IV
John Burroughs is the historian of a small area; he has the home instinct, the hereditary farmer's love for his own fields and woods, and the haunts of his childhood. He is contemplative, tranquil, unassertive. John Muir was restless, fervid, Scotch by temperament as by birth, the very opposite of Burroughs. He was telescopic, not microscopic; his units were glaciers and Yosemites, Sierras and Gardens of the Gods.
The childhood of Muir was broken at eleven by the migration of his family from their native Scotland to the wilderness of Wisconsin, near the Fox River. After a boyhood in what literally was a new world to him, he started on his wanderings. By accident he found himself in the University of Wisconsin, where he studied for four years, the first author of note to be connected with the new state college movement, the democratizing of education. He pursued no regular course, but devoted himself to chemistry, botany, and other natural sciences that interested him, and then, to quote his own words, "wandered away on a glorious botanical and geological excursion, which has lasted nearly fifty years and is not yet completed, always happy and free, poor and rich, without thought of a diploma, of making a name, urged on and on through endless, inspiring, Godful beauty."
First he went to Florida, walking all the way, and sleeping on the ground wherever night overtook him; then he crossed to Cuba, with visions of South America and the Amazon beyond; but malarial fever, caused by sleeping on swampy ground, turned him away from the tropics toward California, where he arrived in 1868. The tremendous scenery of this west coast, those American Alps edging a continent from the Sierras to the Alaskan glaciers, so gripped his imagination and held him that he forgot everything save to look and wonder and worship. For years he explored the region, living months at a time in the forests of the Yosemite, in the wild Alpine gardens and glacial meadows of the Sierra, in passes and cañons, moving as far north as Alaska, where he was the first to see the great glacier now called by his name, sleeping where night overtook him, disdaining blanket or shelter, and returning to civilization only when driven by necessity. After years of such wandering he became as familiar with the mighty region, the tremendous western wall of a continent, as Thoreau was with Concord or Burroughs was with the banks of the Pepacton.
Unlike Burroughs, Muir sent down no roots during his earlier formative period; he was a man without a country, anchored to no past, a soul unsatisfied, restless, bursting eagerly into untrodden areas, as hungry of heart as Thoreau, but with none of Thoreau's provincialism and transcendental theories. In 1869 in the Big Tuolumne Meadows he was told of a marvelous, but dangerous, region beyond, and his account of the episode illumines him as with a flash-light:
Recognizing the unsatisfiable longings of my Scotch Highland instincts, he threw out some hints concerning Bloody Cañon, and advised me to explore it. "I have never seen it myself," he said, "for I never was so unfortunate as to pass that way. But I have heard many a strange story about it, and I warrant you will at least find it wild enough." Next day I made up a bundle of bread, tied my note-book to my belt, and strode away in the bracing air, full of eager, indefinite hope.
His first out-of-doors article, a paper on the Yosemite glaciers, was published in the New York Tribune in 1871. Later he contributed to the Overland Monthly, to Harper's, and Scribner's Monthly articles that have in them an atmosphere unique in literature. What sweep and freedom, what vastness of scale, what abysses and gulfs, what wildernesses of peaks. It is like sweeping over a continent in a balloon. One is ever in the vast places: one thrills with the author's own excitement:
How boundless the day seems as we revel in these storm-beaten sky-gardens amidst so vast a congregation of onlooking mountains.... From garden to garden, ridge to ridge, I drifted enchanted, now on my knees gazing into the face of a daisy, now climbing again and again among the purple and azure flowers of the hemlocks, now down among the treasuries of the snow, or gazing afar over domes and peaks, lakes and woods, and the billowy glaciated fields of the upper Tuolumne, and trying to sketch them. In the midst of such beauty, pierced with its rays, one's body is all a tingling palate. Who wouldn't be a mountaineer! Up here all the world's prizes seem nothing.—July 26, 1869.
I chose a camping ground on the brink of one of the lakes, where a thicket of hemlock spruce sheltered me from the night wind. Then after making a tin cupful of tea, I sat by my campfire reflecting on the grandeur and significance of the glacial records I had seen. As the night advanced, the mighty rock-walls of my mountain mansion seemed to come nearer, while the starry sky in glorious brightness stretched across like a ceiling from wall to wall, and fitted closely down into all the spiky irregularities of the summits. Then, after a long fireside rest, and a glance at my note-book, I cut a few leafy branches for a bed, and fell into the clear, death-like sleep of the mountaineer.
No pain here, no dull empty hours, no fear of the past, no fear of the future. These blessed mountains are so compactly filled with God's beauty, no petty personal hope or experience has room to be.... Perched like a fly on this Yosemite dome, I gaze and sketch and bask, oftentimes settling down into dumb admiration without definite hope of ever learning much, yet with the longing, unresisting effort that lies at the door of hope, humbly prostrate before the vast display of God's power, and eager to offer self-denial and renunciation with eternal toil to learn any lesson in the divine manuscript.—July 20, 1869.
To read Muir is to be in the presence not of a tranquil, chatty companion like Burroughs, who saunters leisurely along the spring meadows listening for the birds just arrived the night before and comparing the dates of the hyla's first cry; it is rather to be with a tempestuous soul whose units are storms and mountain ranges and mighty glacial moraines, who strides excitedly along the bare tops of ragged peaks and rejoices in their vastness and awfulness, who cries, "Come with me along the glaciers and see God making landscapes!" One gets at the heart of Muir in an episode like this, the description of a terrific storm in the Yuba region in December, 1874:
The force of the gale was such that the most steadfast monarch of them all rocked down to its roots with a motion plainly perceptible when one leaned against it. Nature was holding high festival, and every fiber of the most rigid giants thrilled with glad excitement. I drifted on through the midst of this passionate music and motion across many a glen, from ridge to ridge; often falling in the lee of a rock for shelter, or to gaze and listen. Even when the glad anthem had swelled to its highest pitch, I could distinctly hear the varying tones of individual trees—spruce, and fir, and pine, and leafless oak. ... Toward midday, after a long, tingling scramble through copses of hazel and ceanothus, I gained the summit of the highest ridge in the neighborhood; and then it occurred to me that it would be a fine thing to climb one of the trees to obtain a wider outlook and get my ear close to the Æolian music of its topmost needles.... Being accustomed to climb trees in making botanical studies, I experienced no difficulty in reaching the top of this one, and never before did I enjoy so noble an exhilaration of motion. The slender tops fairly flapped and swished in the passionate torrent, bending and swirling backward and forward, round and round, tracing indescribable combinations of vertical and horizontal curves, while I clung with muscles firm braced, like a bobolink on a reed.
He had more humor than Burroughs, more even than Thoreau, a sly Scotch drollery that was never boisterous, never cynical. In the Bloody Cañon he meets the Mono Indians and finds little in them that is romantic:
The dirt on their faces was fairly stratified and seemed so ancient in some places and so undisturbed as almost to possess a geological significance. The older faces were, moreover, strangely blurred and divided into sections by furrows that looked like cleavage joints, suggesting exposure in a castaway condition on the mountains for ages. Viewed at a little distance they appeared as mere dirt specks on the landscape.
Like Thoreau, he was a mystic and a poet. He inherited mysticism with his Scotch blood as he inherited wildness and the love of freedom. He was not a mere naturalist, a mere scientist bent only on facts and laws: he was a searcher after God, even as Thoreau. As one reads him, one feels one's soul expanding, one's horizons widening, one's hands reaching out for the infinite. The message of Muir is compelling and eager:
Next to the light of the dawn on high mountain-tops, the alpenglow is the most impressive of all the terrestrial manifestations of God;... stay on this good fire mountain and spend the night among the stars. Watch their glorious bloom until dawn, and get one more baptism of light. Then, with fresh heart, go down to your work, and whatever your fate, under whatever ignorance or knowledge you may afterwards chance to suffer, you will remember these fine, wild views, and look back with joy.
And again after his joyous study of the water ouzel, a prose lyric, rapturous and infectious, he cries:
And so I might go on, writing words, words, words; but to what purpose? Go see him and love him, and through him as through a window look into Nature's warm heart.
The output of Muir, especially of books, has been small. To one who cares nothing for money and who is indifferent to fame, it is hard to offer inducements. He wrote only to please himself; he would not be commanded or bribed or begged, for why should one write words when the Sierras are in bloom and the winds are calling in the upper peaks? The public at large knows little of him, compared with what it knows of Burroughs or even of Thoreau. His influence, therefore, has been small. Though he had published many magazine articles, it was not until 1894 that he published The Mountains of California, his first book. Our National Parks came in 1901, and My First Summer in the Sierra in 1911. The last is Muir's journal, kept on the spot, full of the thrill and the freshness of the original day. If it be a sample of the journal which we have reason to believe that he kept with Thoreau-like thoroughness almost to the time of his death—he died in December, 1914—the best work of John Muir may even yet be in store.
Muir was more gentle than Thoreau or Burroughs, and more sympathetic with everything alive in the wild places which he loved. Unlike Burroughs, he has named the birds without a gun, and, unlike Thoreau, he has refused to kill even fish or rattlesnakes. He could look on even the repulsive lizards of his region, some of them veritable monsters in size and hideousness, with real affection:
Small fellow-mortals, gentle and guileless, they are easily tamed, and have beautiful eyes, expressing the clearest innocence, so that, in spite of prejudices brought from cool, lizardless countries, one must soon learn to like them. Even the horned toad of the plains and foothills, called horrid, is mild and gentle, with charming eyes, and so are the snake-like species found in the underbrush of the lower forests.... You will surely learn to like them, not only the bright ones, gorgeous as the rainbow, but the little ones, gray as lichened granite, and scarcely bigger than grasshoppers; and they will teach you that scales may cover as fine a nature as hair or feather or anything tailored.
And there is no more sympathetic, interpretative study among all the work of the nature-writers than his characterization of the Douglas squirrel of the Western mountains:
One never tires of this bright chip of Nature, this brave little voice crying in the wilderness, observing his many works and ways, and listening to his curious language. His musical, piney gossip is savory to the ear as balsam to the palate; and though he has not exactly the gift of song, some of his notes are sweet as those of a linnet—almost flute-like in softness; while others prick and tingle like thistles. He is the mocking-bird of squirrels, pouring forth mixed chatter and song like a perennial fountain, barking like a dog, screaming like a hawk, whistling like blackbirds and sparrows; while in bluff, audacious noisiness he is a jay.
Emerson visited Muir during his trip to the West Coast, climbed the precarious ladder that led to his room in the Yosemite sawmill, and passed a memorable afternoon. "He is more wonderful than Thoreau," he said, and he tried long to induce him to leave the mountains for the East, and to live in the midst of men. But to Muir the leaving of the Yosemite and the Sierra was like leaving God Himself. To him the city was the place of unnatural burdens, of money that dulls and kills the finest things of the soul, of separation from all that is really vital in the life of man.
His style is marked by vividness and fervid power. He makes a scene stand out with sharpness. He is original; there are in his work no traces of other writings save those of the Bible, with which he was saturated, and at rare intervals of Thoreau. Often there is a rhetorical ring to his page, a resonant fullness of tone that can be described only by the word eloquent. In passages describing storm or mountain majesty there is a thrill, an excitement, that are infectious. The prose of John Muir may be summed up as sincere and vigorous, without trace of self-consciousness or of straining for effect. Few writers of any period of American literature have within their work more elements of promise as they go down to the generations to come.