In these cases, by mechanical means, is suggested the difference between the observer and the spectacle, between the man and nature. Hence arises a pleasure mixed with awe; I may say, a low degree of the sublime is felt from the fact, probably, that man is hereby apprised, that whilst the world is a spectacle, something in himself is stable.
THE RHODORA.[1]
In May, when sea-winds pierced our solitudes,
I found the fresh Rhodora in the woods,
Spreading its leafless blooms in a damp
nook,
To please the desert and the sluggish
brook.
The purple petals, fallen in the pool,
Made the black water with their beauty
gay;
Here might the red bird come his plumes
to cool,
And court the flower that cheapens his
array.
Rhodora! if the sages ask thee why
This charm is wasted on the earth and
sky,
Tell them, dear, that if eyes were made
for seeing,
Then Beauty is its own excuse for being:
Why thou wert there, O rival of the rose,
I never thought to ask, I never knew:
But, in my simple ignorance, suppose
The self-same power that brought me there
brought you.
[1] On being asked, Whence is the flower?
HYMN.
[Sung at the completion of the Concord Monument, April 19, 1836.]
By the rude bridge that arched the flood,
Their flag to April’s
breeze unfurled,
Here once the embattled farmers stood,
And fired the shot heard round
the world.
The foe long since in silence slept;
Alike the conqueror silent
sleeps;
And time the ruined bridge has swept
Down the dark stream which
seaward creeps.
On this green bank, by this soft stream,
We set to-day a votive stone;
That memory may their deed redeem,
When, like our sires, our
sons are gone.
Spirit, that made those heroes dare
To die, and leave their children
free,
Bid time and nature gently spare
The shaft we raise to them
and thee.
NATHANIEL HAWTHORNE.
THE HAUNTED MIND.