Safar Nameh, Persian Pictures: A Book Of TravelBell, Gertrude Lowthian
Science
Safar Nameh, Persian Pictures: A Book Of Travel
Bell, Gertrude Lowthian
Iran -- Description and travel
IT is a friendly ordering of the world that the episodes of
each man’s life come to him with so vivid a freshness that his own
experience (which is nothing but the experience of all his fellows)
might be unique in the history of the race. Providence is but an
unskilful strategist, and having contrived one scheme to fill the
three-score years and ten, she keeps a man to it, regardless of his
disposition and of his desires. Sometimes, indeed, he forces her hand,
wresting from her here a little more of power, there a sweeter burst of
romance, making her blow a louder peal of warrior trumpets to herald
him, and beat a longer roll of drums when he departs; sometimes he
outwits her, dying before he has completed the task she set him, or
disturbing her calculations by his obstinate vitality. But for the
most part he is content to obey, and the familiar story takes its
course until death abruptly closes the chapter, and sends the little
universe of his deeds to roll unevenly down the centuries, balanced
or unbalanced as he left it, with no hand more to modify its course.
Familiar and yet never monotonous--though wherever you turn the air
is full of memories everywhere the same, though the page of every
historian repeats the same tale, though every poet sighs over it, and
every human being on the earth lives it over again in his own person.
A man will not complain of the want of originality; he is more likely
to be cheered when he looks round him and sees his fellows suffering
and rejoicing in like manner with himself, when he looks back and sees
his predecessors absorbed by the same cares, urged forward by the same
hopes. The experience of those who have passed before him along the
well-trodden road will not hold him back or turn him aside; to each
newcomer the way is new and still to be enjoyed--new and exciting the
dangers and the difficulties, new the pleasant sensation of rest by the
fountain at mid-day, new and terrible the hunger and the foot-soreness,
new, with a grim unexpectedness, the forbidding aspect of that last
caravanserai where he lays himself down to sleep out the eternal night.
Yes, Death is newest of all and least considered in the counsels of
men--Death, who comes silent-footed at all moments, who brushes us with
his sleeve as he passes us by, who plucks us warningly by the cloak
lest we should forget his presence--he, too, will surprise us at the
last.
And if it were not so, small pleasure would be reaped from life. If
the past were to stand for ever holding a mirror of the future before
his eyes, many a man would refuse to venture forward--it is upon the
unknown that he lays his trust--and if the universal presence of death
had but once found a lodging in his mind, the whole world would seem to
him to be but one vast graveyard, the cheerful fields but a covering
for dead men’s bones, and the works of their hands but as tombstones
under which the dead hands lie.
Public-domain text, read in full here on John Shaqi.
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