Essays

life consists in its momentary completeness.

Every stroke of the chisel must enter our own flesh and bone; he is a mere idolater and apprentice to art who suffers it to grate dully on marble. For the true art is not merely a sublime consolation and holiday labor, which the gods have given to sickly mortals; but such a masterpiece as you may imagine a dweller on the tablelands of central Asia might produce, with threescore and ten years for canvas, and the faculties of a man for tools⁠—a human life; wherein you might hope to discover more than the freshness of Guido’s Aurora, or the mild light of Titian’s landscapes⁠—no bald imitation nor even rival of Nature, but rather the restored original of which she is the reflection. For such a masterpiece as this, whole galleries of Greece and Italy are a mere mixing of colors and preparatory quarrying of marble.

Of such sort, then, be our crusade⁠—which, while it inclines chiefly to the hearty good will and activity of war, rather than the insincerity and sloth of peace, will set an example to both of calmness and energy;⁠—as unconcerned for victory as careless of defeat⁠—not seeking to lengthen our term of service, nor to cut it short by a reprieve⁠—but earnestly applying ourselves to the campaign before us. Nor let our warfare be a boorish and uncourteous one, but a higher courtesy attend its higher chivalry⁠—though not to the slackening of its tougher duties and severer discipline. That so our camp may be a palæstra, wherein the dormant energies and affections of men may tug and wrestle, not to their discomfiture, but to their mutual exercise and development.

What were Godfrey and Gonsalvo unless we breathed a life into them and enacted their exploits as a prelude to our own? The Past is the canvas on which our idea is painted⁠—the dim prospectus of our future field. We are dreaming of what we are to do. Methinks I hear the clarion sound, and clang of corselet and buckler, from many a silent hamlet of the soul. The signal gun has long since sounded, and we are not yet on our posts. Let us make such haste as the morning, and such delay as the evening.

Henry D. Thoreau

July, 1840.

Aulus Persius Flaccus

First published in The Dial, Vol. 1, No. 1, July, 1840.

If you have imagined what a divine work is spread out for the poet, and approach this author too, in the hope of finding the field at length fairly entered on, you will hardly dissent from the words of the prologue,

“Ipse semipaganus
Ad sacra Watum carmen affero nostrum.”

Here is none of the interior dignity of Virgil, nor the elegance and fire of Horace, nor will any Sibyl be needed to remind you, that from those older Greek poets, there is a sad descent to Persius. Scarcely can you distinguish one harmonious sound, amid this unmusical bickering with the follies of men.

One sees how music has its place in thought, but hardly as yet in language. When the Muse arrives, we wait for her to remould language, and impart to it her own rhythm. Hitherto the verse groans and labors with its load, but goes not forward blithely, singing by the way. The best ode may be parodied, indeed is itself a parody, and has a poor and trivial sound, like a man stepping on the rounds of a ladder. Homer, and Shakespeare, and Milton, and Marvel, and Wordsworth, are but the rustling of leaves and crackling of twigs in the forest, and not yet the sound of any bird. The Muse has never lifted up her voice to sing. Most of all satire will not be sung. A Juvenal or Persius do not marry music to their verse, but are measured fault finders at best; stand but just outside the faults they condemn, and so are concerned rather about the monster they have escaped, than the fair prospect before them. Let them live on an age, not a secular one, and they will have travelled out of his shadow and harm’s way, and found other objects to ponder.

As long as there is nature, the poet is, as it were, particeps criminis. One sees not but he had best let bad take care of itself, and have to do only with what is beyond suspicion. If you light on the least vestige of truth, and it is the weight of the whole body still which stamps the faintest trace, an eternity will not suffice to extol it, while no evil is so huge, but you grudge to bestow on it a moment of hate. Truth never turns to rebuke falsehood; her own straightforwardness is the severest correction. Horace would not have written satire so well, if he had not been inspired by it, as by a passion, and fondly cherished his vein. In his odes, the love always exceeds the hate, so that the severest satire still sings itself, and the poet is satisfied, though the folly be not corrected.

A sort of necessary order in the development of Genius is, first, Complaint; second, Plaint; third, Love. Complaint, which is the condition of Persius, lies not in the province of poetry. Ere long the enjoyment of a superior good would have changed his disgust into regret. We can never have much sympathy with the complainer; for after searching nature through, we conclude he must be both plaintiff and defendant too, and so had best come to a settlement without a hearing.

I know not but it would be truer to say, that the highest strain of the muse is essentially plaintive. The saint’s are still tears of joy.

But the divinest poem, or the life of a great man, is the severest satire; as impersonal as nature herself, and like the sighs of her winds in the woods, which convey ever a slight reproof to the hearer. The greater the genius, the keener