The Complete Writings of Charles Dudley Warner Part 94

The Emperor evidently had not so much desire to go to bed as I had. I knew the windows of his pet.i.ts appartements--as what good American did not?--and I wondered if he was just then taking a little supper, if he had bidden good-night to Eugenie, if he was alone in his room, reflecting upon his grandeur and thinking what suit he should wear on the morrow in his ride to the Bois. Perhaps he was dictating an editorial for the official journal; perhaps he was according an interview to the correspondent of the London Glorifier; perhaps one of the Abbotts was with him. Or was he composing one of those important love-letters of state to Madame Blank which have since delighted the lovers of literature? I am not a spy, and I scorn to look into people's windows late at night, but I was lonesome and hungry, and all that square round about swarmed with imperial guards, policemen, keen-scented Zouaves, and n.o.body knows what other suspicious folk. If Napoleon had known that there was a

MAN IN THE GARDEN!

I suppose he would have called up his family, waked the drum-corps, sent for the Prefect of Police, put on the alert the 'sergents de ville,'

ordered under arms a regiment of the Imperial Guards, and made it unpleasant for the Man.

All these thoughts pa.s.sed through my mind, not with the rapidity of lightning, as is usual in such cases, but with the slowness of conviction. If I should be discovered, death would only stare me in the face about a minute. If he waited five minutes, who would believe my story of going to sleep and not hearing the drums? And if it were true, why didn't I go at once to the gate, and not lurk round there all night like another Clement? And then I wondered if it was not the disagreeable habit of some night-patrol or other to beat round the garden before the Sire went to bed for good, to find just such characters as I was gradually getting to feel myself to be.

But n.o.body came. Twelve o'clock, one o'clock sounded from the tower of the church of St. Germain l'Auxerrois, from whose belfry the signal was given for the beginning of the Ma.s.sacre of St. Bartholomew--the same bells that tolled all that dreadful night while the slaughter went on, while the effeminate Charles IX fired from the windows of the Louvre upon stray fugitives on the quay--bells the reminiscent sound of which, a legend (which I fear is not true) says, at length drove Catharine de Medici from the Tuileries.

One o'clock! The lights were going out in the Tuileries, had nearly all gone out. I wondered if the suspicious and timid and wasteful Emperor would keep the gas burning all night in his room. The night-roar of Paris still went on, sounding always to foreign ears like the beginning of a revolution. As I stood there, looking at the window that interested me most, the curtains were drawn, the window was opened, and a form appeared in a white robe. I had never seen the Emperor before in a night-gown, but I should have known him among a thousand. The Man of Destiny had on a white cotton night-cap, with a peaked top and no ta.s.sel. It was the most natural thing in the land; he was taking a last look over his restless Paris before he turned in. What if he should see me! I respected that last look and withdrew into the shadow. Tired and hungry, I sat down to reflect upon the pleasures of the gay capital.

One o'clock and a half! I had presence of mind enough to wind my watch; indeed, I was not likely to forget that, for time hung heavily on my hands. It was a gay capital. Would it never put out its lights, and cease its uproar, and leave me to my reflections? In less than an hour the country legions would invade the city, the market-wagons would rumble down the streets, the vegetable-man and the strawberry-woman, the fishmongers and the greens-venders would begin their melodious cries, and there would be no repose for a man even in a public garden. It is secluded enough, with the gates locked, and there is plenty of room to turn over and change position; but it is a wakeful situation at the best, a haunting sort of place, and I was not sure it was not haunted.

I had often wondered as I strolled about the place in the daytime or peered through the iron fence at dusk, if strange things did not go on here at night, with this crowd of effigies of persons historical and more or less mythological, in this garden peopled with the representatives of the dead, and no doubt by the shades of kings and queens and courtiers, 'intrigantes' and panders, priests and soldiers, who live once in this old pile--real shades, which are always invisible in the sunlight. They have local attachments, I suppose. Can science tell when they depart forever from the scenes of their objective intrusion into the affairs of this world, or how long they are permitted to revisit them? Is it true that in certain spiritual states, say of isolation or intense nervous alertness, we can see them as they can see each other? There was I--the I catalogued in the police description--present in that garden, yet so earnestly longing to be somewhere else that would it be wonderful if my 'eidolon' was somewhere else and could be seen?--though not by a policeman, for policemen have no spiritual vision.

There were no policemen in the garden, that I was certain of; but a little after half-past one I saw a Man, not a man I had ever seen before, clad in doublet and hose, with a short cloak and a felt cap with a white plume, come out of the Pavillon de Flore and turn down the quay towards the house I had seen that afternoon where it stood--of the beautiful Gabrielle d'Estrees. I might have been mistaken but for the fact that, just at this moment, a window opened in the wing of the same pavilion, and an effeminate, boyish face, weak and cruel, with a crown on its head, appeared and looked down into the shadow of the building as if its owner saw what I had seen. And there was nothing remarkable in this, except that nowadays kings do not wear crowns at night. It occurred to me that there was a masquerade going on in the Tuileries, though I heard no music, except the tinkle of, it might be, a harp, or "the lascivious pleasing of a lute," and I walked along down towards the central pavilion. I was just in time to see two ladies emerge from it and disappear, whispering together, in the shrubbery; the one old, tall, and dark, with the Italian complexion, in a black robe, and the other young, pet.i.te, extraordinarily handsome, and clad in light and bridal stuffs, yet both with the same wily look that set me thinking on poisons, and with a grace and a subtle carriage of deceit that could be common only to mother and daughter. I didn't choose to walk any farther in the part of the garden they had chosen for a night promenade, and turned off abruptly.

What?

There, on the bench of the marble hemicycle in the north grove, sat a row of graybeards, old men in the costume of the first Revolution, a sort of serene and benignant Areopagus. In the cleared s.p.a.ce before them were a crowd of youths and maidens, spectators and partic.i.p.ants in the Floral Games which were about to commence; behind the old men stood attendants who bore chaplets of flowers, the prizes in the games. The young men wore short red tunics with copper belts, formerly worn by Roman lads at the ludi, and the girls tunics of white with loosened girdles, leaving their limbs unrestrained for dancing, leaping, or running; their hair was confined only by a fillet about the head. The pipers began to play and the dancers to move in rhythmic measures, with the slow and languid grace of those full of sweet wine and the new joy of the Spring, according to the habits of the Golden Age, which had come again by decree in Paris.

This was the beginning of the cla.s.sic sports, but it is not possible for a modern pen to describe particularly the Floral Games. I remember that the Convention ordered the placing of these hemicycles in the garden, and they were executed from Robespierre's designs; but I suppose I am the only person who ever saw the games played that were expected to be played before them. It was a curious coincidence that the little livid-green man was also there, leaning against a tree and looking on with a half sneer.

It seemed to me an odd cla.s.sic revival, but then Paris has spasms of that, at the old Theatre Francais and elsewhere.

Pipes in the garden, lutes in the palace, paganism, Revolution--the situation was becoming mixed, and I should not have been surprised at a ghostly procession from the Place de la Concorde, through the western gates, of the thousands of headless n.o.bility, victims of the axe and the basket; but, thank Heaven, nothing of that sort appeared to add to the wonders of the night; yet, as I turned a moment from the dancers, I thought I saw something move in the shrubbery. The Laoc.o.o.n? It could not be. The arms moving? Yes. As I drew nearer the arms distinctly moved, putting away at length the coiling serpent, and pus.h.i.+ng from the pedestal the old-men boys, his comrades in agony. Laoc.o.o.n shut his mouth, which had been stretched open for about eighteen centuries, untwisted the last coil of the snake, and stepped down, a free man. After this it did not surprise me to see Spartacus also step down and approach him, and the two ancients square off for fisticuffs, as if they had done it often before, enjoying at night the release from the everlasting pillory of art. It was the hour of releases, and I found myself in a moment in the midst of a "cla.s.sic revival," whimsical beyond description. Aeneas hastened to deposit his aged father in a heap on the gravel and ran after the Sylvan Nymphs; Theseus gave the Minotaur a respite; Themistocles was bending over the dying Spartan, who was coming to life; Venus Pudica was waltzing about the diagonal basin with Antinous; Ascanius was playing marbles with the infant Hercules. In this unreal phantasmagoria it was a relief to me to see walking in the area of the private garden two men: the one a stately person with a kingly air, a handsome face, his head covered with a huge wig that fell upon his shoulders; the other a farmer-like man, stout and ungracious, the counterpart of the pictures of the intendant Colbert. He was pointing up to the palace, and seemed to be speaking of some alterations, to which talk the other listened impatiently. I wondered what Napoleon, who by this time was probably dreaming of Mexico, would have said if he had looked out and seen, not one man in the garden, but dozens of men, and all the stir that I saw; if he had known, indeed, that the Great Monarch was walking under his windows.

I said it was a relief to me to see two real men, but I had no reason to complain of solitude thereafter till daybreak. That any one saw or noticed me I doubt, and I soon became so rea.s.sured that I had more delight than fear in watching the coming and going of personages I had supposed dead a hundred years and more; the appearance at windows of faces lovely, faces sad, faces terror-stricken; the opening of cas.e.m.e.nts and the dropping of billets into the garden; the flutter of disappearing robes; the faint sounds of revels from the interior of the palace; the hurrying of feet, the flas.h.i.+ng of lights, the clink of steel, that told of partings and sudden armings, and the presence of a king that will be denied at no doors. I saw through the windows of the long Galerie de Diane the roues of the Regency at supper, and at table with them a dark, semi-barbarian little man in a coat of Russian sable, the coolest head in Europe at a drinking-bout. I saw enter the south pavilion a tall lady in black, with the air of a royal procuress; and presently crossed the garden and disappeared in the pavilion a young Parisian girl, and then another and another, a flock of innocents, and I thought instantly of the dreadful Parc aux Cerfs at Versailles.

So wrought upon was I by the sight of this infamy that I scarcely noticed the incoming of a royal train at the southern end of the palace, and notably in it a lady with light hair and n.o.ble mien, and the look in her face of a hunted lioness at bay. I say scarcely, for hardly had the royal cortege pa.s.sed within, when there arose a great clamor in the inner court, like the roar of an angry mult.i.tude, a scuffling of many feet, firing of guns, thrusting of pikes, followed by yells of defiance in mingled French and German, the pitching of Swiss Guards from doorways and windows, and the flas.h.i.+ng of flambeaux that ran hither and thither. "Oh!"

I said, "Paris has come to call upon its sovereign; the pikemen of Paris, led by the bold Barbaroux."

The tumult subsided as suddenly as it had risen, hushed, I imagined, by the jarring of cannon from the direction of St. Roch; and in the quiet I saw a little soldier alight at the Rue de Rivoli gate--a little man whom you might mistake for a corporal of the guard--with a wild, coa.r.s.e-featured Corsican (say, rather, Basque) face, his disordered chestnut hair darkened to black locks by the use of pomatum--a face selfish and false, but determined as fate. So this was the beginning of the Napoleon "legend"; and by-and-by this coa.r.s.e head will be idealized into the Roman Emperor type, in which I myself might have believed but for the revelations of the night of strange adventure.

What is history? What is this drama and spectacle, that has been put forth as history, but a cover for petty intrigue, and deceit, and selfishness, and cruelty? A man shut into the Tuileries Garden begins to think that it is all an illusion, the trick of a disordered fancy. Who was Grand, who was Well-Beloved, who was Desired, who was the Idol of the French, who was worthy to be called a King of the Citizens? Oh, for the light of day!

And it came, faint and tremulous, touching the terraces of the palace and the Column of Luxor. But what procession was that moving along the southern terrace? A squad of the National Guard on horseback, a score or so of King's officers, a King on foot, walking with uncertain step, a Queen leaning on his arm, both habited in black, moved out of the western gate. The King and the Queen paused a moment on the very spot where Louis XVI. was beheaded, and then got into a carriage drawn by one horse and were driven rapidly along the quays in the direction of St. Cloud. And again Revolution, on the heels of the fugitives, poured into the old palace and filled it with its tatterdemalions.

Enough for me that daylight began to broaden. "Sleep on," I said, "O real President, real Emperor (by the grace of coup d'etat) at last, in the midst of the most virtuous court in Europe, loved of good Americans, eternally established in the hearts of your devoted Parisians! Peace to the palace and peace to its lovely garden, of both of which I have had quite enough for one night!"

The sun came up, and, as I looked about, all the shades and concourse of the night had vanished. Day had begun in the vast city, with all its roar and tumult; but the garden gates would not open till seven, and I must not be seen before the early stragglers should enter and give me a chance of escape. In my circ.u.mstances I would rather be the first to enter than the first to go out in the morning, past those lynx-eyed gendarmes. From my covert I eagerly watched for my coming deliverers. The first to appear was a 'chiffonnier,' who threw his sack and pick down by the basin, bathed his face, and drank from his hand. It seemed to me almost like an act of wors.h.i.+p, and I would have embraced that rag-picker as a brother.

But I knew that such a proceeding, in the name even of egalite and fraternite would have been misinterpreted; and I waited till two and three and a dozen entered by this gate and that, and I was at full liberty to stretch my limbs and walk out upon the quay as nonchalant as if I had been taking a morning stroll.

I have reason to believe that the police of Paris never knew where I spent the night of the 18th of June. It must have mystified them.

TRUTHFULNESS

Truthfulness is as essential in literature as it is in conduct, in fiction as it is in the report of an actual occurrence. Falsehood vitiates a poem, a painting, exactly as it does a life. Truthfulness is a quality like simplicity. Simplicity in literature is mainly a matter of clear vision and lucid expression, however complex the subject-matter may be; exactly as in life, simplicity does not so much depend upon external conditions as upon the spirit in which one lives. It may be more difficult to maintain simplicity of living with a great fortune than in poverty, but simplicity of spirit--that is, superiority of soul to circ.u.mstance--is possible in any condition. Unfortunately the common expression that a certain person has wealth is not so true as it would be to say that wealth has him. The life of one with great possessions and corresponding responsibilities may be full of complexity; the subject of literary art may be exceedingly complex; but we do not set complexity over against simplicity. For simplicity is a quality essential to true life as it is to literature of the first cla.s.s; it is opposed to parade, to artificiality, to obscurity.

The quality of truthfulness is not so easily defined. It also is a matter of spirit and intuition. We have no difficulty in applying the rules of common morality to certain functions of writers for the public, for instance, the duties of the newspaper reporter, or the newspaper correspondent, or the narrator of any event in life the relation of which owes its value to its being absolutely true. The same may be said of hoaxes, literary or scientific, however clear they may be. The person indulging in them not only discredits his office in the eyes of the public, but he injures his own moral fibre, and he contracts such a habit of unveracity that he never can hope for genuine literary success. For there never was yet any genuine success in letters without integrity. The clever hoax is no better than the trick of imitation, that is, conscious imitation of another, which has unveracity to one's self at the bottom of it. Burlesque is not the highest order of intellectual performance, but it is legitimate, and if cleverly done it may be both useful and amusing, but it is not to be confounded with forgery, that is, with a composition which the author attempts to pa.s.s off as the production of somebody else.

The forgery may be amazingly smart, and be even popular, and get the author, when he is discovered, notoriety, but it is pretty certain that with his ingrained lack of integrity he will never accomplish any original work of value, and he will be always personally suspected. There is nothing so dangerous to a young writer as to begin with hoaxing; or to begin with the invention, either as reporter or correspondent, of statements put forward as facts, which are untrue. This sort of facility and smartness may get a writer employment, unfortunately for him and the public, but there is no satisfaction in it to one who desires an honorable career. It is easy to recall the names of brilliant men whose fine talents have been eaten away by this habit of unveracity. This habit is the greatest danger of the newspaper press of the United States.

It is easy to define this sort of untruthfulness, and to study the moral deterioration it works in personal character, and in the quality of literary work. It was ill.u.s.trated in the forgeries of the marvelous boy Chatterton. The talent he expended in deception might have made him an enviable reputation,--the deception vitiated whatever good there was in his work. Fraud in literature is no better than fraud in archaeology, --Chatterton deserves no more credit than Shapiro who forged the Moabite pottery with its inscriptions. The reporter who invents an incident, or heightens the horror of a calamity by fictions is in the case of Shapiro.

The habit of this sort of invention is certain to destroy the writer's quality, and if he attempts a legitimate work of the imagination, he will carry the same unveracity into that. The quality of truthfulness cannot be juggled with. Akin to this is the trick which has put under proper suspicion some very clever writers of our day, and cost them all public confidence in whatever they do,--the trick of posing for what they are not. We do not mean only that the reader does not believe their stories of personal adventure, and regards them personally as "frauds," but that this quality of deception vitiates all their work, as seen from a literary point of view. We mean that the writer who hoaxes the public, by inventions which he publishes as facts, or in regard to his own personality, not only will lose the confidence of the public but he will lose the power of doing genuine work, even in the field of fiction. Good work is always characterized by integrity.

These ill.u.s.trations help us to understand what is meant by literary integrity. For the deception in the case of the correspondent who invents "news" is of the same quality as the lack of sincerity in a poem or in a prose fiction; there is a moral and probably a mental defect in both. The story of Robinson Crusoe is a very good ill.u.s.tration of veracity in fiction. It is effective because it has the simple air of truth; it is an illusion that satisfies; it is possible; it is good art: but it has no moral deception in it. In fact, looked at as literature, we can see that it is sincere and wholesome.

What is this quality of truthfulness which we all recognize when it exists in fiction? There is much fiction, and some of it, for various reasons, that we like and find interesting which is nevertheless insincere if not artificial. We see that the writer has not been honest with himself or with us in his views of human life. There may be just as much lying in novels as anywhere else. The novelist who offers us what he declares to be a figment of his own brain may be just as untrue as the reporter who sets forth a figment of his own brain which he declares to be a real occurrence. That is, just as much faithfulness to life is required of the novelist as of the reporter, and in a much higher degree.

The novelist must not only tell the truth about life as he sees it, material and spiritual, but he must be faithful to his own conceptions.

If fortunately he has genius enough to create a character that has reality to himself and to others, he must be faithful to that character.

He must have conscience about it, and not misrepresent it, any more than he would misrepresent the sayings and doings of a person in real life. Of course if his own conception is not clear, he will be as unjust as in writing about a person in real life whose character he knew only by rumor. The novelist may be mistaken about his own creations and in his views of life, but if he have truthfulness in himself, sincerity will show in his work.

Truthfulness is a quality that needs to be as strongly insisted on in literature as simplicity. But when we carry the matter a step further, we see that there cannot be truthfulness about life without knowledge. The world is full of novels, and their number daily increases, written without any sense of responsibility, and with very little experience, which are full of false views of human nature and of society. We can almost always tell in a fiction when the writer pa.s.ses the boundary of his own experience and observation--he becomes unreal, which is another name for untruthful. And there is an absence of sincerity in such work.

There seems to be a prevailing impression that any one can write a story.

But it scarcely need be said that literature is an art, like painting and music, and that one may have knowledge of life and perfect sincerity, and yet be unable to produce a good, truthful piece of literature, or to compose a piece of music, or to paint a picture.

Truthfulness is in no way opposed to invention or to the exercise of the imagination. When we say that the writer needs experience, we do not mean to intimate that his invention of character or plot should be literally limited to a person he has known, or to an incident that has occurred, but that they should be true to his experience. The writer may create an ideally perfect character, or an ideally bad character, and he may try him by a set of circ.u.mstances and events never before combined, and this creation may be so romantic as to go beyond the experience of any reader, that is to say, wholly imaginary (like a composed landscape which has no counterpart in any one view of a natural landscape), and yet it may be so consistent in itself, so true to an idea or an aspiration or a hope, that it will have the element of truthfulness and subserve a very high purpose. It may actually be truer to our sense of verity to life than an array of undeniable, naked facts set down without art and without imagination.

The difficulty of telling the truth in literature is about as great as it is in real life. We know how nearly impossible it is for one person to convey to another a correct impression of a third person. He may describe the features, the manner, mention certain traits and sayings, all literally true, but absolutely misleading as to the total impression. And this is the reason why extreme, unrelieved realism is apt to give a false impression of persons and scenes. One can hardly help having a whimsical notion occasionally, seeing the miscarriages even in our own attempts at truthfulness, that it absolutely exists only in the imagination.

In a piece of fiction, especially romantic fiction, an author is absolutely free to be truthful, and he will be if he has personal and literary integrity. He moves freely amid his own creations and conceptions, and is not subject to the peril of the writer who admittedly uses facts, but uses them so clumsily or with so little conscience, so out of their real relations, as to convey a false impression and an untrue view of life. This quality of truthfulness is equally evident in "The Three Guardsmen" and in "Midsummer Night's Dream." Dumas is as conscientious about his world of adventure as Shakespeare is in his semi-supernatural region. If Shakespeare did not respect the laws of his imaginary country, and the creatures of his fancy, if Dumas were not true to the characters he conceived, and the achievements possible to them, such works would fall into confusion. A recent story called "The Refugees" set out with a certain promise of veracity, although the reader understood of course that it was to be a purely romantic invention. But very soon the author recklessly violated his own conception, and when he got his "real" characters upon an iceberg, the fantastic position became ludicrous without being funny, and the performances of the same characters in the wilderness of the New World showed such lack of knowledge in the writer that the story became an insult to the intelligence of the reader. Whereas such a romance as that of "The MS.

Found in a Copper Cylinder," although it is humanly impossible and visibly a figment of the imagination, is satisfactory to the reader because the author is true to his conception, and it is interesting as a curious allegorical and humorous ill.u.s.tration of the ruinous character in human affairs of extreme unselfishness. There is the same sort of truthfulness in Hawthorne's allegory of "The Celestial Railway," in Froude's "On a Siding at a Railway Station," and in Bunyan's "Pilgrim's Progress."

The habit of lying carried into fiction vitiates the best work, and perhaps it is easier to avoid it in pure romance than in the so-called novels of "every-day life." And this is probably the reason why so many of the novels of "real life" are so much more offensively untruthful to us than the wildest romances. In the former the author could perhaps "prove" every incident he narrates, and produce living every character he has attempted to describe. But the effect is that of a lie, either because he is not a master of his art, or because he has no literary conscience. He is like an artist who is more anxious to produce a meretricious effect than he is to be true to himself or to nature. An author who creates a character a.s.sumes a great responsibility, and if he has not integrity or knowledge enough to respect his own creation, no one else will respect it, and, worse than this, he will tell a falsehood to hosts of undiscriminating readers.

THE PURSUIT OF HAPPINESS

Perhaps the most curious and interesting phrase ever put into a public doc.u.ment is "the pursuit of happiness." It is declared to be an inalienable right. It cannot be sold. It cannot be given away. It is doubtful if it could be left by will.

The right of every man to be six feet high, and of every woman to be five feet four, was regarded as self-evident until women a.s.serted their undoubted right to be six feet high also, when some confusion was introduced into the interpretation of this rhetorical fragment of the eighteenth century.

But the inalienable right to the pursuit of happiness has never been questioned since it was proclaimed as a new gospel for the New World. The American people accepted it with enthusiasm, as if it had been the discovery of a gold-prospector, and started out in the pursuit as if the devil were after them.

If the proclamation had been that happiness is a common right of the race, alienable or otherwise, that all men are or may be happy, history and tradition might have interfered to raise a doubt whether even the new form of government could so change the ethical condition. But the right to make a pursuit of happiness, given in a fundamental bill of rights, had quite a different aspect. Men had been engaged in many pursuits, most of them disastrous, some of them highly commendable. A sect in Galilee had set up the pursuit of righteousness as the only or the highest object of man's immortal powers. The rewards of it, however, were not always immediate. Here was a political sanction of a pursuit that everybody acknowledged to be of a good thing.

Given a heart-aching longing in every human being for happiness, here was high warrant for going in pursuit of it. And the curious effect of this 'mot d'ordre' was that the pursuit arrested the attention as the most essential, and the happiness was postponed, almost invariably, to some future season, when leisure or plethora, that is, relaxation or gorged desire, should induce that physical and moral glow which is commonly accepted as happiness. This glow of well-being is sometimes called contentment, but contentment was not in the programme. If it came at all, it was only to come after strenuous pursuit, that being the inalienable right.

People, to be sure, have different conceptions of happiness, but whatever they are, it is the custom, almost universal, to postpone the thing itself. This, of course, is specially true in our American system, where we have a chartered right to the thing itself. Other nations who have no such right may take it out in occasional driblets, odd moments that come, no doubt, to men and races who have no privilege of voting, or to such favored places as New York city, whose government is always the same, however they vote.

We are all authorized to pursue happiness, and we do as a general thing make a pursuit of it. Instead of simply being happy in the condition where we are, getting the sweets of life in human intercourse, hour by hour, as the bees take honey from every flower that opens in the summer air, finding happiness in the well-filled and orderly mind, in the sane and enlightened spirit, in the self that has become what the self should be, we say that tomorrow, next year, in ten or twenty or thirty years, when we have arrived at certain coveted possessions or situation, we will be happy. Some philosophers dignify this postponement with the name of hope.

Sometimes wandering in a primeval forest, in all the witchery of the woods, besought by the kindliest solicitations of nature, wild flowers in the trail, the call of the squirrel, the flutter of birds, the great world-music of the wind in the pine-tops, the flecks of sunlight on the brown carpet and on the rough bark of immemorial trees, I find myself unconsciously postponing my enjoyment until I shall reach a hoped-for open place of full sun and boundless prospect.

The a.n.a.logy cannot be pushed, for it is the common experience that these open spots in life, where leisure and s.p.a.ce and contentment await us, are usually grown up with thickets, fuller of obstacles, to say nothing of labors and duties and difficulties, than any part of the weary path we have trod.