Essays Henry David Thoreau (little bear else holmelund minarik .txt) 📖

futurity, yet as clear, perchance, as their lives had been. When Mac-Roine was slain,

“His soul departed to his warlike sires,
To follow misty forms of boars
In tempestuous islands bleak.”

The hero’s cairn is erected, and the bard sings a brief significant strain, which will suffice for epitaph and biography.

“The weak will find his bow in the dwelling,
The feeble will attempt to bend it.”

Compared with this simple, fibrous life, our civilized history appears the chronicle of debility, of fashion, and the arts of luxury. But the civilized man misses no real refinement in the poetry of the rudest era. It reminds him that civilization does but dress men. It makes shoes, but it does not toughen the soles of the feet. It makes cloth of finer texture, but it does not touch the skin. Inside the civilized man stands the savage still in the place of honor. We are those blue-eyed, yellow-haired Saxons, those slender, dark-haired Normans.

The profession of the bard attracted more respect in those days from the importance attached to fame. It was his province to record the deeds of heroes. When Ossian hears the traditions of inferior bards, he exclaims,

“I straightway seize the unfutile tales,
And send them down in faithful verse.”

His philosophy of life is expressed in the opening of the third Duan of “Ca-Lodin.”

“Whence have sprung the things that are?
And whither roll the passing years?
Where does time conceal its two heads,
In dense impenetrable gloom,
Its surface marked with heroes’ deeds alone?
I view the generations gone;
The past appears but dim;
As objects by the moon’s faint beams,
Reflected from a distant lake.
I see, indeed, the thunder-bolts of war,
But there the unmighty joyless dwell,
All those who send not down their deeds
To far, succeeding times.”

The ignoble warriors die and are forgotten;

“Strangers come to build a tower;
And throw their ashes over hand;
Somoe rusted swords appear in dust;
One, bending forward, says,
‘The arms belonged to heroes gone;
We never heard their praise in song.’ ”

The grandeur of the similes is another feature which characterizes great poetry. Ossian seems to speak a gigantic and universal language. The images and pictures occupy even much space in the landscape, as if they could be seen only from the sides of mountains, and plains with a wide horizon, or across arms of the sea. The machinery is so massive that it cannot be less than natural. Oivana says to the spirit of her father, “Gey-haired Torkil of Torne,” seen in the skies,

“Thou glidest away like receding ships.”

So when the hosts of Fingal and Starne approach to battle,

“With murmurs loud, like rivers far,
The race of Torne hither moved.”

And when compelled to retire,

“dragging his spear behind,
Cudulin sank in the distang wood,
Like a fie upblazing ere it dies.”

Nor did Fingal want a proper audience when he spoke;

“A thousand orators inclined
To hear the lay of Fingal.”

The threats too would have deterred a man. Vengeance and terror were real. Trenmore threatens the young warrior, whom he meets on a foreign strand,

“Thy mother shall find thee pale on the shore,
While lessening on the waves she spies
The sails of him who slew her son.”

If Ossian’s heroes weep, it is from excess of strength, and not from weakness, a sacrifice or libation of fertile natures, like the perspiration of stone in summer’s heat. We hardly know that tears have been shed, and it seems as if weeping were proper only for babes and heroes. Their joy and their sorrow are made of one stuff, like rain and snow, the rainbow and the mist. When Fillan was worsted in fight, and ashamed in the presence of Fingal,

“He strode away forthwith,
And bent in grief above a stream,
His cheeks bedewed with tears.
From time to time the thistles gray
He lopped with his inverted lance.”

Crodar, blind and old, receives Ossian, son of Fingal, who comes to aid him in war,

“ ‘My eyes have failed,’ says he, ‘Crodar is blind,
Is thy strength like that of thy fathers?
Stretch, Ossian, thine arm to the hoary-haired.’
I gave my arm to the king.
The aged hero seized my hand;
He heaved a heavy sigh;
Tears flowed incessant down his cheek.
‘Strong art though, son of the mighty,
Though not so dreadful as Morven’s prince.
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Let my feast be spread in the hall,
Let every sweet-voiced minstrel sing;
Great is he who is within my wall,
Sons of wave-echoing Croma.’ ”

Even Ossian himself, the hero-bard, pays tribute to the superior strength of his father Fingal.

“How beauteous, mighty man, was thy mind,
Why succeeded Ossian without its strength?”

Chaucer

What a contrast between the stern and desolate poetry of Ossian, and that of Chaucer, and even of Shakespeare and Milton, much more of Dryden, and Pope, and Gray. Our summer of English poetry, like the Greek and Latin before it, seems well advanced toward its fall, and laden with the fruit and foliage of the season, with bright autumnal tints, but soon the winter will scatter its myriad clustering and shading leaves, and leave only a few desolate and fibrous boughs to sustain the snow and rime, and creak in the blasts of ages. We cannot escape the impression, that the Muse has stooped a little in her flight, when we come to the literature of civilized eras. Now first we hear of various ages and styles of poetry, but the poetry of runic monuments is for every age. The bard has lost the dignity and sacredness of his office. He has no more bardic rage, and only conceives the deed, which he formerly stood ready to perform. Hosts of warriors, earnest for battle, could not mistake nor dispense with the ancient bard. His lays were heard in the pauses of the fight. There was no danger of his being overlooked by his contemporaries. But now the hero and the bard are of different professions. When we come to the pleasant English verse, it seems as if the storms had all cleared away, and it would never thunder and lighten more. The poet has come within doors, and