Chapter 9

With the elimination of editorial individuality necessarily follows elimination of individuality in the magazine. More and more, every day, magazines are conforming to the same monotonous type; so that, except for name and cover, it is impossible to tell one magazine from another. Happily one or two--_rari nantes in gurgito vasto_--survive amid the democratic welter; and all who have at heart not only the interests of literature, but the true interests of the public taste, will pray that they will have the courage to maintain their distinction, unseduced by the moneyed voice of the mob--a distinction to which, after all, they have owed, and will continue to owe, their success. The names of these magazines will readily occur to the reader, and, as they occur, he cannot but reflect that it was just editorial individuality and a high standard of policy that made them what they are, and what, it is ardently to be hoped, they will still continue to be. Plutus and Demos are the worst possible editors for a magazine; and in the end, even, it is the best magazine that always makes the most money.

XII

THE SPIRIT OF THE OPEN

I often think, as I sit here in my green office in the woodland--too often diverted from some serious literary business with the moon or the morning stars, or a red squirrel who is the familiar spirit of my wood-pile, or having my thoughts carried out to sea by the river which runs so freshly and so truantly, with so strong a current of temptation, a hundred yards away from my window--I often think that the strong necessity that compelled me to do my work, to ply my pen and inkpot out here in the leafy, blue-eyed wilderness, instead of doing it by typewriter in some forty-two-storey building in the city, is one of those encouraging signs of the times which links one with the great brotherhood of men and women that have heard the call of the great god Pan, as he sits by the river--

Sweet, sweet, sweet, O Pan! Piercing sweet by the river! Blinding sweet, O great god Pan!

And I go on thinking to this effect: that this impulse that has come to so many of us, and has, incidentally, wrought such a harmony in our lives, is something more than duck-shooting, trout-fishing, butterfly-collecting, or a sentimental passion for sunsets, but is indeed something not so very far removed from religion, romantic religion. At all events, it is something that makes us happy, and keeps us straight. That combination of results can only come by the satisfaction of the undeniable religious instinct in all of us: an instinct that seeks goodness, but seeks happiness too. Now, there are creeds by which you can be good without being happy; and creeds by which you can be happy without being good. But, perhaps, there is only one creed by which you can be both at once--the creed of the growing grass, and the blue sky and the running river, the creed of the dog-wood and the skunk-cabbage, the creed of the red-wing and the blue heron--the creed of the great god Pan.

Pan, being one of the oldest of the gods, might well, in an age eager for novelty, expect to be the latest fashion; but the revival of his worship is something far more than a mere vogue. It was rumoured, as, of course, we all know, early in the Christian era, that he was dead. The pilot Thomas, ran the legend, as told by Plutarch, sailing near Pascos, with a boatful of merchants, heard in the twilight a mighty voice calling from the land, bidding him proclaim to all the world that Pan was dead. "Pan is dead!"--three times ran the strange shuddering cry through the darkness, as though the very earth itself wailed the passing of the god.

But Pan, of course, could only die with the earth itself, and so long as the lichen and the moss keep quietly at their work on the grey boulder, and the lightning zigzags down through the hemlocks, and the arrowhead guards its waxen blossom in the streams; so long as the earth shakes with the thunder of hoofs, or pours out its heart in the song of the veery-thrush, or bares its bosom in the wild rose, so long will there be little chapels to Pan in the woodland--chapels on the lintels of which you shall read, as Virgil wrote: _Happy is he who knows the rural gods, Pan, and old Sylvanus, and the sister nymphs_.

It is strange to see how in every country, but more particularly in America and in England, the modern man is finding his religion as it was found by those first worshippers of the beautiful mystery of the visible universe, those who first caught glimpses of

Nymphs in the coppice, Naiads in the fountain, Gods on the craggy height and roaring sea.

First thoughts are proverbially the best; at all events, they are the bravest. And man's first thoughts of the world and the strangely romantic life he is suddenly called up, out of nothingness, to live, unconsulted, uninstructed, left to feel his way in the blinding radiance up into which he has been mysteriously thrust; those first thoughts of his are nowadays being corroborated in every direction by the last thoughts of the latest thinker. Mr. Jack London, one of Nature's own writers, one of those writers too, through whom the Future speaks, has given a name to this stirring of the human soul--"The Call of the Wild." Following his lead, others have written of "The Lure," of this and that in nature, and all mean the same thing: that the salvation of man is to be found on, and by means of, the green earth out of which he was born, and that, as there is no ill of his body which may not be healed by the magic juices of herb and flower, or the stern potency of minerals, so there is no sickness of his soul that may not be cured by the sound of the sea, the rustle of leaves, or the songs of birds.

Thirty or forty years ago the soul of the world was very sick. It had lost religion in a night of misunderstood "materialism," so-called. But since then that mere "matter" which seemed to eclipse the soul has grown strangely radiant to deep-seeing eyes, and, whereas then one had to doubt everything, dupes of superficial disillusionment, now there is no old dream that has not the look of coming true, no hope too wild and strange and beautiful to be confidently entertained. Even, if you wish to believe in fairies, science will hardly say you nay. Those dryads and fauns, which Keats saw "frightened away" by the prosaic times in which it was his misfortune to be alive and unrecognized, are trooping back in every American woodland, and the god whose name I have invoked has become more than ever

the leaven That spreading in this dull and clodded earth Gives it a touch ethereal.

His worship is all the more sincere because it is not self-conscious. If you were to tell the trout-fisher, or the duck-shooter, or the camper-out, that he is a worshipper of Pan, he would look at you in a kindly bewilderment. He would seem a little anxious about you, but it would be only a verbal misunderstanding. It would not take him long to realize that you were only putting in terms of a creed the intuitive and inarticulate faith of his heart. Perhaps the most convincing sign of this new-old faith in nature is the unconsciousness of the believer. He has no idea that he is believing or having faith in anything. He is simply loving the green earth and the blue sea, and the ways of birds and fish and animals; but he is so happy in his innocent, ignorant joy that he seems almost to shine with his happiness. There is, literally, a light about him--that light which edges with brightness all sincere action. The trout, or the wild duck, or the sea bass is only an innocent excuse to be alone with the Infinite. To be alone. To be afar. Men sail precarious craft in perilous waters for no reason they could tell of. They may think that trawling, or dredging, or whaling is the explanation: the real reason is the mystery we call the Sea.

Ostensibly, of course, the angler is a man who goes out to catch fish; yet there is a great difference between an angler and a fishmonger. Though the angler catches no fish, though his creel be empty as he returns home at evening, there is a curious happiness and peace about him which a mere fishmonger would be at a loss to explain. Fish, as I said, were merely an excuse; and, as he vainly waited for fish, without knowing it, he was learning the rhythm of the stream, and the silence of ferns was entering into his soul, and the calm and patience of meadows were dreamily becoming a part of him. Suddenly, too, in the silence, maybe he caught sight of a strange, hairy, masterful presence, sitting by the stream, whittling reeds, and blowing his breath into them here and there, and finally binding them together with rushes, till he had made out of the empty reeds and rushes an instrument that sang everything that can be sung and told you everything that can be told.

The sun on the hill forgot to die. And the lilies revived, and the dragon-fly Came back to dream on the river.

Do you really think that the huntsman hunts only the deer? He, himself, doubtless thinks that the trophy of the antlers was all he went out into the woods to win. But there came a day to him when he missed the deer, and caught a glimpse instead of the divine huntress, Diana, high-buskined, short-kirtled, speeding with her hounds through the lonely woodland, and his thoughts ran no more on venison for that day.

The same truth is true of all men who go out into the green, blue-eyed wilderness, whether they go there in pursuit of game or butterflies. They find something stranger and better than what they went out to seek, and, if they come home disappointed in the day's bag or catch, there is yet something in their eyes, and across their brows, a light of peace, an enchanted calm, which tells those who understand that they, at all events, have seen the great god Pan, and heard the music he can make out of the pipy hemlocks or the lonely pines.

XIII

AN OLD AMERICAN TOW-PATH

The charm of an old canal is one which every one seems to feel. Men who care nothing about ruined castles or Gothic cathedrals light up with romantic enthusiasm if you tell them of some old disused or seldom-used canal, grass-grown and tree-shaded, along which, hardly oftener than once a week, a leisurely barge--towed by an equally leisurely mule, with its fellow there on deck taking his rest, preparatory to his next eight-mile "shift"--sleepily dreams its way, presumably on some errand and to some destination, yet indeed hinting of no purpose or object other than its loitering passage through a summer afternoon. I have even heard millionaires express envy of the life lived by the little family hanging out its washing and smoking its pipe and cultivating its floating garden of nasturtiums and geraniums, with children playing and a house-dog to keep guard, all in that toy house of a dozen or so feet, whose foundations are played about by fishes, and whose sides are brushed by whispering reeds. But the charm of an old canal is perhaps yet more its own when even so tranquil a happening as the passage of a barge is no longer looked for, and the quiet water is called upon for no more arduous usefulness than the reflection of the willows or the ferrying across of summer clouds. Nature herself seems to wield a new peculiar spell in such association--old quarries, the rusting tramways choked with fern; forgotten mines with the wild vine twining tenderly about the old iron of dismantled pit-tackle, grown as green as itself with the summer rains; roads once dusty with haste over which only the moss and the trailing arbutus now leisurely travel. Wherever Nature is thus seen to be taking to herself, making her own, what man has first made and grown tired of, she is twice an enchantress, strangely combining in one charm the magic of a wistful, all but forgotten, past with her own sibyl-line mystery.

The symbol of that combined charm is that poppy of oblivion of which Sir Thomas Browne so movingly wrote: but, though along that old canal of which I am thinking and by which I walked a summer day, no poppies were growing, the freshest grass, the bluest flowers, the new-born rustling leafage of the innumerable trees, all alike seemed to whisper of forgetfulness, to be brooding, even thus in the very heyday of the mad young year, over time past. And this eloquently retrospective air of Nature made me realize, with something of the sense of discovery, how much of what we call antiquity is really a trick of Nature. She is as clever at the manufacture of antiques as some expert of "old masters." A little moss here and there, a network of ivy, a judicious use of ferns and grass, a careless display of weeds and wild flowers, and in twenty years Nature can make a modern building look as if it dated from the Norman Conquest. I came upon this reflection because, actually, my canal is not very old, though from the way it impressed me, and from the manner in which I have introduced it, the reader might well imagine it as old as Venice and no younger than Holland, and may find it as hard to believe as I did that its age is but some eighty years, and that it has its romantic being between Newark Bay and Phillipsburg, on the Delaware River.

One has always to be careful not to give too much importance to one's own associative fancies in regard to the names of places. To me, for instance, "Perth Amboy" has always had a romantic sound, and I believe that a certain majesty in the collocation of the two noble words would survive that visit to the place itself which I have been told is all that is necessary for disillusionment. On the other hand, for reasons less explainable, Hackensack, Paterson, Newark, and even Passaic are names that had touched me with no such romantic thrill. Wrongfully, no doubt, I had associated them with absurdity, anarchy, and railroads. Never having visited them, it was perhaps not surprising that I should not have associated them with such loveliness and luxury of Nature as I now unforgettably recall; and I cannot help feeling that in the case of places thus unfortunately named, Nature might well bring an action for damages, robbed as she thus undoubtedly is of a flock of worshippers.

At all events, I believe that my surprise and even incredulity will be understood when an artist friend of mine told me that by taking the Fort Lee ferry, and trolleying from the Palisades through Hackensack to Paterson, I might find--a dream canal. It was as though he had said that I had but to cross over to Hoboken to find the Well at the World's End. But it was true, for all that--quite fairy-tale true. It was one of those surprises of peace, deep, ancient peace, in America, of which there are many, and of which more needs to be told. I can conceive of no more suggestive and piquant contrast than that of the old canal gliding through water-lilies and spreading pastures, in the bosom of hills clothed with trees that scatter the sunshine or gather the darkness, the haunt of every bird that sings or flashes strange plumage and is gone, gliding past flowering rushes and blue dragon-flies, not

Flowing down to Camelot,

as one might well believe, but between Newark and Phillipsburg, touching Paterson midway with its dreaming hand.

Following my friend's directions, we had met at Paterson, and, desirous of finding our green pasture and still waters with the least possible delay, we took a trolley running in the Newark direction, and were presently dropped at a quaint, quiet little village called Little Falls, the last we were to see of the modern work-a-day world for several miles. A hundred yards or so beyond, and it is as though you had entered some secret green door into a pastoral dream-land. Great trees, like rustling walls of verdure, enclose an apparently endless roadway of gleaming water, a narrow strip of tow-path keeping it company, buttressed in from the surrounding fields with thickets of every species of bush and luxurious undergrowth, and starred with every summer flower.

Presently, by the side of the path, one comes to an object which seems romantically in keeping with the general character of the scene--a long block of stone, lying among the grasses and the wild geraniums, on which, as one nears it, one descries carved scroll-work and quaint, deep-cut lettering. Is it the tomb of dead lovers, the memorial of some great deed, or an altar to the _genius loci_? The willows whisper about it, and the great elms and maples sway and murmur no less impressively than if the inscription were in Latin of two thousand years ago. Nor is it in me to regret that the stone and its inscription, instead of celebrating the rural Pan, commemorate the men to whom I owe this lane of dreaming water and all its marginal green solitude: to wit--the "MORRIS CANAL AND BANKING CO., A.D. 1829," represented by its president, its cashier, its canal commissioner, and a score of other names of directors, engineers, and builders. Peace, therefore, to the souls of those dead directors, who, having only in mind their banking and engineering project, yet unconsciously wrought, nearly a century ago, so poetic a thing, and may their rest be lulled by such leafy murmurs and swaying of tendrilled shadows as all the day through stir and sway along the old canal!

A few yards beyond this monumental stone, there comes a great opening in the sky, a sense of depth and height and spacious freshness in the air, such as we feel on approaching the gorge of a great river; and in fact the canal has arrived at the Passaic and is about to be carried across it in a sort of long, wooden trough, supported by a noble bridge that might well pass for a genuine antique, owing to that collaborating hand of Nature which has filled the interstices of its massive masonry with fern, and so loosened it here and there that some of the canal escapes in long, ribbon-like cascades into the rocky bed of the river below. An aqueduct has always seemed to me, though it would be hard to say why, a most romantic thing. The idea of carrying running water across a bridge in this way--water which it is so hard to think of as imprisoned or controlled, and which, too, however shallow, one always associates with mysterious depth--the idea of thus carrying it across a valley high up in the air, so that one may look underneath it, underneath the bed in which it runs, and think of the fishes and the water-weeds and the waterbugs all being carried across with it, too--this, I confess, has always seemed to me engagingly marvellous. And I like, too, to think that the canal, whose daily business is to be a "common carrier" of others, thus occasionally tastes the luxury of being carried itself; as sometimes one sees on a freight car a new buggy, or automobile, or sometimes a locomotive, being luxuriously ridden along--as though out for a holiday--instead of riding others.

And talking of freight-cars, it came to me with a sense of illumination how different the word "Passaic" looks printed in white letters on the grey sides of grim produce-vans in begrimed procession, from the way it looks as it writes its name in wonderful white waterfalls, or murmurs it through corridors of that strange pillared and cake-shaped rock, amid the golden pomp of a perfect summer day. For a short distance the Passaic and the canal run side by side, but presently they part company, and mile after mile the canal seems to have the world to itself, once in a great while finding human companionship in a shingled cottage half hidden among willows, a sleepy brick-field run on principles as ancient as itself, shy little girls picking flowers on its banks, or saucy boys disporting themselves in the old swimming-hole; and

Sometimes an angler comes and drops his hook Within its hidden depths, and 'gainst a tree Leaning his rod, reads in some pleasant book, Forgetting soon his pride of fishery; And dreams or falls asleep, While curious fishes peep About his nibbled bait or scornfully Dart off and rise and leap.

Once a year, indeed, every one goes a-fishing along the old canal--men, women, boys, and girls. That is in spring, when the canal is emptied for repairs, the patching up of leaks, and so forth. Then the fish lie glittering in the shallow pools, as good as caught, and happy children go home with strings of sunfish,--"pumpkin-seeds" they call them,--cat-fish, and the like picturesque unprofitable spoils, while graver fisher-folk take count of pickerel and bream. This merry festival was over and gone, and the canal was all brimming with the lustral renewal of its waters, its depths flashing now and again with the passage of wary survivors of that spring _battue_.

It is essential to the appreciation of an old canal that one should not expect it to provide excitement, that it be understood between it and its fellow-pilgrim that there is very little to say and nothing to record. Along the old tow-path you must be content with a few simple, elemental, mysterious things. To enter into its spirit you must be somewhat of a monastic turn of mind, and have spiritual affiliations, above all, with La Trappe. For the presiding muse of an old canal is Silence; yet, as at La Trappe, a silence far indeed from being a dumb silence, but a silence that contains all speech. My friend and I spoke hardly at all as we walked along, easily obedient to the spirit of the hour and the place. For there were so few of those little gossipy accidents and occurrences by the way that make those interruptions we call conversation, and such overwhelming golden-handed presences of sunlit woodlands, flashing water-meadows, shining, singing air, and distant purple hills--all the blowing, rippling, leafy glory and mighty laughter of a summer day--that we were glad enough to let the birds do such talking as Nature deemed necessary; and I seem never to have heard or seen so many birds, of so many varieties, as haunt that old canal.

As we chose our momentary camping-place under a buttonwood-tree, from out an exuberant swamp of yellow water-lilies and the rearing sword-blades of the coming cat-tail, a swamp blackbird, on his glossy black orange-tipped wings, flung us defiance with his long, keen, full, saucy note; and as we sat down under our buttonwood and spread upon the sward our pastoral meal, the veery-thrush--sadder and stranger than any nightingale--played for us, unseen, on an instrument like those old water-organs played on by the flow and ebb of the tide, a flute of silver in which some strange magician has somewhere hidden tears. I wondered, as he sang, if the veery was the thrush that, to Walt Whitman's fancy, "in the swamp in secluded recesses" mourned the death of Lincoln:

Solitary the thrush, The hermit withdrawn to himself, avoiding the settlements, Sings to himself a song.

But when the veery had flown with his heart-break to some distant copse, two song-sparrows came to persuade us with their blithe melody that life was worth living, after all; and cheerful little domestic birds, like the jenny-wren and the chipping-sparrow, pecked about and put in between whiles their little chit-chat across the boughs, while the bobolink called to us like a comrade, and the phoebe-bird gave us a series of imitations, and the scarlet tanager and the wild canary put in a vivid appearance, to show what can be done with colour, though they have no song.

Yet, while one was grateful for such long, green silence as we found along that old canal, one could not help feeling how hard it would be to put into words an experience so infinite and yet so undramatic. Birds and birds, and trees and trees, and the long, silent water! Prose has seldom been adequate for such moments. So, as my friend and I took up our walk again, I sang him this little song of the Silence of the Way: