Harvesting (the pine timber on the 50-acre lot next to Balsamea) is one thing. It’s another thing to kill thousands — maybe millions — of other trees and myriad other things living above and below ground to get that harvest, and leave the forest ugly, sick, and disgraced. When it’s a forest you knew well, and which truly is now no more, an alien thing left in its place, it’s the kind of thing that can almost make you wish your eyesight was now no more, too.
Forest immersion can do that to you, as it must have done to Thoreau:
Strange that so few ever come to the woods to see how the pine lives and grows and spires, lifting its evergreen arms to the light,—to see its perfect success; but most are content to behold it in the shape of many broad boards brought to market, and deem that its true success. But the pine is no more lumber than man is, and to be made into boards and houses is no more its true and highest use than the truest use of a man is to be cut down and made into manure. There is a higher law affecting our relation to pines as well as to men. A pine cut down, a dead pine, is no more a pine than a dead human carcass is a man. Can he who has discovered only some of the values of whalebone and whale oil be said to have discovered the true use of the whale? Can he who slays the elephant for his ivory be said to have “seen the elephant ” ? These are petty and accidental uses; just as if a stronger race were to kill us in order to make buttons and flageolets of our bones; for everything may serve a lower as well as a higher use. Every creature is better alive than dead, men and moose and pine-trees, and he who understands it aright will rather preserve its life than destroy it.
Is it the lumberman, then, who is the friend and lover of the pine, stands nearest to it, and understands its nature best? Is it the tanner who has barked it, or he who has boxed it for turpentine, whom posterity will fable to have been changed into a pine at last? No! no! it is the poet; he it is who makes the truest use of the pine,—who does not fondle it with an axe, nor tickle it with a saw, nor stroke it with a plane,—who knows whether its heart is false without cutting into it,—who has not bought the stumpage of the township on which it stands. All the pines shudder and heave a sigh when that man steps on the forest floor. No, it is the poet, who loves them as his own shadow in the air, and lets them stand. I have been into the lumber-yard, and the carpenter’s shop, and the tannery, and the lampblack factory, and the turpentine clearing; but when at length I saw the tops of the pines waving and reflecting the light at a distance high over all the rest of the forest, I realized that the former were not the highest use of the pine. It is not their bones or hide or tallow that I love most. It is the living spirit of the tree, not its spirit of turpentine, with which I sympathize, and which heals my cuts. It is as immortal as I am, and perchance will go to as high a heaven, there to tower above me still.
[I can make a case for the pine being closer to immortality than I am, since I know I’m not immortal, but I’m not sure about the tree.]