Wednesday's Good Reading: "To Chatterton" by John Keats (in English)

 

O Chatterton! how very sad thy fate!

Dear child of sorrow—son of misery!

How soon the film of death obscur'd that eye,

Whence Genius mildly flash'd, and high debate.

How soon that voice, majestic and elate,

Melted in dying numbers! Oh! how nigh

Was night to thy fair morning. Thou didst die

A half-blown flow'ret which cold blasts amate.

But this is past: thou art among the stars

Of highest Heaven: to the rolling spheres

Thou sweetly singest: nought thy hymning mars,

Above the ingrate world and human fears.

On earth the good man base detraction bars

From thy fair name, and waters it with tears.

 

 

Tuesday's Serial: “Green Mansions: A Romance of the Tropical Forest” by W. H. Hudson - I.

 

FOREWORD   

I take up pen for this foreword with the fear of one who knows that he cannot do justice to his subject, and the trembling of one who would not, for a good deal, set down words unpleasing to the eye of him who wrote Green Mansions, The Purple Land, and all those other books which have meant so much to me. For of all living authors—now that Tolstoy has gone I could least dispense with W. H. Hudson. Why do I love his writing so?  I think because he is, of living writers that I read, the rarest spirit, and has the clearest gift of conveying to me the nature of that spirit. Writers are to their readers little new worlds to be explored; and each traveler in the realms of literature must needs have a favorite hunting ground, which, in his good will—or perhaps merely in his egoism—he would wish others to share with him.

The great and abiding misfortunes of most of us writers are twofold: We are, as worlds, rather common tramping-ground for our readers, rather tame territory; and as guides and dragomans thereto we are too superficial, lacking clear intimacy of expression; in fact—like guide or dragoman—we cannot let folk into the real secrets, or show them the spirit, of the land.

Now, Hudson, whether in a pure romance like this Green Mansions, or in that romantic piece of realism The Purple Land, or in books like Idle Days in Patagonia, Afoot in England, The Land's End, Adventures among Birds, A Shepherd's Life, and all his other nomadic records of communings with men, birds, beasts, and Nature, has a supreme gift of disclosing not only the thing he sees but the spirit of his vision. Without apparent effort he takes you with him into a rare, free, natural world, and always you are refreshed, stimulated, enlarged, by going there.

He is of course a distinguished naturalist, probably the most acute, broad-minded, and understanding observer of Nature living. And this, in an age of specialism, which loves to put men into pigeonholes and label them, has been a misfortune to the reading public, who seeing the label Naturalist, pass on, and take down the nearest novel. Hudson has indeed the gifts and knowledge of a Naturalist, but that is a mere fraction of his value and interest. A really great writer such as this is no more to be circumscribed by a single word than America by the part of it called New York. The expert knowledge, which Hudson has of Nature, gives to all his work backbone and surety of fiber, and to his sense of beauty an intimate actuality. But his real eminence and extraordinary attraction lie in his spirit and philosophy. We feel from his writings that he is nearer to Nature than other men, and yet more truly civilized. The competitive, towny culture, the queer up-to-date commercial knowingness with which we are so busy coating ourselves simply will not stick to him. A passage in his Hampshire Days describes him better than I can:

"The blue sky, the brown soil beneath, the grass, the trees, the animals, the wind, and rain, and stars are never strange to me; for I am in and of and am one with them; and my flesh and the soil are one, and the heat in my blood and in the sunshine are one, and the winds and the tempests and my passions are one. I feel the 'strangeness' only with regard to my fellow men, especially in towns, where they exist in conditions unnatural to me, but congenial to them.... In such moments we sometimes feel a kinship with, and are strangely drawn to, the dead, who were not as these; the long, long dead, the men who knew not life in towns, and felt no strangeness in sun and wind and rain."

This unspoiled unity with Nature pervades all his writings; they are remote from the fret and dust and pettiness of town life; they are large, direct, free. It is not quite simplicity, for the mind of this writer is subtle and fastidious, sensitive to each motion of natural and human life; but his sensitiveness is somehow different from, almost inimical to, that of us others, who sit indoors and dip our pens in shades of feeling. Hudson's fancy is akin to the flight of the birds that are his special loves—it never seems to have entered a house, but since birth to have been roaming the air, in rain and sun, or visiting the trees and the grass. I not only disbelieve utterly, but intensely dislike, the doctrine of metempsychosis, which, if I understand it aright, seems the negation of the creative impulse, an apotheosis of staleness— nothing quite new in the world, never anything quite new—not even the soul of a baby; and so I am not prepared to entertain the whim that a bird was one of his remote incarnations; still, in sweep of wing, quickness of eye, and natural sweet strength of song he is not unlike a super-bird—which is a horrid image. And that reminds me: This, after all, is a foreword to Green Mansions—the romance of the bird-girl Rima—a story actual yet fantastic, which immortalizes, I think, as passionate a love of all beautiful things as ever was in the heart of man.

Somewhere Hudson says: "The sense of the beautiful is God's best gift to the human soul."  So it is: and to pass that gift on to others, in such measure as herein is expressed, must surely have been happiness to him who wrote Green Mansions. In form and spirit the book is unique, a simple romantic narrative transmuted by sheer glow of beauty into a prose poem. Without ever departing from its quality of a tale, it symbolizes-the yearning of the human soul for the attainment of perfect love and beauty in this life—that impossible perfection which we must all learn to see fall from its high tree and be consumed in the flames, as was Rima the bird-girl, but whose fine white ashes we gather that they may be mingled at last with our own, when we too have been refined by the fire of death's resignation. The book is soaked through and through with a strange beauty. I will not go on singing its praises, or trying to make it understood, because I have other words to say of its author.

Do we realize how far our town life and culture have got away from things that really matter; how instead of making civilization our handmaid to freedom we have set her heel on our necks, and under it bite dust all the time?  Hudson, whether he knows it or not, is now the chief standard-bearer of another faith. Thus he spake in The Purple Land: "Ah, yes, we are all vainly seeking after happiness in the wrong way. It was with us once and ours, but we despised it, for it was only the old common happiness which Nature gives to all her children, and we went away from it in search of another grander kind of happiness which some dreamer—Bacon or another—assured us we should find. We had only to conquer Nature, find out her secrets, make her our obedient slave, then the Earth would be Eden, and every man Adam and every woman Eve. We are still marching bravely on, conquering Nature, but how weary and sad we are getting!  The old joy in life and gaiety of heart have vanished, though we do sometimes pause for a few moments in our long forced march to watch the labors of some pale mechanic, seeking after perpetual motion, and indulge in a little, dry, cackling laugh at his expense."  And again: "For here the religion that languishes in crowded cities or steals shamefaced to hide itself in dim churches flourishes greatly, filling the soul with a solemn joy. Face to face with Nature on the vast hills at eventide, who does not feel himself near to the Unseen?

 

"Out of his heart God shall not pass

His image stamped is on every grass."

 

All Hudson's books breathe this spirit of revolt against our new enslavement by towns and machinery, and are true oases in an age so dreadfully resigned to the "pale mechanic."

But Hudson is not, as Tolstoy was, a conscious prophet; his spirit is freer, more willful, whimsical—almost perverse—and far more steeped in love of beauty. If you called him a prophet he would stamp his foot at you—as he will at me if he reads these words; but his voice is prophetic, for all that, crying in a wilderness, out of which, at the call, will spring up roses here and there, and the sweet-smelling grass. I would that every man, woman, and child in England were made to read him; and I would that you in America would take him to heart. He is a tonic, a deep refreshing drink, with a strange and wonderful flavor; he is a mine of new interests, and ways of thought instinctively right. As a simple narrator he is well nigh unsurpassed; as a stylist he has few, if any, living equals. And in all his work there is an indefinable freedom from any thought of after- benefit- -even from the desire that we should read him. He puts down what he sees and feels, out of sheer love of the thing seen, and the emotion felt; the smell of the lamp has not touched a single page that he ever wrote. That alone is a marvel to us who know that to write well, even to write clearly, is a wound business, long to learn, hard to learn, and no gift of the angels. Style should not obtrude between a writer and his reader; it should be servant, not master. To use words so true and simple that they oppose no obstacle to the flow of thought and feeling from mind to mind, and yet by juxtaposition of word-sounds set up in the recipient continuing emotion or gratification—this is the essence of style; and Hudson's writing has pre-eminently this double quality. From almost any page of his books an example might be taken. Here is one no better than a thousand others, a description of two little girls on a beach:

 

"They were dressed in black frocks and scarlet blouses, which set off their beautiful small dark faces; their eyes sparkled like black diamonds, and their loose hair was a wonder to see, a black mist or cloud about their heads and necks composed of threads fine as gossamer, blacker than jet and shining like spun glass—hair that looked as if no comb or brush could ever tame its beautiful wildness. And in spirit they were what they seemed: such a wild, joyous, frolicsome spirit, with such grace and fleetness, one does not look for in human beings, but only in birds or in some small bird-like volatile mammal—a squirrel or a spider-monkey of the tropical forest, or the chinchilla of the desolate mountain slopes; the swiftest, wildest, loveliest, most airy, and most vocal of small beauties."  Or this, as the quintessence of a sly remark:

 

"After that Mantel got on to his horse and rode away. It was black and rainy, but he had never needed moon or lantern to find what he sought by night, whether his own house, or a fat cow—also his own, perhaps."  So one might go on quoting felicity forever from this writer. He seems to touch every string with fresh and uninked fingers; and the secret of his power lies, I suspect, in the fact that his words:

 

"Life being more than all else to me . . ."  are so utterly true.

 

I do not descant on his love for simple folk and simple things, his championship of the weak, and the revolt against the cagings and cruelties of life, whether to men or birds or beasts, that springs out of him as if against his will; because, having spoken of him as one with a vital philosophy or faith, I don't wish to draw red herrings across the main trail of his worth to the world. His work is a vision of natural beauty and of human life as it might be, quickened and sweetened by the sun and the wind and the rain, and by fellowship with all the other forms of life—the truest vision now being given to us, who are more in want of it than any generation has ever been. A very great writer; and—to my thinking—the most valuable our age possesses.

 

JOHN GALSWORTHY

September 1915  Manaton: Devon

 

Monday's Illustrated Word: "The Eyes of Madam Jahn" by unknown writer (in English).

art by Vince Napoli - Fantastic #9 - Youthful, April 1952.

 

 

Excellent Readings: Sonnet CXII by William Shakespeare (in English)

Your love and pity doth the impression fill,
Which vulgar scandal stamped upon my brow;
For what care I who calls me well or ill,
So you o'er-green my bad, my good allow?
You are my all-the-world, and I must strive
To know my shames and praises from your tongue;
None else to me, nor I to none alive,
That my steeled sense or changes right or wrong.
In so profound abysm I throw all care
Of others' voices, that my adder's sense
To critic and to flatterer stopped are.
Mark how with my neglect I do dispense:
   You are so strongly in my purpose bred,
   That all the world besides methinks y'are dead.

Friday's Sung Word: "Espanhola" by Benedito Lacerda and Haroldo Lobo (in Portuguese)

Espanhola
Eu quero, quero, quero
Ver você sambar
Joga fora a castanhola
Que eu te dou um pandeiro
Pra brincar.

Não sou toureiro
Não pego touro à unha
Não fui à Catalunha
Mas já vi você dançar
Espanhola você dança muito bem
Mas eu quero, quero
Quero ver você sambar.

 You can listen "Espanhola" sung by Nelson Gonçlves here (1946) here.

Thursday's Serial: “The Song of Hiawatha” by Henry Wadsworth Longfellow (in English) - VII

 

BOOK VII.

HIAWATHA'S SAILING.

"Give me of your bark, O Birch-Tree!

Of your yellow bark, O Birch-Tree!

Growing by the rushing river,

Tall and stately in the valley!

I a light canoe will build me,

Build a swift Cheemaun for sailing,

That shall float upon the river,

Like a yellow leaf in Autumn,

Like a yellow water-lily!

"Lay aside your cloak, O Birch-Tree!

Lay aside your white-skin wrapper,

For the Summer-time is coming,

And the sun is warm in heaven,

And you need no white-skin wrapper!"

Thus aloud cried Hiawatha

In the solitary forest,

By the rushing Taquamenaw,

When the birds were singing gayly,

In the Moon of Leaves were singing,

And the sun, from sleep awaking,

Started up and said, "Behold me!

Geezis, the great Sun, behold me!"

And the tree with all its branches

Rustled in the breeze of morning,

Saying, with a sigh of patience,

"Take my cloak, O Hiawatha!"

With his knife the tree he girdled;

Just beneath its lowest branches,

Just above the roots, he cut it,

Till the sap came oozing outward;

Down the trunk, from top to bottom,

Sheer he cleft the bark asunder,

With a wooden wedge he raised it,

Stripped it from the trunk unbroken.

"Give me of your boughs, O Cedar!

Of your strong and pliant branches,

My canoe to make more steady,

Make more strong and firm beneath me!"

Through the summit of the Cedar

Went a sound, a cry of horror,

Went a murmur of resistance;

But it whispered, bending downward,

"Take my boughs, O Hiawatha!"

Down he hewed the boughs of cedar,

Shaped them straightway to a framework,

Like two bows he formed and shaped them,

Like two bended bows together.

"Give me of your roots, O Tamarack!

Of your fibrous roots, O Larch-Tree!

My canoe to bind together,

So to bind the ends together

That the water may not enter,

That the river may not wet me!"

And the Larch, with all its fibres,

Shivered in the air of morning,

Touched his forehead with its tassels,

Said, with one long sigh of sorrow,

"Take them all, O Hiawatha!"

From the earth he tore the fibres,

Tore the tough roots of the Larch-Tree,

Closely sewed the bark together,

Bound it closely to the framework.

"Give me of your balm, O Fir-Tree!

Of your balsam and your resin,

So to close the seams together

That the water may not enter,

That the river may not wet me!"

And the Fir-Tree, tall and sombre,

Sobbed through all its robes of darkness,

Rattled like a shore with pebbles,

Answered wailing, answered weeping,

"Take my balm, O Hiawatha!"

And he took the tears of balsam,

Took the resin of the Fir-Tree,

Smeared therewith each seam and fissure,

Made each crevice safe from water.

"Give me of your quills, O Hedgehog!

All your quills, O Kagh, the Hedgehog!

I will make a necklace of them,

Make a girdle for my beauty,

And two stars to deck her bosom!"

From a hollow tree the Hedgehog

With his sleepy eyes looked at him,

Shot his shining quills, like arrows,

Saying, with a drowsy murmur,

Through the tangle of his whiskers,

"Take my quills, O Hiawatha!"

From the ground the quills he gathered,

All the little shining arrows,

Stained them red and blue and yellow,

With the juice of roots and berries;

Into his canoe he wrought them,

Round its waist a shining girdle,

Round its bows a gleaming necklace,

On its breast two stars resplendent.

Thus the Birch Canoe was builded

In the valley, by the river,

In the bosom of the forest;

And the forest's life was in it,

All its mystery and its magic,

All the lightness of the birch-tree,

All the toughness of the cedar,

All the larch's supple sinews;

And it floated on the river

Like a yellow leaf in Autumn,

Like a yellow water-lily.

Paddles none had Hiawatha,

Paddles none he had or needed,

For "his thoughts as paddles served him,

And his wishes served to guide him;

Swift or slow at will he glided,

Veered to right or left at pleasure.

Then he called aloud to Kwasind,

To his friend, the strong man, Kwasind,

Saying, "Help me clear this river

Of its sunken logs and sand-bars."

Straight into the river Kwasind

Plunged as if he were an otter,

Dove as if he were a beaver,

Stood up to his waist in water,

To his arm-pits in the river,

Swam and shouted in the river,

Tugged at sunken logs and branches,

With his hands he scooped the sand-bars,

With his feet the ooze and tangle.

And thus sailed my Hiawatha

Down the rushing Taquamenaw,

Sailed through all its bends and windings,

Sailed through all its deeps and shallows,

While his friend, the strong man, Kwasind,

Swam the deeps, the shallows waded.

Up and down the river went they,

In and out among its islands,

Cleared its bed of root and sand-bar,

Dragged the dead trees from its channel,

Made its passage safe and certain,

Made a pathway for the people,

From its springs among the mountains,

To the waters of Pauwating,

To the bay of Taquamenaw.