Books and Habits, from the Lectures of Lafcadio Hearn Part 12

Each anch.o.r.ed thread, each tiny knot, Soft shining in the autumn sun; A sheltered, silent, tranquil lot.

I know what thou hast never known,-- Sad presage to a soul allowed-- That not for life I spin, alone, But day by day I spin my shroud.

The reference to the sweeping away of the spider's web, of course, implies the pain often caused to such hardworking girls by the meanness of men who employ them only to cheat them--shopkeepers or manufacturers who take their work without justly paying for it, and who criticize it as bad in order to force the owner to accept less money than it is worth. Again a reference may be intended to the destruction of the home by some legal trick--some unscrupulous method of cheating the daughter out of the property bequeathed to her by her parents.

Notice a few pretty words here. The "pearled" as applied to the spider's thread gives an intimation of the effect produced by dew on the thread, but there is also the suggestion of tears upon the thread work woven by the hands of the girl. The participle "anch.o.r.ed" is very pretty in its use here as an adjective, because this word is now especially used for rope-fastening, whether the rope be steel or hemp; and particularly for the fastening of the cables of a bridge. The last stanza might be paraphrased thus: "Sister Spider, I know more than you--and that knowledge makes me unhappy. You do not know, when you are spinning your little web, that you are really weaving your own shroud. But I know this, my work is slowly but surely killing me. And I know it because I have a soul--at least a mind made otherwise than yours."

The use of the word "soul" in the last stanza of this poem, brings me back to the question put forth in an earlier part of the lecture--why European poets, during the last two thousand years, have written so little upon the subject of insects? Three thousand, four thousand years ago, the most beautiful Greek poetry--poetry more perfect than anything of English poetry--was written upon insects. In old j.a.panese literature poems upon insects are to be found by thousands. What is the signification of the great modern silence in Western countries upon this delightful topic? I believe that Christianity, as dogma, accounts for the long silence. The opinions of the early Church refused soul, ghost, intelligence of any sort to other creatures than man. All animals were considered as automata--that is, as self-acting machines, moved by a something called instinct, for want of a better name. To talk about the souls of animals or the spirits of animals would have been very dangerous in the Middle Ages, when the Church had supreme power; it would indeed have been to risk or to invite an accusation of witchcraft, for demons were then thought to take the shape of animals at certain times. To discuss the _mind_ of an animal would have been for the Christian faith to throw doubt upon the existence of human souls as taught by the Church; for if you grant that animals are able to think, then you must acknowledge that man is able to think without a soul, or you must acknowledge that the soul is not the essential principle of thought and action. Until after the time of Descartes, who later argued philosophically that animals were only machines, it was scarcely possible to argue rationally about the matter in Europe.

Nevertheless, we shall soon perceive that this explanation will not cover all the facts. You will naturally ask how it happens that, if the question be a question of animal souls, birds, horses, dogs, cats, and many other animals have been made the subject of Western poems from ancient times.

The silence is only upon the subject of insects. And, again, Christianity has one saint--the most beautiful character in all Christian hagiography--who thought of all nature in a manner that, at first sight, strangely resembles Buddhism. This saint was Francis of a.s.sisi, born in the latter part of the twelfth century, so that he may be said to belong to the very heart of the Middle Ages,--the most superst.i.tious epoch of Christianity. Now this saint used to talk to trees and stones as if they were animated beings. He addressed the sun as "my brother sun"; and he spoke of the moon as his sister. He preached not only to human beings, but also to the birds and the fishes; and he made a great many poems on these subjects, full of a strange and childish beauty. For example, his sermon to the doves, beginning, "My little sisters, the doves," in which he reminds them that their form is the emblem or symbol of the Holy Ghost, is a beautiful poem; and has been, with many others, translated into nearly all modern languages. But observe that neither St. Francis nor any other saint has anything to say on the subject of insects.

Perhaps we must go back further than Christianity to guess the meaning of these distinctions. Among the ancient races of Asia, where the Jewish faith arose, there were strange and sinister beliefs about insects--old a.s.syrian superst.i.tions, old Babylonian beliefs. Insects seemed to those early peoples very mysterious creatures (which they really are); and it appears to have been thought that they had a close relation to the world of demons and evil spirits. I suppose you know that the name of one of their G.o.ds, Beelzebub, signifies the Lord of Flies. The Jews, as is shown by their Talmudic literature, inherited some of these ideas; and it is quite probable that they were pa.s.sed on to the days of Christianity.

Again, in the early times of Christianity in Northern Africa the Church had to fight against superst.i.tions of an equally strange sort derived from old Egyptian beliefs. Among the Egyptians, certain insects were sacred and became symbols of divinity,--such as the beetle. Now I imagine that for these reasons the subject of insects became at an early time a subject which Christianity thought dangerous, and that thereafter a kind of hostile opinion prevailed regarding any literature upon this topic.

However, to-day things are very different. With the development of scientific studies--especially of microscopic study--it has been found that insects, far from being the lowliest of creatures, are the most highly organized of all beings; that their special senses are incomparably superior to our own; and that in natural history, from the evolutional standpoint, they have to be given first place. This of course renders it impossible any longer to consider the insect as a trifling subject.

Moreover, the new philosophy is teaching the thinking cla.s.ses in all Western countries the great truth of the unity of life. With the recognition of such unity, an insect must interest the philosophers--even the man of ordinary culture--quite as much as the bird or any other animal.

Nearly all the poems which I have quoted to you have been poems of very modern date--from which we may infer that interest in the subject of insects has been developing of late years only. In this connection it is interesting to note that a very religious poet, Whittier, gave us in the last days of his life a poem upon ants. This would have seemed strange enough in a former age; it does not seem strange to-day, and it is beautiful. The subject is taken from old Jewish literature.

KING SOLOMON AND THE ANTS

Out from Jerusalem The King rode with his great War chiefs and lords of state, And Sheba's queen with them;

Comely, but black withal, To whom, perchance, belongs That wondrous Song of Songs, Sensuous and mystical,

Whereto devout souls turn In fond, ecstatic dream, And through its earth-born theme The Love of Loves discern.

Proud in the Syrian sun, In gold and purple sheen, The dusky Ethiop queen Smiled on King Solomon.

Wisest of men, he knew The languages of all The creatures great or small That trod the earth or flew.

Across an ant-hill led The king's path, and he heard Its small folk, and their word He thus interpreted:

"Here comes the king men greet As wise and good and just, To crush us in the dust Under his heedless feet."

The king, understanding the language of insects, turns to the queen and explains to her what the ants have just said. She advises him to pay no attention to the sarcasm of the ants--how dare such vile creatures speak thus about a king! But Solomon thinks otherwise:

"Nay," Solomon replied, "The wise and strong should seek The welfare of the weak,"

And turned his horse aside.

His train, with quick alarm, Curved with their leader round The ant-hill's peopled mound, And left it free from harm.

The jewelled head bent low; "Oh, king!" she said, "henceforth The secret of thy worth And wisdom well I know.

"Happy must be the State Whose ruler heedeth more The murmurs of the poor Than flatteries of the great."

The reference to the Song of Songs--also the Song of Solomon and Canticle of Canticles--may require a little explanation. The line "Comely but black withal," is borrowed from a verse of this song--"I am black but beautiful, oh, ye daughters of Jerusalem, as the tents of Kedar, as the curtains of Solomon." In another part of the song the reason of this blackness is given: "I am black, because the sun hath looked upon me." From which we can see that the word black only means dark, brown, tanned by the sun.

Perhaps you do not know that as late as the middle of the eighteenth century it was still the custom in England to speak of a person with black hair and eyes as "a black man"--a custom which Charles Lamb had reason to complain of even at a later day. The tents referred to in the text were probably tents made of camel-skin, such as the Arabs still make, and the colour of these is not black but brown. Whether Solomon wrote the so-called song or not we do not know; but the poet refers to a legend that it was written in praise of the beauty of the dark queen who came from Sheba to visit the wisest man of the world. Such is not, however, the opinion of modern scholars. The composition is really dramatic, although thrown into lyrical form, and as arranged by Renan and others it becomes a beautiful little play, of which each act is a monologue. "Sensuous" the poet correctly calls it; for it is a form of praise of woman's beauty in all its details, as appears in such famous verses as these: "How beautiful are thy feet in shoes, O prince's daughter; the joints of thy thighs are like jewels, the work of the hands of a cunning workman. Thy two b.r.e.a.s.t.s are like two young roes that are twins which feed among the lilies." But Christianity, instead of dismissing this part of the Bible, interpreted the song mystically--insisting that the woman described meant the Church, and the lover, Christ. Of course only very pious people continue to believe this; even the good Whittier preferred the legend that it was written about the Queen of Sheba.

I suppose that I ought to end this lecture upon insect poetry by some quotation to which a moral or philosophical meaning can be attached. I shall end it therefore with a quotation from the poet Gray. The poetry of insects may be said to have first appeared in English literature during the second half of the eighteenth century, so that it is only, at the most, one hundred and fifty years old. But the first really fine poem of the eighteenth century relating to the subject is quite as good as anything since composed by Englishmen upon insect life in general. Perhaps Gray referred especially to what we call May-flies--those delicate ghostly insects which hover above water surfaces in fine weather, but which die on the same day that they are born. He does not specify May-flies, however, and we may consider the moral of the poem quite apart from any particular kind of insect. You will find this reference in the piece ent.i.tled "Ode on the Spring," in the third, fourth, and fifth stanzas.

Still is the toiling hand of care: The panting herds repose: Yet hark, how through the peopled air The busy murmur glows!

The insect youth are on the wing, Eager to taste the honied spring, And float amid the liquid noon: Some lightly o'er the current skim, Some show their gaily-gilded trim Quick-glancing to the sun.

To Contemplation's sober eye Such is the race of man: And they that creep, and they that fly, Shall end where they began.

Alike the Busy and the Gay But flutter through life's little day, In fortune's varying colours dressed: Brushed by the hand of rough Mischance, Or chilled by Age, their airy dance They leave, in dust to rest.

Methinks I hear in accents low The sportive kind reply: Poor moralist! and what art thou?

A solitary fly!

Thy joys no glittering female meets, No hive hast thou of h.o.a.rded sweets, No painted plumage to display: On hasty wings thy youth is flown; Thy sun is set; thy spring is gone-- We frolic, while 'tis May.

The poet Gray was never married, and the last stanza which I have quoted refers jocosely to himself. It is an artistic device to set off the moral by a little mockery, so that it may not appear too melancholy.

CHAPTER XI

SOME FRENCH POEMS ABOUT INSECTS

Last year I gave a lecture on the subject of English poems about insects, with some reference to the old Greek poems on the same subject. But I did not then have an opportunity to make any reference to French poems upon the same subject, and I think that it would be a pity not to give you a few examples.

Just as in the case of English poems about insects, nearly all the French literature upon this subject is new. Insect poetry belongs to the newer and larger age of thought, to the age that begins to perceive the great truth of the unity of life. We no longer find, even in natural histories, the insect treated as a mere machine and unthinking organism; on the contrary its habits, its customs and its manifestation both of intelligence and instinct are being very carefully studied in these times, and a certain sympathy, as well as a certain feeling of respect or admiration, may be found in the scientific treatises of the greatest men who write about insect life. So, naturally, Europe is slowly returning to the poetical standpoint of the old Greeks in this respect. It is not improbable that keeping caged insects as pets may again become a Western custom, as it was in Greek times, when cages were made of rushes or straw for the little creatures. I suppose you have heard that the j.a.panese custom is very likely to become a fashion in America. If that should really happen, the fact would certainly have an effect upon poetry. I think that it is very likely to happen.

The French poets who have written pretty things about insects are nearly all poets of our own times. Some of them treat the subject from the old Greek standpoint--indeed the beautiful poem of Heredia upon the tomb of a gra.s.shopper is perfectly Greek, and reads almost like a translation from the Greek. Other poets try to express the romance of insects in the form of a monologue, full of the thought of our own age. Others again touch the subject of insects only in connection with the subject of love. I will give one example of each method, keeping the best piece for the last, and beginning with a pretty fancy about a dragonfly.

MA LIBELLULE

En te voyant, toute mignonne, Blanche dans ta robe d'azure, Je pensais a quelque madone Drapee en un pen de ciel pur.

Je songeais a ces belles saintes Que l'on voyait au temps jadis Sourire sur les vitres peintes, Montrant d'un doigt le paradis:

Et j'aurais voulu, loin du monde Qui pa.s.sait frivole entre nous, Dans quelque retraite profonde T'adorer seul a deux genoux.

This first part of the poem is addressed of course to a beautiful child, some girl between the age of childhood and womanhood:

"Beholding thee, Oh darling one, all white in thy azure dress, I thought of some figure of the Madonna robed in a shred of pure blue sky.

"I dreamed of those beautiful figures of saints whom one used to see in olden times smiling in the stained gla.s.s of church windows, and pointing upward to Paradise.

"And I could have wished to adore you alone upon my bended knees in some far hidden retreat, away from the frivolous world that pa.s.sed between us."

This little bit of ecstasy over the beauty and purity of a child is pretty, but not particularly original. However, it is only an introduction. Now comes the pretty part of the poem:

Soudain un caprice bizarre Change la scene et le decor, Et mon esprit au loin s'egare Sur des grands pres d'azure et d'or