The Voice of Science in Nineteenth-Century Literature: Representative Prose and Verse
Science
The Voice of Science in Nineteenth-Century Literature: Representative Prose and Verse
English literature -- 19th century; Literature, Modern; Science; Science in literature
The same interference from our organization creates the most of our
pleasure and pain. Our first mistake is the belief that the circumstance
gives the joy which we give to the circumstance. Life is an ecstasy. Life
is sweet as nitrous oxide; and the fisherman dripping all day over a cold
pond, the switchman at the railway intersection, the farmer in the field,
the negro in the rice-swamp, the fop in the street, the hunter in the
woods, the barrister with the jury, the belle at the ball, all ascribe a
certain pleasure to their employment, which they themselves give it.
Health and appetite impart the sweetness to sugar, bread, and meat. We
fancy that our civilization has got on far, but we still come back to our
primers.
We live by our imaginations, by our admirations, by our sentiments. The
child walks amid heaps of illusions, which he does not like to have
disturbed. The boy, how sweet to him is his fancy! how dear the story of
barons and battles! What a hero he is, whilst he feeds on his heroes! What
a debt is his to imaginative books! He has no better friend or influence
than Scott, Shakespeare, Plutarch, and Homer. The man lives to other
objects, but who dares affirm that they are more real? Even the prose of
the streets is full of refractions. In the life of the dreariest alderman,
fancy enters into all details, and colors them with rosy hue. He imitates
the air and actions of people whom he admires, and is raised in his own
eyes. He pays a debt quicker to a rich man than to a poor man. He wishes
the bow and compliment of some leader in the state, or in society; weighs
what he says; perhaps he never comes nearer to him for that, but dies at
last better contented for this amusement of his eyes and his fancy.
Public-domain text, read in full here on John Shaqi.
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