced and meaningless analogies come out in such a comparison as this: "Most poems, like the fruits, are sweetest toward the blossom end." Which _is_ the blossom end of a poem?
Thoreau advised one of his correspondents when he made garden to plant some Giant Regrets--they were good for sauce. It is certain that he himself planted some Giant Exaggerations and had a good yield. His exaggeration was deliberate. "Walden" is from first to last a most delightful sample of his talent. He belittles everything that goes on in the world outside his bean-field. Business, politics, institutions, governments, wars and rumors of wars, were not so much to him as the humming of a mosquito in his hut at Walden: "I am as much affected by the faint hum of a mosquito making its invisible and unimaginable tour through my apartment at earliest dawn, when I was sitting with door and windows open, as I could be by any trumpet that ever sang of fame. It was Homer's requiem; itself an Iliad and Odyssey in the air, singing its own wrath and wanderings. There was something cosmical about it." One wonders what he would have made of a blow-fly buzzing on the pane.
He made Walden Pond famous because he made it the center of the universe and found life rich and full without many of the things that others deem necessary. There is a stream of pilgrims to Walden at all seasons, curious to see where so much came out of so little--where a man had lived who preferred poverty to riches, and solitude to society, who boasted that he could do without the post office, the newspapers, the telegraph, and who had little use for the railroad, though he thought mankind had become a little more punctual since its invention.
Another conspicuous fault as a writer is his frequent use of false analogies, or his comparison of things which have no ground of relationship, as when he says: "A day passed in the society of those Greek sages, such as described in the Banquet of Xenophon, would not be comparable with the dry wit of decayed cranberry-vines, and the fresh Attic salt of the moss-beds." The word "wit" has no meaning when thus used. Or again where he says: "All great enterprises are self-supporting. The poet, for instance, must sustain his body by his poetry, as a steam planing-mill feeds its boilers with the shavings it makes." Was there ever a more inept and untruthful comparison? To find any ground of comparison between the two things he compared, he must make his poet sustain his body by the scraps and lines of his poem which he rejects, or else the steam planing-mill consume its finished product.
"Let all things give way to the impulse of expression," he says, and he assuredly practiced what he had preached.
One of his tricks of self-justification was to compare himself with inanimate objects, which is usually as inept as to compare colors with sounds or perfumes: "My acquaintances sometimes imply that I am too cold," he writes, "but each thing is warm enough of its kind. Is the stone too cold which absorbs the heat of the summer sun and does not part with it during the night? Crystals, though they be of ice are not too cold to melt.... Crystal does not complain of crystal any more than the dove of its mate."
He strikes the same false note when, in discussing the question of solitude at Walden he compares himself to the wild animals around him, and to inanimate objects, and says he was no more lonely than the loons on the pond, or than Walden itself: "I am no more lonely than a single mullein or dandelion in a pasture, or a bean leaf, or a sorrel, or a house-fly, or a humble-bee. I am no more lonely than the Mill Brook, or a weather-cock, or the North Star, or the South Wind, or an April Shower, or a January Thaw, or the first spider in a new house." Did he imagine that any of these things were ever lonely? Man does get lonely, but Mill Brook and the North Star probably do not.
If he sees anything unusual in nature, like galls on trees and plants, he must needs draw some moral from it, usually at the expense of the truth. For instance, he implies that the beauty of the oak galls is something that was meant to bloom in the flower, that the galls are the scarlet sins of the tree, the tree's Ode to Dejection, yet he must have known that they are the work of an insect and are as healthy a growth as is the regular leaf. The insect gives the magical touch that transforms the leaf into a nursery for its young. Why deceive ourselves by believing that fiction is more interesting than fact? But Thoreau is full of this sort of thing; he must have his analogy, true or false.
He says that when a certain philosophical neighbor came to visit him in his hut at Walden, their discourse expanded and racked the little house: "I should not dare to say how many pounds' weight there was above the atmospheric pressure on every circular inch; it opened its seams so that they had to be calked with much dulness thereafter to stop the consequent leak--but I had enough of that kind of oakum already picked." At the beginning of the paragraph he says that he and his philosopher sat down each with "some shingles of thoughts well dried," which they whittled, trying their knives and admiring the clear yellowish grain of the pumpkin pine. In a twinkling the three shingles of thought are transformed into fishes of thought in a stream into which the hermit and the philosopher gently and reverently wade, without scaring or disturbing them. Then, presto! the fish become a force, like the pressure of a tornado that nearly wrecks his cabin! Surely this is tipsy rhetoric, and the work that can stand much of it, as "Walden" does, has a plus vitality that is rarely equaled.
VI
In "Walden" Thoreau, in playfully naming his various occupations, says, "For a long time I was reporter to a journal, of no very wide circulation, whose editor has never yet seen fit to print the bulk of my contributions, and, as is too common with writers, I got only my labor for my pains. However, in this case my pains were their own reward." If he were to come back now, he would, I think, open his eyes in astonishment, perhaps with irritation, to see the whole bulk of them at last in print.
His Journal was the repository of all his writings, and was drawn upon during his lifetime for all the material he printed in books and contributed to the magazines. The fourteen volumes, I venture to say, form a record of the most minute and painstaking details of what one man saw and heard on his walks in field and wood, in a single township, that can be found in any literature.
It seems as though a man who keeps a Journal soon becomes its victim; at least that seems to have been the case with Thoreau. He lived for that Journal, he read for it, he walked for it; it was like a hungry, omnivorous monster that constantly called for more. He transcribed to its pages from the books he read, he filled it with interminable accounts of the commonplace things he saw in his walks, tedious and minute descriptions of everything in wood, field, and swamp. There are whole pages of the Latin names of the common weeds and flowers. Often he could not wait till he got home to write out his notes. He walked by day and night, in cold and heat, in storm and sunshine, all for his Journal. All was fish that came to that net; nothing was too insignificant to go in. He did not stop to make literature of it, or did not try, and it is rarely the raw material of literature. Its human interest is slight, its natural history interest slight also. For upwards of twenty-five years Thoreau seemed to have lived for this Journal. It swelled to many volumes. It is a drag-net that nothing escapes. The general reader reads Thoreau's Journal as he does the book of Nature, just to cull out the significant things here and there. The vast mass of the matter is merely negative, like the things that we disregard in our walk. Here and there we see a flower, or a tree, or a prospect, or a bird, that arrests attention, but how much we pass by or over without giving it a thought! And yet, just as the real nature-lover will scan eagerly the fine print in Nature's book, so will the student and enthusiast of Thoreau welcome all that is recorded in his Journals.
Thoreau says that Channing in their walks together sometimes took out his notebook and tried to write as he did, but all in vain. "He soon puts it up again, or contents himself with scrawling some sketch of the landscape. Observing me still scribbling, he will say that he confines himself to the ideal, purely ideal remarks; he leaves the facts to me. Sometimes, too, he will say, a little petulantly, 'I am universal; I have nothing to do with the particular and definite.'" The truth was Channing had no Journal calling, "More, more!" and was not so inordinately fond of composition. "I, too," says Thoreau, "would fain set down something beside facts. Facts should only be as the frame to my pictures; they should be material to the mythology which I am writing." But only rarely are his facts significant, or capable of an ideal interpretation. Felicitous strokes like that in which he says, "No tree has so fair a bole and so handsome an instep as the birch," are rare.
Thoreau evidently had a certain companionship with his Journal. It was like a home-staying body to whom he told everything on his return from a walk. He loved to write it up. He made notes of his observations as he went along, night or day. One time he forgot his notebook and so substituted a piece of birch-bark. He must bring back something gathered on the spot. He skimmed the same country over and over; the cream he was after rose every day and all day, and in all seasons.
He evidently loved to see the pages of his Journal sprinkled with the Latin names of the plants and animals that he saw in his walk. A common weed with a long Latin name acquired new dignity. Occasionally he fills whole pages with the scientific names of the common trees and plants. He loved also a sprinkling of Latin quotations and allusions to old and little known authors. The pride of scholarship was strong in him. Suggestions from what we call the heathen world seemed to accord with his Gospel of the Wild.