<?xml version="1.0" encoding="UTF-8"?>
<?xml-model href="../../../Schema,%20CSS%20and%20Template%20Files/YB_schema2.rnc" type="application/relax-ng-compact-syntax"?>
<TEI xmlns="http://www.tei-c.org/ns/1.0">
    <teiHeader>
        <fileDesc>
            <titleStmt>
                <title>Yellow Nineties 2.0</title>
                <title>The Yellow Book: An Illustrated Quarterly, Volume 5 April 1895</title>
                <title type="YBV5_grahame_inner"/>
                <editor>Lorraine Janzen Kooistra</editor>
            </titleStmt>
            <editionStmt>
                <p>
                    <date>2019</date>
                </p>
            </editionStmt>
            <publicationStmt>
                <idno>YBV5_11pr</idno>
                <publisher>Yellow Nineties 2.0</publisher>
                <pubPlace>Ryerson University Centre for Digital Humanities</pubPlace>
                <address>
               <addrLine>English Department</addrLine>
               <addrLine>350 Victoria Street,</addrLine>
               <addrLine>Toronto ON,</addrLine>
               <addrLine>M5B 2K3</addrLine>
               <addrLine>Canada</addrLine>
            </address>
                <availability>
                    <p>Usable according to the Creative Commons License <ref
                            target="http://creativecommons.org/licenses/by-nc-sa/3.0/">Attribution
                            Non-commercial Share-alike</ref>.</p>
                </availability>
            </publicationStmt>
            <sourceDesc>
                <biblStruct>
                    <monogr>
                        <editor>
                            <persName>Henry Harland</persName>
                        </editor>
                        <author>Kenneth Grahame</author>
                        <title>The Inner Ear</title>
                        <imprint>
                            <publisher>John Lane</publisher>
                            <pubPlace> London </pubPlace>
                            <publisher>Copeland &amp; Day</publisher>
                            <pubPlace>Boston</pubPlace>
                            <date>April 1895</date>
                            <biblScope>Grahame, Kenneth. "The Inner Ear." <emph rend="italic">The
                                    Yellow Book</emph>, vol. 5, April 1895, pp. 73-76. <emph rend="italic">
                                        Yellow Book Digital Edition</emph>, edited by Dennis Denisoff and Lorraine
                                Janzen Kooistra, 2010-2014. <emph rend="italic">Yellow Nineties 2.0</emph>,
                                Ryerson University Centre for Digital Humanities, 2019.
                                https://1890s.ca/YBV5_grahame_inner/ </biblScope>
                        </imprint>
                    </monogr>
                </biblStruct>
            </sourceDesc>
        </fileDesc>
        <encodingDesc>
            <editorialDecl>
                <p>Our editorial method is informed by social-text editing principles. By “text” we mean
                    verbal and visual printed material, including non-referential physical elements such as
                    bindings, page layouts, and ornaments. We view any text as the outcome of collaborative
                    processes that have specific manifestations at precise historical moments.
                    The Yellow Nineties Online publishes facsimile editions of a select collection of fin-de-
                    siècle aesthetic periodicals, together with paratexts of production and reception such as
                    cover designs, advertising materials, and reviews. This historical material is enhanced
                    by two kinds of peer-reviewed scholarly commentary: biographies of the periodicals’
                    contributors and associates; and critical introductions to each title and volume by
                    experts in the field. All scholarly material on the site is vetted by the editor(s) and peer-
                    reviewed by them and/or an international board of advisors. The site as a whole is peer-
                    reviewed by NINES (Networked Infrastructure for Nineteenth-Century Electronic
                    Scholarship). Contributors to the site retain personal copyright in their material. The
                    site is licensed with a Creative Commons Attribution-NonCommercial-ShareAlike 3.0
                    license. Both primary and secondary materials, including all visual images, are marked
                    up in TEI- (Textual-Encoding Initiative) compliant XML (Extensible Markup
                    Language). To ensure maximum flexibility for users, magazines are available on the site
                    as virtual objects (facsimiles) in FlipBook form; in HTML for online reading; in PDF for
                    downloading and collecting; and in XML for those who wish to review and/or adapt our
                    tag sets. In order to make ornamental devices, such as initial letters, head- and tail-
                    pieces, searchable, we have developed a Database of Ornament in OMEKA, and linked it
                    to the relevant pages of each magazine edition. As a dynamic structure, a scholarly
                    website is always in process; Phase One of The Yellow Nineties Online (2010-2015) is
                    completed and Phase Two (2016-2021) is underway.</p>
            </editorialDecl>
        </encodingDesc>
        <profileDesc>
            <creation>
                <date>1895</date>
            </creation>
            <langUsage>
                <language ident="en">English</language>
                <language ident="la">Latin</language>
            </langUsage>
            <textClass>
                <keywords scheme="#lcsh">
                    <list>
                        <item>English literature -- 19th century -- Periodicals</item>
                        <item>Great Britain -- Periodicals</item>
                    </list>
                </keywords>
                <keywords scheme="ninesGenre">
                    <list>
                        <item>Nonfiction</item>
                        <note>Possible Genres (multiple): "Fiction," "Nonfiction," "Poetry," "Paratext" (TOC, prospecti, advertisements, frontmatter, titlepage), "Review" (older reviews),
                            "Criticism" (including critical introductions), "Visual Art" (images, bio images), Historiography (bios),"Bibliography"
                            (intros, crit, bios, anything with a bibliography attached), "Drama," "Ephemera," "Translation," "Religion," 
                            "Travel Writing," "Music, Other,")
                            <!--Add items as necessary. Remove items not used.-->
                        </note>
                    </list>
                </keywords>
                
                <keywords scheme="ninesType">
                    <list>
                        <item>Periodical</item>
                        <note>Possible Types (singular): "Periodical" (texts/most stuff), "Interactive Resource" (current writing, 
                            biographies, not old reviews), "Still Image" (images, visual art), "Physical Object" (posters,
                            prospecti)</note>
                        <!-- only choose one item-->
                    </list>
                </keywords>
                
                <keywords scheme="ninesDiscipline">
                    <list>
                        <item>Book History</item>
                        <item>Literature</item>
                        <note>Possible Disciplines (multiple): "Book History (include for all periodical items)," "Literature," "Art History (use for art, also use for reviews)," "History (don't use in a general sense)," "Theatre Studies,"
                            "Musicology," "Philosophy," "Anthropology," "Science"</note>
                        <!--Add items as necessary. Remove items not used.-->
                    </list>
                </keywords>
            </textClass>
        </profileDesc>
    </teiHeader>
    <text>
        <body>
            <div n="YBV5_11pr" type="prose">
                <pb n="83"/>
                <head>
                    <title level="a">The Inner Ear</title>
                </head>
                <byline>By <docAuthor><ref target="#KGR">Kenneth Grahame</ref></docAuthor></byline>

                <p>To all of us journeymen in this great whirling London mill, it<lb/> happens
                    sooner or later that the clatter and roar of its ceaseless<lb/> wheels&#x2014;a
                    thing at first portentous, terrifying, nay, not to be<lb/>
                    endured&#x2014;becomes a part of our nature, with our clothes and our<lb/>
                    acquaintances ; till at last the racket and din of a competitive<lb/> striving
                    humanity not only cease to impinge on the sense, but<lb/> induce a certain
                    callosity in the organ, while that more sensitive<lb/> inner ear of ours, once
                    almost as quick to record as his in the fairy<lb/> tale, who lay and heard the
                    grass-blades thrust and sprout, from lack<lb/> of exercise drops back to the
                    rudimentary stage. Hence it comes<lb/> about, that when we are set down for a
                    brief Sunday, far from the<lb/> central roar, our first sensation is that of a
                    stillness corporeal,<lb/> positive, aggressive. The clamorous ocean of sound has
                    ebbed to<lb/> an infinite distance ; in its place this other sea of fullest
                    silence<lb/> comes crawling up, whelming and flooding us, its crystalline
                    waves<lb/> lapping us round with a possessing encirclement as distinct as
                    that<lb/> of the other angry tide now passed away and done with. The<lb/> very
                    Spirit of Silence is sitting hand in hand with us, and her touch<lb/> is a real
                    warm thing.</p>

                <p>And yet, may not our confidence be premature ? Even as we<lb/> bathe and steep
                    our senses refreshingly in this new element, that</p>

                <fw type="catchword">inner</fw>
                <pb n="84"/>


                <fw type="runningHead"><fw type="pageNum">74</fw> The Inner Ear</fw>

                <p>inner ear of ours begins to revive and to record, one by one, the<lb/> real facts
                    of sound. The rooks are the first to assert themselves. All<lb/> this time that
                    we took to be so void of voice they have been volubly<lb/> discussing every
                    detail of domestic tree-life, as they rock and sway<lb/> beside their nests in
                    the elm-tops. To take in the varied chatter<lb/> of rookdom would in itself be a
                    full morning's occupation, from<lb/> which the most complacent might rise humble
                    and instructed.<lb/> Unfortunately, their talk rarely tends to edification. The
                    element<lb/> of personality &#x2014;the <emph rend="italic">argumentum ad
                        hominem</emph>&#x2014; always crops up so<lb/> fatally soon, that long ere a
                    syllogism has been properly unrolled,<lb/> the disputants have clinched on
                    inadequate foothold, and flopped<lb/> thence, dishevelled, into space. Somewhere
                    hard by, their jackdaw<lb/> cousins are narrating those smoking-room stories
                    they are so fond<lb/> of, with bursts of sardonic laughter at the close. For
                    theology or<lb/> the fine arts your jackdaw has little taste ; but give him
                    something<lb/> sporting and spicy, with a dash of the divorce court, and no
                    Sunday<lb/> morning can ever seem too long. At intervals the drum of the<lb/>
                    woodpecker rattles out from the heart of a copse ; while from<lb/> every quarter
                    birds are delivering each his special message to the<lb/> great cheery-faced
                    postman who is trudging his daily round over-<lb/> head, carrying good tidings
                    to the whole bird-belt that encircles the<lb/> globe. To all these wild, natural
                    calls of the wood, the farmyard<lb/> behind us responds with its more cultivated
                    clamour and cackle ;<lb/> while the very atmosphere is resonant of its airy
                    population, each<lb/> of them blowing his own special trumpet. Silence, indeed !
                    why,<lb/> as the inner ear awakes and develops, the solid bulk of this
                    sound-<lb/> in-stillness becomes in its turn overpowering, terrifying. Let
                    the<lb/> development only continue, one thinks, but a little longer, and
                    the<lb/> very rush of sap, the thrust and foison of germination, will join
                    in<lb/> the din, and go far to deafen us. One shrinks, in fancy, to a dwarf<lb/>
                    of meanest aims and pettiest account before this army of full-blooded,</p>

                <fw type="catchword">shouting</fw>
                <pb n="85"/>


                <fw type="runningHead">By Kenneth Grahame <fw type="pageNum">75</fw></fw>

                <p>shouting soldiery, that possesses land and air so completely, with<lb/> such an
                    entire indifference, too, towards ourselves, our conceits,<lb/> and our
                    aspirations.</p>

                <p>Here it is again, this lesson in modesty that nature is eternally<lb/> dinning
                    into us ; and the completeness of one's isolation in the<lb/> midst of all this
                    sounding vitality cannot fail to strike home<lb/> to the most self-centred.
                    Indeed, it is evident that we are<lb/> entirely superfluous here ; nothing has
                    any need of us, nor<lb/> cares to know what we are interested in, nor what other
                    people<lb/> have been saying of us, nor whether we go or stay. Those rooks<lb/>
                    up above have their own society and occupations, and don't wish to<lb/> share or
                    impart them ; and if haply a rook seems but an insignifi-<lb/> cant sort of
                    being to you, be sure that you are quite as insignificant<lb/> to the rook. Nay,
                    probably more so ; for while you at least allot<lb/> the rook his special small
                    niche in creation, it is more than doubtful<lb/> whether he ever troubles to "
                    place " you at all. He has weightier<lb/> matters to occupy him, and so long as
                    you refrain from active<lb/> interference, the chances are that for him you
                    simply don't exist.</p>

                <p>But putting birds aside, as generally betraying in their startled,<lb/>
                    side-glancing mien some consciousness of a featherless unaccount-<lb/> able
                    tribe that may have to be reckoned with at any moment,<lb/> those other winged
                    ones, the bees and their myriad cousins, simply<lb/> insult one at every turn
                    with their bourgeois narrowness of non-<lb/> recognition. Nothing, indeed, could
                    be more unlike the wary<lb/> watchful marches of the bird-folk than the bustling
                    self-centred<lb/> devotion to business of these tiny brokers in Nature's
                    busy<lb/> mart. If you happen to get in their way, they jostle up against<lb/>
                    you, and serve you right ; if you keep clear of the course, they<lb/> proceed
                    serenely without so much as a critical glance at your<lb/> hat or your boots.
                    Snubbed, hustled, and ignored, you feel, as you<lb/> retire from the unequal
                    contest, that the scurrying alarm of bird</p>

                <fw type="catchword">or</fw>
                <pb n="86"/>


                <fw type="runningHead"><fw type="pageNum">76</fw> The Inner Ear</fw>

                <p>or beast is less hurtful to your self-respect than this complacent<lb/> refusal
                    of the insect to admit your very existence.</p>

                <p>In sooth, we are at best poor fusionless incapable bodies ;<lb/> unstable of
                    purpose, veering betwixt hot fits and chill, doubtful at<lb/> times whether we
                    have any business here at all. The least we<lb/> can do is to make ourselves as
                    small as possible, and interfere as<lb/> little as may be with these lusty
                    citizens, knowing just what they<lb/> want to do, and doing it, at full work in
                    a satisfactory world that<lb/> is emphatically theirs, not ours.</p>

                <p>The more one considers it, the humbler one gets. This<lb/> pleasant, many-hued,
                    fresh-smelling world of ours would be every<lb/> whit as goodly and fair, were
                    it to be rid at one stroke of us<lb/> awkward aliens, staggering pilgrims
                    through a land whose customs<lb/> and courtesies we never entirely master, whose
                    pleasant places we<lb/> embellish and sweeten not at all. We, on the other hand,
                    would<lb/> be bereft indeed, were we to wake up one chill morning and find<lb/>
                    that all these practical capable cousins of ours had packed up and<lb/> quitted
                    in disgust, tired of trying to assimilate us, weary of our<lb/> aimlessness, our
                    brutalities, our ignorance of real life.</p>

                <p>Our dull inner ear is at last fully awake, fully occupied. It<lb/> must be a full
                    three hundred yards away, that first brood of duck-<lb/> lings, fluffily proud
                    of a three-days-old past; yet its shrill peep-<lb/> peep reaches us as
                    distinctly as the worry-worry of bees in the<lb/> peach-blossom a foot from our
                    head. Then suddenly&#x2014; the clank<lb/> of a stable-bucket on the tiles, the
                    awakening of church-bells&#x2014;<lb/> humanity, with its grosser noises, is
                    with us once more, and at<lb/> the first sound of it, affrighted, the
                    multitudinous drone of the<lb/> under-life recedes, ebbs, vanishes ; Silence,
                    the nymph so shy and<lb/> withdrawn, is by our side again, and slips her hand
                    into ours.</p>

            </div>
        </body>
    </text>
</TEI>
