I
I wish I could fitly celebrate the joyousness of the New England
winter. Perhaps I could if I more thoroughly believed in it. But
skepticism comes in with the south wind. When that begins to blow,
one feels the foundations of his belief breaking up. This is only
another way of saying that it is more difficult, if it be not
impossible, to freeze out orthodoxy, or any fixed notion, than it is
to thaw it out; though it is a mere fancy to suppose that this is the
reason why the martyrs, of all creeds, were burned at the stake.
There is said to be a great relaxation in New England of the ancient
strictness in the direction of toleration of opinion, called by some
a lowering of the standard, and by others a raising of the banner of
liberality; it might be an interesting inquiry how much this change
is due to another change,--the softening of the New England winter
and the shifting of the Gulf Stream. It is the fashion nowadays to
refer almost everything to physical causes, and this hint is a
gratuitous contribution to the science of metaphysical physics.
The hindrance to entering fully into the joyousness of a New England
winter, except far inland among the mountains, is the south wind. It
is a grateful wind, and has done more, I suspect, to demoralize
society than any other. It is not necessary to remember that it
filled the silken sails of Cleopatra's galley. It blows over New
England every few days, and is in some portions of it the prevailing
wind. That it brings the soft clouds, and sometimes continues long
enough to almost deceive the expectant buds of the fruit trees, and
to tempt the robin from the secluded evergreen copses, may be
nothing; but it takes the tone out of the mind, and engenders
discontent, making one long for the tropics; it feeds the weakened
imagination on palm-leaves and the lotus. Before we know it we
become demoralized, and shrink from the tonic of the sudden change to
sharp weather, as the steamed hydropathic patient does from the
plunge. It is the insidious temptation that assails us when we are
braced up to profit by the invigorating rigor of winter.
Perhaps the influence of the four great winds on character is only a
fancied one; but it is evident on temperament, which is not
altogether a matter of temperature, although the good old deacon used
to say, in his humble, simple way, that his third wife was a very
good woman, but her "temperature was very different from that of the
other two." The north wind is full of courage, and puts the stamina
of endurance into a man, and it probably would into a woman too if
there were a series of resolutions passed to that effect. The west
wind is hopeful; it has promise and adventure in it, and is, except
to Atlantic voyagers America-bound, the best wind that ever blew.
The east wind is peevishness; it is mental rheumatism and grumbling,
and curls one up in the chimney-corner like a cat. And if the
chimney ever smokes, it smokes when the wind sits in that quarter.
The south wind is full of longing and unrest, of effeminate
suggestions of luxurious ease, and perhaps we might say of modern
poetry,--at any rate, modern poetry needs a change of air. I am not
sure but the south is the most powerful of the winds, because of its
sweet persuasiveness. Nothing so stirs the blood in spring, when it
comes up out of the tropical latitude; it makes men "longen to gon on
pilgrimages."
I did intend to insert here a little poem (as it is quite proper to
do in an essay) on the south wind, composed by the Young Lady Staying
With Us, beginning,--
"Out of a drifting southern cloud
My soul heard the night-bird cry,"
but it never got any farther than this. The Young Lady said it was
exceedingly difficult to write the next two lines, because not only
rhyme but meaning had to be procured. And this is true; anybody can
write first lines, and that is probably the reason we have so many
poems which seem to have been begun in just this way, that is, with a
south-wind-longing without any thought in it, and it is very
fortunate when there is not wind enough to finish them. This
emotional poem, if I may so call it, was begun after Herbert went
away. I liked it, and thought it was what is called "suggestive;"
although I did not understand it, especially what the night-bird was;
and I am afraid I hurt the Young Lady's feelings by asking her if she
meant Herbert by the "night-bird,"--a very absurd suggestion about
two unsentimental people. She said, "Nonsense;" but she afterwards
told the Mistress that there were emotions that one could never put
into words without the danger of being ridiculous; a profound truth.
And yet I should not like to say that there is not a tender
lonesomeness in love that can get comfort out of a night-bird in a
cloud, if there be such a thing. Analysis is the death of sentiment.
But to return to the winds. Certain people impress us as the winds
do. Mandeville never comes in that I do not feel a north-wind vigor
and healthfulness in his cordial, sincere, hearty manner, and in his
wholesome way of looking at things. The Parson, you would say, was
the east wind, and only his intimates know that his peevishness is
only a querulous humor. In the fair west wind I know the Mistress
herself, full of hope, and always the first one to discover a bit of
blue in a cloudy sky. It would not be just to apply what I have said
of the south wind to any of our visitors, but it did blow a little
while Herbert was here.