Whatever Thoreau tried to do was tried in fair, square prose, with sentences solidly built, and no help from bastard rhythms. Moreover, there is a progression--I cannot call it a progress--in his work towards a more and more strictly prosaic level, until at last he sinks into the bathos of the prosy. Emerson mentions having once remarked to Thoreau: "Who would not like to write something which all can read, like 'Robinson Crusoe'? and who does not see with regret that his page is not solid with a right materialistic treatment which delights everybody?" I must say in passing, that it is not the right materialistic treatment which delights the world in "Robinson," but the romantic and philosophic interest of the fable. The same treatment does quite the reverse of delighting us when it is applied, in "Colonel Jack," to the management of a plantation. But I cannot help suspecting Thoreau to have been influenced either by this identical remark or by some other closely similar in meaning. He began to fall more and more into a detailed materialistic treatment; he went into the business doggedly, as one who should make a guide-book; he not only chronicled what had been important in his own experience, but whatever might have been important in the experience of anybody else; not only what had affected him, but all that he saw or heard. His ardour had grown less, or perhaps it was inconsistent with a right materialistic treatment to display such emotions as he felt; and, to complete the eventful change, he chose, from a sense of moral dignity, to gut these later works of the saving quality of humour. He was not one of those authors who have learned, in his own words, "to leave out their dulness." He inflicts his full quantity upon the reader in such books as "Cape Cod," or "The Yankee in Canada." Of the latter he confessed that he had not managed to get much of himself into it. Heaven knows he had not, nor yet much of Canada, we may hope. "Nothing," he says somewhere, "can shock a brave man but dulness." Well, there are few spots more shocking to the brave than the pages of "The Yankee in Canada." There are but three books of his that will be read with much pleasure: the "Week," "Walden," and the collected letters. As to his poetry, Emerson's word shall suffice for us, it is so accurate and so prettily said: "The thyme and marjoram are not yet honey." In this, as in his prose, he relied greatly on the goodwill of the reader, and wrote throughout in faith. It was an exercise of faith to suppose that many would understand the sense of his best work, or that any could be exhilarated by the dreary chronicling of his worst. "But," as he says, "the gods do not hear any rude or discordant sound, as we learn from the echo; and I know that the nature towards which I launch these sounds is so rich that it will modulate anew and wonderfully improve my rudest strain." IV