FullReads

“I asked him what the writing on the bark was all about. He said, and he blushed, as every young author, and most old ones, should, that the writing was just more or less nothing–all about different kinds of things. So I pointed specifically to the top of one sheet, and said, ‘begin there and tell me what that’s about.’ ‘If I began there,’ he said, ‘I’d have to go backward; that’s the finish of–oh!’ he literally threw himself on my mercy with the most ingenuous blushing face. ‘Oh,’ he said, ‘I suppose you’d call them poems.’ I, of course, had my doubts of that; but I kept countenance, and said, ‘well, what’s that one about?’ He looked puzzled for a moment, and then he smiled. ‘Why,’ he said, ‘I suppose it’s about me, about the way I felt one day, I suppose; but if I tried to say it into English it would just sound damn foolish; but, perhaps, you’d sooner hear it in my own language. It’s better, because, after all, you can’t turn sounds into words, can you?’ ‘Go ahead,’ I said.

“His hands, holding the sheet of bark shook a little with embarrassment, and he was very red in the face; and before he could begin–I suppose you would call it reading–he had to wet his lips two or three times. I expected, of course, to hear the usual grunts and minor guttural sounds of the usual very primitive dialect. But Jonathan’s own particular patent language was not that sort of thing at all. He began with the faintest, and most distinct rustling of leaves–I can’t imagine how he made the sound at all. It seemed to come from somewhere between the back of his throat and his lips, and to have nothing to do with his tongue or vocal cords. It lasted for, perhaps, half a minute; dying out, fainter and fainter and finer and finer into complete silence. Then, from the distant point where the rustling had last been heard, there came the softest little throaty whistle, three times repeated; then, for two good minutes without seeming to draw breath, the young man burst into peal after peal of the sweetest, clearest, highest, swiftest whistling that you can possibly imagine. I don’t know how he did it–he didn’t even purse or move his lips–they were barely parted, in a kind of plaintive, sad little smile–and the notes came out; that was all. Of course I can’t tell you what the thing meant word for word or sound for sound; but, in general, it said youth, youth and spring: and I tell you it had those compositions of Mendelssohn, and Grieg, and Sinding lashed to the mast. Well, the leaves rustled again, a little lower in the scale, I think, but wouldn’t swear to it, and the first little soft throaty whistle was twice repeated–and there was a little, tiny whisper of a human moan. And that was the end of that poem.

“I made him read to me from his bark sheets until he was tired out. And the next day I was at him again early, and the next. Suppose you were living in a jumping-off place, bored to death, and blowing yourself every fifth or sixth day to a brand new crop of prickly heat; and wanted to go away, and couldn’t because you had to sit around until a fat Dutchman made up his mind about a concession; and suppose the only book in the place was on the uses of and manufacture and by-products of the royal palm, written in a beastly language called Tamil, which you only knew enough of to ask for tea and toast at four o’clock in the morning, and were usually understood to mean soda biscuits and a dish of buffalo milk. And suppose that then you came across the complete works of Shakespeare–and that you had never read them–or the Odyssey and that you had never read that–or, better, suppose that there was a Steinway piano in your sitting-room, and that one day the boy who worked the punka for you dropped the rope and sat down at the piano and played Beethoven from beginning to end–as Rubenstein would have played him–and suppose you had never heard a note of Beethoven before. It was like that–listening to the works of Jonathan Bull.”