Emerson.
In outward, every-day affairs, in what we foolishly call real life, man is a stickler1 for regularity2, a devout3 believer in the maxim4, "Order is heaven's first law." He sets his house at right angles with the street; lays out his grounds in the straightest of straight lines, or in the most undeviating of curves; selects his shade-trees for their trim, geometrical habit; and, all in all, carries himself as if precision and conformity5 were the height of virtue6. Yet this same man, when he comes to deal with pictorial7 representations, makes up his judgment8 according to quite another standard; finding nothing picturesque9 in tidy gardens and shaven lawns, discarding without hesitation10 every well-rounded, symmetrical tree, delighting in disorder11 and disproportion, loving a ruin better than the best appointed [183]palace, and a tumble-down wall better than the costliest12 and stanchest of new-laid masonry13. It is hard to know what to think of an inconsistency like this. Why should taste and principle be thus opposed to each other, as if the same man were half Philistine14, half Bohemian? Can this strong æsthetic preference for imperfection be based upon some permanent, universal law, or is it only a passing whim15, the fashion of an hour?
Whatever we may say of such a problem,—and where one knows nothing, it is perhaps wisest to say nothing,—we may surely count it an occasion for thankfulness that a thing so common as imperfection should have at least its favorable side. Music would soon become tame, if not intolerable, without here and there a discord16; and who knows how stupid life itself might prove without some slight admixture of evil? From my study-windows I can see sundry17 of the newest and most commodious18 mansions19 in town; but I more often look, not at them, but at a certain dilapidated old house, blackening for want of paint, and fast falling into decay, but with one big elm before the door. I have no hankerings to live in it; as a dwelling-place, I should no doubt prefer one of the more modern establishments; but for an object to look at, give me the shanty20.
Human nature is nothing if not paradoxical. In its eyes everything is both good and bad; and for my own part, I sometimes wonder whether this may not be the sum of all wisdom,—to find everything good in its place, and everything bad out of its place.
Thoughts like these suggest themselves as I look at the pitch-pine, which, to speak only of such trees as grow within the range of my own observation, is the one irregular member of the family of cone-bearers. The white or Weymouth pine, the hemlock21, the cedars22, the spruces, the fir, and the larch23, these are all, in different ways, of a decidedly symmetrical turn. Each of them has its own definite plan, and builds itself up in fastidious conformity therewith, except as untoward24 outward conditions may now and then force an individual into some abnormal peculiarity25. And all of them, it need not be said, have the defect of this quality. They are not without charm, not even the black spruce, while the Weymouth pine and the hemlock are often of surpassing magnificence and beauty; but a punctilious26 adherence27 to rule must of necessity be attended with a corresponding absence of freedom and variety. The pitch-pine, on the other hand, if it works upon any set scheme, as no doubt it does, has the grace to keep it out of sight. Its gift is genius rather than talent. It has an air, as genius always has, of achieving its results without effort or premeditation. Its method is that of spontaneity; its style, that of the picturesque-homely, so dear to the artistic28 temperament29. Its whole make-up is consistent with this germinal or controlling idea. Angular in outline, rough and ragged30 in its bole, with its needles stiff and its cones31 hard and sharp, it makes no attempt at gracefulness32, yet by virtue of its very waywardness it becomes, as if in spite of itself, more attractive than any of its relatives.
The Puritans of New England are mostly dead; the last of their spiritual descendants, we may fear, will soon be dead likewise; but as long as Pinus rigida covers the sandy knolls33 of Massachusetts, the sturdy, uncompromising, independent, economical, indefatigable34, all-enduring spirit of Puritanism will be worthily35 represented in this its sometime thriving-place.
For the pitch-pine's noblest qualities are, after all, not artistic, but moral. Such unalterable contentment, such hardiness36 and persistency37, are enough to put the stoutest38 of us to shame. Once give it root, and no sterility39 of soil can discourage it. Everything else may succumb40, but it—it and the gray birch—will make shift to live. Like the resin41 that exudes42 from it, having once taken hold, it has no thought of letting go. It is never "planted by the rivers of water," but all the same its leaf does not wither43. No summer so hot and dry, no winter so cold and wet, but it keeps its perennial44 green. What cannot be done in one year may, perchance, be accomplished45 in three or four. It spends several seasons in ripening46 its fruit. Think of an apple-tree thus patient!
The pitch-pine is beautiful to look at, and "profitable for doctrine47, for reproof48, for correction, for instruction in righteousness," but it would be a shame not to add that it is also most excellent to smell of. If I am to judge, scarcely any odor wears better than this of growing turpentine. There is something unmistakably clean and wholesome49 about it. The very first whiff savors50 of salubrity. "The belief in the good effects of pine forests in cases of phthisis is quite unanimous" (so I read the other day in a scientific journal), "and the clinical evidence in favor of their beneficial influence is unquestioned." Who can tell whether our New England climate, with all its consumptive provocations51, might not be found absolutely unendurable but for the amelioration furnished by this generously diffused52 terebinthine prophylactic53?
When all is said, however, nothing else about the pitch-pine ever affects me so deeply as its behavior after man has done his worst upon it. It would appear to have some vague sense of immortality54, some gropings after a resurrection. The tree was felled in the autumn, and the trunk cut up ignominiously55 into cord-wood; but in the spring the prostrate56 logs begin to put forth57 scattered58 tufts of bright green leaves,—life still working under the ribs59 of death,—while the stump60, whether "through the scent61 of water" I cannot say, is perhaps sending up fresh shoots,—a piece of post-mortem hopefulness the like of which no white pine, for all its seemingly greater vitality62, was ever known to exhibit. But leaves and shoots alike come to nothing. If a pitch-pine die, it shall not live again. The wood's blind impulses, if not false in themselves, were at least falsely interpreted. Alas63! alas! who has not found it so? What seemed like the prophetic stirrings of a new life were only the last flickerings of a lamp that was going out.
该作者的其它作品
The Clerk of the Woods
该作者的其它作品
The Clerk of the Woods
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1 stickler | |
n.坚持细节之人 | |
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2 regularity | |
n.规律性,规则性;匀称,整齐 | |
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3 devout | |
adj.虔诚的,虔敬的,衷心的 (n.devoutness) | |
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4 maxim | |
n.格言,箴言 | |
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5 conformity | |
n.一致,遵从,顺从 | |
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6 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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7 pictorial | |
adj.绘画的;图片的;n.画报 | |
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8 judgment | |
n.审判;判断力,识别力,看法,意见 | |
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9 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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10 hesitation | |
n.犹豫,踌躇 | |
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11 disorder | |
n.紊乱,混乱;骚动,骚乱;疾病,失调 | |
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12 costliest | |
adj.昂贵的( costly的最高级 );代价高的;引起困难的;造成损失的 | |
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13 masonry | |
n.砖土建筑;砖石 | |
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14 philistine | |
n.庸俗的人;adj.市侩的,庸俗的 | |
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15 whim | |
n.一时的兴致,突然的念头;奇想,幻想 | |
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16 discord | |
n.不和,意见不合,争论,(音乐)不和谐 | |
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17 sundry | |
adj.各式各样的,种种的 | |
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18 commodious | |
adj.宽敞的;使用方便的 | |
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19 mansions | |
n.宅第,公馆,大厦( mansion的名词复数 ) | |
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20 shanty | |
n.小屋,棚屋;船工号子 | |
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21 hemlock | |
n.毒胡萝卜,铁杉 | |
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22 cedars | |
雪松,西洋杉( cedar的名词复数 ) | |
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23 larch | |
n.落叶松 | |
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24 untoward | |
adj.不利的,不幸的,困难重重的 | |
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25 peculiarity | |
n.独特性,特色;特殊的东西;怪癖 | |
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26 punctilious | |
adj.谨慎的,谨小慎微的 | |
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27 adherence | |
n.信奉,依附,坚持,固着 | |
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28 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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29 temperament | |
n.气质,性格,性情 | |
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30 ragged | |
adj.衣衫褴褛的,粗糙的,刺耳的 | |
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31 cones | |
n.(人眼)圆锥细胞;圆锥体( cone的名词复数 );球果;圆锥形东西;(盛冰淇淋的)锥形蛋卷筒 | |
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32 gracefulness | |
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33 knolls | |
n.小圆丘,小土墩( knoll的名词复数 ) | |
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34 indefatigable | |
adj.不知疲倦的,不屈不挠的 | |
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35 worthily | |
重要地,可敬地,正当地 | |
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36 hardiness | |
n.耐劳性,强壮;勇气,胆子 | |
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37 persistency | |
n. 坚持(余辉, 时间常数) | |
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38 stoutest | |
粗壮的( stout的最高级 ); 结实的; 坚固的; 坚定的 | |
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39 sterility | |
n.不生育,不结果,贫瘠,消毒,无菌 | |
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40 succumb | |
v.屈服,屈从;死 | |
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41 resin | |
n.树脂,松香,树脂制品;vt.涂树脂 | |
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42 exudes | |
v.缓慢流出,渗出,分泌出( exude的第三人称单数 );流露出对(某物)的神态或感情 | |
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43 wither | |
vt.使凋谢,使衰退,(用眼神气势等)使畏缩;vi.枯萎,衰退,消亡 | |
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44 perennial | |
adj.终年的;长久的 | |
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45 accomplished | |
adj.有才艺的;有造诣的;达到了的 | |
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46 ripening | |
v.成熟,使熟( ripen的现在分词 );熟化;熟成 | |
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47 doctrine | |
n.教义;主义;学说 | |
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48 reproof | |
n.斥责,责备 | |
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49 wholesome | |
adj.适合;卫生的;有益健康的;显示身心健康的 | |
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50 savors | |
v.意味,带有…的性质( savor的第三人称单数 );给…加调味品;使有风味;品尝 | |
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51 provocations | |
n.挑衅( provocation的名词复数 );激怒;刺激;愤怒的原因 | |
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52 diffused | |
散布的,普及的,扩散的 | |
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53 prophylactic | |
adj.预防疾病的;n.预防疾病 | |
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54 immortality | |
n.不死,不朽 | |
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55 ignominiously | |
adv.耻辱地,屈辱地,丢脸地 | |
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56 prostrate | |
v.拜倒,平卧,衰竭;adj.拜倒的,平卧的,衰竭的 | |
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57 forth | |
adv.向前;向外,往外 | |
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58 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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59 ribs | |
n.肋骨( rib的名词复数 );(船或屋顶等的)肋拱;肋骨状的东西;(织物的)凸条花纹 | |
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60 stump | |
n.残株,烟蒂,讲演台;v.砍断,蹒跚而走 | |
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61 scent | |
n.气味,香味,香水,线索,嗅觉;v.嗅,发觉 | |
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62 vitality | |
n.活力,生命力,效力 | |
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63 alas | |
int.唉(表示悲伤、忧愁、恐惧等) | |
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