Essays, Henry David Thoreau [ebook reader with android os txt] 📗

day, with such magnificence, and vast expense of natural imagery, as if it were a message from the gods.

“While it was dawn, and sacred day was advancing,
For that space the weapons of both flew fast, and the people fell;
But when now the woodcutter was preparing his morning meal
In the recesses of the mountains, and had wearied his hands
With cutting lofty trees, and satiety came to his mind,
And the desire of sweet food took possession of his thoughts;
Then the Danaans by their valor broke the phalanxes,
Shouting to their companions from rank to rank.”

When the army of the Trojans passed the night under arms, keeping watch lest the enemy should reembark under cover of the dark,

“They, thinking great things, upon the neutral ground of war,
Sat all the night; and many fires burned for them.
As when in the heavens the stars round the bright moon
Appear beautiful, and the air is without wind;
And all the heights, and the extreme summits,
And the shady valleys appear; and the shepherd rejoices in his
So between the ships and the streams of Xanthus
Appeared the fires of the Trojans before Ilium.”

The “white-armed goddess Juno,” sent by the father of gods and men for Iris and Apollo,

“Went down the Idaean mountains to far Olympus,
As when the mind of a man, who has come over much earth,
Sallies forth, and he reflects with rapid thoughts,
There was I, and there, and remembers many things;
So swiftly the august Juno hastening flew through the air;
And came to high Olympus.”

There are few books which are fit to be remembered in our wisest hours, but the Iliad is brightest in the serenest days, and embodies still all the sunlight that fell on Asia Minor. No modern joy or ecstasy of ours can lower its height or dim its lustre; but there it lies in the last of literature, as it were the earliest, latest production of the mind. The ruins of Egypt oppress and stifle us with their dust, foulness preserved in cassia and pitch, and swathed in linen; the death of that which ever lived. But the rays of Greek poetry struggle down to us, and mingle with the sunbeams of the recent day. The statue of Memnon is cast down, but the shaft of the Iliad still meets the sun in his rising.

So too, no doubt, Homer had his Homer, and Orpheus his Orpheus, in the dim antiquity which preceded them. The mythological system of the ancients, and it is still the only mythology of the moderns, the poem of mankind, interwoven so wonderfully with their astronomy, and matching in grandeur and harmony with the architecture of the Heavens themselves, seems to point to a time when a mightier genius inhabited the earth. But man is the great poet, and not Homer nor Shakespeare; and our language itself, and the common arts of life are his work. Poetry is so universally true and independent of experience, that it does not need any particular biography to illustrate it, but we refer it sooner or later to some Orpheus or Linus, and after ages to the genius of humanity, and the gods themselves.

Ossian

The genuine remains of Ossian, though of less fame and extent, are in many respects of the same stamp with the Iliad itself. He asserts the dignity of the bard no less than Homer, and in his era we hear of no other priest than he. It will not avail to call him a heathen because he personifies the sun and addresses it; and what if his heroes did “worship the ghosts of their father,” their thin, airy, and unsubstantial forms? we but worship the ghosts of our fathers in more substantial forms. We cannot but respect the vigorous faith of those heathen, who sternly believed somewhat, and are inclined to say to the critics, who are offended by their superstitious rites, don’t interrupt these men’s prayers. As if we knew more about human life and a god, than the heathen and ancients. Does English theology contain the recent discoveries?

Ossian reminds us of the most refined and rudest eras, of Homer, Pindar, Isaiah, and the American Indian. In his poetry, as in Homer’s, only the simplest and most enduring features of humanity are seen, such essential parts of a man as Stonehenge exhibits of a temple; we see the circles of stone, and the upright shaft alone. The phenomena of life acquire almost an unreal and gigantic size seen through his mists. Like all older and grander poetry, it is distinguished by the few elements in the lives of its heroes. They stand on the heath, between the stars and the earth, shrunk to the bones and sinews. The earth is a boundless plain for their deeds. They lead such a simple, dry, and everlasting life, as hardly needs depart with the flest, but is transmitted entire from age to age. There are but few objects to distract their sight, and their life is as unencumbered as the course of the stars they gaze at.

“The wrathful kings, on cairns apart,
Look forward from behind their shields,
And mark the wandering stars,
That brilliant westward move.

It does not cost much for these heroes to live. They want not much furniture. They are such forms of men only as can be seen afar through the mist, and have no costume nor dialect, but for language there is the tongue itself, and for costume there are always the skins of beasts and the bark of trees to be had. They live out their years by the vigor of their constitutions. They survive storms and the spears of their foes, and perform a few heroic deeds, and then,

“Mounds will answer questions of them,
For many future years.”

Blind and infirm, they spend the remnant of their days listening to the lays of the bards, and feeling the weapons which laid their enemies low, and when at length they die, by a convulsion of nature, the bard allows a short misty glance into