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@@ -1,38 +1,4 @@
-The Project Gutenberg EBook of The Seer of Slabsides, by Dallas Lore Sharp
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: The Seer of Slabsides
-
-Author: Dallas Lore Sharp
-
-Release Date: September 29, 2013 [EBook #43846]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE SEER OF SLABSIDES ***
-
-
-
-
-Produced by Greg Bergquist, Mary Akers and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive/American Libraries.)
-
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+*** START OF THE PROJECT GUTENBERG EBOOK 43846 ***
 
 Transcriber's note:
     Minor spelling and punctuation inconsistencies have been
@@ -146,7 +112,7 @@ He was the simplest man I ever knew, simpler than a child; for
 children are often self-conscious and uninterested, whereas
 Burroughs's interest and curiosity grew with the years, and his
 directness, his spontaneity, his instant pleasure and his constant
-joy in living, his utter naturalness and naivete amounted to genius.
+joy in living, his utter naturalness and naïveté amounted to genius.
 They were his genius--and a stumbling-block to many a reader.
 _Similia similibus curantur_, or a thief to catch a thief, as we say;
 and it certainly requires such a degree of simplicity to understand
@@ -598,7 +564,7 @@ Have I seen in nature the things that are there, or the strange
 man-things, the "winged creeping things which have four feet," and
 which were an abomination to the ancient Hebrews, but which the
 readers of modern nature-writing do greedily devour--are these the
-things I have seen? And for an answer he sets about a reexamination
+things I have seen? And for an answer he sets about a reëxamination
 of all he has written, from "Wake-Robin" to "Far and Near," hoping
 "that the result of the discussion or threshing will not be to make
 the reader love the animals less, but rather to love the truth more."
@@ -1002,361 +968,4 @@ THE END
 
 End of Project Gutenberg's The Seer of Slabsides, by Dallas Lore Sharp
 
-*** END OF THIS PROJECT GUTENBERG EBOOK THE SEER OF SLABSIDES ***
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+*** END OF THE PROJECT GUTENBERG EBOOK 43846 ***
diff --git a/43846-8.txt b/43846-8.txt
deleted file mode 100644
index e9e1936..0000000
--- a/43846-8.txt
+++ /dev/null
@@ -1,1362 +0,0 @@
-The Project Gutenberg EBook of The Seer of Slabsides, by Dallas Lore Sharp
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: The Seer of Slabsides
-
-Author: Dallas Lore Sharp
-
-Release Date: September 29, 2013 [EBook #43846]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE SEER OF SLABSIDES ***
-
-
-
-
-Produced by Greg Bergquist, Mary Akers and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive/American Libraries.)
-
-
-
-
-
-
-
-
-
-Transcriber's note:
-    Minor spelling and punctuation inconsistencies have been
-    harmonized. Italic text has been marked with _underscores_.
-    Obvious typos have been corrected.
-
-
-
-
-THE SEER OF SLABSIDES
-
-
-
-
-  [Illustration: IN THE DOORWAY, SLABSIDES]
-
-
-
-    THE
-    SEER OF SLABSIDES
-
-    BY
-    DALLAS LORE SHARP
-
-
-
-
-  [Illustration]
-
-
-
-
-    BOSTON AND NEW YORK
-    HOUGHTON MIFFLIN COMPANY
-    The Riverside Press Cambridge
-    1921
-
-
-
-
-    COPYRIGHT, 1910, BY THE ATLANTIC MONTHLY COMPANY
-    COPYRIGHT, 1911 AND 1921, BY DALLAS LORE SHARP
-    ALL RIGHTS RESERVED
-
-
-
-
-    TO
-    HENRY FORD
-    LOVER OF BIRDS
-    FRIEND OF JOHN BURROUGHS
-
-
-
-
-THE SEER OF SLABSIDES
-
-
-
-
-THE SEER OF SLABSIDES
-
-
-
-
-I
-
-
-This title, "The Seer of Slabsides," does not quite fit John
-Burroughs--the Burroughs I knew. He was a see-er. A lover of nature,
-he watched the ways of bird and beast; a lover of life, he thought
-out and wrought out a serene human philosophy that made him teacher
-and interpreter of the simple and the near at hand rather than of
-such things as are hidden and far off. He was altogether human; a
-poet, not a prophet; a great lover of the earth, of his portion
-of it in New York State, and of everything and everybody dwelling
-there with him. He has added volumes to the area of New York State,
-and peopled them with immortal folk--little folk, bees, bluebirds,
-speckled trout, and wild strawberries. He was chiefly concerned with
-living at Slabsides, or at Woodchuck Lodge, and with writing what
-he lived. He loved much, observed and interpreted much, speculated
-a little, but dreamed none at all. "The Lover of Woodchuck Lodge" I
-might have called him, rather than "The Seer of Slabsides."
-
-Pietro, the sculptor, has made him resting upon a boulder, his
-arm across his forehead, as his eyes, shielded from the sun, peer
-steadily into the future and the faraway. I sat with the old
-naturalist on this same boulder. It was in October, and they laid
-him beside it the following April, on his eighty-fourth birthday. I
-watched him shield his eyes with his arm, as the sculptor has made
-him, and gaze far away over the valley to the rolling hills against
-the sky, where his look lingered, sadly, wearily, for a moment at
-their vaunting youth and beauty; then coming instantly back to the
-field below us, he said: "This field is as full of woodchucks as
-it was eighty years ago. I caught one right here yesterday. How
-eternally interesting life is! I've studied the woodchuck all my
-life, and there's no getting to the bottom of him."
-
-He knew, as I knew, that he might never rest against this rock again.
-He had played upon it as a child. He now sleeps beside it. But so
-interesting was the simplest, the most familiar thing to him, that
-the long, long twilight, already filling the valley and creeping up
-toward him, still gave him a chance, as we sat there, to watch the
-woodchuck slipping from his burrow. Had I been the sculptor, I should
-have made the old naturalist lying flat on the round of that rock,
-his white beard a patch of lichen, his eyes peering from under his
-slouch hat over the top of the boulder at something near at hand--at
-the woodchuck feeding below in the pasture.
-
-He was the simplest man I ever knew, simpler than a child; for
-children are often self-conscious and uninterested, whereas
-Burroughs's interest and curiosity grew with the years, and his
-directness, his spontaneity, his instant pleasure and his constant
-joy in living, his utter naturalness and naïveté amounted to genius.
-They were his genius--and a stumbling-block to many a reader.
-_Similia similibus curantur_, or a thief to catch a thief, as we say;
-and it certainly requires such a degree of simplicity to understand
-Burroughs as few of us possess.
-
-Not every author improves upon personal acquaintance, but an actual
-visit with Burroughs seems almost necessary for the right approach to
-his books. Matter and manner, the virtues and faults of his writings,
-the very things he did not write about, are all explained in the
-presence of a man of eighty-three who brings home a woodchuck from
-the field for dinner, and saves its pelt for a winter coat. And with
-me at dinner that day were other guests, a lover of Whitman from
-Bolton, England, a distinguished American artist, and others.
-
-The country road, hardly more than a farm lane, shies up close to
-Woodchuck Lodge as it goes by. Here on the vine-grown porch was the
-cot of the old naturalist, as close to the road as it could get.
-Burroughs loved those remote ancestral hills, and all the little
-folk who inhabitated them with him. He was as retiring and shy as
-a song sparrow--who nests in the bushes, and sings from the fence
-stake. No man loved his fellow-man more than Burroughs. Here in his
-cot he could watch the stars come out upon the mountain-tops and see
-the fires of dawn kindle where the stars had shone, and here, too,
-he could see every passer-by and, without rising, for he had need
-to rest, he could reach out a hand of welcome to all who stopped on
-their journey past.
-
-And everybody stopped. If he had no fresh woodchuck to serve them,
-he would have one out of a can, for no less in his home than in his
-heart had he made provision for the coming guest. The stores of the
-village were far away, but there was no lack of canned woodchuck and
-hospitality in the Lodge. Few men have had more friends or a wider
-range of friends than Burroughs. And months later, as I sat looking
-over the strange medley of them gathered at his funeral, I wondered
-at them, and asked myself what was it in this simple, childlike man,
-this lover of the bluebird, of the earth on his breast and the sky
-on his back, that drew these great men and little children about him.
-He was elemental. He kept his soul. And through the press men crowded
-up to touch him, and the virtue that went out from him restored to
-them their souls--their bluebird with the earth on its breast and the
-sky, the blue sky, on its back.
-
-
-
-
-II
-
-
-And this same restoration I find in his books. John Burroughs began
-that long line of books by writing an essay for the "Atlantic
-Monthly," entitled "Expression,"--"a somewhat Emersonian Expression,"
-says its author,--which was printed in the "Atlantic" for November,
-1860, sixty-one years ago; and in each of those sixty-one years he
-has not failed to publish one or more essays here where "Expression"
-led the way.
-
-Sixty-one years are not threescore and ten, being nine years short.
-Many men have lived and wrought for more than threescore and ten
-years; but Burroughs's "Atlantic" years are unique. To write without
-a break for sixty-one years, and keep one's eye undimmed, one's
-natural force unabated, one's soul unfagged and as fresh as dawn, is
-of itself a great human achievement.
-
-Only a few weeks before his death he sent me a copy of the last
-book that he should see through the press, and who shall say that
-"Accepting the Universe" lacks anything of the vigor or finish
-or freshness found in his earliest books? It is philosophical,
-theological, indeed, in matter, and rather controversial in style;
-its theme is like that of "The Light of Day," a theme his pen was
-ever touching, but nowhere with more largeness and beauty (and
-inconsistency) than here. For Burroughs, though deeply religious, was
-a poor theologian. He hated cant, and feared the very vocabulary
-of theology as he feared the dark. Life was remarkably single with
-Burroughs and all of a piece. In a little diary, one of the earliest
-he has left us, he asks, under date of October 8, 1860 (a month
-before his first essay appeared in the "Atlantic"):
-
-"Is there no design of analogy in this Universe? Are these striking
-resemblances that wed remote parts, these family traits that break
-out all through nature and that show the unity of the creating mind,
-the work of chance? Are these resemblances and mutual answerings of
-part to part that human intelligence sees and recognizes only in its
-most exalted moments--when its vision is clearest--a mere accident?"
-
-That was written in pencil filling a whole page of his diary for
-1860. On page 220 of "Accepting the Universe," published sixty-one
-years later, and only a short time before his death, we find this
-attempted answer:
-
-"So, when we ask, Is there design in Nature? we must make clear what
-part or phase of Nature we refer to. Can we say that the cosmos as
-a whole shows any design in our human sense of the word? I think
-not. The Eternal has no purpose that our language can compass.
-There can be neither center nor circumference to the Infinite. The
-distribution of land and water on the globe cannot be the result of
-design any more than can the shapes of the hills and mountains, or
-Saturn's rings, or Jupiter's moons. The circular forms and orbits
-of the universe must be the result of the laws of matter and force
-that prevail in celestial mechanics; this is not a final solution of
-the riddle, but is as near as we can come to it. One question stands
-on another question, and that on another, and so on, and the bottom
-question we can never reach and formulate."
-
-It is a beautiful illustration of the continuity, the oneness of
-this singularly simple life; and it is as good an illustration of
-how the vigor of his youth steadies into a maturity of strength
-with age, which in many a late essay--as in "The Long Road," for
-instance--lifts one and bears one down the unmeasured reaches of
-geologic time as none of his earlier chapters do.
-
-Many men have written more than John Burroughs. His twenty-five
-volumes are perhaps nothing remarkable for sixty years of steady
-writing. But it is remarkable to come up to four and eighty with one
-book just off the press, two more books in manuscript to appear after
-the light has failed; for there is still a book of miscellaneous
-papers, and some studies on Emerson and Thoreau yet to be published.
-
-And I think it a rather remarkable lot of books, beginning with
-"Wake-Robin," running down through the titles, with "Winter
-Sunshine," "Birds and Poets," "Locusts and Wild Honey," "Pepacton,"
-"Fresh Fields," "Signs and Seasons," "Riverby," "Far and Near," "Ways
-of Nature," "Leaf and Tendril," "The Summit of the Years," "Time and
-Change," "The Breath of Life," "Under the Apple-Trees," and "Field
-and Study," to "Accepting the Universe," for these books deal very
-largely with nature, and by themselves constitute the largest, most
-significant group of nature-books that have come, perhaps, from any
-single pen.
-
-These sixteen or seventeen volumes are John Burroughs's most
-characteristic and important work. If he has done any desirable
-thing, made any real contribution to American literature, that
-contribution will be found among these books. His other books are
-eminently worth while: there is reverent, honest thinking in his
-religious essays, a creedless but an absolute and joyous faith; there
-is simple and exquisite feeling in his poems; close analysis and an
-unmitigatedness wholly Whitmanesque in his interpretation of Whitman;
-and no saner, happier criticism anywhere than in his "Literary
-Values." There are many other excellent critics, however, many poets
-and religious writers, many other excellent nature-writers, too; but
-is there any other who has written so much upon the ways of nature as
-they parallel and cross the ways of men, upon so great a variety of
-nature's forms and expressions, and done it with such abiding love,
-with such truth and charm?
-
-Yet such a comparison is beyond proof, except in the least of the
-literary values--mere quantity; and it may be with literature as
-with merchandise: the larger the cask the greater the tare. Charm?
-Is not charm that which I chance to like, or _you_ chance to like?
-Others have written of nature with as much love and truth as has
-John Burroughs, and each with his own peculiar charm: Audubon, with
-the spell of wild places and the thrill of fresh wonder; Traherne,
-with the ecstasy of the religious mystic; Gilbert White, with the
-sweetness of the evening and the morning; Thoreau, with the heat
-of noonday; Jefferies, with just a touch of twilight shadowing all
-his pages. We want them severally as they are; John Burroughs as he
-is, neither wandering "lonely as a cloud" in search of poems, nor
-skulking in the sedges along the banks of the Guaso Nyero looking
-for lions. We want him at Slabsides, near his celery fields, or at
-Woodchuck Lodge overlooking the high fields that run down from the
-sky into Montgomery Valley. And whatever the literary quality of our
-other nature-writers, no one of them has come any nearer than John
-Burroughs to that difficult ideal--a union of thought and form, no
-more to be separated than the heart and the bark of a live tree.
-
-Take John Burroughs's work as a whole, and it is beyond dispute the
-most complete, the most revealing, of all our outdoor literature.
-His pages lie open like the surface of a pond, sensitive to every
-wind, or calm as the sky, holding the clouds and the distant blue,
-and the dragon-fly, stiff-winged, and pinned to the golden knob of a
-spatter-dock.
-
-All outdoor existence, all outdoor phenomena, are deeply interesting
-to him. There is scarcely a form of outdoor life, scarcely a piece
-of landscape, or natural occurrence characteristic of the Eastern
-States, which has not been dealt with suggestively in his pages: the
-rabbit under his porch, the paleozoic pebble along his path, the salt
-breeze borne inland by the Hudson, the whirl of a snow-storm, the
-work of the honey bees, the procession of the seasons over Slabsides,
-even the abundant soil out of which he and his grapes grew and which,
-"incorruptible and undefiled," he calls divine.
-
-He devotes an entire chapter to the bluebird, a chapter to the fox,
-one to the apple, another to the wild strawberry. The individual,
-the particular thing, is always of particular interest to him. But
-so is its habitat, the whole of its environment. He sees the gem,
-not cut and set in a ring, but rough in the mine, where it glitters
-on the hand of nature, and glitters all the more that it is worn in
-the dark. Naturally John Burroughs has written much about the birds;
-yet he is not an ornithologist. His theme has not been this or that,
-but nature in its totality, as it is held within the circle of his
-horizon, as it surrounds, supports, and quickens him.
-
-That nature does support and quicken the spiritual of him, no less
-than the physical, is the inspiration of his writing and the final
-comment it requires. Whether the universe was shaped from chaos with
-man as its end, is a question of real concern to John Burroughs,
-but of less concern to him than the problem of shaping himself to
-the universe, of living as long as he can upon a world so perfectly
-adapted to life, if only one be physically and spiritually adaptable.
-To take the earth as one finds it, to plant one's self in it, to
-plant one's roof-tree in it, to till it, to understand it and the
-laws which govern it, and the Perfection which created it, and to
-love it all--this is the heart of John Burroughs's religion, the pith
-of his philosophy, the conclusion of his books.
-
-But if a perfect place for the fit, how hard a place is this world
-for the lazy, the ignorant, the stubborn, the weak, the physically
-and spiritually ill! So hard that a torpid liver is almost a mortal
-handicap, the stars in their courses fighting against the bilious to
-defeat them, to drive them to take exercise, to a copious drinking
-of water, to a knowledge of burdock and calomel--to obedience and
-understanding.
-
-Underlying all of John Burroughs's thought and feeling, framing
-every one of his books, is a deep sense of the perfection of nature,
-the sharing of which is physical life, the understanding of which
-is spiritual life, is knowledge of God himself, in some part of His
-perfection. "I cannot tell what the simple apparition of the earth
-and sky mean to me; I think that at rare intervals one sees that they
-have an immense spiritual meaning, altogether unspeakable, and that
-they are the great helps, after all." How the world was made--its
-geology, its biology--is the great question, for its answer is poetry
-and religion and life itself. John Burroughs was serenely sure as to
-how the world was made; the theological speculation as to _why_ it
-was made, he answered by growing small fruits on it, living upon it,
-writing about it.
-
-Temperamentally John Burroughs was an optimist, as vocationally
-he was a writer, and avocationally a vine-dresser. He planted and
-expected to gather--grapes from his grapevines, books from his
-book-vines, years, satisfactions, sorrows, joys, all that was due him.
-
-    The waters know their own and draw
-      The brook that springs in yonder heights;
-    So flows the good with equal law
-      Unto the soul of pure delights.
-
-And what is it that was due him? Everything; everything essential;
-as everything essential is due the pine-tree, the prairie, the very
-planet. Is not this earth a star? Are not the prairie, the pine-tree,
-and man the dust of stars? each a part of the other? all parts of one
-whole--a universe, round, rolling, without beginning, without end,
-without flaw, without lack, a universe self-sustained, perfect?
-
-    I stay my haste, I make delays,
-      For what avails this eager pace?
-    I stand amid the eternal ways,
-      And what is mine shall know my face.
-
-John Burroughs came naturally by such a view of nature and its
-consequent optimism. It was due partly to his having been born and
-brought up on a farm where he had what was due him from the start.
-Such birth and bringing-up is the natural right of every boy. To know
-and to do the primitive, the elemental; to go barefoot, to drive the
-cows, to fish, and to go to school with not too many books, but with
-"plenty of real things"--these are nominated in every boy's bond.
-
-    Serene, I fold my hands and wait,
-
-is the poem of a childhood on the farm, and the poem of a manhood on
-the farm, in spite of the critic who says:
-
-"We have never ceased to wonder that this friend of the birds,
-this kindly interpreter of nature in all her moods, was born and
-brought up on a farm; it was in that smiling country watered by the
-east branch of the Delaware. No man, as a rule, knows less about
-the colors, songs, and habits of birds, and is more indifferent to
-natural scenery than the man born to the soil, who delves in it and
-breathes its odors. Contact with it and laborious days seem to deaden
-his faculties of observation and deprive him of all sympathy with
-nature."
-
-During the days when the deadening might have occurred, John
-Burroughs was teaching school. Then he became a United States bank
-examiner, and only after that returned to the country--to Riverby and
-Slabsides, and Woodchuck Lodge,--to live out the rest of his years,
-years as full of life and books as his vines along the Hudson are
-full of life and grapes.
-
-Could it be otherwise? If men and grapes are of the same divine
-dust, should they not grow according to the same divine laws? Here
-in the vineyard along the Hudson, John Burroughs planted himself in
-planting his vines, and every trellis that he set has become his own
-support and stay. The very clearing of the land for his vineyard was
-a preparation of himself physically and morally for a more fruitful
-life.
-
-"Before the snow was off in March," he says in "Literary Values," "we
-set to work under-draining the moist and springy places. My health
-and spirits improved daily. I seemed to be under-draining my own life
-and carrying off the stagnant water, as well as that of the land."
-And so he was. There are other means of doing it--taking drugs,
-playing golf, walking the streets; but surely the advantages and the
-poetry are all in favor of the vineyard. And how much fitter a place
-the vineyard to mellow and ripen life, than a city roof of tarry
-pebbles and tin!
-
-Though necessarily personal and subjective, John Burroughs's writing
-is entirely free from self-exploitation and confession. There are
-pages scattered here and there dealing briefly and frankly with his
-own natural history, but our thanks are due to John Burroughs that
-he never made a business of watching himself. Once he was inveigled
-by a magazine editor into doing "An Egotistical Chapter," wherein
-we find him as a boy of sixteen reading essays, and capable at that
-age of feeding for a whole year upon Dr. Johnson! Then we find him
-reading Whipple's essays, and the early outdoor papers of Higginson;
-and later, at twenty-three, settling down with Emerson's essays, and
-getting one of his own into the "Atlantic Monthly."
-
-How early his own began to come to him!
-
-That first essay in the "Atlantic" was followed by a number of
-outdoor sketches in the New York "Leader"--written, Burroughs says,
-"mainly to break the spell of Emerson's influence and get upon
-ground of my own." He succeeded in both purposes; and a large and
-exceedingly fertile piece of ground it proved to be, too, this which
-he got upon! Already the young writer had chosen his field and his
-crop. The out-of-doors has been largely his literary material, as the
-essay has been largely his literary form, ever since. He has done
-other things--volumes of literary studies and criticisms; but his
-theme from first to last has been the Great Book of Nature, a page of
-which, here and there, he has tried to read to us.
-
-Burroughs's work, in outdoor literature, is a distinct species, with
-new and well-marked characteristics. He is the nature-writer, to be
-distinguished from the naturalist in Gilbert White, the mystic in
-Traherne, the philosopher in Emerson, the preacher, poet, critic in
-Thoreau, the humorist in Charles Dudley Warner. As we now know the
-nature-writer we come upon him for the first time in John Burroughs.
-Such credit might have gone to Thomas Wentworth Higginson, had he
-not been something else before he was a lover of nature--of letters
-first, then of flowers, carrying his library into the fields; whereas
-Burroughs brings the fields into the library. The essay whose matter
-is nature, whose moral is human, whose manner is strictly literary,
-belongs to John Burroughs. His work is distinguished by this
-threefold and _even_ emphasis. In almost every other of our early
-outdoor writers either the naturalist or the moralist or the stylist
-holds the pen.
-
-Early or late, this or that, good outdoor writing must be marked,
-first, by fidelity to fact; and, secondly, by sincerity of
-expression. Like qualities mark all good literature; but they
-are themselves the _very_ literature of nature. When we take up a
-nature-book we ask (and it was Burroughs who taught us to ask), "Is
-the record true? Is the writing honest?"
-
-In these many volumes by John Burroughs there are many observations,
-and it is more than likely that some of them may be wrong, but it is
-not possible that any of them could be mixed with observations that
-Burroughs knows he never made. If Burroughs has written a line of
-sham natural history, which line is it? In a preface to "Wake-Robin,"
-the author says his readers have sometimes complained that they do
-not see the things which he sees in the woods; but I doubt if there
-ever was a reader who suspected John Burroughs of not seeing the
-things.
-
-His reply to these complaints is significant, being in no manner a
-defense, but an exquisite explanation, instead, of the difference
-between the nature which anybody may see in the woods and the
-nature that every individual writer, because he is a writer, and an
-individual, must put into his book: a difference like that between
-the sweet-water gathered by the bee from the flowers and the drop of
-acid-stung honey deposited by the bee in the comb. The sweet-water
-undergoes a chemical change in being brought to the hive, as the wild
-nature undergoes a literary change--by the addition of the writer's
-self to the nature, while with the sweet-water it is by the addition
-of the bee.
-
-One must be able to walk to an editorial office and back, and all the
-way walk humbly with his theme, as Burroughs ever does--not entirely
-forgetful of himself, nor of me (because he has invited me along);
-but I must be quiet and not disturb the fishing--if we go by way of a
-trout-stream.
-
-True to the facts, Burroughs is a great deal more than scientific,
-for he loves the things--the birds, hills, seasons--as well as the
-truths about them; and true to himself, he is not by any means a
-simple countryman who has never seen the city, a natural idyl, who
-lisps in books and essays, because the essays come. He is fully aware
-of the thing he wants to do, and by his own confession has a due
-amount of trouble shaping his raw material into finished literary
-form. He is quite in another class from the authors of "The Complete
-Angler" and "New England's Rarities Discovered." In Isaak Walton, to
-quote Leslie Stephen, "_a happy combination of circumstances_ has
-provided us with a true country idyl, fresh and racy from the soil,
-not consciously constructed by the most skillful artistic hand."
-
-Now the skillful artistic hand is everywhere seen in John Burroughs.
-What writer in these days could expect happy combinations of
-circumstances in sufficient numbers for so many volumes?
-
-But being an idyl, when you come to think of it, is not the result
-of a happy combination of circumstances, but rather of stars--of
-horoscope. You are born an idyl or you are not, and where and when
-you live has nothing to do with it.
-
-Who would look for a true country idyl to-day in the city of
-Philadelphia? Yet one came out of there yesterday, and lies here
-open before me, on the table. It is a slender volume, called "With
-the Birds, An Affectionate Study," by Caroline Eliza Hyde. The
-author is discussing the general subject of nomenclature and animal
-distribution, and says:
-
-"When the Deluge covered the then known face of the earth, the birds
-were drowned with every other living thing, except those that Noah,
-commanded by God, took two by two into the Ark.
-
-"When I reflect deeply and earnestly about the Ark, as every one
-should, thoughts crowd my mind with an irresistible force."
-
-[And they crowd my mind, too.]
-
-"Noah and his family had preserved the names of the birds given them
-by Adam. This is assured, for Noah sent a raven and a dove out to see
-if the waters had abated, and we have birds of that name now. Nothing
-was known of our part of the globe, so these birds must have remained
-in the Holy Land for centuries. We do not hear of them until America
-was discovered....
-
-"Bats come from Sur. They are very black mouse-like birds, and
-disagreeable.... The bobolink is not mentioned in the Bible, but it
-is doubtless a primitive bird. The cock that crows too early in the
-morning ... can hardly be classed with the song-birds. The name
-of the humming-bird is not mentioned in the Bible, but as there is
-nothing new under the sun, he is probably a primitive bird."
-
-Burroughs would have agreed that the humming-bird is probably a
-primitive bird; and also that this is a true idyl, and that he could
-not write a true idyl if he tried. No one could write like that by
-trying. And what has any happy combination of circumstances to do
-with it? No, a book essentially is only a personality in type, and
-he who would not be frustrated of his hope to write a true idyl must
-himself be born a true idyl. A fine Miltonic saying!
-
-John Burroughs was not an idyl, but an essayist, with a love for
-books only second to his love for nature; a watcher in the woods,
-a tiller of the soil, a reader, critic, thinker, poet, whose chief
-business these sixty years has been the interpretation of the
-out-of-doors.
-
-Upon him as interpreter and observer, certain of his books, "Ways of
-Nature" and "Leaf and Tendril," are an interesting comment.
-
-Truth does not always make good literature, not when it is stranger
-than fiction, as it often is; and the writer who sticks to the truth
-of nature must sometimes do it at the cost of purely literary ends.
-Have I sacrificed truth to literature? asks Burroughs of his books.
-Have I seen in nature the things that are there, or the strange
-man-things, the "winged creeping things which have four feet," and
-which were an abomination to the ancient Hebrews, but which the
-readers of modern nature-writing do greedily devour--are these the
-things I have seen? And for an answer he sets about a reëxamination
-of all he has written, from "Wake-Robin" to "Far and Near," hoping
-"that the result of the discussion or threshing will not be to make
-the reader love the animals less, but rather to love the truth more."
-
-But the result, as embodied in "Ways of Nature" and in "Leaf and
-Tendril," is quite the opposite, I fear; for these two volumes are
-more scientific in tone than any of his other work; and it is the
-mission, not of science, but of literature, to quicken our love
-for animals, even for truth. Science only adds to the truth. Yet
-here, in spite of himself, Burroughs is more the writer, more the
-interpreter, than the investigator. He is constantly forgetting his
-scientific thesis, as, for instance, in the account of his neighbor's
-errant cow. He succeeds finally, however, in reducing her fairly well
-to a mechanical piece of beef acting to vegetable stimuli upon a
-nerve ganglion located somewhere in the region between her horns and
-her tail.
-
-Now, all this is valuable, and the use made of it is laudable, but
-would we not rather have the account than the cow, especially from
-Burroughs? Certainly, because to us it is the _account_ that he has
-come to stand for. And so, if we do not love his scientific animals
-more, and his scientific findings more, we shall, I think, love all
-his other books more; for we see now that, from the beginning,
-he has regarded the facts of nature as the solid substance of his
-books, to be kept as free from fancy and from false report, as his
-interpretation of them is to be kept free from all exaggeration and
-cant.
-
-Here, then, are a score of volumes of honest seeing, honest
-feeling, honest reporting. Such honesty of itself may not make good
-nature-literature, but without such honesty there can be no good
-nature-literature.
-
-Nature-literature is not less than the truth, but more; how much
-more, Burroughs himself suggests to us in a passage about his
-literary habits.
-
-"For my part," he says, "I can never interview Nature in the reporter
-fashion. I must camp and tramp with her to get any good, and what
-I get I absorb through my emotions rather than consciously gather
-through my intellect.... An experience must lie in my mind a certain
-time before I can put it upon paper--say from three to six months.
-If there is anything in it, it will ripen and mellow by that time.
-I rarely take any notes, and I have a very poor memory, but rely
-upon the affinity of my mind for a certain order of truths or
-observations. What is mine will stick to me, and what is not will
-drop off. We who write about Nature pick out, I suspect, only the
-rare moments when we have had glimpses of her, and make much of them.
-Our lives are dull, our minds crusted over with rubbish like those
-of other people. Then writing about Nature, or about most other
-subjects, is an expansive process; we are under the law of evolution;
-we grow the germ into the tree; a little original observation goes a
-good way." For "when you go to Nature, bring us good science or else
-good literature, and not a mere inventory of what you have seen. One
-demonstrates, the other interprets."
-
-Careful as John Burroughs has been with his facts, so careful
-as often to bring us excellent science, he yet has left us no
-inventory of the out-of-doors. His work is literature; he is not a
-demonstrator, but an interpreter, an expositor who is true to the
-text and true to the whole of the context.
-
-Our pleasure in Burroughs as an interpreter comes as much from
-his wholesome good sense, from his balance and sanity, I think, as
-from the assurance of his sincerity. Free from pose and cant and
-deception, he is free also from bias and strain. There is something
-ordinary, normal, reasonable, companionable, about him; an even tenor
-to all his ways, a deliberateness, naturalness to all his paths, as
-if they might have been made originally by the cows. So they were.
-
-If Burroughs were to start from my door for a tramp over these small
-Hingham hills he would cross the trout-brook by my neighbor's stone
-bridge, and, nibbling a spear of peppermint on the way, would follow
-the lane and the cow-paths across the pasture. Thoreau would pick
-out the deepest hole in the brook and try to swim across; he would
-leap the stone walls of the lane, cut a bee-line through the pasture,
-and drop, for his first look at the landscape, to the bottom of the
-pit in the seam-face granite quarry. Here he would pull out his
-notebook and a gnarly wild apple from his pocket, and, intensely,
-critically, chemically, devouring said apple, make note in the book
-that the apples of Eden were flat, the apples of Sodom bitter, but
-this wild, tough, wretched, impossible apple of the Hingham hills
-united all ambrosial essences in its striking odor of squash-bugs.
-
-Burroughs takes us along with him. Thoreau comes upon us in the
-woods--jumps out at us from behind some bush, with a "_Scat!_"
-Burroughs brings us home in time for tea; Thoreau leaves us tangled
-up in the briars.
-
-It won't hurt us to be jumped at now and then and told to "_scat!_"
-It won't hurt us to be digged by the briars. It is good for us,
-otherwise we might forget that _we_ are beneath our clothes. It is
-good for us and highly diverting,--and highly irritating too.
-
-But Thoreau stands alone. "Walden Pond" is one of America's certain
-contributions to the world's great books.
-
-For my part, when I take up an outdoor book I am glad if there
-is quiet in it, and fragrance, and something of the saneness and
-sweetness of the sky. Not that I always want sweet skies. It is
-ninety-eight degrees in the shade, and three weeks since there fell
-a drop of rain. I could sing like a robin for a sizzling, crackling
-thunder-shower--less for the sizzling and crackling than for the
-shower. Thoreau is a succession of showers--"tempests"; his pages
-are sheet-lightning, electrifying, purifying, illuminating, but not
-altogether conducive to peace. "Walden Pond" is something more than
-a nature book. There is a clear sky to most of Burroughs's pages, a
-rural landscape, wide, gently rolling, with cattle standing here and
-there beneath the trees.
-
-Burroughs's natural history is entirely natural, his philosophy
-entirely reasonable, his religion and ethics very much of the kind we
-wish our minister and our neighbor might possess; and his manner of
-writing is so unaffected that we feel we could write in such a manner
-ourselves. Only we cannot.
-
-Since the time he can be said to have "led" a life, Burroughs has
-led a literary life; that is to say, nothing has been allowed to
-interfere with his writing; yet the writing has not been allowed
-to interfere with a quiet successful business--with his raising of
-grapes.
-
-He has a study and a vineyard.
-
-Not many men ought to live by the pen alone. A steady diet of
-inspiration and words is hard on the literary health. The writing
-should be varied with some good, wholesome work, actual hard work
-for the hands; not so much work, perhaps, as one would find in
-an eighteen-acre vineyard; yet John Burroughs's eighteen acres
-certainly proved to be no check--rather, indeed, a stimulus--to his
-writing. He seems to have gathered a volume out of every acre; and
-he seems to have put a good acre into every volume. "Fresh Fields"
-is the name of one of the volumes, "Leaf and Tendril" of another;
-but the freshness of his fields, the leaves and the tendrils of his
-vineyard, enter into them all. The grapes of the vineyard are in them
-also.
-
-Here is a growth of books out of the soil, books that have been
-trimmed, trained, sprayed, and kept free from rot. Such books may not
-be altogether according to the public taste; they will keep, however,
-until the public acquires a better taste. Sound, ripe, fresh, early
-and late, a full crop! Has the vineyard anything to do with it?
-
-It is not every farmer who should go to writing, nor every writer
-who should go to farming; but there is a mighty waste of academic
-literature, of premature, precocious, lily-handed literature, of
-chicken-licken literature, because the writers do not know a spade
-when they see one, would not call it a spade if they knew. Those
-writers need to do less writing and more farming, more real work with
-their soft hands in partnership with the elemental forces of nature,
-or in comradeship with average elemental men--the only species extant
-of the quality to make writing worth while.
-
-John Burroughs had this labor, this partnership, this comradeship.
-His writing is seasoned and sane. It is ripe, and yet as fresh as
-green corn with the dew in the silk. You have eaten corn on the cob
-just from the stalk and steamed in its own husk? Green corn that _is_
-corn, that has all its milk and sugar and flavor, is corn on the cob,
-and in the husk--is cob and kernel and husk--not a stripped ear that
-is cooked into the kitchen air.
-
-Literature is too often stripped of its human husk, and cut from its
-human cob: the man gone, the writer left; the substance gone, the
-style left--corn that tastes as much like corn as it tastes like
-puffed rice--which tastes like nothing at all. There is the sweetness
-of the husk, the flavor of the cob, the substance of the uncut corn
-to John Burroughs.
-
-There is no lack of cob and husk to Thoreau--of shell and hull, one
-should say, for he is more like a green walnut than an ear of green
-corn. Thoreau is very human, a whole man; but he is almost as much
-a tree, and a mountain, and a pond, and a spell of weather, and a
-state of morals. He is the author of "Walden," and nobody else in
-the world is that; he is a lover of Nature, as ardent a lover as
-ever eloped with her; he is a lover of men, too, loving them with an
-intensity that hates them bag and baggage; he is poetical, prophetic,
-paradoxical, and utterly impossible.
-
-But he knew it. Born in Concord, under the transcendental stars, at
-a time when Delphic sayings and philosophy, romance and poetry ran
-wild in the gardens where Bouncing-Bet and Wayward Charlie now run
-wild, Thoreau knew that he was touched, and that all his neighbors
-were touched, and sought asylum at Walden. But Walden was not distant
-enough. If John Burroughs in Roxbury, New York, found it necessary
-to take to the woods in order to escape from Emerson, then Thoreau
-should have gone to Chicago, or to Xamiltepec.
-
-It is the strain, in Thoreau, that wearies us; his sweating among the
-stumps and woodchucks, for a bean crop netting him eight dollars,
-seventy-one and one half cents. But such beans! Beans with minds
-and souls! Yet, for baking, plain beans are better than these
-transcendental beans, because your transcendental beans are always
-baked without pork. A family man, however, cannot contemplate that
-piddling patch with any patience, even though he have a taste for
-literature as real as his taste for beans. It is better to watch
-John Burroughs pruning his grapevines for a crop to net him one
-thousand, three hundred and twenty-five dollars, and _no_ cents, and
-no half-cents. Here were eighteen acres to be cultivated, whose fruit
-was to be picked, shipped, and sold in the New York markets at a
-profit--a profit plainly felt in John Burroughs's books.
-
-Reading what I have just said, as it appeared in the "Atlantic" for
-November, 1910, Burroughs wrote in the course of a letter to me:
-
-"I feel like scolding you a little for disparaging Thoreau for my
-benefit. Thoreau is nearer the stars than I am. I may be more human,
-but he is as certainly more divine. His moral and ethical value I
-think is much greater, and he has a heroic quality that I cannot
-approach."
-
-Perhaps no truer word will ever be said of these two men than that;
-and certainly no more generous word was ever spoken by one great
-writer of another, his nearest rival. I have not, nor would I,
-disparage Thoreau for Burroughs's benefit. Thoreau dwells apart. He
-is long past all disparagement. "Walden Pond" and "The Week," if not
-the most challenging, most original books in American literature,
-are, with Whitman's "Leaves of Grass" and Emerson's "Essays," among
-those books.
-
-Thoreau and Burroughs had almost nothing in common except their love
-of nature, and in that they were farther apart than in anything
-else, Thoreau searching by night and day in all wild places for his
-lost horse and hound while Burroughs quietly worshiped, as his rural
-divinity, the ruminating cow.
-
-The most worthy qualities of good writing are those least
-noticeable--negative qualities of honesty, directness, sincerity,
-euphony; noticeable only by their absence. Yet in John Burroughs they
-amounted to a positive charm. Indeed, are not these same negative
-qualities the very substance of good style? Such style as is had by a
-pair of pruning-shears, as is embodied in the exquisite lines of a
-flying swallow--the style that is perfect, purposeful adaptability?
-
-But there is more than efficiency to John Burroughs's style; there
-are strengths and graces existing in and for themselves. Here is
-a naturalist who has studied the art of writing. "What little
-merit my style has," he declares, "is the result of much study
-and discipline." And whose style, if it be style at all, is not
-the result of much study and discipline? Flourish, fine-writing,
-wordiness, obscurity, and cant are exorcised in no other way; and
-as for the "limpidness, sweetness, freshness," which John Burroughs
-says should characterize outdoor writing, and which do characterize
-his writing, how else than by study and discipline shall they be
-obtained?
-
-Outdoor literature, no less than other types of literature, is both
-form and matter; the two are mutually dependent, inseparably one;
-but the writer is most faithful to the form when he is most careful
-of the matter. It makes a vast difference whether his interest is
-absorbed by what he has to say, or by the possible ways he may say
-it. If John Burroughs wrote in his shirt-sleeves, as a recent critic
-says he did, it was because he went about his writing as he went
-about his vineyarding--for grapes, for thoughts, and not to see how
-pretty he could make a paragraph look, or into what fantastic form he
-could train a vine. The vine is lovely in itself--if it bear fruit.
-
-And so is language. Take John Burroughs's manner in any of its moods:
-its store of single, sufficient words, for instance, especially the
-homely, rugged words and idioms, and the flavor they give, is second
-to the work they do; or take his use of figures--when he speaks of
-De Quincey's "discursive, roundabout style, herding his thoughts as
-a collie dog herds sheep"--and unexpected, vivid, apt as they are,
-they are even more effective. One is often caught up by the poetry of
-these essays and borne aloft, but never on a gale of words; the lift
-and sweep are genuine emotion and thought.
-
-As an essayist--as a nature-writer I ought to say--John Burroughs's
-literary care is perhaps nowhere so plainly seen as in the simple
-architecture of his essay plans, in their balance and finish, a
-quality that distinguishes him from others of the craft, and that
-neither gift nor chance could so invariably supply. The common
-fault of outdoor books is the catalogue--raw data, notes. There are
-paragraphs of notes in John Burroughs, volumes of them in Thoreau.
-The average nature-writer sees not too much of nature, but knows all
-too little of literary values; he sees everything, gets a meaning
-out of nothing; writes it all down; and gives us what he sees, which
-is precisely what everybody may see; whereas, we want also what he
-thinks and feels. Some of our present writers do nothing but feel and
-divine and fathom--the animal psychologists, whatever they are. The
-bulk of nature-writing, however, is journalistic, done on the spot,
-into a notebook, as were the journals of Thoreau--fragmentary, yet
-with Thoreau often exquisite fragments--bits of old stained glass,
-unleaded, and lacking unity and design.
-
-No such fault can be found with John Burroughs. He went pencilless
-into the woods, and waited before writing until his return home,
-until time had elapsed for the multitudinous details of the trip to
-blur and blend, leaving only the dominant facts and impressions for
-his pen. Every part of his work is of selected stock, as free from
-knots and seams and sapwood as a piece of old-growth pine. There is
-plan, proportion, integrity to his essays--the naturalist living
-faithfully up to a sensitive literary conscience.
-
-John Burroughs was a good but not a great naturalist, as Audubon and
-Gray were great naturalists. His claim (and Audubon's in part) upon
-us is literary. He was a watcher in the woods; he made a few pleasant
-excursions into the primeval wilderness, leaving his gun at home, and
-his camera, too, thank Heaven! He broke out no new trail, discovered
-no new animal, no new thing. But he saw all the old, uncommon things,
-saw them oftener, watched them longer, through more seasons, than
-any other writer of our out-of-doors; and though he discovered no
-new thing, yet he made discoveries, volumes of them--contributions
-largely to our stock of literature, and to our store of love for
-the earth, and to our joy in living upon it. He turned a little
-of the universe into literature; translated a portion of the earth
-into human language; restored to us our garden here eastward in
-Eden--apple-tree and all.
-
-For a real taste of fruity literature, try John Burroughs's
-chapter on "The Apple." Try Thoreau's, too,--if you are partial to
-squash-bugs. There are chapters in John Burroughs, such as "Is it
-going to Rain?" "A River View," "A Snow-Storm," which seem to me as
-perfect, in their way, as anything that has ever been done--single,
-simple, beautiful in form, and deeply significant; the storm being
-a piece of fine description, of whirling snow across a geologic
-landscape, distant, and as dark as eternity; the whole wintry picture
-lighted and warmed at the end by a glowing touch of human life:
-
-"We love the sight of the brown and ruddy earth; it is the color of
-life, while a snow-covered plain is the face of death; yet snow is
-but the mark of life-giving rain; it, too, is the friend of man--the
-tender, sculpturesque, immaculate, warming, fertilizing snow."
-
-There are many texts in these volumes, many themes; and in them all
-there is one real message: that this is a good world to live in; that
-these are good men and women to live with; that life is good, here
-and now, and altogether worth living.
-
-
-
-
-III
-
-
-It was in October that I last saw him--at Woodchuck Lodge. November
-22 he wrote:
-
-   I neglected to make any apologies for the long letter I wrote
-   you the other day. I promise not to do so again. I am enclosing
-   an old notebook of mine, filled with all sorts of jottings as
-   you will see. I send it for a keepsake.
-
-   We are off for California to-morrow. Hope to be there in early
-   December. We leave Chicago on the 29th. My address there will
-   be _La Jolla_, San Diego. Good luck to you and yours.
-
-    Always your friend
-
-    JOHN BURROUGHS
-
-   He kept his promise too too well. This was the last letter I ever had
-from him.
-
-He dreaded that California journey. San Diego is a long, long way
-from Woodchuck Lodge when one is nearing eighty-four. Dr. Barrus
-and two of her nieces made the trip with him, Henry Ford, out of
-his friendship, meeting the expenses of the winter sojourn. But
-California had no cure for the winter that had at last fallen upon
-the old naturalist. Sickness, and longing for home, and other ills
-befell him. He was in a hospital for many days. But visitors came to
-see him as usual; he went among the schools speaking; nor was his
-pen idle--not yet; one of the last things, if not the very last he
-wrote for publication, being a vigorous protest against free verse,
-called "The Reds of Literature." But all the while he was thinking of
-home, and planning for his birthday party at the Lodge back on the
-ancestral farm.
-
-We celebrated it. He was there. But he did not know. On the third
-day of April, his eighty-fourth birthday, followed by a few of his
-friends, mourned by all the nation, he was laid to rest in the hill
-pasture, beside the boulder on which he had played as a child, and
-where only a few months before he had taken me to see the glory of
-hill and sky that had been his lifelong theme, and that were to be
-his sleep forever.
-
-He died on the train that was bringing him back from California, his
-last desire not quite fulfilled. He was a wholly human man; and an
-utterly simple man; and so true to himself, that his last words,
-uttered on the speeding train, expressed and completed his whole life
-with singular beauty: "How far are we from home," he asked,--and the
-light failed; and the train sped on as if there were need of hurry
-now!
-
-    "Serene, I fold my hands and wait,
-    Nor care for wind, nor tide, nor sea,
-    I rave no more 'gainst Time or Fate
-    For lo! my own shall come to me."
-
-
-THE END
-
-
-    The Riverside Press
-
-    CAMBRIDGE . MASSACHUSETTS
-    U . S . A
-
-
-
-
-
-End of Project Gutenberg's The Seer of Slabsides, by Dallas Lore Sharp
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     The Project Gutenberg's eBook of The Seer of Slabsides, by Dallas Lore Sharp.
@@ -188,45 +188,7 @@ hr.c30
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-<pre>
-
-The Project Gutenberg EBook of The Seer of Slabsides, by Dallas Lore Sharp
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-
-
-Title: The Seer of Slabsides
-
-Author: Dallas Lore Sharp
-
-Release Date: September 29, 2013 [EBook #43846]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE SEER OF SLABSIDES ***
-
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-
+<div>*** START OF THE PROJECT GUTENBERG EBOOK 43846 ***</div>
 
 <div class="transnote">
 <p>Transcriber's note:<br />
@@ -376,7 +338,7 @@ grew with the years, and his directness,
 his spontaneity, his instant pleasure
 <span class="pagenum"><a name="Page_7" id="Page_7">7</a></span>
 and his constant joy in living, his utter
-naturalness and naïveté amounted to
+naturalness and naïveté amounted to
 genius. They were his genius&mdash;and a
 stumbling-block to many a reader. <i lang="la" xml:lang="la">Similia
 similibus curantur</i>, or a thief to catch
@@ -1127,7 +1089,7 @@ to the ancient Hebrews, but which
 the readers of modern nature-writing
 do greedily devour&mdash;are these the things
 I have seen? And for an answer he sets
-about a reëxamination of all he has
+about a reëxamination of all he has
 written, from "Wake-Robin" to "Far
 and Near," hoping "that the result of
 the discussion or threshing will not be
@@ -1773,382 +1735,6 @@ need of hurry now!</p>
 <span class="small">CAMBRIDGE . MASSACHUSETTS<br />
 U . S . A</span></p>
 
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of Project Gutenberg's The Seer of Slabsides, by Dallas Lore Sharp
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