American essays -- 19th century; American fiction -- 19th century; American poetry -- 19th century; Short stories, American
One of the greatest of books is the daily life around us. All that the
human mind can conceive; all that the human heart can feel, and the
lips tell are encompassed in the little world about us. He that
beholds with understanding eyes can see beneath the thin veil of the
commonplace, the romance, the tragedy and the broad comedy that is
being played upon the world's stage by the actors great and little who
tread the boards of the Theater of the Universe.
Life is neither tragedy nor comedy. It is a mingling of both. High
above us omnipotent hands pull the strings that choke our laughter
with sobs and cause strange sounds of mirth to break in upon our
deepest grief. We are marionettes that dance and cry, scarce at our
own wills; and at the end, the flaring lights are out, we are laid to
rest in our wooden boxes, and down comes the dark night to cover the
scene of our brief triumph.
We elbow heroes on the streets as grand as any the poets have sung; in
the faces of obscure women and prosy men a student of his kind can see
the imprints of all the passions, both good and bad, that have
illuminated the pages of song and story.
There is good in all, and we are none all good. The scholar in his
library, the woodcutter in the forest, my lady in her boudoir and the
painted, hard-eyed denizen of the byways--we are all from the same
clay.
And the hands of fate pull the strings, and we caper and pirouette;
and some go up and some go down and haphazard chance or else an
obscure divinity pulls us this way and that, and where are we left?
Blind and chattering on the brink of an eternal unknowableness. We
spring from a common root. The king and the bricklayer are equal
except as to environs; the queen and the milkmaid may sit side by side
with pail and crown on the ragged edge of destiny; the human heart is
the same the world over; and when the judge sits upon the doings of
his puppets, who will prevail?
The Post Man has an overcoat with a high collar. This is convenient in
more ways than one. He turns it up when passing beggars upon the
street corners, and thus shuts out their importunities and saves his
conscience; he pulls it around his ears with dignified stateliness
when meeting gentlemen who deal in goods which he hath bought anon;
and lastly, it is useful when the weather is cold.
Public-domain text, read in full here on John Shaqi.
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