第47章

Theme no poet gladly sung, Fair to old and foul to young, Scorn not thou the love of parts, And the articles of arts.

Grandeur of the perfect sphere Thanks the atoms that cohere.

ESSAY VII _Prudence_

What right have I to write ont of the negative sort? My prudence consists in avoiding and going without, not in the inventing of means and methods, not in adroit steering, not in gentle repairing. I have no skill to make money spend well, no genius in my economy, and whoever sees my garden discovers that I must have some other garden. Yet I love facts, and hate lubricity, and people without perception. Then I have the same title to write on prudence, that I have to write on poetry or holiness. We write from aspiration and antagonism, as well as from experience. We paint those qualities which we do not possess. The poet admires the man of energy and tactics; the merchant breeds his son for the church or the bar: and where a man is not vain and egotistic, you shall find what he has not by his praise. Moreover, it would be hardly honest in me not to balance these fine lyric words of Love and Friendship with words of coarser sound, and, whilst my debt to my senses is real and constant, not to own it in passing.

Prudence is the virtue of the senses. It is the science of appearances. It is the outmost action of the inward life. It is God taking thought for oxen. It moves matter after the laws of matter.

It is content to seek health of body by complying with physical conditions, and health of mind by the laws of the intellect.

The world of the senses is a world of shows; it does not exist for itself, but has a symbolic character; and a true prudence or law of shows recognizes the copresence of other laws, and knows that its own office is subaltern; knows that it is surface and not centre where it works. Prudence is false when detached. It is legitimate when it is the Natural History of the soul incarnate; when it unfolds the beauty of laws within the narrow scope of the senses.

There are all degrees of proficiency in knowledge of the world.

It is sufficient, to our present purpose, to indicate three. One class live to the utility of the symbol; esteeming health and wealth a final good. Another class live above this mark to the beauty of the symbol; as the poet, and artist, and the naturalist, and man of science. A third class live above the beauty of the symbol to the beauty of the thing signified; these are wise men. The first class have common sense; the second, taste; and the third, spiritual perception. Once in a long time, a man traverses the whole scale, and sees and enjoys the symbol solidly; then also has a clear eye for its beauty, and, lastly, whilst he pitches his tent on this sacred volcanic isle of nature, does not offer to build houses and barns thereon, reverencing the splendor of the God which he sees bursting through each chink and cranny.

The world is filled with the proverbs and acts and winkings of a base prudence, which is a devotion to matter, as if we possessed no other faculties than the palate, the nose, the touch, the eye and ear; a prudence which adores the Rule of Three, which never subscribes, which never gives, which seldom lends, and asks but one question of any project, -- Will it bake bread? This is a disease like a thickening of the skin until the vital organs are destroyed.

But culture, revealing the high origin of the apparent world, and aiming at the perfection of the man as the end, degrades every thing else, as health and bodily life, into means. It sees prudence not to be a several faculty, but a name for wisdom and virtue conversing with the body and its wants. Cultivated men always feel and speak so, as if a great fortune, the achievement of a civil or social measure, great personal influence, a graceful and commanding address, had their value as proofs of the energy of the spirit. If a man lose his balance, and immerse himself in any trades or pleasures for their own sake, he may be a good wheel or pin, but he is not a cultivated man.

The spurious prudence, making the senses final, is the god of sots and cowards, and is the subject of all comedy. It is nature's joke, and therefore literature's. The true prudence limits this sensualism by admitting the knowledge of an internal and real world.

This recognition once made, -- the order of the world and the distribution of affairs and times being studied with the co-perception of their subordinate place, will reward any degree of attention. For our existence, thus apparently attached in nature to the sun and the returning moon and the periods which they mark, -- so susceptible to climate and to country, so alive to social good and evil, so fond of splendor, and so tender to hunger and cold and debt, -- reads all its primary lessons out of these books.

Prudence does not go behind nature, and ask whence it is. It takes the laws of the world, whereby man's being is conditioned, as they are, and keeps these laws, that it may enjoy their proper good.

It respects space and time, climate, want, sleep, the law of polarity, growth, and death. There revolve to give bound and period to his being, on all sides, the sun and moon, the great formalists in the sky: here lies stubborn matter, and will not swerve from its chemical routine. Here is a planted globe, pierced and belted with natural laws, and fenced and distributed externally with civil partitions and properties which impose new restraints on the young inhabitant.

We eat of the bread which grows in the field. We live by the air which blows around us, and we are poisoned by the air that is too cold or too hot, too dry or too wet. Time, which shows so vacant, indivisible, and divine in its coming, is slit and peddled into trifles and tatters. A door is to be painted, a lock to be repaired.