enough, where we shall quietly rest to-night, they thus, in that chilly March evening, one hundred and forty-two years before us, with wind and current favoring, have already glided out of sight, not to camp, as we shall, at night, but while two sleep one will manage the canoe, and the swift stream bear them onward to the settlements, it may be, even to old John Lovewell's house on Salmon Brook to-night.
According to the historian, they escaped as by a miracle all roving bands of Indians, and reached their homes in safety, with their trophies, for which the General Court paid them fifty pounds. The family of Hannah Dustan all assembled alive once more, except the infant whose brains were dashed out against the apple-tree, and there have been many who in later times have lived to say that they had eaten of the fruit of that apple-tree.
This seems a long while ago, and yet it happened since Milton wrote his Paradise Lost. But its antiquity is not the less great for that, for we do not regulate our historical time by the English standard, nor did the English by the Roman, nor the Roman by the Greek. "We must look a long way back," says Raleigh, "to find the Romans giving laws to nations, and their consuls bringing kings and princes bound in chains to Rome in triumph; to see men go to Greece for wisdom, or Ophir for gold; when now nothing remains but a poor paper remembrance of their former condition." And yet, in one sense, not so far back as to find the Penacooks and Pawtuckets using bows and arrows and hatchets of stone, on the banks of the Merrimack. From this September afternoon, and from between these now cultivated shores, those times seemed more remote than the dark ages. On beholding an old picture of Concord, as it appeared but seventy-five years ago, with a fair open prospect and a light on trees and river, as if it were broad noon, I find that I had not thought the sun shone in those days, or that men lived in broad daylight then. Still less do we imagine the sun shining on hill and valley during Philip's war, on the war-path of Church or Philip, or later of Lovewell or Paugus, with serene summer weather, but they must have lived and fought in a dim twilight or night.
The age of the world is great enough for our imaginations, even according to the Mosaic account, without borrowing any years from the geologist. From Adam and Eve at one leap sheer down to the deluge, and then through the ancient monarchies, through Babylon and Thebes, Brahma and Abraham, to Greece and the Argonauts; whence we might start again with Orpheus and the Trojan war, the Pyramids and the Olympic games, and Homer and Athens, for our stages; and after a breathing space at the building of Rome, continue our journey down through Odin and Christ to—America. It is a wearisome while. And yet the lives of but sixty old women, such as live under the hill, say of a century each, strung together, are sufficient to reach over the whole ground. Taking hold of hands they would span the interval from Eve to my own mother. A respectable tea-party merely,—whose gossip would be Universal History. The fourth old woman from myself suckled Columbus,—the ninth was nurse to the Norman Conqueror,—the nineteenth was the Virgin Mary,—the twenty-fourth the Cumaean Sibyl,—the thirtieth was at the Trojan war and Helen her name,—the thirty-eighth was Queen Semiramis,—the sixtieth was Eve the mother of mankind. So much for the
"Old woman that lives under the hill,
And if she's not gone she lives there still."
It will not take a very great-granddaughter of hers to be in at the death of Time.
We can never safely exceed the actual facts in our narratives. Of pure invention, such as some suppose, there is no instance. To write a true work of fiction even, is only to take leisure and liberty to describe some things more exactly as they are. A true account of the actual is the rarest poetry, for common sense always takes a hasty and superficial view. Though I am not much acquainted with the works of Goethe, I should say that it was one of his chief excellences as a writer, that he was satisfied with giving an exact description of things as they appeared to him, and their effect upon him. Most travellers have not self-respect enough to do this simply, and make objects and events stand around them as the centre, but still imagine more favorable positions and relations than the actual ones, and so we get no valuable report from them at all. In his Italian Travels Goethe jogs along at a snail's pace, but always mindful that the earth is beneath and the heavens are above him. His Italy is not merely the fatherland of lazzaroni and virtuosi, and scene of splendid ruins, but a solid turf-clad soil, daily shined on by the sun, and nightly by the moon. Even the few showers are faithfully recorded. He speaks as an unconcerned spectator, whose object is faithfully to describe what he sees, and that, for the most part, in the order in which he sees it. Even his reflections do not interfere with his descriptions. In one place he speaks of himself as giving so glowing and truthful a description of an old tower to the peasants who had gathered around him, that they who had been born and brought up in the neighborhood must needs look over their shoulders, "that," to use his own words, "they might behold with their eyes, what I had praised to their ears,"—"and I added nothing, not even the ivy which for centuries had decorated the walls." It would thus be possible for inferior minds to produce invaluable books, if this very moderation were not the evidence of superiority; for the wise are not so much wiser than others as respecters of their own wisdom. Some, poor in spirit, record plaintively only what has happened to them; but others how they have happened to the universe, and the judgment which they have awarded to circumstances. Above all, he possessed a hearty good-will to all men, and never wrote a cross or even careless word. On one occasion the post-boy snivelling, "Signor perdonate, questa é la mia patria," he confesses that "to me poor northerner came something tear-like into the eyes."
Goethe's whole education and life were those of the artist. He lacks the unconsciousness of the poet. In his autobiography he describes accurately the life of the author of Wilhelm Meister. For as there is in that book, mingled with a rare and serene wisdom, a certain pettiness or exaggeration of trifles, wisdom applied to produce a constrained and partial and merely well-bred man,—a magnifying of the theatre till life itself is turned into a stage, for which it is our duty to study our parts well, and conduct with propriety and precision,—so in the autobiography, the fault of his education is, so to speak, its merely artistic completeness. Nature is hindered, though she prevails at last in making an unusually catholic impression on the boy. It is the life of a city boy, whose toys are pictures and works of art, whose wonders are the theatre and kingly processions and crownings. As the youth studied minutely the order and the degrees in the imperial procession, and suffered none of its effect to be lost on him, so the man aimed to secure a rank in society which would satisfy his notion of fitness and respectability. He was defrauded of much which the savage boy enjoys. Indeed, he himself has occasion to say in this very autobiography, when at last he escapes into the woods without the gates: "Thus much is certain, that only the undefinable, wide-expanding feelings of youth and of uncultivated nations are adapted to the sublime, which, whenever it may be excited in us through external objects, since it is either formless, or else moulded into forms which are incomprehensible, must surround us with a grandeur which we find above our reach." He further says of himself: "I had lived among painters from my childhood, and had accustomed myself to look at objects, as they did, with reference to art." And this was his practice to the last. He was even too well-bred to be thoroughly bred. He says that he had had no intercourse with the lowest class of his towns-boys. The child should have the advantage of ignorance as well as of knowledge, and is fortunate if he gets his share of neglect and exposure.
"The laws of Nature break the rules of Art."
The Man of Genius may at the same time be, indeed is commonly, an Artist, but the two are not to be confounded. The Man of Genius, referred to mankind, is an originator, an inspired or demonic man, who produces a perfect work in obedience to laws yet unexplored. The Artist is he who detects and applies the law from observation of the works of Genius, whether of man or nature. The Artisan is he who merely applies the rules which others have detected. There has been no man of pure Genius; as there has been none wholly destitute of Genius.
Poetry is the mysticism of mankind.
The expressions of the poet cannot be analyzed; his sentence is one word, whose syllables are words. There are indeed no words quite worthy to be set to his music. But
