Literary values, and other papers

by John Burroughs

A man of my own tastes re-reads Gilbert White two or three times, and dips into him many times more. It is easy to see why such a book lasts. So much writing there is that is like half-live coals buried in ashes; but here there are no ashes, no dead verbiage at all; we are in immediate contact with a live, simple, unaffected mind and personality. But this general description applies to all books that last; they all have at least one quality in common, living reality. What is special to White is his fine, scholarly style, busied with the common, homely things of everyday country life. The facts are just enough heightened and related to the life of this man to make them of perennial interest.

We probably go back to books from two motives: one, because we want to recover some past mood or experience to which the book may be the key; and the other from the perennial sources of pleasure and profit which a good book holds; in other words for association and inspiration.

I suppose it was with some such motives as these that I recently opened the “Autocrat” after the pages had been closed to me for over a quarter of a century. To recover as far as possible the spirit of the old days, I got out the identical numbers of the “Atlantic” in which I had first read those sparkling sentences. Life to me had the freshness and buoyancy of the morning hours in those first years of the great Boston magazine. I recall how impatiently I waited for each number to appear, and how, on one occasion at least, I ran all the way home from the post-office with the new issue in my hand, so eager was I to be alone with it in my room. I remember, too, how I resented the criticism of a schoolmate, then at Harvard College, who said that Holmes was not the great writer I fancied him to be, but only a Boston great writer.

Well, I found places in the “Autocrat” that would not bear much pressure,—thin places where a lively rhetoric alone carried the mind over. And I found much that was sound and solid, that would not give way beneath one under any pressure he could bring.

When Dr. Holmes got hold of a real idea, as he often did, he could exploit it in as taking a way as any man who has lived; but frequently, I think, he got hold of sham or counterfeit ideas; and these, with all his skill in managing them, will not stand the pressure of time. (His classing poems with meerschaum pipes, as two things that improve with use, is an instance of what I mean by his sham ideas.)

As a writer Dr. Holmes always reminded me of certain of our bird songsters, such as the brown thrasher or the catbird, whose performances always seem to imply a spectator and to challenge his admiration. The vivacious doctor always seemed to write with his eye upon his reader, and to calculate in advance upon his reader’s surprise and pleasure. If the world finally neglects his work, it will probably be because it lacks the deep seriousness of the enduring productions.

Yet this test of re-reading is, of course, only an approximate one. So great an authority as Hume said it was sufficient to read Cowley once, but that Parnell after the fiftieth reading was as fresh as at the first. Now, for my part, I have to go to the encyclopædia to find out who Parnell was, but of Cowley even desultory readers like myself know something. His essays one can not only read, but re-read. They make one of the unpretentious minor books that one can put in his pocket and take with him on a walk to the woods, and nibble at under a tree or by a waterfall. Solitude seems to bring out its quality, as it does that of some people.

In our intellectual experience there can probably be but one first time. We go back to an author again and again; yet in all save a few exceptional cases, the pleasure of the second or third reading is only a lesser degree of the first. On the other hand, a favorite piece of music one may hear with the same keen delight any number of times. Is it because music is so largely made up of the sensuous, at least to a greater extent than is any other phase of art? It is the same with perfumes, flavors, colors: they never lose their first freshness to us. But a book or a poem we absorb and exhaust more or less,—that is, as to its intellectual content; and if we return to it, it is probably for some charm or quality that is to the spirit what music or perfume or color is to the senses, or what a congenial companion is to our social instincts. We shall not go back to a book that does not in some way, apart from its mere intellectual service, relate itself to our lives.

Time tries all things, and surely does it sift out the false and fugitive in books. Contemporary judgment is usually unreliable. It is like trial by jury, the local and accidental play so large a part in the verdict. The next age, or the next, forms the higher court of appeal. In the same way a man’s future self corrects or sets aside his verdict of to-day. If in later life he reaffirms his first opinion, the chances are that time is on his side. There is, of course, a sense or a degree in which any book that one has once read becomes a sucked orange; but some books become much more so than others. I doubt if many of us find books that, like a few people, become dearer to us as time passes, and to which we always return with increasing interest. And the reason is that one’s mental and spiritual outlook is not uniformly the same, while his social and human wants, such as his need of food and warmth, do remain about the same. One in a measure absorbs the book and puts it behind him. It is like a place he has visited: he has had the view, and until the impression is more or less obliterated he does not care to repeat it. But one’s friend is always a fresh stimulus: he keeps the past alive for him (which the book can also do in a measure), and he consecrates the present (which the book cannot do). Indeed, the sense of companionship which one can have in a book is but a faint echo or shadow of the companionship he has with persons. Yet this sense of companionship does adhere to some books much more vividly than to others. They are our books; they were written for us; they become a part of our lives, and they do not drop away from us with the lapse of time, as do others. Different readers have felt this way about such writers as Emerson, Carlyle, Wordsworth, and Whitman; but it may be a question how writers who make the intense personal appeal that these men make will wear. Are they too special and individual for future generations to recognize close kinship with? Will each age have its own doctors and saviors, and go back only for lovers and for the touch of nature that makes all the world kin? I know not; yet it is apparent that he who stands upon the common ground where all men stand, and by the magic of his genius makes poetry and romance out of that, has the best chance to endure. Only so far as the writers named, or any writers, represent states of mind and spirit that are likely to return again and again, and not to be outgrown in the progress of the race, are we likely to come back to them, or is the future likely to feel an interest in them. A path or a road becomes obsolete when there are no more travelers going that way; and an author becomes obsolete when there are no more readers going his way.

For my part, I find myself returning again and again to the works of the men named, but, of course, with the cooled ardor that years bring to every man. I feel that I am less near the end with Whitman than with any of the others; he is the most stimulating to my intellect, because he suggests the most far-reaching problems. I re-read Wordsworth as I walk again along familiar paths that lead to the sequestered and the idyllic. I climb the Whitman mountain when I want a big view, and a wide horizon, and a glimpse of the unknown.