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Showing posts with label HENRY DAVID THOREAU. Show all posts
Showing posts with label HENRY DAVID THOREAU. Show all posts

Sunday, March 08, 2026

EL HOMBRE NO ES EL JUEZ ÚLTIMO DEL TRABAJO MÁS HUMILDE (THOREAU 4-03-1852 (II))

 


March 4. The gold-digger in the ravines of the mountains is as much a gambler as his fellow, in the saloons of San Francisco. What difference does it make wether you shake dirt or shake dice? If you will, society is the loser. The gold-digger is the enemy of the honest laborer, whatever checks and compensations a kind fate (?) has provided. The humblest thinker who has been to the mines sees and says that gold-digging is of the character of a lottery, that the reward is not proportionate to the labor, that the gold has not the same look, is not the same thing, with the wages of honest. toil; but he practically forgets what he has seen, for he has seen only the fact, not the principle.He looks out for "the main chance" still; he buy a ticket in another lottery, nevertheless, where the fact is not so obvious. It is remarkable that among all the teachers and preachers there are so few moral teachers. I find the prophets and preachers employed in excusing the ways of men My most reverend seniors- doctors, deacons, and the illuminated - tell me with a reminiscent smile, betwixt an aspiration and a shudder, not to be so tender about these things, -to lump all that, i. e. make a lump of gold of it. I was never refreshed by any advice on this subject; the highest I have heard was grovelling. It is not worth the while for you to undertake to reform the world in this particular. They tell me not to ask how my bread is buttered, -- it will make me sick if I do, -and the like.

It is discouraging to talk with men who will recognize no principles. How little use is made of reason in this world! You argue with a man for an hour, he agrees with you step by step, you are approaching a triumphant conclusion, you think that you have converted him; but ah, no, he has a habit, he takes a pinch of snuff, he remembers that he entertained a different opinion at the commencement of the controversy, and his reverence for the past compels him to reiterate it now.You began at the butt of the pole to curve it,you gradually bent it round according to rule, and planted the other end in the ground, and already inimagination saw the vine curling round thus segment of an arbor, under which a new generation was to recreate itself; but when you had done, just when the twig was bent, it sprang back to its former stubborn and unhandsome position like a bit of whalebone.

This world is a place of business. What an infinite bustle! I am awaked almost every night by the panting of the steam-engine. It interrupts my dreams. There is no sabbath. It would be glorious to see mankind at leisure for once.

Concord Fight! Two killed on the patriots' side,and Luther Blanchard wounded! Why, here every ant was a Buttrick, - " Fire! for God's sake, fire! " -and thousands shared the fate of Davis and Hosmer.

I have no doubt it was a principle they fought for as much as our ancestors, and not a threepenny tax on their tea.

10 A.M. -Up river on ice to Fair Haven Pond.

The steam of the steam-engine rises to heaved this clear morning. The other day, when the weather was thick, I observed that it hugged the earth. Was the air lighter then? Some refer the music of the telegraph harp to the electricity passing along the wire! others,to the, air passing through the glasses. The air is fresher and the sky clearer in the morning. We have this morning the clear, cold, continent sky of January. The river is frozen solidly, and I do not have to look out for openings. Now I can take that walk along the river highway and the meadow which leads me under the boughs of the maples and the swamp white oaks, etc ., which in summer overhang the water. There I can now stand at my case, and study their phenomena, amid the sweet-gale and button-bushes projecting above the snow an dice. I see the shore from the waterside. A liberal walk, so level and wide and smooth, without underbrush. I easily approach and study the boughs which usual overhang the water. In sonic places where the ice is exposed, I see a kind of crystallized, chaffy snow like little bundles of asbestos on its surface . I seek some sunny nook on the south side of a wood, which keeps off the cold wind, among the maples and the swamp white oaks which are frozen in, and there sit and anticipate the spring, and hear the chickadees and the belching of the ice. The sun has got a new power in his rays after all, cold as the weather is. He could not have warmed me so much a month ago, nor should I have heard such rumblings of the ice in December.I see where a maple has been wounded the sap is flowing out. Now, then, is the time to make sugar.

If I were to paint the short days of winter, I should represent two towering icebergs, approaching each other like promontories, for morning and evening, with cavernous recesses, and a solitary traveller, wrapping his cloak about him and bent forward against a driving storm, just entering the narrow pass. I would paint the light of a taper at midday, seen through a cottage window half buried in snow and frost, and some pale stars in the sky, and the sound of the woodcutter's axe.The icebergs with cavernous recesses. In the foreground should appear the harvest, and far in the background,through the pass, should be seen the sowers in the fields and other evidences of spring. The icebergs should gradually approach, and on the right and left the heavens should be shaded off from the light of midday to midnight with its stars. The sun low in the sky.

I look between my legs up the river across Fair Haven.Subverting the head, we refer things to the heavens ;the sky becomes the ground of the picture, and where the river breaks through low hills which slope to meet each other a quarter of a mile off, appears a mountain pass, so much nearer is it to heaven . We are compeled to call it something which relates it to the heavens rather than the earth. But I think that the mirage is not so great in the morning. Perhaps there is some advantagein looking at the landscape thus at this season, since it is a plain white field hence to the horizon.

I cut my initials on the bee tree. Now, at 11.30 perhaps, the sky begins to be slightly overcast. The north-west is the god of the winter, as the southwest of the summer. Interesting the forms of clouds, often, as now,like flames, or more like the surf curling before it breaks,reminding me of the prows of ancient vessels, which have their pattern or prototype again in the surf, as if the wind made a surf of the mist. Thus, as the fishes look up at the waves, we look up at the clouds. It is pleasant to see the reddish-green leaves of the lambkil still hanging with fruit above the snow, for I am now crossing the shrub oak plain to the Cliffs.

I find a place on the south side of this rocky hill, where the snow is melted and the bare gray rock appears covered with mosses and lichens and beds of oak leaves in the hollows, where I can sit, and an invisible flame and smoke seems to ascend from the leaves, and the sun shines with a genial warmth, and you can imagine the hum of bees amid flowers.That is a near approach to summer. A summer heat reflected from the dry leaves,which reminds you of the sweet-fern and those summer afternoons which are longer than a winter day. Though you sit on a mere oasis in the snow.

I love that the rocks should appear to have some spots of blood on them, Indian blood at least; to be convinced that the earth has been crowded with men,living, enjoying, suffering, that races passed away have stained the rocks with their blood, that the mould I tread on has been animated, aye, humanized. I am the more at home. I farm the dust of my ancestors,though the chemist's analysis may not detect it. I go forth to redeem the meadows they have become. I compel them to take refuge in turnips.

The snow is melting on the rocks ; the water trickles down in shining streams ; the mosses look bright ; the first awakening of vegetation at the root of the saxifrage. As I go by the farmer's yard, the hens cackle more solidly, as if eggs were the burden of the strain.

A horse's fore legs are handier than his hind ones ;the latter but fall into the place which the former have found. They have the advantage of being nearer the head, the source of intelligence. He strikes and paws with them. It is true he kicks with the hind legs, but that is a very simple and unscientific action, as if his whole body were a whip-lash and his heels the snapper.

The constant reference in our lives, even in the most trivial matters, to the superhuman is wonderful. If a portrait is painted, neither the wife's opinion of the husband, nor the husband's of the wife, nor either's opinion of the artist - not man's opinion of man – is final and satisfactory. Man is not the final judge of the humblest work, though it be piling wood. The queen and the chambermaid, the king and the hired man, the Indian and the slave, alike appeal to God.

Each man's mode of speaking of the sexual relation proves how sacred his own relations of that kind are.We do not respect the mind that can jest on this subject.

If the husband and wife quarrel over their coffee, if the pie is underdone, if your partner treads on your toes, there is a silent appeal to the just and eternal gods,- or to time and posterity, at least.


 

Saturday, March 07, 2026

EL HOMBRE NO ES EL JUEZ ÚLTIMO DEL TRABAJO MÁS HUMILDE (THOREAU 4-03-1852)

 

 

https://allandibiase.com/2026/03/04/march-4-1852-5/ 

I have thoughts, as I walk, on some subject that is running in my head, but all their pertinence seems gone before I can get home to set them down. 

The most valuable thoughts which I entertain are anything but what I thought. Nature abhors a vacuum, and if I can only walk with sufficient carelessness I am sure to be filled. 

Measure your health by your sympathy with morning and spring. If there is no response in you to the awakening of nature, if the prospect of an early morning walk does not banish sleep, if the warble of the first bluebird does not thrill you, know that the morning and spring of your life are past. Thus you may feel your pulse. 

As we grow older, is it not ominous that we have more to write about evening, less about morning? We must associate more with the early hours. 

Our work should be fitted to and lead on the time, as bud flower and fruit lead the circle of the seasons





 

Thursday, January 15, 2026

HENRY DAVID THOREAU, a new, three-part, three-hour film directed by Erik Ewers and Christopher Loren Ewers

 


HENRY DAVID THOREAU TO AIR ON PBS MARCH 2026

 




Executive Produced by Ken Burns and Don Henley, Directed by Erik Ewers

and Christopher Loren Ewers

 

Thoreau Voiced by Jeff Goldblum, Film Narrated by George Clooney, Additional Voices by Ted Danson, Tate Donovan, and Meryl Streep

 

November 21, 2025 - HENRY DAVID THOREAU, a new, three-part, three-hour film directed by Erik Ewers and Christopher Loren Ewers, and executive produced by Ken Burns and Don Henley, will air on March 30 (Episodes 1 and 2) and March 31, 2026 at 9:00 p.m. ET (check local listings), PBS announced today.  A trailer for the film appeared following Episode 5 of Burns’s THE AMERICAN REVOLUTION last night. You can see it here.

 

I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion. 

¿Qué sucedería si hubiera un impuesto sobre las palabras, sobre el lenguaje, para incentivar las producciones propias? ¿No tenemos el genio para acuñar nuestras propias palabras?

HDT

 
Talk about learning our letters and being literate! Why, the roots of letters are things. Natural objects and phenomena are the original symbols or types which express our thoughts and feelings, and yet American scholars, having little or no root in the soil, commonly strive with all their might to confine themselves to the imported symbols alone. All the true growth and experience, the living speech, they would fain reject as “Americanisms.” It is the old error, which the church, the state, the school ever commit, choosing darkness rather than light, holding fast to the old and to tradition. A more intimate knowledge, a deeper experience, will surely originate a word. When I really know that our river pursues a serpentine course to the Merrimack, shall I continue to describe it by referring to some other river no older than itself which is like it, and call it a meander? It is no more meandering than the Meander is musketaquidding. As well sing of the nightingale here as the Meander. What if there were a tariff on words, on language, for the encouragement of home manufacturers? Have we not the genius to coin our own? Let the schoolmaster distinguish the true from the counterfeit.

 

HENRY DAVID THOREAU examines the life and work of the 19th-century writer in the context of antebellum New England and the larger United States, as well as through the universal themes he focused on in his writings: an individual’s relationship to the state, how to live an authentic life, our connection to nature, and the impact of race on American life. Set against the political and social tensions of the mid-19th century, the film traces Thoreau’s journey from his early days in Concord, Massachusetts to his deep engagement with the moral crises of his time, including industrialization, slavery, war, and environmental degradation. Through his essays, journals, and landmark works such as Walden and Civil Disobedience, he became an inspiration for generations of writers, thinkers, and activists.

 

The film draws on a rich collection of archival materials, newly filmed cinematography in Concord and beyond, and interviews with scholars, writers, and environmentalists. Among the people featured in the film are Pico Iyer, Douglas Brinkley, Lois Brown, Kristen Case, Laura Dassow Walls, Clay Jenkinson, Robin Kimmerer, J. Drew Lanham, Bill McKibben, Michael Pollan, Rebecca Solnit, and more.

 

HENRY DAVID THOREAU is narrated by George Clooney and voices are provided by Ted Danson (Ralph Waldo Emerson), Tate Donovan (William Ellery Channing), Jeff Goldblum (Henry David Thoreau), and Meryl Streep (Lidian Emerson, Margaret Fuller, Mary Merrick Brooks, and Maria Thoreau).

 

“Thoreau’s insistence that conscience must guide citizenship, and that solitude can be a source of strength, continues to speak directly to our time,” said executive producer Ken Burns. “He challenged Americans to ask hard questions about who we are and what kind of society we want to build, a challenge that remains as urgent today as it was in his day. But perhaps most importantly he asked us to stop and to pay attention to the world around us.”

 

Executive producer Don Henley, founding member and lead singer of the Eagles and a longtime advocate for environmental causes, added: “Thoreau was not only a pioneering environmentalist, but also a prophetic philosopher who believed in the power of individual action. His writings have been a guiding force throughout my life. This film honors his legacy while asking what it means to live with purpose in the 21st century.”

 

Henley, founder and chairman of The Walden Woods Project, has long worked to preserve the physical and philosophical legacy of Thoreau. Established in 1990, the organization led a successful campaign to protect nearly 200 acres of threatened land surrounding Walden Pond and has since become a national leader in conservation and environmental education. The Walden Woods Project promotes Thoreau’s writings and values through research, public programming, and efforts to engage new generations in discussions around environmental stewardship and civic responsibility.

 

HENRY DAVID THOREAU is the latest in a long line of PBS documentaries that explore the American experience through the lives of extraordinary individuals. As the nation prepares to mark the 250th anniversary of its founding, the film offers a timely meditation on democracy, nature, and the responsibilities of citizenship. It is also the first full-length documentary devoted to Thoreau, one of the country’s greatest writers and among the most enduring thinkers and artists of what came to be known as the Transcendentalist Movement in America.

 

“Thoreau famously retreated into nature not to escape the world but to better understand it,” the director Erik Ewers said. “His writing about the wild and nature remains so vibrant because he was acutely aware of how the surrounding countryside was teetering on the edge of industrialization. He believed strongly that we have a connection to the landscape and nature and must remain grounded to fully experience what it means to be human.”

 

Equally, Thoreau was very active in the most pressing political and social issues of the day, especially abolitionism and slavery. He lectured and wrote in support of freedom for the enslaved, defied the Fugitive Slave Act, and defended the right of citizens to resist unjust laws. His insistence on moral action would influence later generations of reformers, from John Muir and the early conservation movement to Mahatma Gandhi and Martin Luther King, Jr. The film examines the universal nature of many of his writings, and his concerns about humanity and the “quiet desperation” of life by also reflecting on current events and challenges, through footage focused on other periods in American history and social and cultural issues today.

 

“Thoreau’s popularity and writings are often presented as simplified statements about wellness or simple living,” said the director Christopher Loren Ewers. “To the contrary, they provide deep, thoughtful investigations that combine an appreciation for nature and the environment with a keen sense of moral responsibility. Not only is he one of the first great nature writers in American literature but he’s also an acute observer of the times.”

 

The film illuminates the vibrant intellectual and political community that shaped and nurtured Thoreau. Concord, Massachusetts in the mid-19th century was a crucible of new ideas about religion, nature, politics, and social reform. Thoreau moved among the towering figures of American thought, such as his mentor Ralph Waldo Emerson, Margaret Fuller, Bronson Alcott, Frederick Douglass, the radical abolitionists of Boston, and the even more controversial John Brown, engaging in debates that would define the era.

 

Viewers will also encounter the broader world of reform and resistance in which Thoreau participated. The film situates his life within the ferment of antebellum America: the fight against slavery, the rise of women’s rights, the impact of industrialization on New England’s landscape, and the continued displacement of Native peoples. Thoreau’s journals reveal how these forces shaped his thinking and his art.

 

At the same time, the series explores the Transcendentalist movement, of which Thoreau was a central figure. Transcendentalism’s emphasis on self-reliance, spiritual intuition, and the moral dimension of everyday life informed Thoreau’s experiments at Walden Pond and his lifelong quest to live deliberately. The film draws out how these ideas still animate debates about the environment, citizenship, and individual conscience.

 

Ultimately, HENRY DAVID THOREAU presents a portrait of a man both rooted in his time and speaking far beyond it. By placing his life and writings within the great moral struggles of the 19th century, the film underscores why Thoreau endures as a guide to the tensions and possibilities of American democracy—offering wisdom and provocation as the nation approaches its 250th anniversary.

 

HENRY DAVID THOREAU is a Ewers Brothers Production, in partnership with Florentine Films and WETA Washington, D.C. Directed by Erik Ewers and Christopher Loren Ewers. Written by David Blistein. Produced by Julie Coffman and Susan Shumaker, Producers Christopher Loren Ewers and Erik Ewers. Director of Photography Christopher Loren Ewers. Edited by Erik Ewers and Ryan Gifford. Co-Produced by Cauley Powell. Original Music Score by David Cieri. Narrated by George Clooney. Voice of Thoreau by Jeff Goldblum, and other voices by Ted Danson, Meryl Streep and Tate Donovan. The executives in charge for WETA are John F. Wilson (posthumously) and Kate Kelly. Executive Producers are Ken Burns and Don Henley.

 

Major funding for HENRY DAVID THOREAU was provided by The Better Angels Society and its members: The Keith Campbell Foundation for the Environment and Mark A. Tracy.  Major funding was also provided by Jeff Skoll, The Mansueto Foundation, Tyson Foods, Inc., and the Tyson Family Foundation. Additional funding was provided by The Arthur Vining Davis Foundations, The Neil and Anna Rasmussen Foundation, Roxanne Quimby Foundation Inc and Elizabeth Kenny.

 

About WETA

WETA is the leading public broadcaster in the nation’s capital, serving Virginia, Maryland and the District of Columbia with educational initiatives and high-quality programming on television, radio and digital. WETA Washington, D.C., is the second-largest producing station for public television, with news and public affairs programs including PBS News Hour and Washington Week with The Atlantic; films by Ken Burns and Florentine Films, such as The American Buffalo and The American Revolution; series and documentaries by Dr. Henry Louis Gates, Jr., including Finding Your Roots with Henry Louis Gates, Jr. and Great Migrations: A People on the Move; performance specials including National Memorial Day Concert and A Capitol Fourth; and health content from Well Beings, a multiplatform campaign. Sharon Percy Rockefeller is president and CEO. More information on WETA and its programs and services is available at weta.org. Visit facebook.com/wetatvfm on Facebook.

About PBS

PBS, with more than 330 member stations, offers all Americans the opportunity to explore new ideas and new worlds through television and digital content. Each month, PBS reaches over 42 million adults on linear primetime television, more than 15 million users on PBS-owned streaming platforms, and 56 million people view PBS content on social media, inviting them to experience the worlds of science, history, nature, and public affairs; to hear diverse viewpoints; and to take front-row seats to world-class drama and performances. PBS’s broad array of programs has been consistently honored by the industry’s most coveted award competitions. Teachers of children from pre-K through 12th grade turn to PBS LearningMedia for digital content and services that help bring classroom lessons to life. As the number one educational media brand, PBS KIDS helps children 2-8 build critical skills, enabling them to find success in school and life. Delivered through member stations, PBS KIDS offers high-quality content on TV — including a PBS KIDS channel — and streaming free on pbskids.org and the PBS KIDS Video app, games on the PBS KIDS Games app, and in communities across America. More information about PBS is available at PBS.org, one of the leading dot-org websites on the internet, Facebook, Instagram, or through our apps for mobile and connected devices. Specific program information and updates for press are available at pbs.org/pressroom or by following PBS Communications on X (formerly Twitter).

MEDIA CONTACT: DKCThoreau@dkcnews.com

For images and additional up-to-date information on this and other PBS programs, visit PBS PressRoom at pbs.org/pressroom.


Wednesday, June 11, 2025

CALVIN RUSSELL: "CROSSROADS" (ENCRUCIJADA) AND "SOLDIER"

I'm standing at the crossroads 

There are many roads to take 

But I stand here so silently 

For fear of a mistake 

One path leads to paradise 

One path leads to pain 

One path leads to freedom 

They all look the same 

I've travelled many roads 

And not all of them were good 

The foolish ones taught more to me 

Than the wise ones ever could 

One path leads to sacrifice 

One path leads to shame 

One path leads to freedom 

They all look the same 

There were roads 

I never travelled 

There were turns I did not take 

There were mysteries I could not unraveled 

Leaving you was my only mistake 

So I'm standing at the crossroads 

Imprisoned by this doubt 

As if by doing nothing 

I might find my way out 

One path leads to paradise 

One path leads to pain 

One path leads to freedom 

But they all look the same 

There were roads I never travelled 

There were turns that I did not take 

There were mysteries that I left unraveled 

Leaving you was my only mistake 

Yeah, there were roads I never travelled 

There were turns I did not take 

There were mysteries that I left unraveled 

Leaving you was my only mistake 

Leaving you was my only mistake

 

 

 I′m just a person 

I don't claim no country 

I just don′t need a flag 

To say who I am 

Well, I come from my momma 

Like you and your brother 

This world is ours 

It's all in our hands 

I'm just a Soldier 

Fighting the sorrow 

Holding my head up high 

I won′t beg steal or borrow 

Oh and if not today 

If not today- 

If not today 

Then maybe tomorrow 

I′m only a human 

So i'll make my excuses 

But there′s one thing I know 

One thing I can see 

It might be to late 

To change where we're goin′ 

But in your own mind 

You can always be free 

I'm just a Soldier 

Fighting the sorrow 

Holding my head up high 

I won′t beg steal or borrow 

oh and if not today 

If not today - If not today 

Then maybe tomorrow 

Maybe tomorrow

 


 

He preguntado a algunos de los grandes jefes blancos de dónde procede su autoridad para decir al Indio que debe permanecer en un lugar, mientras ve hombres blancos ir a donde ellos quieren. Ellos no me pudieron contestar.

 
 
Para el Indio no hay salvación sino en el arado. Para no ser barrido hasta el Pacífico debería empuñar el mango de un arado y dejar ir su arco y su flecha, su arpón y rifle. Esta es la única Cristiandad que le salvaría. Su destino le dice cruelmente: “olvida la vida del cazador y entra en la agrícola, el segundo estado del hombre. Agarraros un poco más hondo en el suelo, si queréis continuar siendo los ocupantes del territorio”. Pero confieso que tengo una no pequeña simpatía con los Indios y las tribus cazadoras. Ellos me parecen una gente diferente e igualmente respetable, nacidos para errar y cazar, y no para ser inoculados con la alboreante civilización del hombre blanco.
 
HDT
 
DIARIO 25 DE JULIO DE 1838
 
Los indios dicen que en el pasado el río fluyó en ambas direcciones, la mitad de él hacia arriba y la otra mitad hacia abajo, pero que desde que el hombre blanco llegó, todo él corre hacia abajo, y ahora ellos deben conducir sus canoas contra la corriente laboriosamente y llevarlas a cuestas muchas veces.

HDT

(Los bosques de Maine)
 
 

OUR RELIGION IS WHERE OUR LOVE IS

 

Haz lo que nadie puede hacer por ti. Omite cualquier otra cosa.

Carta a H.G.O. Blake, 9 de Agosto de 1850

El universo parece quebrado tan pronto como comenzamos a discutir el carácter de los individuos.

A week

El talento solo indica profundidad de carácter en alguna dirección.

Diario 18 de Febrero de 1841

Tengo mucho que aprender del Indio, nada del misionero.

Los bosques de Maine

Los Franceses respetaron a los Indios como pueblo separado e independiente y hablaron de ellos y se compararon con ellos de un modo que los Ingleses nunca emplearon. No solo fueron a la guerra con los Indios, sino que vivieron en casa con ellos.

Diario 8 de Febrero de 1852
 
 

Aquí está el secreto real, profundo, decisivo, del pensamiento humano, incluso de su invención: nos pusimos a pensar porque somos débiles por naturaleza, por nuestra especie, de origen, de génesis. Tal es el agujero en nuestros órganos que deja a nuestro cuerpo en falta, es nuestra falla, nuestro vacío, la espina en nuestra carne, las lagunas, los harapos, las faltas primeras, nuestra debilidad congénita, nuestra fragilidad, la esencia de nuestra herencia. Su nobleza.

 

Nosotros los seres humanos somos la asimetría del mundo, su animal anomalía. Las cosas son; los seres vivos son; nosostros ex-istimos: esta palabra designa nuestras distancias respecto del equilibrio. Cojeamos; luego, para sobrevivir, debemos pensar. Esperamos constantemente que pensar compense nuestra claudicación.

 

Michel Serres (Figuras del pensamiento)