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became one of the earliest ceremonies of settlement on the American frontier; the other was the apples themselves. It takes a leap of the historical imagination to appreciate just how much the apple meant to people living two hundred years ago. By comparison, the apple in our eye is a fairly inconsequential thing—a popular fruit (second only to the banana) but nothing we can’t imagine living without. It is much harder for us to imagine living without the experience of sweetness, however, and sweetness, in the widest, oldest sense, is what the apple offered an American in Chapman’s time, the desire it helped gratify.
    Sugar was a rarity in eighteenth-century America. Even after cane plantations were established in the Caribbean, it remained a luxury good beyond the reach of most Americans. (Later on, cane sugar became so closely identified with the slave trade that many Americans avoided buying it on principle.) Before the English arrived, and for some time after, there were no honeybees in North America, therefore no honey to speak of; for a sweetener, Indians in the north had relied on maple sugar instead. It wasn’t until late in the nineteenth century that sugar became plentiful and cheap enough to enter the lives of very many Americans (and most of them lived on the eastern seaboard); before then the sensation of sweetness in the lives of most people came chiefly from the flesh of fruit. And in America that usually meant the apple.
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    Sweetness is a desire that starts on the tongue with the sense of taste, but it doesn’t end there. Or at least it didn’t end there, back when the experience of sweetness was so special that the word served as a metaphor for a certain kind of perfection. When writers like Jonathan Swift and Matthew Arnold used the expression “sweetness and light” to name their highest ideal (Swift called them “the two noblest of things”; Arnold, the ultimate aim of civilization), they were drawing on a sense of the word sweetness going back to classical times, a sense that has largely been lost to us. The best land was said to be sweet; so were the most pleasing sounds, the most persuasive talk, the loveliest views, the most refined people, and the choicest part of any whole, as when Shakespeare calls spring the “sweet o’ the year.” Lent by the tongue to all the other sense organs, “sweet,” in the somewhat archaic definition of the Oxford English Dictionary, is that which “affords enjoyment or gratifies desire.” Like a shimmering equal sign, the word sweetness denoted a reality commensurate with human desire: it stood for fulfillment.
    Since then sweetness has lost much of its power and become slightly . . . well, saccharine. Who now would think of sweetness as a “noble” quality? At some point during the nineteenth century, a hint of insincerity began to trail the word through literature, and in our time it’s usually shadowed by either irony or sentimentality. Overuse probably helped to cheapen the word’s power on the tongue, but I think the advent of cheap sugar in Europe, and perhaps especially cane sugar produced by slaves, is what did the most to discount sweetness, both as an experience and as a metaphor. (The final insult came with the invention of synthetic sweeteners.) Both the experience and the metaphor seem to me worth recovering, if for no other reason than to appreciate the apple’s former power.
    Start with the taste. Imagine a moment when the sensation of honey or sugar on the tongue was an astonishment, a kind of intoxication. The closest I’ve ever come to recovering such a sense of sweetness was secondhand, though it left a powerful impression on me even so. I’m thinking of my son’s first experience of sugar: the icing on the cake at his first birthday. I have only the testimony of Isaac’s face to go by (that, and his fierceness to repeat the experience), but it was plain that his first encounter with sugar had intoxicated