The Atlantic Monthly, Volume 08, No. 47, September, 1861

The argument took some time. Then he recited one or two pieces bearing on the same subject, closing with Byron's Lines to his Newfoundland Dog.

"In connection with that poem," he continued, "a singular event once happened to me. I was acting in Petersburg, Virginia. My theatrical engagement was just concluded, and I dined with a party of friends one afternoon before going away. We sat after dinner, singing songs, reciting poetry, and relating anecdotes. At last I recited those lines of Byron on his dog. I was sitting by the fireplace, my feet resting against the jamb, and a single candle was burning on the mantel. It had become dark. Just as I came to the end of the poem,—

"'To mark a friend's remains these stones arise,
I never knew but one, and here he lies,'—

"my foot slipped down the jamb, and struck a dog, who was lying beneath. The dog sprang up, howled, and ran out of the room, and at the same moment the candle went out. I asked whose dog it was. No one knew. No one had seen the dog till that moment. Perhaps you will smile at me, Sir, and think me superstitious,—but I could not but think that the animal was brought there by occult sympathy."

Having uttered these oracular words in a very solemn tone, Booth rose, and, taking one of the candles, said to me, "Would you like to look at the remains?"

I assented. Asking our silent friend to excuse us, he led me into an adjoining chamber. I looked toward a bed in the corner of the room, expecting to see a corpse. There was none there. But Booth went to another corner of the room, where, spread out upon a large sheet, I saw—what do you suppose, dear reader?

About a bushel of Wild Pigeons!

Booth knelt down by the side of the birds, and with every evidence of sincere affliction began to mourn over them. He took them up in his hands tenderly, and pressed them to his heart. For a few moments he seemed to forget my presence. For this I was glad, for it gave me a little time to recover from my astonishment, and to consider rapidly what it might mean. As I look back now, and think of the oddity of the situation, I rather wonder at my own self-possession. It was a sufficiently trying position. At first I thought it was a hoax, an intentional piece of practical fun, of which I was to be the object. But even in the moment allowed me to think, I decided that this could not be. For I recalled the long and elaborate Bible argument against taking the life of animals, which could hardly have been got up for the occasion. I considered also that as a joke it would be too poor in itself, and too unworthy a man like Booth. So I decided that it was a sincere conviction,—an idea, exaggerated perhaps to the borders of monomania, of the sacredness of all life. And I determined to treat the conviction with respect, as all sincere and religious convictions deserve to be treated.

I also saw the motive for this particular course of action. During the week immense quantities of the Wild Pigeon (Passenger Pigeon, Columba Migratoria) had been flying over the city, in their way to and from a roost in the neighborhood. These birds had been slaughtered by myriads, and were for sale by the bushel at the corners of every street in the city. Although all the birds which could be killed by man made the smallest impression on the vast multitude contained in one of these flocks,—computed by Wilson to consist of more than twenty-two hundred millions,—yet to Booth the destruction seemed wasteful, wanton, and from his point of view was a wilful and barbarous murder.

Such a sentiment was perhaps an exaggeration; still I could not but feel a certain sympathy with its humanity. It was an error in a good direction. If an insanity, it was better than the cold, heartless sanity of most men. By the time, therefore, that Booth was ready to speak, I was prepared to answer.

"You see," said he, "these innocent victims of man's barbarity. I wish to testify in some public way against this wanton destruction of life. And I wish you to help me. Will you?"

"Hardly," I replied. "I expected something very different from this, when I received your note. I did not come to see you expecting to be called to assist at the funeral solemnities of birds."

"Nor did I send for you," he answered. "I merely wrote to ask about the lot in the grave-yard. But now you are here, why not help me? Do you fear the laugh of man?"

"No," I returned. "If I agreed with you in regard to this subject, I might, perhaps, have the courage to act out my convictions. But I do not look at it as you do. There is no reason, then, why I should have anything to do with it. I respect your convictions, but do not share them."

"That is fair," he said. "I cannot ask anything more. I am obliged to you for coming to see me. My intention was to purchase a place in the burial-ground, and have them put into a coffin and carried in a hearse. I might do it without any one's knowing that it was not a human body. Would you assist me, then?"

"But if no one knew it," I said, "how would it be a public testimony against the destruction of life?"

"True, it would not. Well, I will consider what to do. Perhaps I may wish to bury them privately in some garden."

"In that case," said I, "I will find you a place in the grounds of some of my friends."

He thanked me, and I took my leave,—exceedingly astonished and amused by the incident, but also interested in the earnestness of conviction of the man.

I heard, in a day or two, that he had actually purchased a lot in the cemetery, two or three miles below the city, that he had had a coffin made, hired a hearse and carriage, and had gone through all the solemnity of a regular funeral. For several days he continued to visit the grave of his little friends, and mourned over them with a grief which did not seem at all theatrical.

Meantime he acted every night at the theatre, and my friends told me that his acting was of unsurpassed excellence. A vein of insanity began, however, to mingle in his conduct. His fellow-actors were afraid of him. He looked terribly in earnest on the stage; and when he went behind the scenes, he spoke to no one, but sat still, looking sternly at the ground. During the day he walked about town, giving apples to the horses, and talked to the drivers, urging them to treat their animals with kindness.

An incident happened, one day, which illustrated still further his sympathy for the humbler races of animals. One of the sudden freshets which come to the Ohio, caused commonly by heavy rains melting the snow in the valleys of its tributary streams, had raised the river to an unusual height. The yellow torrent rushed along its channel, bearing on its surface logs, boards, and the debris of fences, shanties, and lumber-yards. A steamboat, forced by the rapid current against the stone landing, had been stove, and lay a wreck on the bottom, with the water rising rapidly around it. A horse had been left, fastened on the boat, and it looked as if he would be drowned. Booth was on the landing, and he took from his pocket twenty dollars, and offered it to any one who would get to the boat and cut the halter, so that the horse might swim ashore. Some one was found to do it, and the horse's life was saved.

So this golden thread of human sympathy with all creatures whom God had made ran through the darkening moods of his genius. He had well laid to heart the fine moral of his favorite poem,—that

"He prayeth well, who loveth well
Both man, and bird, and beast.
"He prayeth best, who loveth best
All things, both great and small;
For the dear God, who loveth us,
He made and loveth all."

In a week or less the tendency to derangement in Booth became more developed. One night, when he was to act, he did not appear; nor could he be found at his lodgings. He did not come home that night. Next morning he was found in the woods, several miles from the city, wandering through the snow. He was taken care of. His derangement proved to be temporary, and his reason returned in a few days. He soon left the city. But before he went away he sent to me the following note, which I copy from the original faded paper, now lying before me:—

"—Theatre,

"January 18, 1834.

"MY DEAR SIR,

"Allow me to return you my grateful acknowledgments for your prompt and benevolent attention to my request last Wednesday night. Although I am convinced your ideas and mine thoroughly coincide as to the real cause of man's bitter degradation, yet I fear human means to redeem him are now fruitless. The Fire must burn, and Prometheus endure his agony. The Pestilence of Asia must come again, ere the savage will be taught humanity. May you escape! God bless you, Sir!

    "J.B. BOOTH."

Certainly I may call this "an odd adventure" for a young minister, less than six months in his profession. But it left in my mind a very pleasant impression of this great tragedian. It may be asked why he came to me, the youngest and newest clergyman in the place. The reason he gave me himself. I was a Unitarian. He said he had more sympathy with me on that account, as he was of Jewish descent, and a Monotheist.

MY OUT-DOOR STUDY

The noontide of the summer-day is past, when all Nature slumbers, and when the ancients feared to sing, lest the great god Pan should be awakened. Soft changes, the gradual shifting of every shadow on every leaf, begin to show the waning hours. Ineffectual thunder-storms have gathered and gone by, hopelessly defeated. The floating-bridge is trembling and resounding beneath the pressure of one heavy wagon, and the quiet fishermen change their places to avoid the tiny ripple that glides stealthily to their feet above the half-submerged planks. Down the glimmering lake there are miles of silence and still waters and green shores, overhung with a multitudinous and scattered fleet of purple and golden clouds, now furling their idle sails and drifting away into the vast harbor of the South. Voices of birds, hushed first by noon and then by possibilities of tempest, cautiously begin once more, leading on the infinite melodies of the June afternoon. As the freshened air invites them forth, so the smooth and stainless water summons us. "Put your hand upon the oar," says Charon in the old play to Bacchus, "and you shall hear the sweetest songs." The doors of the boathouse swing softly open, and the slender wherry, like a water-snake, steals silently in the wake of the dispersing clouds.

The woods are hazy, as if the warm sunbeams had melted in among the interstices of the foliage and spread a soft film throughout the whole. The sky seems to reflect the water, and the water the sky; both are roseate with color, both are darkened with clouds, and between them both, as the boat recedes, the floating-bridge hangs suspended, with its motionless fishermen and its moving team. The wooded islands are poised upon the lake, each belted with a paler tint of softer wave. The air seems fine and palpitating; the drop of an oar in a distant row-lock, the sound of a hammer on a dismantled boat, pass into some region of mist and shadows, and form a metronome for delicious dreams.

Every summer I launch my boat to seek some realm of enchantment beyond all the sordidness and sorrow of earth, and never yet did I fail to ripple with my prow at least the outskirts of those magic waters. What spell has fame or wealth to enrich this midday blessedness with a joy the more? Yonder barefoot boy, as he drifts silently in his punt beneath the drooping branches of yonder vine-clad bank, has a bliss which no Astor can buy with money, no Seward conquer with votes,—which yet is no monopoly of his, and to which time and experience only add a more subtile and conscious charm. The rich years were given us to increase, not to impair, these cheap felicities. Sad or sinful is the life of that man who finds not the heavens bluer and the waves more musical in maturity than in childhood. Time is a severe alembic of youthful joys, no doubt; we exhaust book after book and leave Shakespeare unopened; we grow fastidious in men and women; all the rhetoric, all the logic, we fancy we have heard before; we have seen the pictures, we have listened to the symphonies: but what has been done by all the art and literature of the world towards describing one summer day? The most exhausting effort brings us no nearer to it than to the blue sky which is its dome; our words are shot up against it like arrows, and fall back helpless. Literary amateurs go the tour of the globe to renew their stock of materials, when they do not yet know a bird or a bee or a blossom beside their homestead-door; and in the hour of their greatest success they have not an horizon to their life so large as that of yon boy in his punt. All that is purchasable in the capitals of the world is not to be weighed in comparison with the simple enjoyment that may be crowded into one hour of sunshine. What can place or power do here? "Who could be before me, though the palace of Caesar cracked and split with emperors, while I, sitting in silence on a cliff of Rhodes, watched the sun as he swung his golden censer athwart the heavens?"

It is pleasant to observe a sort of confused and latent recognition of all this in the instinctive sympathy which is always rendered to any indication of out-door pursuits. How cordially one sees the eyes of all travellers turn to the man who enters the railroad-station with a fowling-piece in hand, or the boy with water-lilies! There is a momentary sensation of the freedom of the woods, a whiff of oxygen for the anxious money-changers. How agreeably sounds the news—to all but his creditors—that the lawyer or the merchant has locked his office-door and gone fishing! The American temperament needs at this moment nothing so much as that wholesome training of semi-rural life which reared Hampden and Cromwell to assume at one grasp the sovereignty of England, and which has ever since served as the foundation of England's greatest ability. The best thoughts and purposes seem ordained to come to human beings beneath the open sky, as the ancients fabled that Pan found the goddess Ceres when he was engaged in the chase, whom no other of the gods could find when seeking seriously. The little I have gained from colleges and libraries has certainly not worn so well as the little I learned in childhood of the habits of plant, bird, and insect. That "weight and sanity of thought," which Coleridge so finely makes the crowning attribute of Wordsworth, is in no way so well matured and cultivated as in the society of Nature.

There may be extremes and affectations, and Mary Lamb declared that Wordsworth held it doubtful if a dweller in towns had a soul to be saved. During the various phases of transcendental idealism among ourselves, in the last twenty years, the love of Nature has at times assumed an exaggerated and even a pathetic aspect, in the morbid attempts of youths and maidens to make it a substitute for vigorous thought and action,—a lion endeavoring to dine on grass and green leaves. In some cases this mental chlorosis reached such a height as almost to nauseate one with Nature, when in the society of the victims; and surfeited companions felt inclined to rush to the treadmill immediately, or get chosen on the Board of Selectmen, or plunge into any conceivable drudgery, in order to feel that there was still work enough in the universe to keep it sound and healthy. But this, after all, was exceptional and transitory, and our American life still needs, beyond all things else, the more habitual cultivation of out-door habits.

Probably the direct ethical influence of natural objects may be overrated. Nature is not didactic, but simply healthy. She helps everything to its legitimate development, but applies no goads, and forces on us no sharp distinctions. Her wonderful calmness, refreshing the whole soul, must aid both conscience and intellect in the end, but sometimes lulls both temporarily, when immediate issues are pending. The waterfall cheers and purifies infinitely, but it marks no moments, has no reproaches for indolence, forces to no immediate decision, offers unbounded to-morrows, and the man of action must tear himself away, when the time comes, since the work will not be done for him. "The natural day is very calm, and will hardly reprove our indolence."

And yet the more bent any man is upon action, the more profoundly he needs the calm lessons of Nature to preserve his equilibrium. The radical himself needs nothing so much as fresh air. The world is called conservative; but it is far easier to impress a plausible thought on the complaisance of others than to retain an unfaltering faith in it for ourselves. The most dogged reformer distrusts himself every little while, and says inwardly, like Luther, "Art thou alone wise?" So he is compelled to exaggerate, in the effort to hold his own. The community is bored by the conceit and egotism of the innovators; so it is by that of poets and artists, orators and statesmen; but if we knew how heavily ballasted all these poor fellows need to be, to keep an even keel amid so many conflicting tempests of blame and praise, we should hardly reproach them. But the simple enjoyments of out-door life, costing next to nothing, tend to equalize all vexations. What matter, if the Governor removes you from office? he cannot remove you from the lake; and if readers or customers will not bite, the pickerel will. We must keep busy, of course; yet we cannot transform the world except very slowly, and we can best preserve our patience in the society of Nature, who does her work almost as imperceptibly as we.

And for literary training, especially, the influence of natural beauty is simply priceless Under the present educational systems, we need grammars and languages far less than a more thorough out-door experience. On this flowery bank, on this ripple-marked shore, are the true literary models. How many living authors have ever attained to writing a single page which could be for one moment compared, for the simplicity and grace of its structure, with this green spray of wild woodbine or yonder white wreath of blossoming clematis? A finely organized sentence should throb and palpitate like the most delicate vibrations of the summer air. We talk of literature as if it were a mere matter of rule and measurement, a series of processes long since brought to mechanical perfection: but it would be less incorrect to say that it all lies in the future; tried by the out-door standard, there is as yet no literature, but only glimpses and guideboards; no writer has yet succeeded in sustaining, through more than some single occasional sentence, that fresh and perfect charm. If by the training of a lifetime one could succeed in producing one continuous page of perfect cadence, it would be a life well spent, and such a literary artist would fall short of Nature's standard in quantity only, not in quality.

It is one sign of our weakness, also, that we commonly assume Nature to be a rather fragile and merely ornamental thing, and suited for a model of the graces only. But her seductive softness is the last climax of magnificent strength. The same mathematical law winds the leaves around the stem and the planets round the sun. The same law of crystallization rules the slight-knit snow-flake and the hard foundations of the earth. The thistle-down floats secure upon the same summer zephyrs that are woven into the tornado. The dew-drop holds within its transparent cell the same electric fire which charges the thunder-cloud. In the softest tree or the airiest waterfall, the fundamental lines are as lithe and muscular as the crouching haunches of a leopard; and without a pencil vigorous enough to render these, no mere mass of foam or foliage, however exquisitely finished, can tell the story. Lightness of touch is the crowning test of power.

Yet Nature does not work by single spasms only. That chestnut spray is not an isolated and exhaustive effort of creative beauty: look upward and see its sisters rise with pile above pile of fresh and stately verdure, till tree meets sky in a dome of glorious blossom, the whole as perfect as the parts, the least part as perfect as the whole. Studying the details, it seems as if Nature were a series of costly fragments with no coherency,—as if she would never encourage us to do anything systematically, would tolerate no method but her own, and yet had none of her own,—were as abrupt in her transitions from oak to maple as the heroine who went into the garden to cut a cabbage-leaf to make an apple-pie; while yet there is no conceivable human logic so close and inexorable as her connections. How rigid, how flexible are, for instance, the laws of perspective! If one could learn to make his statements as firm and unswerving as the horizon-line,—his continuity of thought as marked, yet as unbroken, as yonder soft gradations by which the eye is lured upward from lake to wood, from wood to hill, from hill to heavens,—what more bracing tonic could literary culture demand? As it is, Art misses the parts, yet does not grasp the whole.

Literature also learns from Nature the use of materials: either to select only the choicest and rarest, or to transmute coarse to fine by skill in using. How perfect is the delicacy with which the woods and fields are kept, throughout the year! All these millions of living creatures born every season, and born to die; yet where are the dead bodies? We never see them. Buried beneath the earth by tiny nightly sextons, sunk beneath the waters, dissolved into the air, or distilled again and again as food for other organizations,—all have had their swift resurrection. Their existence blooms again in these violet-petals, glitters in the burnished beauty of these golden beetles, or enriches the veery's song. It is only out of doors that even death and decay become beautiful. The model farm, the most luxurious house, have their regions of unsightliness; but the fine chemistry of Nature is constantly clearing away all its impurities before our eyes, and yet so delicately that we never suspect the process. The most exquisite work of literary art exhibits a certain crudeness and coarseness, when we turn to it from Nature,—as the smallest cambric needle appears rough and jagged, when compared through the magnifier with the tapering fineness of the insect's sting.

Once separated from Nature, literature recedes into metaphysics, or dwindles into novels. How ignoble seems the current material of London literary life, for instance, compared with the noble simplicity which, a half-century ago, made the Lake Country an enchanted land forever! Is it worth a voyage to England to sup with Thackeray in the Pot Tavern? Compare the "enormity of pleasure" which De Quincey says Wordsworth derived from the simplest natural object with the serious protest of Wilkie Collins against the affectation of caring about Nature at all. "Is it not strange", says this most unhappy man, "to see how little real hold the objects of the natural world amidst which we live can gain on our hearts and minds? We go to Nature for comfort in joy and sympathy in trouble, only in books…. What share have the attractions of Nature ever had in the pleasurable or painful interests and emotions of ourselves or our friends?… There is surely a reason for this want of inborn sympathy between the creature and the creation around it."

Leslie says of "the most original landscape-painter he knew," meaning Constable, that, whenever he sat down in the fields to sketch, he endeavored to forget that he had ever seen a picture. In literature this is easy, the descriptions are so few and so faint. When Wordsworth was fourteen, he stopped one day by the wayside to observe the dark outline of an oak against the western sky; and he says that he was at that moment struck with "the infinite variety of natural appearances which had been unnoticed by the poets of any age or country," so far as he was acquainted with them, and "made a resolution to supply in some degree the deficiency." He spent a long life in studying and telling these beautiful wonders; and yet, so vast is the sum of them, they seem almost as undescribed before, and men to be still as content with vague or conventional representations. On this continent, especially, people fancied that all must be tame and second-hand, everything long since duly analyzed and distributed and put up in appropriate quotations, and nothing left for us poor American children but a preoccupied universe. And yet Thoreau camps down by Walden Pond and shows us that absolutely nothing in Nature has ever yet been described,—not a bird nor a berry of the woods, nor a drop of water, nor a spicula of ice, nor summer, nor winter, nor sun, nor star.

Indeed, no person can portray Nature from any slight or transient acquaintance. A reporter cannot step out between the sessions of a caucus and give a racy abstract of the landscape. It may consume the best hours of many days to certify for one's self the simplest out-door fact, but every such piece of knowledge is intellectually worth the time. Even the driest and barest book of Natural History is good and nutritious, so far as it goes, if it represents genuine acquaintance; one can find summer in January by poring over the Latin catalogues of Massachusetts plants and animals in Hitchcock's Report. The most commonplace out-door society has the same attraction. Every one of those old outlaws who haunt our New England ponds and marshes, water-soaked and soakers of something else,—intimate with the pure fluid in that familiarity which breeds contempt,—has yet a wholesome side when you explore his knowledge of frost and freshet, pickerel and musk-rat, and is exceedingly good company while you can keep him beyond scent of the tavern. Any intelligent farmer's boy can give you some narrative of out-door observation which, so far as it goes, fulfils Milton's definition of poetry, "simple, sensuous, passionate." He may not write sonnets to the lake, but he will walk miles to bathe in it; he may not notice the sunsets, but he knows where to search for the black-bird's nest. How surprised the school-children looked, to be sure, when the Doctor of Divinity from the city tried to sentimentalize, in addressing them, about "the bobolink in the woods"! They knew that the darling of the meadow had no more personal acquaintance with the woods than was exhibited by the preacher.

But the preachers are not much worse than the authors. The prosaic Buckle, to be sure, admits that the poets have in all time been consummate observers, and that their observations have been as valuable as those of the men of science; and yet we look even to the poets for very casual and occasional glimpses of Nature only, not for any continuous reflection of her glory. Thus, Chaucer is perfumed with early spring; Homer resounds like the sea; in the Greek Anthology the sun always shines on the fisherman's cottage by the beach; we associate the Vishnu Purana with lakes and houses, Keats with nightingales in forest dim, while the long grass waving on the lonely heath is the last memorial of the fading fame of Ossian. Of course Shakspeare's omniscience included all natural phenomena; but the rest, great or small, associate themselves with some special aspects, and not with the daily atmosphere. Coming to our own times, one must quarrel with Ruskin as taking rather the artist's view of Nature, selecting the available bits and dealing rather patronizingly with the whole; and one is tempted to charge even Emerson, as he somewhere charges Wordsworth, with not being of a temperament quite liquid and musical enough to admit the full vibration of the great harmonics. The three human foster-children who have been taken nearest into Nature's bosom, perhaps,—an odd triad, surely, for the whimsical nursing mother to select,—are Wordsworth, Bettine Brentano, and Thoreau. Is it yielding to an individual preference too far, to say, that there seems almost a generic difference between these three and any others,—however wide be the specific differences among themselves,—to say that, after all, they in their several paths have attained to an habitual intimacy with Nature, and the rest have not?