The Essential Henry David Thoreau (Illustrated Collection of the Thoreau's Greatest Works). Генри Дэвид Торо

see their bodies lie about. Yet there is a tragedy at the end of each one of their lives. They must perish miserably; not one of them is translated. True, "not a sparrow falleth to the ground without our Heavenly Father's knowledge," but they do fall, nevertheless.

      The carcasses of some poor squirrels, however, the same that frisked so merrily in the morning, which we had skinned and embowelled for our dinner, we abandoned in disgust, with tardy humanity, as too wretched a resource for any but starving men. It was to perpetuate the practice of a barbarous era. If they had been larger, our crime had been less. Their small red bodies, little bundles of red tissue, mere gobbets of venison, would not have "fattened fire." With a sudden impulse we threw them away, and washed our hands, and boiled some rice for our dinner. "Behold the difference between the one who eateth flesh, and him to whom it belonged! The first hath a momentary enjoyment, whilst the latter is deprived of existence!" "Who would commit so great a crime against a poor animal, who is fed only by the herbs which grow wild in the woods, and whose belly is burnt up with hunger?" We remembered a picture of mankind in the hunter age, chasing hares down the mountains; O me miserable! Yet sheep and oxen are but larger squirrels, whose hides are saved and meat is salted, whose souls perchance are not so large in proportion to their bodies.

      There should always be some flowering and maturing of the fruits of nature in the cooking process. Some simple dishes recommend themselves to our imaginations as well as palates. In parched corn, for instance, there is a manifest sympathy between the bursting seed and the more perfect developments of vegetable life. It is a perfect flower with its petals, like the houstonia or anemone. On my warm hearth these cerealian blossoms expanded; here is the bank whereon they grew. Perhaps some such visible blessing would always attend the simple and wholesome repast.

      Here was that "pleasant harbor" which we had sighed for, where the weary voyageur could read the journal of some other sailor, whose bark had ploughed, perchance, more famous and classic seas. At the tables of the gods, after feasting follow music and song; we will recline now under these island trees, and for our minstrel call on

      ANACREON.

      "Nor has he ceased his charming song, for still that lyre,

       Though he is dead, sleeps not in Hades."

       Simonides' Epigram on Anacreon.

      I lately met with an old volume from a London bookshop, containing the Greek Minor Poets, and it was a pleasure to read once more only the words, Orpheus, Linus, Musaeus,—those faint poetic sounds and echoes of a name, dying away on the ears of us modern men; and those hardly more substantial sounds, Mimnermus, Ibycus, Alcaeus, Stesichorus, Menander. They lived not in vain. We can converse with these bodiless fames without reserve or personality.

      I know of no studies so composing as those of the classical scholar. When we have sat down to them, life seems as still and serene as if it were very far off, and I believe it is not habitually seen from any common platform so truly and unexaggerated as in the light of literature. In serene hours we contemplate the tour of the Greek and Latin authors with more pleasure than the traveller does the fairest scenery of Greece or Italy. Where shall we find a more refined society? That highway down from Homer and Hesiod to Horace and Juvenal is more attractive than the Appian. Reading the classics, or conversing with those old Greeks and Latins in their surviving works, is like walking amid the stars and constellations, a high and by way serene to travel. Indeed, the true scholar will be not a little of an astronomer in his habits. Distracting cares will not be allowed to obstruct the field of his vision, for the higher regions of literature, like astronomy, are above storm and darkness.

      But passing by these rumors of bards, let us pause for a moment at the Teian poet.

      There is something strangely modern about him. He is very easily turned into English. Is it that our lyric poets have resounded but that lyre, which would sound only light subjects, and which Simonides tells us does not sleep in Hades? His odes are like gems of pure ivory. They possess an ethereal and evanescent beauty like summer evenings,—which you must perceive with the flower of the mind,—and show how slight a beauty could be expressed. You have to consider them, as the stars of lesser magnitude, with the side of the eye, and look aside from them to behold them. They charm us by their serenity and freedom from exaggeration and passion, and by a certain flower-like beauty, which does not propose itself, but must be approached and studied like a natural object. But perhaps their chief merit consists in the lightness and yet security of their tread;

      "The young and tender stalk

       Ne'er bends when they do walk."

      True, our nerves are never strung by them; it is too constantly the sound of the lyre, and never the note of the trumpet; but they are not gross, as has been presumed, but always elevated above the sensual.

      These are some of the best that have come down to us.

      ON HIS LYRE.

      I wish to sing the Atridae,

       And Cadmus I wish to sing;

       But my lyre sounds

       Only love with its chords.

       Lately I changed the strings

       And all the lyre;

       And I began to sing the labors

       Of Hercules; but my lyre

       Resounded loves.

       Farewell, henceforth, for me,

       Heroes! for my lyre

       Sings only loves.

      TO A SWALLOW.

      Thou indeed, dear swallow,

       Yearly going and coming,

       In summer weavest thy nest,

       And in winter go'st disappearing

       Either to Nile or to Memphis.

       But Love always weaveth

       His nest in my heart….

      ON A SILVER CUP.

      Turning the silver,

       Vulcan, make for me,

       Not indeed a panoply,

       For what are battles to me?

       But a hollow cup,

       As deep as thou canst

       And make for me in it

       Neither stars, nor wagons,

       Nor sad Orion;

       What are the Pleiades to me?

       What the shining Bootes?

       Make vines for me,

       And clusters of grapes in it,

       And of gold Love and Bathyllus

       Treading the grapes

       With the fair Lyaeus

      ON HIMSELF.

      Thou sing'st the affairs of Thebes,

       And he the battles of Troy,

       But I of my own defeats.

       No horse have wasted me,

       Nor foot, nor ships;

       But a new and different host,

       From eyes smiting me.

      TO A DOVE

      Lovely dove,

       Whence, whence dost thou fly?

       Whence, running on air,

       Dost thou waft and diffuse

       So many sweet ointments?

       Who art? What thy errand?—

       Anacreon sent me

       To a boy, to Bathyllus,

       Who lately