Ways of Nature

by John Burroughs

The essay-naturalist observes and admires; the scientific naturalist collects. One brings home a bouquet from the woods; the other, specimens for his herbarium. The former would enlist your sympathies and arouse your enthusiasm; the latter would add to your store of exact knowledge. The one is just as shy of over-coloring or falsifying his facts as the other, only he gives more than facts,—he gives impressions and analogies, and, as far as possible, shows you the live bird on the bough.

The literary and the scientific treatment of the dog, for instance, will differ widely, not to say radically, but they will not differ in one being true and the other false. Each will be true in its own way. One will be suggestive and the other exact; one will be strictly objective, but literature is always more or less subjective. Literature aims to invest its subject with a human interest, and to this end stirs our sympathies and emotions. Pure science aims to convince the reason and the understanding alone. Note Maeterlinck's treatment of the dog in a late magazine article, probably the best thing on our four-footed comrade that English literature has to show. It gives one pleasure, not because it is all true as science is true, but because it is so tender, human, and sympathetic, without being false to the essential dog nature; it does not make the dog do impossible things. It is not natural history, it is literature; it is not a record of observations upon the manners and habits of the dog, but reflections upon him and his relations to man, and upon the many problems, from the human point of view, that the dog must master in a brief time: the distinctions he must figure out, the mistakes he must avoid, the riddles of life he must read in his dumb dog way. Of course, as a matter of fact, the dog is not compelled "in less than five or six weeks to get into his mind, taking shape within it, an image and a satisfactory conception of the universe." No, nor in five or six years. Strictly speaking, he is not capable of conceptions at all, but only of sense impressions; his sure guide is instinct—not blundering reason. The dog starts with a fund of knowledge, which man acquires slowly and painfully. But all this does not trouble one in reading of Maeterlinck's dog. Our interest is awakened, and our sympathies are moved, by seeing the world presented to the dog as it presents itself to us, or by putting ourselves in the dog's place. It is not false natural history, it is a fund of true human sentiment awakened by the contemplation of the dog's life and character.

Maeterlinck does not ascribe human powers and capacities to his dumb friend, the dog; he has no incredible tales of its sagacity and wit to relate; it is only an ordinary bull pup that he describes, but he makes us love it, and, through it, all other dogs, by his loving analysis of its trials and tribulations, and its devotion to its god, man. In like manner, in John Muir's story of his dog Stickeen,—a story to go with "Rab and his Friends,"—our credulity is not once challenged. Our sympathies are deeply moved because our reason is not in the least outraged. It is true that Muir makes his dog act like a human being under the press of great danger; but the action is not the kind that involves reason; it only implies sense perception, and the instinct of self-preservation. Stickeen does as his master bids him, and he is human only in the human emotions of fear, despair, joy, that he shows.

In Mr. Egerton Young's book, called "My Dogs of the Northland," I find much that is interesting and several vivid dog portraits, but Mr. Young humanizes his dogs to a greater extent than does either Muir or Maeterlinck. For instance, he makes his dog Jack take special delight in teasing the Indian servant girl by walking or lying upon her kitchen floor when she had just cleaned it, all in revenge for the slights the girl had put upon him; and he gives several instances of the conduct of the dog which he thus interprets. Now one can believe almost anything of dogs in the way of wit about their food, their safety, and the like, but one cannot make them so entirely human as deliberately to plan and execute the kind of revenge here imputed to Jack. No animal could appreciate a woman's pride in a clean kitchen floor, or see any relation between the tracks which he makes upon the floor and her state of feeling toward himself. Mr. Young's facts are doubtless all right; it is his interpretation of them that is wrong.

It is perfectly legitimate for the animal story writer to put himself inside the animal he wishes to portray, and tell how life and the world look from that point of view; but he must always be true to the facts of the case, and to the limited intelligence for which he speaks.

In the humanization of the animals, and of the facts of natural history which is supposed to be the province of literature in this field, we must recognize certain limits. Your facts are sufficiently humanized the moment they become interesting, and they become interesting the moment you relate them in any way to our lives, or make them suggestive of what we know to be true in other fields and in our own experience. Thoreau made his battle of the ants interesting because he made it illustrate all the human traits of courage, fortitude, heroism, self-sacrifice. Burns's mouse at once strikes a sympathetic chord in us without ceasing to be a mouse; we see ourselves in it. To attribute human motives and faculties to the animals is to caricature them; but to put us in such relation with them that we feel their kinship, that we see their lives embosomed in the same iron necessity as our own, that we see in their minds a humbler manifestation of the same psychic power and intelligence that culminates and is conscious of itself in man,—that, I take it, is the true humanization.

We like to see ourselves in the nature around us. We want in some way to translate these facts and laws of outward nature into our own experiences; to relate our observations of bird or beast to our own lives. Unless they beget some human emotion in me,—the emotion of the beautiful, the sublime,—or appeal to my sense of the fit, the permanent,—unless what you learn in the fields and the woods corresponds in some way with what I know of my fellows, I shall not long be deeply interested in it. I do not want the animals humanized in any other sense. They all have human traits and ways; let those be brought out—their mirth, their joy, their curiosity, their cunning, their thrift, their relations, their wars, their loves—and all the springs of their actions laid bare as far as possible; but I do not expect my natural history to back up the Ten Commandments, or to be an illustration of the value of training-schools and kindergartens, or to afford a commentary upon the vanity of human wishes. Humanize your facts to the extent of making them interesting, if you have the art to do it, but leave the dog a dog, and the straddle-bug a straddle-bug.

Interpretation is a favorite word with some recent nature writers. It is claimed for the literary naturalist that he interprets natural history. The ways and doings of the wild creatures are exaggerated and misread under the plea of interpretation. Now, if by interpretation we mean an answer to the question, "What does this mean?" or, "What is the exact truth about it?" then there is but one interpretation of nature, and that is the scientific. What is the meaning of the fossils in the rocks? or of the carving and sculpturing of the landscape? or of a thousand and one other things in the organic and inorganic world about us? Science alone can answer. But if we mean by interpretation an answer to the inquiry, "What does this scene or incident suggest to you? how do you feel about it?" then we come to what is called the literary or poetic interpretation of nature, which, strictly speaking, is no interpretation of nature at all, but an interpretation of the writer or the poet himself. The poet or the essayist tells what the bird, or the tree, or the cloud means to him. It is himself, therefore, that is being interpreted. What do Ruskin's writings upon nature interpret? They interpret Ruskin—his wealth of moral and ethical ideas, and his wonderful imagination. Richard Jefferies tells us how the flower, or the bird, or the cloud is related to his subjective life and experience. It means this or that to him; it may mean something entirely different to another, because he may be bound to it by a different tie of association. The poet fills the lap of Earth with treasures not her own—the riches of his own spirit; science reveals the treasures that are her own, and arranges and appraises them.

Strictly speaking, there is not much in natural history that needs interpreting. We explain a fact, we interpret an oracle; we explain the action and relation of physical laws and forces, we interpret, as well as we can, the geologic record. Darwin sought to explain the origin of species, and to interpret many palæontological phenomena. We account for animal behavior on rational grounds of animal psychology, there is little to interpret. Natural history is not a cryptograph to be deciphered, it is a series of facts and incidents to be observed and recorded. If two wild animals, such as the beaver and the otter, are deadly enemies, there is good reason for it; and when we have found that reason, we have got hold of a fact in natural history. The robins are at enmity with the jays and the crow blackbirds and the cuckoos in the spring, and the reason is, these birds eat the robins' eggs. When we seek to interpret the actions of the animals, we are, I must repeat, in danger of running into all kinds of anthropomorphic absurdities, by reading their lives in terms of our own thinking and consciousness.

A man sees a flock of crows in a tree in a state of commotion; now they all caw, then only one master voice is heard, presently two or three crows fall upon one of their number and fell him to the ground. The spectator examines the victim and finds him dead, with his eyes pecked out. He interprets what he has seen as a court of justice; the crows were trying a criminal, and, having found him guilty, they proceeded to execute him. The curious instinct which often prompts animals to fall upon and destroy a member of the flock that is sick, or hurt, or blind, is difficult of explanation, but we may be quite sure that, whatever the reason is, the act is not the outcome of a judicial proceeding in which judge and jury and executioner all play their proper part. Wild crows will chase and maltreat a tame crow whenever they get a chance, just why, it would be hard to say. But the tame crow has evidently lost caste among them. I have what I consider good proof that a number of skunks that were wintering together in their den in the ground fell upon and killed and then partly devoured one of their number that had lost a foot in a trap.