No More Learning

" I think that the farmer displaces the Indian even
because he redeems the meadow, and so makes himself stronger and in
some respects more natural. I was surveying for a man the other day a
single straight line one hundred and thirty-two rods long, through a
swamp at whose entrance might have been written the words which Dante
read over the entrance to the infernal regions, "Leave all hope, ye
that enter,"--that is, of ever getting out again; where at one time I
saw my employer actually up to his neck and swimming for his life in
his property, though it was still winter. He had another similar swamp
which I could not survey at all, because it was completely under
water, and nevertheless, with regard to a third swamp, which I did
_survey_ from a distance, he remarked to me, true to his instincts,
that he would not part with it for any consideration, on account of
the mud which it contained. And that man intends to put a girdling
ditch round the whole in the course of forty months, and so redeem it
by the magic of his spade. I refer to him only as the type of a class.

The weapons with which we have gained our most important victories,
which should be handed down as heirlooms from father to son, are not
the sword and the lance, but the bushwhack, the turf-cutter, the
spade, and the bog hoe, rusted with the blood of many a meadow, and
begrimed with the dust of many a hard-fought field. The very winds
blew the Indian's corn-field into the meadow, and pointed out the way
which he had not the skill to follow. He had no better implement with
which to intrench himself in the land than a clamshell. But the farmer
is armed with plow and spade.

In literature it is only the wild that attracts us. Dullness is but
another name for tameness. It is the uncivilized free and wild
thinking in Hamlet and the Iliad, in all the scriptures and
mythologies, not learned in the schools, that delights us. As the wild
duck is more swift and beautiful than the tame, so is the wild--the
mallard--thought, which 'mid falling dews wings its way above the
fens. A truly good book is something as natural, and as unexpectedly
and unaccountably fair and perfect, as a wild-flower discovered on the
prairies of the West or in the jungles of the East. Genius is a light
which makes the darkness visible, like the lightning's flash, which
perchance shatters the temple of knowledge itself,--and not a taper
lighted at the hearth-stone of the race, which pales before the light
of common day.
English literature, from the days of the minstrels to the Lake
Poets,--Chaucer and Spenser and Milton, and even Shakespeare,
included,--breathes no quite fresh and, in this sense, wild strain. It
is an essentially tame and civilized literature, reflecting Greece and
Rome. Her wilderness is a greenwood, her wild man a Robin Hood. There
is plenty of genial love of Nature, but not so much of Nature herself.
Her chronicles inform us when her wild animals, but not when the wild
man in her, became extinct.

The science of Humboldt is one thing, poetry is another thing. The
poet to-day, notwithstanding all the discoveries of science, and the
accumulated learning of mankind, enjoys no advantage over Homer.

Where is the literature which gives expression to Nature? He would be
a poet who could impress the winds and streams into his service, to
speak for him; who nailed words to their primitive senses, as farmers
drive down stakes in the spring, which the frost has heaved; who
derived his words as often as he used them,--transplanted them to his
page with earth adhering to their roots; whose words were so true and
fresh and natural that they would appear to expand like the buds at
the approach of spring, though they lay half smothered between two
musty leaves in a library,--aye, to bloom and bear fruit there, after
their kind, annually, for the faithful reader, in sympathy with
surrounding Nature.

I do not know of any poetry to quote which adequately expresses this
yearning for the Wild. Approached from this side, the best poetry is
tame. I do not know where to find in any literature, ancient or
modern, any account which contents me of that Nature with which even I
am acquainted. You will perceive that I demand something which no
Augustan nor Elizabethan age, which no _culture_, in short, can give.
Mythology comes nearer to it than anything. How much more fertile a
Nature, at least, has Grecian mythology its root in than English
literature! Mythology is the crop which the Old World bore before its
soil was exhausted, before the fancy and imagination were affected
with blight; and which it still bears, wherever its pristine vigor is
unabated.