Modern American Prose Selections Part 5

For another thing, you must delight in your work. Your heart and body must be in it and not tugging to be away at something else. You do not then deal out to each bit of work its stingy bit of your attention. You delight in the thing. You hover and brood over it like a lover and lavish upon it the wealth of uncounted hours.

The sure consequence is that you are not doing the same things over and over and grooving the same habits deeper and deeper. Habits cannot stand in this heat. They fuse and flow together. They are no longer chains. They are wings. They lift you up and bear you swiftly and joyfully forward.

This is indeed the life of joy. You have the joy of efficiency. You have the joy of doing the best you had hoped to do. And it may be that once and again you will be set shaking with delight because something within you has turned out a better bit of work than you had thought possible.

And if, besides all this, the background of feeling and will in you is wholly right; if, by the grace of G.o.d, you have learned to work in delicate veracity, stern against yourself, loyal to the Perfection whose veils no man has lifted; if the far vision of that Perfection touches you with humility, mans you with courage, and makes you leap glad to meet the tasks which are set for you,--what is this but entrance here and now into the Kingdom of G.o.d?

And if this crowning grace comes to you, as it may in any calling--it came to Uncle Tom--you will not, I think, believe that all your hands have wrought is vanity. You will not believe that the Logos who has called our race out of the earth to behold and share in his creation is a dream, a mockery of our despair, as we make the last useless turns about the dying sun. But you will see that He knew the truth of things who said:

My Father worketh hitherto and I work. The works that I do shall ye do also and greater works than these shall ye do because I go to the Father.

THE FALLOW[13]

JOHN AGRICOLA

[Footnote 13: By permission of the author, John Finley.]

In a book on "Roman Farm Management" containing translations of Cato and Varro by a "Virginia Farmer" (who happens also to be an American railroad president), there is quoted in the original Latin a proverb whose practice not only gave basis for the proud phrase "_Roma.n.u.s sum_" but also helped to make the Romans "a people of enduring achievement." It is "_Roma.n.u.s sedendo vincit_." For, as this new-world farmer adds by way of translation and emphasis, "The Romans achieved their results by _thoroughness_ and _patience_." "It was thus," he continues, "they defeated Hannibal, and it was thus that they built their farmhouses and fences, cultivated their fields, their vineyards and their olive yards, and bred and fed their livestock. They seemed to have realized that there are no shortcuts in the processes of nature and that the law of compensations is invariable." "The foundation of their agriculture," he a.s.serts, "was the _fallow_"; and concludes, commenting upon this, that while "one can find instruction in their practice even to-day, one can benefit even more from their agricultural philosophy, for the characteristic of the American farmer is that he is in too much of a hurry."

This is only by way of preface to saying that the need in our educational philosophy, or, at any rate, in our educational practice, as in agriculture, is the need of the _fallow_.

It will be known to philologists, even to those who have no agricultural knowledge, that the "fallow field" is not an idle field, though that is the popular notion. "Fallow" as a noun meant originally a "harrow," and as a verb, "to plough," "to harrow." "A fallow field is a field ploughed and tilled," but left unsown for a time as to the main crop of its productivity; or, in better modern practice, I believe, sown to a crop valuable not for what it will bring in the market (for it may be utterly unsalable), but for what it will give to the soil in enriching it for its higher and longer productivity.

I employ this agricultural metaphor not in ignorance; for I have, out on these very prairies, read between corn-husking and the spring ploughing Virgil's _Georgics_ and _Bucolics_, for which Varro's treatises furnished the foundations. And I have also, on these same prairies, carried Horace's _Odes_, in the spring, to the field with me, strapping the book to the plough to read while the horses rested at the furrow's end.

Nor do I employ this metaphor demeaningly. Nothing has so glorified for me my youthful days on these prairies as the a.s.sociations which the cla.s.sics, including the Bible, gave to them on the farm; and also in the shop, I may add, for it was in the shop, as well as on the farm, that I had their companions.h.i.+p. When learning the printer's trade, while a college student, I set up in small pica my translation of the daily allotment of the _Prometheus Bound_ of Aeschylus, and that dark and dingy old shop became the world of the t.i.tan who "manward sent Art's mighty means and perfect rudiment," the place where the divine in man "defied the invincible gesture of necessity." And nothing can so glorify the cla.s.sics as to bring them into the field and into the shop and let them become woven into the tasks that might else seem monotonous or menial.

In a recent editorial in the _New York Times_ it was said that the men and the times of Aristophanes were much more modern than the administration of Rutherford B. Hayes. But this was simply because Aristophanes immortally portrayed the undying things in human nature, whereas the issues a.s.sociated with this particular administration were evanescent. The immortal is, of course, always modern, and the cla.s.sic is the immortal, the timeless distillation of human experience.

But I wander from my thesis which is that the cla.s.sics are needed as the _fallow_ to give lasting and increasing fertility to the natural mind out upon democracy's great levels, into which so much has been washed down and laid down from the Olympic mountains and eternal hills of the cla.s.sical world.

In the war days we naturally ignored the _fallow_. We cultivated with Hooverian haste. It was necessary to put our soil in peril of exhaustion even as we put our men in peril of death. Forty million added acres were commandeered, six billions of bushels of the leading cereals were added to the annual product of earlier seasons. The land could be let to think only of immediate defense. Crops only could be grown which would help promptly to win the war. Vetch and clover and all else that permanently enriched must be given up for war gardening or war farming. The motto was not _America.n.u.s sedendo vincit_ but _America.n.u.s accelerando vincit_.

But on this day of my writing (the day of the signing of the peace) I am thinking that in agriculture and in education as well, we must again turn our thoughts to the virtues of thoroughness and patience--the virtues of the fallow, that is, to ploughing and harrowing and tilling, _not_ for the immediate crop, but for the enrichment of the soil and of the mind, according as our thought is of agriculture or education.

Cato, when asked what the first principle of good agriculture was, answered "To plough well." When asked what the second was, replied "To plough again." And when asked what the third was, said "To apply fertilizer." And a later Latin writer speaks of the farmer who does not plough thoroughly as one who becomes a mere "clodhopper." You will notice that it is not sowing, nor hoeing after the sowing, but ploughing that is the basic operation.

It is the sowing, however, that is popularly put first in our agricultural and educational theory. "A sower went forth to sow." A teacher went forth to teach, that is, to scatter information, facts:--arithmetical, historical, geographical, linguistic facts. But the emphasis of the greatest agricultural parable in our literature was after all not on the sowing but on the soil, on that upon which or into which the seed fell,--or as it might be better expressed, upon the _fallow_. It was only the fallow ground, the ground that had been properly cleared of stones, thorns, and other shallowing or choking enc.u.mbrances, that gave point to the parable.

It was the same seed that fell upon the stony, th.o.r.n.y, and fallow ground alike.

There is a time to sow, to sow the seed for the special crop you want; but it is after you have ploughed the field. There is a time to specialize, to give the information which the life is to produce in kind; but it is when you have thoroughly prepared the mind by its ploughing disciplines.

I have lately seen the type of agriculture practised out in the fields that were the Scriptural cradle of the race. There the ploughing is but the scratching of the surface. Indeed, the sowing is on the top of the ground and the so-called ploughing or scratching in with a crooked stick comes after. Contrast this with the deep ploughing of the West, and we have one explanation at least of the greater productivity of the West. And there is the educational a.n.a.logue here as well. In those homelands of the race, the seed of the mind is sown on the surface and is scratched in by oral and choral repet.i.tions. The mind that receives it is not ploughed, is not trained to think. It merely receives and with shallow root, if it be not scorched, gives back its meager crop.

There must be ploughing before the sowing, and deep ploughing if things with root are to find abundant life and fruit. And the cla.s.sics to my thought furnish the best ploughs for the mind,--at any rate for minds that have depth of soil. For shallow minds, "where there is not much depth of earth," where, because there cannot be much root, that which springs up withers away, it were perhaps not worth while to risk this precious implement. And then, too, there are geniuses whose fertility needs not the same stirring disciplines. There are also other ploughs, but as a ploughman I have found none better for English use than the plough which has the cla.s.sical name, the plough which reaches the sub-soil, which supplements the furrowing ploughs in bringing to the culture of our youthful minds that which lies deep in the experience of the race.

There are many kinds of fallow as I have already intimated. The more modern is not the "bare fallow" which lets the land so ploughed and harrowed lie unsown even for a season, but the fallow, of varied name, where the land is sown to crops whose purpose is to gather the free nitrogen back into the ground for its enrichment. So is our fallowing by the cla.s.sics not only to prepare the ground, clear it of weeds, aerate it, break up the clods, but also to enrich it by bringing back into the mind of the youth of to-day that which has escaped into the air of the ages past through the great human minds that have lived and loved upon this earth and laid themselves down into its dust to die.

In New York City, a young man, born out upon the prairies, was lying, as it was thought, near to death, in a hospital. He turned to the nurse and asked what month it was. She answered that it was early May. He thought of the prairies, glorified to him by Horace's _Odes_. He heard the frogs in the swales amid the virgin prairie flowers as Aristophanes had heard them in the ponds of Greece. He saw the springing oats in a neighboring field that should furnish the pipes for the winds of Pan. He saw, as the dying poet Ibycus, the cranes go honking overhead. And he said, "I can't die now. It's ploughing time."

It is "ploughing time" for the world again, and ploughing time not only because we turn from instruments of war to those of peace, symbolized since the days of Isaiah by the "ploughshares" beaten from swords, but because we must turn to the cultivation with _thoroughness_ and _patience_ not only of our acres but of the minds that are alike to have world horizons in this new season of the earth.

Amos prophesied that in the day of restoration "the ploughman would overtake the reaper." War's grim reaper is quitting the field to-day. The ploughman has overtaken him. May he remember the law of the "_fallow_" and not be in too great a hurry.

WRITING AND READING[14]

JOHN MATTHEWS MANLY AND EDITH RICKERT

[Footnote 14: From _The Writing of English_, by John Matthews Manly and Edith Rickert. Copyright, 1919, by Henry Holt and Co. By permission of the authors and of the publishers.]

Do you like to write? Probably not. What have you tried to write? Probably "themes."

The "theme" is a literary form invented by teachers of rhetoric for the education of students in the art of writing. It does not exist outside the world of school and college. No editor ever accepted a "theme." No "theme"

was ever delivered from a rostrum, or spoken at a dinner, or bound between the covers of a book in the hope that it might live for centuries. In a word, a "theme" is first and last a product of "composition"--a laborious putting together of ideas, without audience and without purpose, hated alike by student and by instructor. Its sole use is to exemplify the principles of rhetoric. But rhetoric belongs to the past as much as the toga and the snuffbox; it is an extinct art, the art of cultivating style according to the mannerisms of a vanished age.

Forget that you ever wrote a "theme," and ask yourself now: "Should I like to write?" Of course you would--if you could. And you can. You have had, and you will have, some experiences that will not be repeated exactly in any other life--that no one else can express exactly as you would express them. And the art of expressing what you have experienced, what you think, what you feel, and what you believe, can be learned.

If you stop to consider the matter, you will realize that self-expression is one of the laws of life; you do express yourself day after day, whether you will or not. Hence, the more quickly you learn that successful self-expression is the source of one of the greatest pleasures in life, the more readily will you be able to turn your energy in the right direction, and the more fun will you get out of the process. The kind of delight that comes through self-expression of the body, through the play of the muscles in running or hurdling, through the play of muscles and mind together in football or baseball or tennis or golf, comes also through the exercise of the mind alone in talk or in writing.

Remember always throughout this course, that you have something to say--something peculiar to yourself that should be contributed to the sum of the world's experience, something that cannot be contributed by anyone but yourself. It may be much or it may be little: with that you are not concerned at present; your business now is to find out how to say it; how to clear away the obstacles that clog self-expression; how to give your mind free swing; and how to get all the fun there is in the process.

The initial problems in learning to write are: How can you get at this store of material hidden within you? and how can you know when you have found it? Your experience, however interesting, is as yet very limited. How can you tell which phases of it deserve expression, and which are mere commonplace? The quickest way to answer this question is by reading.

Reading will tell you which phases of experience have been commonly treated and which have been neglected. Moreover, as you read you will be surprised to find that very often the features of your life which seem to you peculiarly interesting are exactly those that are commonly--and even cheaply--written about, while those which you have pa.s.sed over as not worth attention may be aspects of life that other people too have pa.s.sed over; they may therefore be fresh and well worth writing about. For instance, within the last twenty-five years we have had two writers, Joseph Conrad and John Masefield, writing of the sea as it has never been written of before. Both have been sailors; and both have utilized their experience as viewed through the medium of their temperaments in a way undreamed of before. Again, within the last ten years we have had Algernon Blackwood, using his imagination to apply psychology to the study of the supernatural, and so developing a field peculiar to himself. Still again, H. G. Wells, who began his career as a clerk and continued as a teacher of science, has found in both these phases of his experience a mine of literary wealth; and Arnold Bennett, born and educated in the dreariest, most unpicturesque, apparently least inspiring, part of England, has seen in the very prosiness of the Five Towns untouched material, and has given this an enduring place in literature. In your imagination there may lie the basis of fantasies as yet unexpressed; or in your experience, aspects of life that have not as yet been adequately treated. As you read you will find that until recently the one phase of life most exploited in literature was the romantic love of youth; this was the basis of nearly all novels and of most short stories; its presence was demanded for either primary or secondary interest in the drama; and it was the chief source of inspiration for the lyric. But within the last thirty years all sorts of other subjects have been opened up.

To-day the writer's difficulty is, not that he is restricted by literary convention in his choice of material, but that he is so absolutely unrestricted that he may be in doubt where to make his choice. He is, to be sure, conditioned in two ways: To do the best work, he must keep within the bounds of his own temperament and experience; and he should as far as possible avoid phases of life already written about, unless he can present them under some new aspect.

With these conditions in mind, you are ready to ask yourself: What have I to write about? Let us put the question more concretely: Have you lived, for instance, in a little mining town in the West? Such a little town, with its saloons and automatics and flannel-s.h.i.+rted hero, stares at us every month from the pages of popular magazines. But perhaps your little mining town is dry, perhaps there has not been a shooting fray in it for ten years, and all the young men go to Bible cla.s.s on Sunday. Well, here is something new; let us have it. Is New York your home? The magazines tell you that New York is parceled out among a score of writers: the Italian quarter, the Jewish quarter, the Syrian quarter, the boarding-houses, Wall Street. What is there left? The suburbs? Surely not; and yet have you ever seen a story of just your kind of street and just the kind of people that you know? If not, here is your opportunity.

You have read about sailors, fishermen, farmers, detectives, Italian fruit-peddlers, Jewish clothes-merchants, commercial travelers, financiers, salesmen and saleswomen, doctors, clergymen, heiresses, and men about town, but have you often read a thrilling romance of a filing clerk? How about the heroism of a telephone collector? the humors of a street-car conductor?

The seeing eye will find material in the street car, in the department store, in the dentist's waiting room, in college halls, on a lonely country road--anywhere and everywhere. And the seeing eye is cultivated by a perpetual process of comparing life as it is with life as it is portrayed in literature and in art. In other words, to get material to write about, you must cultivate alertness to the nature and value of your own life-experience, and to the nature and value of all forms of life with which you come into contact; but this you can never do with any degree of success unless you at the same time learn how to read.

You may say that you know how to read. It is almost certain that you do not. If by reading you mean that you can run your eye over a page, and, barring a word here and there, get the general drift of the sense, you may perhaps qualify as able to read. If you are set the task of interpreting fully every phrase in an article by a thoughtful writer, the chances are that you will fail. When only a small part of a writer's meaning has pa.s.sed from his mind to yours, you can hardly be said to have read what he has written. On the other hand, no one can get out of written words all that was put into them. What was written out of one man's experience must be interpreted by another's experience; and as no two people ever have exactly the same experience--no two people are exactly alike--it follows that no interpretation is ever entirely what the writer had in mind. The ratio between what goes into a book and what comes out of it varies in two ways.

Granted the same reader, he will take only to the limit of his capacity from any book set before him: he may get almost all from a book that contains but little, a good share of a book that contains much, but very little of a book that is far beyond the range of his experience. Granted the same book, one reader will barely skim its surface, another will gain a fair idea of the gist of it, a third will almost relive it with the author.

The main point is that this varying ratio depends upon the amount of life-experience that goes into the writing of a book and the amount of life-experience that goes into the reading of it. For as writing is the expression of life, so reading is vicarious living--living by proxy, reliving in imagination what the author has lived before he was able to write it. Hence, we grow _up to_ books, grow _into_ them, grow _out of_ them. Our growing experience of life may be measured by the books that we read; and conversely, as we cannot have all experience in our own lives, books are necessarily one of the most fruitful sources of growth in experience.

This is true, however, only of what may be called vitalized reading--reading, not with the eyes alone, nor with the mind alone, but with the stored experiences of life, with the emotions that it has brought, with the att.i.tudes toward men and things and ideas that it has given--in a word, with imagination. To read with imagination, you must be, in the first place, active; in the second place, sensitive, and, because you are sensitive, receptive. Instead, however, of being merely pa.s.sively receptive of the stream of ideas and images and sensations flowing from the work you are reading, you must be alert to take all that it has to give, and to re-create this in terms of your own experience. Thus by making it a part of your imaginative experience, you widen your actual experience, you enrich your life, and you increase the flexibility and vital power of your mind.

In order, then, to tap the sources of your imagination, you must learn to experience in two ways: first, through life itself, not so much by seeking experiences different from those that naturally come your way, as by becoming aware of the value of those that belong naturally to your life; and second, through learning to absorb and trans.m.u.te the life that is in books, beginning with those that stand nearest to your stage of development. In the process of reading you will turn more and more to those writers who have a larger mastery of life, and who, by their skill in expressing the wisdom and beauty that they have made their own, can admit you, when you are ready, to some share in that mastery.