In October the air is really the fine element the poets describe.[500] The fields emit a dry and temperate odor. There is something in the refined and elastic air which reminds us of a work of art. It is like a verse of Anacreon or a tragedy of Æschylus.
All parts of nature belong to one head, as the curls of a maiden's hair. How beautifully flow the seasons as one year, and all streams as one ocean!
I hate museums; there is nothing so weighs upon my spirits. They are the catacombs of nature. One green bud of spring, one willow catkin, one faint trill from a migrating sparrow would set the world on its legs again. The life that is in a single green weed is of more worth than all this death. They are dead nature collected by dead men. I know not whether I muse most at the bodies stuffed with cotton and sawdust or those stuffed with bowels and fleshy fibre outside the cases.
Where is the proper herbarium, the true cabinet of shells, and museum of skeletons, but in the meadow where the flower bloomed, by the seaside where the tide cast up the fish, and on the hills and in the valleys where the beast laid down its life and the skeleton of the traveller reposes on the grass? What right have mortals to parade these things on their legs again, with their wires, and, when heaven has decreed that they shall return to dust again, to return them to sawdust? Would you have a dried specimen of a world, or a pickled one?
Embalming is a sin against heaven and earth,—against heaven, who has recalled the soul and set free the servile elements, and against the earth, which is thus robbed of her dust. I have had my right-perceiving senses so disturbed in these haunts as to mistake a veritable living man for a stuffed specimen, and surveyed him with dumb wonder as the strangest of the whole collection. For the strangest is that which, being in many particulars most like, is in some essential particular most unlike.
It is one great and rare merit in the old English tragedy that it says something. The words slide away very fast, but toward some conclusion. It has to do with things, and the reader feels as if he were advancing. It does not make much odds what message the author has to deliver at this distance of time, since no message can startle us, but how he delivers it,—that it be done in a downright and manly way. They come to the point and do not waste the time.
They say that Carew was a laborious writer, but his poems do not show it. They are finished, but do not show the marks of the chisel. Drummond was indeed a quiddler, with little fire or fibre, and rather a taste for poetry than a taste of it.
After all, we draw on very gradually in English literature to Shakespeare, through Peele and Marlowe, to say nothing of Raleigh and Spenser and Sidney. We hear the same great tone already sounding to which Shakespeare added a serener wisdom and clearer expression. Its chief characteristics of reality and unaffected manliness are there. The more we read of the literature of those times, the more does acquaintance divest the genius of Shakespeare of the in some measure false mystery which has thickened around it, and leave it shrouded in the grander mystery of daylight. His critics have for the most part made their [sic] contemporaries less that they might make Shakespeare more.
The distinguished men of those times had a great flow of spirits, a cheerful and elastic wit far removed from the solemn wisdom of later days. What another thing was fame and a name then than now! This is seen in the familiar manner in which they were spoken of by each other and the nation at large,—Kit Marlowe, and George (Peele), and Will Shakespeare, and Ben Jonson,—great fellows,—chaps.
We pass through all degrees of life from the least organic to the most complex. Sometimes we are mere pudding-stone and scoriæ.