Ralph Waldo Emerson: Essays, Second Series

6. NATURE. (continued)

It seems as if the day was not wholly profane in which we have given heed to some natural object. The fall of snowflakes in a still air, preserving to each crystal its perfect form; the blowing of sleet over a wide sheet of water, and over plains; the waving ryefield; the mimic waving of acres of houstonia, whose innumerable florets whiten and ripple before the eye; the reflections of trees and flowers in glassy lakes; the musical steaming odorous south wind, which converts all trees to windharps; the crackling and spurting of hemlock in the flames, or of pine logs, which yield glory to the walls and faces in the sittingroom,--these are the music and pictures of the most ancient religion. My house stands in low land, with limited outlook, and on the skirt of the village. But I go with my friend to the shore of our little river, and with one stroke of the paddle I leave the village politics and personalities, yes, and the world of villages and personalities behind, and pass into a delicate realm of sunset and moonlight, too bright almost for spotted man to enter without novitiate and probation. We penetrate bodily this incredible beauty; we dip our hands in this painted element; our eyes are bathed in these lights and forms. A holiday, a villeggiatura, a royal revel, the proudest, most heart-rejoicing festival that valor and beauty, power and taste, ever decked and enjoyed, establishes itself on the instant. These sunset clouds, these delicately emerging stars, with their private and ineffable glances, signify it and proffer it. I am taught the poorness of our invention, the ugliness of towns and palaces. Art and luxury have early learned that they must work as enhancement and sequel to this original beauty. I am overinstructed for my return. Henceforth I shall be hard to please. I cannot go back to toys. I am grown expensive and sophisticated. I can no longer live without elegance, but a countryman shall be my master of revels. He who knows the most; he who knows what sweets and virtues are in the ground, the waters, the plants, the heavens, and how to come at these enchantments,--is the rich and royal man. Only as far as the masters of the world have called in nature to their aid, can they reach the height of magnificence. This is the meaning of their hanging-gardens, villas, garden-houses, islands, parks and preserves, to back their faulty personality with these strong accessories. I do not wonder that the landed interest should be invincible in the State with these dangerous auxiliaries. These bribe and invite; not kings, not palaces, not men, not women, but these tender and poetic stars, eloquent of secret promises. We heard what the rich man said, we knew of his villa, his grove, his wine and his company, but the provocation and point of the invitation came out of these beguiling stars. In their soft glances I see what men strove to realize in some Versailles, or Paphos, or Ctesiphon. Indeed, it is the magical lights of the horizon and the blue sky for the background which save all our works of art, which were otherwise bawbles. When the rich tax the poor with servility and obsequiousness, they should consider the effect of men reputed to be the possessors of nature, on imaginative minds. Ah! if the rich were rich as the poor fancy riches! A boy hears a military band play on the field at night, and he has kings and queens and famous chivalry palpably before him. He hears the echoes of a horn in a hill country, in the Notch Mountains, for example, which converts the mountains into an Aeolian harp,--and this supernatural tiralira restores to him the Dorian mythology, Apollo, Diana, and all divine hunters and huntresses. Can a musical note be so lofty, so haughtily beautiful! To the poor young poet, thus fabulous is his picture of society; he is loyal; he respects the rich; they are rich for the sake of his imagination; how poor his fancy would be, if they were not rich! That they have some high-fenced grove which they call a park; that they live in larger and better-garnished saloons than he has visited, and go in coaches, keeping only the society of the elegant, to watering-places and to distant cities,--these make the groundwork from which he has delineated estates of romance, compared with which their actual possessions are shanties and paddocks. The muse herself betrays her son, and enhances the gifts of wealth and well-born beauty by a radiation out of the air, and clouds, and forests that skirt the road,--a certain haughty favor, as if from patrician genii to patricians, a kind of aristocracy in nature, a prince of the power of the air.