III. THE INTERPRETER OF NATURE
Emerson quotes Bacon as saying that man is the minister and interpreter of Nature. But man has been very slow to see that he is a part of that same Nature of which he is the minister and interpreter. His interpretation is not complete until he has learned to interpret himself also. This he has done all unconsciously through his art, his literature, his religion, his philosophy. Painting interprets one phase of him, music another, poetry another, sculpture another, his civic orders another, his creeds and beliefs and superstitions another, so that at this day and age of the world he has been pretty well interpreted. But the final interpretation is as far off as ever, because the condition of man is not static, but dynamic. He is forever born anew into the world and experiences new wonder, new joy, new loves, new enthusiasms. Nature is infinite, and the soul of man is infinite, and the action and reaction between the two which gives us our culture and our civilization can never cease. When man thinks he is interpreting Nature, he is really interpreting himself—reading his own heart and mind through the forms and movements that surround him. In his art and his literature he bodies forth his own ideals; in his religion he gives the measure of his awe and reverence and his aspirations toward the perfect good; in his science he illustrates his capacity for logical order and for weighing evidence. There is no astronomy to the night prowler, there is no geology to the woodchuck or the ground mole, there is no biology to the dog or to the wolf, there is no botany to the cows and the sheep. All these sciences are creations of the mind of man; they are the order and the logic which he reads into Nature. Nature interprets man to himself. Her beauty, her sublimity, her harmony, her terror, are names which he gives to the emotions he experiences in her presence. The midnight skies sound the depths of his capacity for the emotion of grandeur and immensity, the summer landscape reveals to him his susceptibility to beauty.
It is considered sound rhetoric to speak of the statue as existing in the block of marble before the sculptor touches it. How easy to fall into such false analogies! Can we say that the music existed in the flute or in the violin before the musician touches them? The statue in the form of an idea or a conception exists in the mind of the sculptor, and he fashions the marble accordingly. Does the book exist in the pot of printer's ink? Living things exist in the germ, the oak in the acorn, the chick in the egg, but from the world of dead matter there is no resurrection or evolution. Life alone puts a particular stamp upon it. We may say that the snowflake exists in the cloud vapor because of the laws of crystallization, but the house does not exist in a thousand of brick in the same sense. It exists in the mind of the builder.
The sculptor does not interpret the marble; he interprets his own soul through the medium of the marble—the picture is not in the painter's color tubes waiting to be developed as the flower is in the bud; it is in the artist's imagination. The apple and the peach and the wheat and the corn exist in the soil potentially; life working through the laws of physics and chemistry draws their materials out and builds up the perfect fruit. To decipher, to interpret, to translate, are terms that apply to human things, and not to universal nature. We do not interpret the stars when we form the constellations. The grouping of the stars in the heavens is accidental—the chair, the dipper, the harp, the huntsman, are our fabrications. Does Shelley interpret the skylark, or Wordsworth the cuckoo, or Bryant the bobolink, or Whitman the mockingbird and the thrush? Each interprets his own heart. Each poet's mind is the die or seal that gives the impression to this wax.
All the so-called laws of Nature are of our own creation. Out of an unfailing sequence of events we frame laws—the law of gravity, of chemical affinity, of magnetism, of electricity—and refer to them as if they had an objective reality, when they are only concepts in our own minds. Nature has no statute books and no legislators, though we habitually think of her processes under these symbols. Human laws can be annulled, but Nature's laws cannot. Her ways are irrevocable, though theology revokes or suspends them in its own behalf. It was Joshua's mind that stopped while he conquered his enemies, and not the sun.
The winds and the tides do not heed our prayers; fire and flood, famine and pestilence, are deaf to our appeals. One of the cardinal doctrines of Emerson was that all true prayers are self-answered—the spirit which the act of prayer begets in the suppliant is the answer. A heartfelt prayer for faith or courage or humility is already answered in the attitude of soul that devoutly asks it. We know that the official prayers in the churches for victory to the armies in the field are of no avail—and how absurd to expect them to be—but who shall say that the prayer of the soldier on the eve of battle may not steady his hand and clinch his courage? But the prayer for rain or for heat or cold, or for the stay of an epidemic, or for any material good, is as vain as to reach one's hands for the moon.
IV. ORIGINAL SOURCES
The writers who go directly to life and Nature for their material are, in every age, few compared with the great number that go to the libraries and lecture-halls, and sustain only a second-hand relation to the primary sources of inspiration. They cannot go directly to the fountain-head, but depend upon those who can and do. They are like those forms of vegetation, the mushrooms, that have no chlorophyll, and hence cannot get their food from the primary sources, the carbonic acid in the air; they must draw it from the remains of plants that did get it at first-hand from Nature. Chlorophyll is the miracle-worker of the vegetable world; it makes the solar power available for life. It is in direct and original relation to the sun. It also makes animal life possible. The plant can go to inorganic nature and through its chlorophyll can draw the sustenance from it. We must go to the plant, or to the animal that went to the plant, for our sustenance.
The secondary men go to books and creeds and institutions for their religion, but the original men, having the divine chlorophyll, go to Nature herself. The stars in their courses teach them. The earth inspires them.
V. THE COSMIC HARMONY