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Cape Cod

Henry David Thoreau

Langue:
anglais
État:
Œuvre complète
Paternité:
Écrite par l'auteur
État du texte:
Aucun bruit de numérisation détecté (mesure automatique sur tout le texte, non vérifiée à la main)
Étendue:
~76 200 mots · 362 passages
Citer cette œuvre
  • APAHenry David Thoreau. (n.d.). Cape Cod. Digital reproduction: SigPhi. https://sigphiai.com/fr/works/thoreau/cape-cod
  • MLAHenry David Thoreau. Cape Cod. Digital reproduction, SigPhi, https://sigphiai.com/fr/works/thoreau/cape-cod.
  • ChicagoHenry David Thoreau. Cape Cod. Digital reproduction, SigPhi. https://sigphiai.com/fr/works/thoreau/cape-cod.

Référence de l'édition que reproduit SigPhi : SigPhi en est la reproduction numérique, pas l'éditeur. L'année de l'édition ne figure pas dans les métadonnées (d'où « n.d. ») et le traducteur n'apparaît que lorsqu'il est connu.

De quoi il s'agit

Le livre que Thoreau tira de quatre voyages au cap Cod entre 1849 et 1857 : le plus sombre et le plus drôle des siens.

Contexte et histoire

Il s'ouvre sur une scène qui fixe le ton : le jour de son arrivée, un navire d'émigrants irlandais vient de faire naufrage et la plage est pleine de cadavres que les gens identifient. De là, Thoreau parcourt à pied la côte extérieure, celle qui donne sur l'océan ouvert, et écrit sur le sable, sur la férocité de la mer, sur les naufrages, sur les habitants — pêcheurs, ostréiculteurs, un vieillard qui lui conte de magnifiques mensonges — et sur la végétation qui tient où il n'y a pas de terre. La nature d'ici n'est pas celle de « Walden » : elle ne console personne et n'est pas faite pour nous. Il parut après sa mort, en 1865, et c'est le livre où son humour sec est le plus visible.

Contexte éditorial, non une source citable : contrairement aux passages de l'œuvre, ces données ne peuvent pas être vérifiées dans le corpus.

Comment cela commence
absorb the greater part of the old clothes of the Cape, leaving but few rags for the pedlers. The wind-mills on the hills,—large weather-stained octagonal structures,—and the salt-works scattered all along the shore, with their long rows of vats resting on piles driven into the marsh, their low, turtle-like roofs, and their slighter wind-mills, were novel and interesting objects to an inlander. The sand by the road-side was partially covered with bunches of a moss-like plant, _Hudsonia tomentosa_, which a woman in the stage told us was called “poverty-grass,” because it grew where nothing else would. I was struck by the pleasant equality which reigned among the stage company, and their broad and invulnerable good-humor. They were what is called free and easy, and met one another to advantage, as men who had at length learned how to live. They appeared to know each other when they were strangers, they were so simple and downright. They were well met, in an unusual sense, that is, they met as well as they could meet, and did not seem to be troubled with any impediment. They were not afraid nor ashamed of one another, but were contented to make just such a company as the ingredients allowed. It was evident that the same foolish respect was not here claimed for mere wealth and station that is in many parts of New England; yet some of them were the “first people,” as they are called, of the various towns through which we passed. Retired sea-captains, in easy circumstances, who talked of farming as sea-captains are wont; an erect, respectable, and trustworthy-looking man, in his wrapper, some of the salt of the earth, who had formerly been the salt of the sea; or a more courtly gentleman, who, perchance, had been a representative to the General Court in his day; or a broad, red-faced Cape Cod man, who had seen too many storms to be easily irritated; or a fisherman’s wife, who had been waiting a week for a coaster to leave Boston, and had at…

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