THE FOREST

The Bee.      P. 52

The selections contained in this volume are such as relate to one subject only—that of country life. But this, in itself, is a very wide sphere, and offers in its many different fields, old and new, all the variety that the most capricious spirit could desire. In collecting the different passages, the editor has allowed herself a wide sweep of the net; it has been her aim to bring together many beautiful passages from the best writers, mingled with others interesting rather from their quaintness and oddity, or their antiquity. With this view, not only have the poets of our own tongue, ancient and modern, English and American, been laid under contribution for the reader’s amusement, but translations from a dozen different languages have also been included in the volume. Materials for a work of this nature abound, and the editor 6would have gladly drawn even more largely from the sources open to her, not only from the older authors, but from many writers of our own day also. It was desirable, however, that the volume should not reach an unwieldy size, as it was intended for pleasant companionship—the summer-seat, under a shady tree, or the chimney corner in winter—rather than for the prouder position allotted to the ponderous quarto on the library shelf. A word of especial apology is perhaps needed, regarding some of our omissions; “Comus,” the “Allegro and Penseroso,” Gray’s “Elegy” and “Ode to Spring,” with other poems of that class, though peculiarly fitted for a compilation of this kind, will not be found in our table of Contents. But they have already been so often printed and misprinted, quoted and misquoted!

In this instance their very absence will serve to recall them to the reader’s memory.

The ancient classical writers of the world are thought to have shown but little sensibility to that natural beauty with which the earth has been clothed, as with a magnificent garment, by her Almighty Creator. Those of their works which have been preserved to us are declared by critics rarely to bear evidence of much depth of feeling of this kind. The German scholars are understood to have been the first to broach this opinion—the first to point out the fact, and to comment on what appears a singular inconsistency.

“If we bear in mind,” says Schiller, “the beautiful scenery with which the Greeks were surrounded, and remember the opportunities possessed by a people living in so genial a climate, of entering into the free enjoyment of the contemplation of nature, and observe how conformable were their mode of thought, the bent of their imaginations, and the habits of their lives to the simplicity of nature, which was so faithfully reflected in their poetic works, we can not fail to remark with surprise how few traces are to be met among them of the sentimental interest with which we in modern times attach ourselves to the individual characteristics of natural scenery. The Greek poet is certainly in the highest degree correct, faithful, and circumstantial in his descriptions of nature, but his heart has more share in his words than if he were treating of a garment, a shield, or a suit of armor. Nature seems to interest his understanding more than his moral perceptions; he does not cling to her charms with the fervor and the plaintive passion of the poet of modern times.”

14This passage of Schiller, quoted in “Cosmos,” is supported by similar observations of M. de Humboldt himself: “Specific descriptions of nature occur only as accessories, for in Grecian art all things are centered in the sphere of human life.” And, again: “The description of nature in its manifold richness of form, as a distinct branch of poetic literature, was wholly unknown to the Greeks. The landscape appears among them merely as the background of the picture, of which human figures constitute the main subject.” Touches of description must of course occasionally occur, and whenever these are found, the harmony of Grecian taste gives them the highest beauty possible. The many noble similes and comparisons scattered through the greater poems, form admirable detached pictures; but they occupy the attention very briefly; a rapid glance is thrown upon the hill, the river, or the wood, rather for the purpose of affording greater relief to the figures in the foreground than of enduing the sketch of these features of the earth with any charm or importance in itself. But it is quite impossible to believe for a moment that the Greeks, so fully alive to the spirit of beauty in all its other forms, should have been blind to its effects in the natural world. Other ways of accounting for the apparent inconsistency must be sought for, and the peculiar character and position of the people would seem to suggest these. It was quite consistent with the condition of the world at that early period, and of the Greeks in particular, that nature and art should not then hold the same relative places which they occupy to-day. Art was still in its youth, and of more importance to them than it is to us. Nature, with all her untold wealth, her unharvested magnificence, lay before them, close at hand, always within reach; there was no fear that she should fail them. But human Art was in its earliest stages of culture; every successive step was watched with most lively interest; every progressive movement became of great importance, while the genius of the Greeks particularly led them to feel extreme delight in every achievement of the kind. In fact, all their highest enjoyments flowed from this source, and into 15this sphere they threw themselves with their whole soul. Whatever susceptibility to the grandeur and beauty of the inanimate creation was felt among them, sought therefore rather to express itself in forms more positive than the voice of song. What, for instance, was the most noble of their temples but the image in Dorian marble of some grand primeval grove, whose gray, columnar trunks they found reflected in the waves of the Ægean Sea? What were the vase, and the vine wreathed about its lip, but the repetition of living forms of fruits and foliage growing in the vale of Tempe, or at the foot of Hymettus? The Greek mind thus beheld the whole external world chiefly through the medium of human Art. An interesting and very striking instance of this peculiarity occurs in the Iliad; no natural object which has a place in the poem—neither the sea nor the skies, neither the streams nor the mountains, all glowing as these were with the purple light of a Grecian atmosphere—could draw from Homer a description filling half the space allotted by him to the shield of Achilles; nay, more, observe that where rural life and its accessories appear the most distinctly in his verse, it is not the reality which he shows us; we do not ourselves tread the brown soil of the freshly-tilled fallow; we do not pass along the one narrow path in the vineyard, amid the purple clusters, but we are called upon to behold these objects—“sight to be admired of all!”—as they lie curiously graven by the hand of Vulcan on the bronze buckler of the hero, where he

Their very religion was but a work of art, a brilliant web of the human imagination, into which, as on the metal of Vulcan, their poets had wrought

where Olympic deities passed to and fro, with grace and spirit unequaled, but moving ever by the springs of the most common 16of human passions. All the inanimate objects of the visible creation had their allotted places in this gorgeous, imaginative tissue, though still appearing under associations purely human. They had, in short, no conceptions of nature independent of man; to them the whole world was but the shield of Achilles.

With the same mythology, the same philosophy as the Greeks, the Romans are admitted to have been essentially plagiarists. They saw the earth, in this sense, with the eyes of the Greeks. Their literature has even been accused of a greater dearth of poetical observation, as regards the natural world, than that of their predecessors. The practical realities of life engrossed their attention more exclusively. A colossal selfishness was their striking national characteristic—a characteristic which was alike the cause, first, of their political prosperity, and later of their downfall. Rome was their deity; to her daily needs, or interests, or pleasures, all was sacrificed; they cared little for the mountains, and forests, and streams of the earth, provided all the wealth and magnificence of these were brought over Roman ways to swell the triumph of the Forum. It has been remarked that Cæsar could pass the Alps, then comparatively an unknown region, without one allusion to their sublime character. Still, a body of men like the great Latin writers could not, of course, exist devoid of susceptibility to the beauty of the inanimate world, and many passages may be drawn from their poems bearing witness to this fact. Although, says M. de Humboldt, there is no individual rural portraiture in the Æneid, yet “a deep and intimate comprehension of nature is depicted in soft colors. Where, for instance, has the gentle play of the waves, or the stillness of night, been more happily described?” The modern reader, however, is still left to wonder that poets so great should not have delighted more frequently in enlarging upon similar topics, and that even in many of their elegiac works social life should so exclusively fill up the space.^[2] We 17should have rather supposed that when the earth stood in her primitive freshness, in the morning of her existence, her wealth of beauty as yet unsung, that the works of the first great poets would have been filled with the simple reflection of her natural glory. But, as we have seen, such was not the case with the writers of Greece or of Rome; and, as we have already ventured to intimate, it would appear that the great intellectual activity of those races, connected with the period of time filled by them, where so wide a field opened in every direction, became in itself a prominent cause of this peculiar deficiency of their literature. Whatever admiration they felt for nature expressed itself in positive forms of art, or in an imaginative system of mythology, rather than in song.

But something of a different spirit appears to have actuated the old Asiatic nations. The ancient Indian races, for instance, were more contemplative in character, and more vivid impressions of natural objects are revealed in their writings. The Sanscrit Hymns, and the heroic poems of the same language, are said to contain fine descriptive passages. “The main subject of these writings,” says M. de Humboldt, speaking of the Sanscrit Vedas, “are the veneration and praise of Nature.” A poem, called “The Seasons”—and one starts at the familiar name—with another work, called “The Messenger of the Clouds,” are full, we are told, of the same spirit; they were written by Kalidasa, a cotemporary of Virgil and Horace. It would have given us pleasure to offer the reader a few fragments from writings so ancient and so interesting; one would have liked to compare a passage from the Sanscrit Seasons with those so celebrated and so familiar from our own language and modern time, but no English versions are found within reach. The fact, however, of this 18characteristic of the Sanscrit poems is placed beyond reasonable doubt by the declarations of many distinguished men of learning, more particularly among the German scholars.

The Chinese, that singular people which for ages have separated themselves from the rest of the earth by impassable barriers of prejudice and mystery, are now found—as glimpses are opening into their interior—to have long shown some partiality for natural beauty. Among other poems, touching more or less upon subjects of this kind, they have one bearing the simple name of “The Garden,” which was written by Seema-kuang, a celebrated statesman, some eight or nine centuries since, and which is said to contain agreeable descriptive passages; the sketch of a hermitage among rocks and evergreen woods, and a fine, extensive water view over one of their great rivers, are especially referred to. Lieu-schew, another ancient writer of theirs, dwells at length on the subject of pleasure-grounds, for which he gives admirable directions, in the English style, at a period when a really fine garden was not to be found in all Northern Europe; a short translation from a passage of his will be found in the following selections.^[3] Gardening, in fact, appears to have been the sphere in which Chinese love of nature has especially sought to unfold itself; that perception of beauty of coloring and of nicety of detail, very general among them, shows itself here in perfection; they have long been great florists, and have delighted in writing verses upon particular flowers and fruit-trees. Garden and song were thus closely connected by them; and if one may judge from brief views received through others, their poetry has very frequently indeed something of a horticultural character. Their busy, practical habits and close inspection of detail would easily incline them in this direction; but as yet nothing grand or very elevated has been given to us by translators.

The Hebrew poets stand alone. Their position is absolutely different from that of all profane writers, and places them at a distance from the usual limits of a mere literary 19comparison. They only, as priests and prophets of the One Living God, beheld the natural world in the holy light of truth. Small as was the space the children of Israel filled among the nations of the earth, the humblest individual of their tribes knew that the God of Abraham was the Lord God of Hosts, and that all things visible were but the works of his hands. “The Lord made the heavens, and the earth, and the sea, and all that in them is;” they bowed the knee to no one object “in the heaven above, or in the earth beneath, or in the water under the earth.” Truth is, of its nature, sublime. No fiction of the human imagination, even in the highest and richest forms which it is capable of assuming, can approach to that majesty which is her inherent prerogative. The views of the earth, open to the children of Israel, had naturally, therefore, a grandeur far beyond what the Greeks, with all the luxuriance of their florid mythology, could attain to. Of this fact—thanks to the translations of the Sacred Writings in the hands of all who speak the English tongue—any one of us is capable of judging; the extreme excellence of the Psalms, merely in the sense of literary compositions, and independently of the far higher claims they have upon mankind, has never failed to impress itself deeply on all minds open to such perceptions. The nineteenth Psalm, with the unequaled grandeur of its opening verses; the twenty-third, with its pastoral sweetness; the hundred and fourth, with the fullness of its natural pictures; the hundred and seventh; the ninety-sixth; the hundred and forty-fifth; the hundred and forty-eighth, with others of a similar character, will recur to every reader. It is generally admitted that, throughout the range of ancient profane writing, nothing has yet been brought to light which can equal these, or other great passages of the Psalms, of the Pentateuch, the Prophets, or the Book of Job. Even for sweetness, also, the old Hebrew writers were very remarkable. The most celebrated author and literary artist of modern Germany, and one little likely to have been influenced on such a subject by warmth of religious feeling, has left it as his written opinion that the Book of Ruth, usually 20attributed to the prophet Samuel, is “the loveliest specimen of epic and idyl poetry which we possess.”^[4] But the history of Jacob and his family, and the personal story of David in all its details, with other episodes easily pointed out, are almost equally full of this beautiful pastoral spirit. The same inspired pens which have dwelt on the grandest events of which time has any knowledge, have not disdained to move the lesser chords of human sympathies and affections. It was the most honored of the Prophets who so nobly recorded the greatest of all physical facts, the creation of light: “And God said, Let there be light, and there was light.” And on the page immediately following, while still occupied in recording the grand successive stages of the creation, he condescends to note that out of the earth “the Lord God made to grow every tree that is pleasant to the sight.” This simple phrase, taken in connection with all its sublime relations of time and place, has a gracious tenderness, a compassionate beneficence of detail which moves the heart deeply; all the delight which the trees of the wood have afforded to men, independently of their uses; the many peaceful homes they have overshadowed; the many eyes they have gladdened; all the festal joys of the race in which their branches have waved, seem to crowd the mind in one grateful picture, and force from our lips the familiar invocation, “O all ye green things upon earth, bless ye the Lord; praise him, and magnify him forever.”

The most ancient writings of the world thus afford evidence that in those remote ages the perception of natural beauty was not wanting in the human heart. Different races and individual men may have varied greatly in giving expression to the feeling. David and Homer, the Indian and the Roman, may have sung in very different tones, but wherever intellectual life was at all active, there some strain, at least, from the great Hymn was heard.

But very early, in what may be called Christian literature, this feeling began to receive a fresh impulse and a new direction. On the same soil, and among the same races, where, 21in the height of heathen civilization it had never received adequate expression, both in Italy and in Greece, the eye of the believer was gradually opening to clearer and more worthy views of the creation.

“Look upward,” says St. Chrysostom, “to the vault of heaven, and around thee on the open fields in which herds graze by the water-side; who does not despise all the creations of art, when, in the stillness of his spirit, he watches with admiration the rising of the sun, as it pours its golden light over the face of the earth; when, resting on the thick grass beside the murmuring spring, or beneath the somber shade of a thick and leafy tree, the eye rests on the far-receding and hazy distance.”

Similar passages may also be gathered from the letters of St. Basil and St. Gregory,^[5] fathers of the Greek Church. And still earlier instances of this Christian view of the earth are quoted from the writings of a Roman lawyer, Minucius Felix, who lived in the beginning of the third century; his evening rambles on the shores of the Mediterranean, in the neighborhood of Ostia, were very feelingly described in pages which have been preserved to our own time. The Christian Church possessed a most rich inheritance in the Hebrew literature; and the constant use of the Psalms of the Temple in her public services would alone suffice to produce in the minds of the people a deep impression of the goodness and majesty of the Divine Creator as revealed in his works. The Canticle of the Three Children, composed before the foundation of Rome, and which from the early ages of Christianity to the present hour has formed a portion of public worship, is an exalted offering of praise with which we are all familiar: “O all ye works of the Lord, bless ye the Lord, praise him and magnify him forever!” And in the sublime anthem of the Te Deum we have another earnest, unceasing expression of a feeling inseparable from Christianity: “We praise thee, O God, we acknowledge thee to be the Lord. Heaven and 22earth are full of the majesty of thy glory!” It is, indeed, revealed truth only which has opened to the human mind views of the creation at all worthy of its dignity. It is from her teaching that we learn to appreciate justly the different works of the Deity, in their distinctive characters, to allot to each its own definite position. There is no confusion in her views. She shows us the earth, and the creatures which people it, in a clear light. She tells us positively that all things are but the works of His holy hands—the visible expression of an Almighty wisdom, and power, and love; and as she speaks, the idle phantoms of the human imagination, the puerile deities of the heathen world, the wretched fallacies of presumptuous philosophy vanish and flee away from the face of the earth, like the mists and shadows of night at the approach of the light of day. Not one of the thousand banners of idolatry, whether unfurled on the mountain-tops, or waving in the groves, or floating on the streams, but falls before her. She points out to man his own position, and that of all about him; he is lord of the earth and of all its creatures. The herb of the field, the trees of the wood, the fowls of the air, the fishes of the sea—every living thing that moveth upon earth—all have been given into his hand—all are subject to his dominion—all are the gifts of Jehovah.

But, ere time had enabled Christian civilization and its ennobling lessons to make any positive progress, or to produce any lasting impression on the character of general literature, the Empire was overwhelmed by races wholly barbarous. A period of darkness and disorder ensued, during which the very art of writing seems to have been all but forgotten. A few rude, unfinished sketches were all that could be expected from such an age, and in these man himself would naturally engross the attention. In societies only half civilized, man, as an individual, must always fill a bolder and more prominent position than in those where order, and knowledge, and truth are more widely diffused; he has in such a state of things far greater power for evil over his fellows; every step becomes of immediate importance, for it is associated with a thousand perils; 23every turn of private passion, unchecked by vital vigor of law or religion, may work out a fatal tragedy, and consequently the individual, either as tyrant, or victim, or champion, excites unceasing fear and flattery, or pity and commiseration, or gratitude and admiration. Wild legends, now warlike, now religious in spirit, naturally belonged to those centuries. No doubt the birds of heaven sang, and the flowers of the field bloomed in those ages; but we have scanty record of their existence; the eye of man was fixed on darker objects; his ear was filled with fiercer sounds.

Slowly, however, civilization and social order—those natural accessories of the Christian faith—were making progress; but the most striking efforts of reviving intelligence at this period did not assume the shape of letters. That latent poetical spirit, never wholly extinct in the human heart, sought for development during those ages through other channels. Under the hand of the religious architect, pious, though lamentably superstitious, the dignity of the forest was once more embodied in novel and imposing labors of art; scarce a fine effect of the branching woods which was not successfully repeated with great richness of detail in Gothic stone. The beauty of the vegetation, in its noblest forms, must have been deeply impressed on the hearts of the men who, with Teutonic patience, raised those magnificent piles. Every American familiar with the beautiful and varied effects of old forests of blended growth, where fir and pine cross their evergreen branches amid the lighter tracery of deciduous trees, may have often noted some single fir, rising tall and spire-like far above the lesser grove, into the light of sun and star; some similar evergreen, rooted in the soil of Europe, was doubtless the original of that most beautiful of Christian architectural forms, the church spire of the Middle Ages:

24It was about the time when those mediæval churches were rising from the towns of central Europe—slow in their stately growth as the forest whence their forms were drawn—that Troubadour and Trouvère, Minstrel and Minnesinger, began their wanderings in the same region; and amid the strange medley of human passion and religious superstition to which they gave utterance, some strains of great natural sweetness were heard. It was then that the returning cuckoo was greeted in England with song:

It was then that merle and mavis, nightingale and lark, were saluted with responsive music by the listening poet; it was then that daisy and lily, la douce Marguerite and the Flower of Light, were so fondly cherished and so highly honored; it was then that the May-pole was raised in the castle court and on the village green, and that high and low, like Arcite, hurried afield on May-day morning “for to fetch some grene.” It was then, in short, that the blossoms and the fowls of Europe were first sung in the modern dialects of the people.

Those old wandering minstrels, troubadour and minnesinger, were, in fact, the heralds of reviving letters; they struck the first sparks of national, indigenous literary feeling in its modern forms. It was from them that Petrarch and Dante learned to speak the language of the living, rather than that of the dead. It was from their example that those great poets took, what was then a very daring step, and, rejecting the Latin, chose their native language as a medium of compositions of the highest order. How they succeeded, the whole world knows; and among the writings of those great Italian masters there are very beautiful descriptive passages, a few of which, in the form of translations, may be found in the later pages of this volume.^[7]

Fortunately for all who speak the English tongue, Chaucer, 25“the morning star” of British verse, as he has been hailed by Denham, followed in the track of the Italian poets; the fountains of his inspiration flowed fresh and full from his native soil. How keenly alive was he to every detail of natural beauty in the green fields of England; to the sweetness and freshness of the opening daisy; of the growing grass; of the unfolding leaf, with its “glad, light green!” He was followed by others with the same happy instincts, and a love of nature was thus infused into the earliest literature of our language. All the great poets of the sixteenth, and those of the best years of the seventeenth centuries, were more or less under the influence of this spirit—Shakspeare, Jonson, Spenser, Drayton, the Fletchers, Milton, Cowley, Denham, Dryden, Walker, Herbert, Herrick. How long is the noble roll of names of that period, who have all contributed something to our wealth in this way! There came a moment, however, when a colder and more artificial style acquired in England the same influence which long proved so paralyzing in France, when poets were content to copy those who had preceded them; when they trod the London pavement and the coffeehouse floors much more frequently than the narrow paths about the fields. Mr. Wordsworth has remarked, that during a period of sixty years, between the publication of “Paradise Lost” and that of the “Seasons,” all the poetry of England, with the exception of a passage or two, does not contain “a single new image of external nature.” Poets were courtiers in those times, or they aimed at becoming so; they prided themselves upon a neatly turned compliment, upon a farfetched dedication; they were wits—they were pretty fellows about town; like Horace Walpole’s lively old friend, Madame du Deffand, they could very conscientiously avow, “Je n’aime pas les plaisirs innocents!”

Mr. Wordsworth dates the dawn of the modern era in poetry from the appearance of the “Seasons,” which were first published in the year 1726. A single great work will no doubt often produce surprisingly general effects in the literary world, when the atmosphere is prepared for it. And such 26was the case when Thomson wrote. Many different influences were gradually combining to work out the same result. A high degree of general education, in connection with the prevalence of Christian religious truth, must always naturally dispose the mind to a more just appreciation of the works of the Deity, as compared with the works of man. The wider our views of each, the higher will be our admiration of the first. We say general civilization, however; for where the advantages of education are confined to a small class, that class will usually be found only in the large towns of a country, and its tastes and habits will therefore necessarily be more or less artificial. The rustic population, in such a state of things, will be rude, coarse, and deemed only fit for ridicule and burlesque. The poet of such a period has no sooner tried his strength, than he is eager to turn his back on the fields; he hurries “to town,” to the center of all enlightenment, and soon becomes metamorphosed into a cockney or a courtier. In their day Paris and London have probably thus swallowed up many a man of genius, country born and country bred, who, had he remained in his native haunts, could never have failed in real honest feeling for that natural beauty which, like the mercy of God, is new every morning. Had Cowper lived all his days in Bond Street he never could have written the “Task.” Conceive a man like Crabbe, or Burns, transported for life to Grub Street, and imagine what would be the inevitable effects of the change on a spirit like theirs. But a general diffusion of civilization produces an entirely different state of things. An intellectual man may now live most of his days in the country without disgrace and without annoyance. He may read and he may write there with pleasure and with impunity. A wide horizon for observation opens about him to-day in the fields, as elsewhere. Science, commerce, painting, sculpture, horticulture—all the higher arts, in fact—are so many noble laborers hourly toiling for his benefit, as well as for that of the townsman. General education is also daily enlarging the public audience, and thus giving more healthful play to diversity of 27tastes. No single literary class is likely, in such a state of things, to usurp undue authority over others—to impose academical fetters on even the humblest of its cotemporaries. Whatever is really natural and really worthy, may therefore hope in the end for a share of success. But we conceive that it would still be possible for all these circumstances to unite in favoring the literature of the age, without leading it into those views of the natural world which have so decidedly marked its course in our own day, without producing at least results so striking, a change so marked. It is, we believe, the union of Christianity with this general diffusion of a high degree of civilization which has led us to a more deeply felt appreciation of the works of the creation. It has always been from lands blessed with the light of revealed truth that the choir of praise has risen with the greatest fullness. And it would be easy, also, to prove that those individual writers who have sung the natural beauty of the earth with the greatest fervor of feeling and truth of description have been more or less actuated by a religious spirit. Take as examples the poets of our own language; how many of those who have touched upon similar subjects were moved by what may be called Christian impulses? Go back as far even as Chaucer and Dunbar, Shakspeare and Spenser, Milton and Fletcher; if these were not all what is called religious men, yet the writings of even Chaucer and Shakspeare, though tainted with the grossness of their times, were the works of believing Christian hearts. If we look nearer to our own day, from the period of Thomson and Dyer to the present hour, the fact is self-evident, and needs no repetition of names. There have been instances, no doubt, among the greater English poets of the last fifty years, where success in natural description has been combined with an avowed or implied religious skepticism. But no man can be born and bred in a Christian community, taught in its schools, governed by its laws, educated by its literature, without unconsciously, and, as it were, in spite of himself, imbibing many influences of the prevailing faith. Even the greatest English poets of 28the skeptical school are forced to resort to what appears to the reader a combination of an imperfect, enfeebled Christianity with an incomplete and lifeless Paganism. Their views of the material world almost invariably assume a Greek aspect; and we must adhere to the opinion, that, in spite of their florid character, their grace of outline, their richness of detail, these fall unspeakably, immeasurably short of the grandeur, the healthful purity, the living beauty, the power and tenderness of feeling which belong to revealed truth. With the Greek, as with so many others, man was, more or less palpably, the great center of all. Not so with the Christian; while Revelation allots to him a position elevated and ennobling, she also reads him the lowliest lessons. No system connects man by more close and endearing ties, with the earth and all its holds, than Christianity, which leaves nothing to chance, nothing to that most gloomy and most impossible of chimeras, fate, but refers all to Providence, to the omniscient wisdom of a God who is love; but at the same time she warns him that he is himself but the steward and priest of the Almighty Father, responsible for the use of every gift; she plainly proclaims the fact, that even here on earth, within his own domains, his position is subordinate. The highest relation of every created object is that which connects it with its Maker: “For thy pleasure they are, and were created!” This sublime truth Christianity proclaims to us, and there is breadth enough in this single point to make up much of the wide difference between the Christian and the heathen poet. And which of these two views is the most ennobling, each of us may easily decide for himself. Look at the simple flower of the field; behold it blooming at the gracious call of the Almighty, beaming with the light of heavenly mercy, fragrant with the holy blessing, and say if it be not thus more noble to the eye of reason, dearer to the heart, than when fancy dyed its petals with the blood of a fabled Adonis or Hyacinthus? Go out and climb the highest of all the Alps, or stand beside the trackless, ever-moving sea, or look over the broad, unpeopled prairie, and tell us whence 29it is that the human spirit is so deeply moved by the spectacle which is there unfolded to its view. Go out at night—stand uncovered beneath the star-lit heavens, and acknowledge the meaning of the silence which has closed your lips. Is it not an overpowering, heartfelt, individual humility, blended with an instinctive adoration or acknowledgment in every faculty of the holy majesty of the One Living God, in whom we live, and move, and have our being? And where, at such a moment, are all the gods with which Homer peopled his narrow world? An additional sense of humiliation for the race to which we belong, and which could so long endure fallacies so puerile, weighs on the spirit at the question, and with a greater than Homer we exclaim: “O worship the Lord in the beauty of holiness; let all the earth stand in awe of Him!”

A distinguished living poet of England, Mr. Keble, has a very pleasing theory in connection with this subject. In his view, the three great divisions of poetry belong naturally to three successive periods of the world: the epic flows from the heroic youth of a race; the drama, with its varied scenes and rival interests, from the ambitious maturity of middle age; while, as civilization advances farther in the cycle of time, the human heart oppressed with the strife of passion, the eye wearied with the restless pageant of vanity, turn instinctively to more simple and more healthful sources of enjoyment, and seeking refreshment from the sweetness and beauty of the natural world, give expression to the feeling in the poetry of rural life. In this sense the verse of the fields—the rural hymn—becomes the last form of song, instead of being the first. Something similar to this has doubtless often been the course of individual life; many of the greatest minds and best hearts of our race have successively gone through these different stages—the aspiring dream of youthful enthusiasm, the struggle in the crowded arena of life, and the placid calm of thoughtful repose and voluntary retirement under the shade of the vine and the fig-tree. Happy will it be for the civilized world, for these latter ages of the earth, if such should 30indeed prove the general course of the race! Most happy will it be for us, the latest born of the nations, we who belong to the aged times of the world, if such should be our own direction!

Probably there never was a people needing more than ourselves all the refreshments, all the solace, to be derived from country life in its better forms. The period at which we have arrived is rife with high excitement; the fever of commercial speculations, the agitation of political passions, the mental exertion required by the rapid progress of science, by the ever-recurring controversies of philosophy, and, above all, that spirit of personal ambition and emulation so wearing upon the individual, and yet so very common in America, all unite to produce a combination of circumstances rendering it very desirable that we should turn, as frequently as possible, into paths of a more quiet and peaceful character. We need repose of mind. We need the shade of the trees and the play of healthful breezes to refresh our heated brow. We need the cup of water, pure from the spring, to cool our parched lips; we need the flowers, to soothe without flattery; the birds, to cheer without excitement; we need the view of the green turf, to teach us the humility of the grave; and we need the view of the open heavens, to tell us where all human hopes should center.

Happily, in spite of the eagerness with which our people throw themselves upon every rallying point of excitement, they are by no means wanting in feeling for a country life. It is true they delight in building up towns; but still, a large portion of those who have a choice look forward to some future day when a country roof shall cover their heads. They hurry to the cities to grow rich; but very many take pleasure in returning at a later hour to their native village, or at least put up a suburban cottage, with a garden and grass-plat of their own. The rural aspect which has been given to our villages and smaller country towns, and which is often preserved with some pains—the space between the buildings, the trees lining the streets and shading every wall, with the 31little door-yard of flowers—all these are evidences of healthful instincts. But another, and very striking proof of the existence of the love of nature in our people may be found in the character of American verse. A very large proportion of the poetical writing of the country partakes of this spirit; how many noble passages, how many pleasing lines, will immediately recur to the mind as the remark suggests itself; scarce a poet of note among us who has not contributed largely to our national riches in this way; and one often meets, in some village paper or inferior magazine, with very pleasing verses of this kind, from pens quite unknown. Probably if an experienced critic were called upon to point out some general characteristic of American poetry, more marked than any other, he would, without hesitation, declare it to be a deeply-felt appreciation of the beauty of the natural world.

But although as a people we have given ample evidence of an instinctive love of nature, yet we have only made a beginning in these pleasant paths. There still remains much for us to do. This natural taste, like all others, is capable of much healthful cultivation; it would be easy to name many steps by which, both as individuals and as communities, it lies in our power to advance the national progress in this course; but to do so would carry us beyond the limits allotted to our present task. It is hoped, however, that we may be forgiven for detaining the reader a moment longer, while we allude at least to one view of the subject which is not altogether without importance. The social condition of Christendom has, in many respects, very materially changed within the last fifty years. Town and country no longer fill what for ages seemed the unalterable relative position of each. A countryman is no longer inevitably a boor, nor a townsman necessarily a cockney; all have, in their turn, trod the pavement and the green turf. This is especially the case in America; the life, the movement in which our people delight, is constantly bringing all classes into contact, one with another, and diffusing the same influences throughout the entire population. Something of that individuality which gives interest and variety to the face 32of society is lost in this way; but, on the other hand, we gain many facilities for general improvement by these means. The interchange between town and country has become rapid, ceaseless, regular, as the returns of dawn and dusk. But yet, in spite of the unbroken communication, the perpetual intermingling, there still remains to each a distinctive, inalienable character; the moving spirit of the town must always continue artificial, while that of the country is, by a happy necessity, more natural. We believe that the moment has come when American civilization may assume, in this respect, a new aspect. The wonderful increase of commercial and manufacturing luxury, which is characteristic of the age, must inevitably produce a degree of excess in the cities; all the follies of idle ostentation and extravagant expenditure will, as a matter of course, flourish in such an atmosphere, until, as they expand right and left, they overshadow many things of healthier growth, and give a false glare of coloring to the whole society which fosters them. There are many reasons why our own towns are especially in danger from this state of things; they have no Past; they lack Experience; Time for them has no individual teachings beyond those of yesterday; there are no grave monuments of former generations standing in the solemn silence of a thousand warning years along their streets.

33Probably there never has been a social condition in which the present is more absolutely absorbing, more encroaching, in fact, than in our American towns. The same influences may extend into the country; but it is impossible for them to be equally powerful in the open fields, where they are weakened by the want of concentration, and by many counteracting circumstances. The situation of the countryman is in this sense favorable; he is surrounded by great natural teachers, by noble monitors, in the works of the Deity; many are the salutary lessons to be learned on the mountain-tops, within the old groves beside the flowing stream. The everlasting hills—the ancient woods—these are his monuments—these tell him of the past, and not a seed drops from his hand but prophesies of the future. The influences which surround the countryman are essentially ennobling, elevating, civilizing, in fact. Strange as the remark might have appeared a hundred years ago, we shall venture deliberately to repeat it at the present hour: We conceive that the spirit which pervades country life to-day, to be more truly civilizing in its nature than that which glitters in our towns. All that is really desirable of the facilities of life may now be readily procured in the fields, while the excesses of luxury and frivolous fashion are more easily avoided there. Many different elements are blended in the composition of true elegance, and some of these are of a very homely, substantial nature; plain common sense, and even a vein of sterner wisdom are requisite; that moderation which avoids excess is absolutely indispensable; order and harmony of combination are needed; dignity and self-respect are essentials; natural feeling must be there, with all its graceful shades of deference and consideration for the rights and tastes of others; intellectual strength, which has no sympathy with the merely vapid and frivolous, is a matter of course; and while cheerfulness and gayety, easy and unforced as the summer breezes, should not fail, yet a spirit of repose is equally desirable; it is evident, also, that a healthful moral tone is requisite, since, where this is wanting, the semblance of it is invariably assumed; and to all these must be added that high finish of culture which years and reflection can alone give. What element is there among these which may not be readily fostered in country life? On the other hand, that very concentration which was formerly so favorable to the progress of the towns, is now producing injurious effects by leading to excesses, and perversion of healthful tastes. The horizon of the townsman becomes fictitiously narrowed; he needs a wider field for observation—greater space for movement—more leisure for reflection. He learns to attach too much importance by far to the trappings of life; he has forgotten, in short, the old adage: “Non è l’abito che fà il monaco!” It can scarcely, therefore, be an error of judgment to believe that while in past generations the 34country has received all its wisdom from the town, the moment has come when in American society many of the higher influences of civilization may rather be sought in the fields, when we may learn there many valuable lessons of life, and particularly all the happy lessons of simplicity.

This charming fairy tale of Chaucer has never yet, it is believed, been reprinted entire in America. The poem, complete, in its quaint, original garb, has been placed among these selections with the hope that its intrinsic beauty and its rarity may alike prove sources of interest to the reader. Unfortunately there is much of Chaucer which will not bear to be generally read—much against which we are justly cautioned. But the grossness with which he is reproached must have been rather the fault of the age to which he belonged, than of the man himself, for the passages open to us are full of sweetness and delicacy, so fresh and original, so quaintly fanciful, so altogether delightful, that one can never cease to deplore that all his pages should not be equally fair and clean. Here, however, we have a complete work of the old master quite free from objection; in this instance the delicacy of the fancy appears to have shielded him from the prevailing coarseness 36of the period in which he wrote. The uncouth old spelling need not deprive any one of the pleasure of enjoying the poem, as a few minutes’ practice will accustom the eye and the ear to the strangeness of the orthography and rhythm. It would have been very easy to obviate those last obstacles entirely by giving the reader Dryden’s version, instead of the original; but there are a thousand charming touches in Chaucer quite peculiar to himself, and which Dryden, with all his higher polish, could never really improve. Every original work of a man of genius, even when imperfect and faulty, must always possess a life and reality which no imitation, even the most finished, can hope to equal; and in this, as in every other instance, we have preferred carrying our bucket to the fountain head. Let us hope the reader will enjoy the draught offered to him from

THE FLOWER AND THE LEAF.

A gentlewoman out of an arbour in a grove, seeth a great companie of knights and ladies in a daunce upon the greene grasse: the which being ended, they all kneele downe, and do honour to the daisie, some to the flower, and some to the leafe. Afterward this gentlewoman learneth by one of these ladies the meaning hereof, which is this: They which honour the flower, a thing fading with every blast, are such as looke after beautie and worldly pleasure. But they that honour the leafe, which abideth with the root, notwithstanding the frosts and winter stormes, are they which follow vertue and during qualities, without regard of worldly respects.

“A bee among the flowers in spring is one of the cheerfullest things that can be looked upon. Its life appears to be all enjoyment: so busy, and so pleased.” Any one who has wandered about the fields during the warmer months will assuredly agree with this opinion of Paley. The very hum of the bee, as it flies past us on its pleasant errand, in quest of some sweet flower, or returning with its dainty load, is one of the most cheery of the voices of summer. The movement of the little creature, also, is full of meaning, and attracts the eye as curiously characteristic of its nature; it generally flies in lines more or less direct; we see here nothing of the idle, roaming, vagrant flutter of the gaudy butterfly, and nothing of the doubtful, hesitating, over-cautious pause of the plodding ant. The instincts of the bee are all lively and vigorous; it seems conscious that wherever grass grows, there some blossom will be found to reward its search, and it moves steadily 53onward until a head of clover, or perchance a prouder flower, offers the precious drop. And, alighting to gather its grateful harvest, how skillfully its work is carried on; other insects may show as much cleverness in attaining their end, but there are few indeed which accomplish their task so pleasantly. The wise little bee does no mischief; no violence marks her labors; the freshness of the flower remains unsullied by her passage; she leaves the gay petals and the green foliage alike uninjured; no plant suffers from her visits! There is nothing unsightly, nothing repelling or painful in any of her measures; all is order, nicety, and harmony. If we may believe Milton, to watch the bee at her task was a pleasure worthy of Paradise. Adam, when he awakens Eve, invites her to prune her vines, to prop her flowers, and to mark

As a poetical accessory of rural life, the bee was much honored by the ancient writers, receiving at their hands far more notice than has fallen to her share in later times. The reader is already aware that the Fourth Georgic of Virgil, relating wholly to bees, takes the first rank among the most beautiful and perfect of Latin poems. Extracts from Sotheby’s translations of this Georgic are given among the following Selections. It is amusing to note some of the errors and misconceptions of the master regarding the habits of those little creatures; and yet it is generally admitted, that from the great attention paid to them, the ancients had more correct notions regarding the bee than on any other subject of natural history.

ON A BEE’S NEST.

MANAGEMENT OF BEES.

FROM SHAKSPEARE.

THE DRONE.

The drone is a gross, stingless bee, that spendeth his time in gluttony and idleness; for howsoever he brave it with his round, velvet cap, his side gown, his full paunch, and his loud voice, yet is he but an idle companion, living by the sweat of others’ brows. He worketh not at all, either at home or abroad, and yet spendeth as much as two laborers; you shall never find his man without a good drop of the purest nectar. In the heat of the day he flieth abroad, aloft, and about, and that with 60no small noise, as though he would do some great act; but it is only for his pleasure, and to get him a stomach, and then returns he pleasantly to his cheer.

MEMORY OF THE BEE.

THE DEATH OF THE BEE.

Phys. * * * Let me now call your attention to that Michaelmas daisy. A few minutes ago, before the sun sunk behind the hill, its flowers were covered with varieties of bees, and some wasps, all busy in feeding on its sweets. I never saw a more animated scene of insect enjoyment. The bees were most of them humble-bees, but many of them new varieties to me, and the wasps appeared different from any I have seen before.

Hal. I believe this is one of the last autumnal flowers that insects of this kind haunt. In sunny days it is their constant point of resort, and it would afford a good opportunity to the entomologist to make a collection of British bees.

Poict. I neither hear the hum of the bee, nor can I see any on its flowers. They are now deserted.

Phys. Since the sun has disappeared, the cool of the evening has, I suppose, driven the little winged plunderers to their homes; but see! there are two or three humble-bees which seem languid with the cold, and yet they have their tongues still in the fountain of honey. I believe one of them is actually dead, yet his mouth is still attached to the flower. He has fallen asleep, and probably died while making his last meal of ambrosia.

62

Giles Fletcher is one of the old English poets but little known to the general reader in America. And yet he was the author of a poem of high merit. He was born about twenty years after Shakspeare, or in 1588, and came of a family marked by great poetical talent. John Fletcher, the celebrated dramatist and fellow-laborer of Beaumont, was a cousin, and it was his elder brother, Phineas Fletcher, who wrote “The Purple Island,” that singular and elaborate poetical allegory, carried out through twelve cantos, and relieved by much occasional beauty of thought and style. The father also, Dr. Giles Fletcher, has been ranked among the good poets of his day. The only work of Giles Fletcher, the son, which has been published, is of a religious character, “Christ’s Victory and Triumph,” a poem in four parts. It has never been reprinted entire in America, though full of fine passages, and marked throughout with originality and beauty. The 63subjects are of course very much of the same nature as those of “Paradise Regained;” a comparison of the two poems, however, by no means diminishes our admiration for the work of Fletcher, especially when we bear in mind that he wrote half a century before Milton. In fact, “Christ’s Victory and Triumph” was, at the time it appeared, the finest sacred poem of any length in our language; it is full of a jubilant poetical eloquence and the earnest expression of strong religious feeling connected with the subject. Giles Fetcher, like his brother Phineas, was a clergyman of the Church of England, and led an uneventful life in his country parish of Alderton, Suffolk, where he died in 1623.

A description of Spring at Easter will, it is hoped, give the reader pleasure.

THE RETURN OF SPRING IN GREECE.

DESCRIPTION OF SPRING.

ON SPRING.

SONNET ON SPRING.

SPRING, AT EASTER.

RETURN OF SPRING.

ODE TO SPRING.

THE FLOWER.

TO SPRING.

TO SPRING.

ODE.

80

The morning song of Bellman, commencing, “Up, Amaryllis!” is one of the most celebrated of the lyrical poems of Sweden. We are told that nothing can exceed the enthusiasm with which it is sung in that country by high and low, old and young, alike. The translation inserted in the ensuing pages has been taken from the interesting work of the Howitts, on the “Literature of Northern Europe.”

MORNING MELODIES.

MORNING WALK.

HYMN.

MORNING.

THE MORNING WALK.

DANISH MORNING SONG.

SUMMER MORNING SONG.

91

The voices of these two noblest of the singing-birds of the Old World may be heard, in echoing accompaniment, throughout the prolonged choir of European poets, from the earliest dawn of civilization to the present hour. There are few poems of any length, in either of the languages of Europe, in which some allusion to one or the other has not a place. The noblest poets of the earth were born companions to these birds; beneath skies saluted by the lark, among groves haunted by the nightingale. These little creatures sung with Homer and Sappho among the isles of Greece—for Virgil and Horace on the plains of Italy; they cheered Dante in his lifelong wandering exile, and Petrarch in his solitary hermitage. Conceive also the joy with which Chaucer, and Shakspeare, and Spenser listened, each in his day, among the daisied fields of England, to music untaught, instinctive like their own! What pure delight, indeed, have these birds not given 92to the heart of genius during thousands of springs and summers! How many generations have they not charmed with their undying melodies! They would almost seem by their sweetness to have soothed the inexorable powers of Time and Death. Were an old Greek or an ancient Roman to rise from the dust this summer’s day—were he to awaken, after ages of sleep, to walk his native soil again, scarce an object on which his eye fell would wear a familiar aspect; scarce a sound which struck his ear but would vibrate there most strangely; yet with the dawn, rising from the plain of Marathon, or the Latin Hills, he would hear the same noble lark which sung in his boyhood; and with the moon, among the olives and ilexes shading the fallen temple, would come the same sweet nightingale which entranced his youth.

THE NOTE OF THE NIGHTINGALE.

Dear Grey—In defense of my opinion about the nightingales, I find Chaucer—who of all poets seems to have been the fondest of the singing of birds—calls it a merry note; and though Theocritus mentions nightingales six or seven times, he never mentions their note as plaintive or melancholy. It is true he does not call it anywhere merry, as Chaucer does, but by mentioning it with the song of the blackbird, and as answering it, he seems to imply that it was a cheerful note. Sophocles is against us; but he says, “lamenting Itys,” and the comparison of her to Electra is rather as to perseverance, day and night, than as to sorrow. At all events, a tragic poet is not half so good authority in this question as Theocritus and Chaucer. I can not light upon the passage in the “Odyssey,” where Penelope’s restlessness is compared to the nightingale, but I am sure it is only as to restlessness that he makes the comparison. If you will read the last twelve books of the “Odyssey” you will certainly find it, and I am sure you will be paid for your hunt, whether you find it or not. The passage in Chaucer is in the “Flower and Leaf.” The one I particularly allude to in Theocritus is in his “Epigrams,” I think in the fourth. Dryden has transferred the word merry to the goldfinch, in the “Flower and the Leaf”—in deference, may be, to the vulgar error. But pray read his description of the nightingale there; it is quite delightful. I am afraid that I like these researches as much better than those that relate to Shaftesbury and Sunderland, as I do those better than attending the House of Commons.

SONNET.

THE NIGHTINGALE.

ODE TO A NIGHTINGALE.

THE NIGHTINGALE.

Translation of Dr. Bowring.

THE NIGHTINGALE.

THE MOTHER NIGHTINGALE.

THE NIGHTINGALE.

NEST OF THE NIGHTINGALE.

THE NIGHTINGALE.

THE LARK.

FROM THE “COMPLETE ANGLER.”

At first the lark, when she means to rejoice, to cheer herself and those that hear her, she then quits the earth, and sings as she ascends higher into the air; and having ended her heavenly employment, grows 104then mute and sad, to think she must descend to the dull earth, which she would not touch but for necessity,

How do the blackbird and throssel, with their melodious voices, bid welcome to the cheerful spring, and in their fixed mouths warble forth such ditties as no art or instrument can reach to!

Nay, the smaller birds also do the like in their particular seasons, as, namely, the laverock, the titlark, the little linnet, and the honest robin, that loves mankind, both alive and dead.

But the nightingale—another of my airy creatures—breathes such sweet, loud music out of her little instrumental throat, that it might make mankind to think miracles are not ceased. He that at midnight, when the very laborer sleeps securely, should hear—as I have very often—the clear airs, the sweet descants, the natural rising and falling, the doubling and redoubling of her voice, might well be lifted above earth, and say, “Lord, what music hast thou provided for the saints in heaven, when thou afforded bad men such music on earth?”

TO THE SKYLARK.

A LARK SINGING IN A RAINBOW.

THE SKYLARK.

THE MOORS OF JUTLAND.

THE RISING OF THE LARK.

For so have I seen a lark rising from his bed of grass, and, soaring upward, sing as he rises, and hopes to get to heaven, and climb above the clouds; but the poor bird was beaten back with the loud sighings of an eastern wind, and his motion made irregular and inconstant, descending more and more at every breath of the tempest than it could recover by the libration and frequent weighing of his wings; till the little creature was forced to sit down and pant, and stay till the storm was over, and then it made a prosperous flight, and did rise and sing, as if it had learned music and motion from an angel, as he passed sometimes through the air about his ministries here below: so is the prayer of a good man.

LARK.

What, alas! will become of those luckless wights—the future poets of Caffreland and New Zealand, of Patagonia and Pitcairn’s Island—when they suddenly awake to the miserable reality that there is no May in their year. May! The very word in itself is charming; pleasing to the eye, falling sweetly on the ear, gliding naturally into music and song, dowered with innumerable images of beauty and delight, imaginary bliss, and natural joy. What, we ask again, will be the melancholy consequences to the southern hemisphere when they become fully conscious that they have lost the “merry month,” the “soote season,” from their calendar—that with them January must forever linger in the lap of May. Conceive of Hottentot elegies and Fejee sonnets enlarging upon the balmy airs and soft skies of November; raving about the tender young blossoms of December, and the delicate fruits of January. Will the world ever become really 112accustomed to such a change of key? We doubt it. After all, there is something in primogeniture; it naturally gives all the honors of precedence. Those writers who first caught the ear of the listening earth will always have the best of it; their successors must fain be content to yield a certain homage to long-established privileges. It will be a great while yet—at least a thousand years or so—before the Dryden of Port Sidney or the Camoens of Paraguay shall venture to say hard things of May!

MAY MORNING.

EMILIA ON MAY DAY.

SONG

MAY.

SONG.

MAY.

Dyer’s poem of “The Fleece,” though little read now-a-days, has found warm admirers among the great poets of England. Akenside once remarked that he should regulate his opinion of the public taste by the reception of “The Fleece;” for if it were not to succeed, “he should think it no longer reasonable to expect fame from excellence.” And Mr. Wordsworth appears to have been very much of the same opinion:

120Dyer is one of those writers whose higher efforts have been little heeded, while his lesser works have been much liked. “Grongar Hill” and “The Country Walk” have been always read with pleasure, while the “Ruins of Rome” and “The Fleece” lie on the shelf unopened. The saucy critic, who on hearing, shortly after the publication of “The Fleece,” that Dyer was growing old, exclaimed, “He will be buried in woolen!” has proved at least a true seer. The world never forgives a man of approved talent, who, having once fixed its attention agreeably, fails in some higher and later aim. The game of authorship is, in this sense, like many other games, where, if the last throw is a blank, you lose all that has been previously won from the pool of fame and fortune. The public has very little patience. But, on the other hand, we can not always adhere implicitly to the opinion of some wiser judge, though he be of the higher court, who may desire to revoke the earlier general decision. The literary man usually makes up his mind regarding a book upon very different grounds from the general reader; the public decides rapidly, from first impressions, from general views; it has neither time nor ability to waste on analysis; the critic delights in looking very closely at his subject, and his enjoyment of perfection of detail is often too great. The public is, no doubt, the best judge of the interest of a work, since it considers little else. The man of letters holds the best gauge of talent; he appreciates more justly excellency of workmanship and accuracy of finish. But a really great book is not written for one class only—it should satisfy the best of all classes; it must have more than one kind of merit—it must possess interest for the careless reader, skill and good workmanship for the critic, power and inspiration to strike the spark from kindred genius. There is quite a large class of poetical works especially, which, while they meet with more or less approbation from the critic, fail to please generally; they lack interest; the writer has had talent enough to introduce much that is good, or, perhaps, even admirable passages, at intervals; but he has not been endowed 121with the genius which grasps, and controls, and shapes, and vivifies every subject which it handles. Among this class may be placed “The Fleece.” The writer, John Dyer, was a Welshman of respectable parentage, born in 1700, who first studied law, then became a painter, and finally took orders in the Church of England. The extract we have given from “The Fleece” scarcely does justice to the merits of the poem, but we have selected it from its predictions regarding our own country; not only do Virginia and Massachusetts appear on the scene, but even California figures in these verses, written more than a hundred years ago.

ON A RURAL IMAGE OF PAN.

PASTORAL SCENE FROM “THE ARCADIA.”

There were hills which garnished their proud heights with stately trees; humble valleys whose base estate seemed comforted with the refreshing of silver rivers; meadows enameled with all sorts of eye-pleasing flowers; thickets which, being lined with most pleasant shade, were witnessed so by the cheerful disposition of many well-tuned birds; each pasture stored with sheep feeding with sober security, while the pretty lambs, with bleating oratory, craved the dam’s comfort; here a shepherd’s boy piping, as though he should never be old; there a young shepherdess knitting, and withal singing, and it seemed that her voice comforted her hands to work, and her hands kept time to her voice-music.

THE SHEPHERD’S LIFE.

THE SHEPHERD’S ADDRESS TO HIS MUSE.

SHEARING TIME.

Is a countrey wench, that is so farre from making her selfe beautifull by art, that one looke of hers is able to put all face physicke out of countenance. She knowes a faire looke is but a dumbe orator to commend 129virtue, therefore minds it not. All her excellencies stand in her so silently, as if they had stolne upon her without her knowledge. The lining of her apparall (which is her selfe) is farre better than outsides of tisseu; for though she be not arraied in the spoile of the silke-worme, shee is deckt in innocency, a farre better wearing. She doth not, with lying long abed, spoile both her complexion and conditions. Nature hath taught her too immoderate sleepe is rust to the soule; she rises, therefore, with chaunticleare, her dame’s cock, and at night makes the lambe her curfew. In milking a cow, a-straining the teats through her fingers, it seems that so sweete a milk-presse makes the milk the whiter or sweeter; for never came almond glove, or aromatique oyntment on her palme to taint it. The golden eares of corne fall and kisse her feet when she reapes them, as if they wisht to be bound, and led prisoners by the same hand that fell’d them. Her breath is her own, which scents all the yeare long of June, like a new-made hay-cocke. She makes her hand hard with labour, and her heart soft with pity; and when winter evenings fall early (sitting at her mery wheele) she sings a defiance to the giddy wheele of fortune. She doth all things with so sweet a grace, it seems ignorance will not suffer her to do ill, being her mind is to doe well. She bestowes her yeare’s wages at next faire; and in chusing her garments, counts no bravery i’ the world like decency. The garden and bee-hive are all her physick and chyrurgerye, and shee lives the longer for’t. She dares goe alone, and unfold sheepe i’ the night, and feares no manner of ill, because she meanes none; yet to say truth, she is never alone, for she is still accompanied with old songs, honest thoughts, and prayers, but short ones; yet they have their efficacy, in that they are not pauled with ensuing idle cogitations. Lastly: her dreams are so chaste, that she dare tell them; only a Fridaie’s dream is all her superstition: that shee conceales for feare of anger. Thus lives she, and all her care is that she may die in the spring-time, to have store of flowers stucke upon her winding-sheet.

SHEEP-PASTURES.

The Teviot takes its course through wide valleys of smooth, extended pasturage, sloping down to it in all directions, and in general forming beautiful lines, though otherwise void of all those circumstances, and that variety of objects, particularly of wood, which give beauty to landscape. In some parts these valleys are also contracted, but in a different manner from those of the Esk. The same breadth of feature is still preserved which we had in the more open parts, only it is here brought nearer to the eye. Though the lofty skreens rush down precipitately to the river, and contract the valleys, you see plainly they are the parts of 130a large-featured country, and in a style of landscape very different from those little irriguous valleys which we had left.

The downy sides of all these valleys are covered with sheep, which often appear to hang upon immense green walls. So steep is the descent in some parts, that the eye from the bottom scarce distinguishes the slope from a perpendicular. Several of these mountainous slopes (for some of them are very lofty) are finely tinted with mosses of different hues, which give them a very rich surface. This, however, is probably the garb which nature wears only in the summer months. She has a variety of dresses for all seasons, and all so becoming, that when she deposits one, and assumes another, she is always adorned with beauties peculiar to herself.

THE SPINNER’S SONG.

SONG FOR THE SPINNING-WHEEL.

WURTHA.

TO MEADOWS.

FRENCH SONG.

Among the pieces in the following group will be found some old verses of Gawain Douglas, bishop of Dunkeld. This ancient Scottish poet and Church dignitary was a son of the famous Archibald, earl of Argus, surnamed Bell-the-Cat, from his share in one of the peculiar conspiracies of that strange period—a conspiracy which resulted in hanging a number of the royal favorites of James III., chiefly architects and musicians, ennobled by that prince. James was in this respect too liberal in his tastes to please the fierce old barons surrounding his throne, though doubtless his favor was often weakly lavished upon those in whose society he took pleasure. But one would hardly have expected to find the leader of such a conspiracy the father of a distinguished poet; such, however, was the fact. Bishop Gawain was a great clerk in his day. He wrote a metrical version of the Æneid in the Scottish dialect, and many lesser poetical works, admitted to possess 135great merit. Sir Walter Scott has introduced both father and son in Marmion. He makes old Bell-the-Cat appear in his true character:

And in another passage we have the poet-bishop himself:

Bishop Gawain was compelled by the troubles in Scotland to flee from his native country, and to take refuge at the court of Henry VIII., where he lived for years an honored exile, dying in 1522, at London, of the plague. He was born in 1474. Each canto of his translation of Virgil was preceded by an original prologue; the address to Spring—whence the extract on flowers is taken—is one of the most pleasing of these, and forms his introduction to the 12th Canto of the Æneid. Far from regretting the Scotticisms of his style, the bishop only mourned that his verses were still so English in their aspect: a defect which will not be likely to strike the modern reader. But in spite of the obsolete words and rugged style, the touch of a poetical spirit, and something of the freshness of the natural blossoms still lingers about Bishop Gawain’s Spring chaplet.

Through their beauty, and variety of coloure, and exquisite forme, they do bringe to a liberal and gentle minde the remembrance of honestie, comelinesse, and all kinds of virtues; for it would be an unseemly thing (as a certain wise man saith) for him that doth look upon and handle faire and beautiful things, and who frequenteth and is conversant in faire and beautiful places, to have his minde not faire also.

SPRING-FLOWERS.

137Barmekyn, barbican; pers, light blue; burnet, brownish; gules, scarlet; fauch-colour, fawn; celestial gre, sky-blue; haw-waly, dark-waved; lite, little; flower-damas, damask rose; rose-knobbis tetand, rose-buds peeping; kyth, show; locherand, curling; redemite, crowned; croppis, heads.

ARRANGEMENTS OF A BOUQUET.

HEART’S-EASE.

TO PRIMROSES

ECHO.

ANCIENT SERVIAN SONG.

TO BLOSSOMS.

CHILDREN’S POSIES.

The amusements and fancies of children, when connected with flowers, are always pleasing, being generally the conceptions of innocent minds unbiased by artifice or pretense; and their love of them seems to spring from a genuine feeling and admiration—a kind of sympathy with objects as fair as their own untainted minds; and I think it is early flowers which constitute their first natural playthings; though summer presents a greater number and variety, they are not so fondly selected. We have our daisies strung and wreathed about our dress; our coronals of orchises and primroses, our cowslip balls, etc.; and one 144application of flowers at this season I have noticed, which, though perhaps it is local, yet it has a remarkably pretty effect, forming, for the time, one of the gayest little shrubs that can be seen. A small branch or long spray of the whitethorn, with all its spines uninjured, is selected; and on these, its alternate thorns, a white and blue violet, plucked from their stalks, are stuck upright in succession, until the thorns are covered, and when placed in a flower-pot of moss, it has perfectly the appearance of a beautiful vernal flowering dwarf shrub, and as long as it remains fresh is an object of surprise and delight.

LOVE’S WREATH.

TO DAFFODILS.

THE LILY.

WILD FLOWERS.

TO THE SWEET-BRIER.

WILD FLOWERS.

BEAU AND THE LILY.

“I must tell you a feat of my dog Beau. Walking by the river side, I observed some water-lilies floating at a little distance from the bank. They are a large white flower, with an orange-colored eye, very beautiful. I had a desire to gather one, and, having your long cane in my hand, by the help of it endeavored to bring one of them within my reach. But the attempt proved vain, and I walked forward. Beau had all the while observed me very attentively. Returning soon after toward the same place, I observed him plunge into the river, while I was 150about forty yards distant from him; and, when I had nearly reached the spot, he swam to land, with a lily in his mouth, which he came and laid at my feet.”

FLOWERS.

TO THE BRAMBLE FLOWER.

THE PAINTED CUP.

THE WREATH OF GRASSES.

DIVINATION.

GRASS.

Is all grass? Make you no distinction? No; all is grass; or if you will have some other name, be it so. Once, this is true, that all flesh is grass; and if that glory which shines so much in your eyes must have a difference, then this is all that it can have—it is but the flower of that same grass; somewhat above the common grass in gayness, a little 156comelier and better appareled than it, but partakes of its frail and fading nature. It hath no privilege nor immunity that way; yea, of the two is less durable, and usually shorter lived; at the last it decays with it. “The grass withereth; and the flower thereof fadeth away.”

DAFFODILS.

GRONGAR HILL.

LETTER ON CERTAIN TREES.

In the court of Norton farm-house, a manor farm to the northwest of the village, on the White Malms, stood within these twenty years a broad-leaved elm, or wych hazel, ulmus folio latissimo scabro, of Ray, which, though it had lost a considerable leading bough in the great storm in the year 1703, equal to a moderate tree, yet, when felled, contained eight loads of timber; and, being too bulky for a carriage, was sawn off at seven feet above the butt, where it measured near eight feet in diameter. This elm I mention to show to what a bulk planted elms may attain, as this tree must certainly have been such from its situation.

In the center of the village, and near the church, is a square piece of ground, surrounded by houses, and commonly called the Plestor. Sir Adam Gurdon, in conjunction with his wife Constantia, in the year 1271, granted to the prior and convent of Selborne all his right and claim to a certain place, placea, called La Pleystow, in the village aforesaid, “in liberam, puram, et perpetuam elimosinam.” This Pleystow, locus ludorum, or play-place, is a level area, near the church, of about forty-four yards by thirty-six, and is known now by the name of the Plestor. It continues still—as it was in old times—to be the scene of recreation for the youths and children of the neighborhood, and impresses an idea on the mind that this village, even in Saxon times, could not be the most abject of places, when the inhabitants thought proper to assign so spacious a spot for the sports and amusements of its young people. In the midst of this spot stood in old times a vast oak, with a short, squat body, and huge horizontal arms extending almost to the extremity of the area. This venerable tree, surrounded with stone steps, and seats above them, was the delight of old and young, and a place of much resort in summer evenings, where the former sat in grave debate, while the latter frolicked and danced before them. Long might it have stood had not the amazing tempest in 1703 overturned it at once, to the infinite regret 162of the inhabitants and the vicar, who bestowed several pounds in setting it in its place again; but all his care could not avail; the tree sprouted for a time, then withered and died. This oak I mention to show to what a bulk planted oaks also may arrive; and planted this tree must certainly have been, as appears from what is known concerning the antiquities of the village.

On the Blackmoor estate there is a small wood, called Losel’s, of a few acres, that was lately furnished with a set of oaks of a peculiar growth and great value; they were tall and taper like firs, but, standing near together, had very small heads—only a little brush, without any large limbs. About twenty years ago the bridge at the Toy, near Hampton Court, being much decayed, some trees were wanted for the repairs that were fifty feet long without a bough, and would measure twelve inches diameter at the little end. Twenty such trees did a purveyor find in this little wood, with this advantage, that many of them answered the description at fifty feet. These trees were sold for £20 a piece.

In the center of this grove there stood an oak, which, though shapely and tall on the whole, bulged out into a large excrescence about the middle of the stem. On this a pair of ravens had fixed their residence for such a series of years, that the oak was distinguished by the title of the Raven-tree! Many were the attempts of the neighboring youths to get at this eyry; the difficulty whetted their inclinations, and each was ambitious of surmounting the arduous task; but when they arrived at the swelling, it jutted out so in their way, and was so far beyond their grasp, that the most daring lads were awed, and acknowledged the undertaking to be too hazardous. So the ravens built on, nest upon nest, in perfect security, till the fatal day arrived in which the wood was to be leveled. It was in the month of February, when these birds usually sit. The saw was applied to the butt; the wedges were inserted into the opening; the woods echoed to the heavy blows of the beetle or mallet; the tree nodded to the fall; but still the dam sat on. At last, when it gave way, the bird was flung from her nest; and though her parental affection deserved a better fate, was whipped down by the twigs, which brought her dead to the ground.

A SKETCH.

AN ENGLISH PEASANT’S COTTAGE.

The prettiest cottage on our village green is the little dwelling of Dame Wilson. It stands in a corner of the common, where the hedge-rows go curving off into a sort of bay round a clear bright pond, the earliest haunt of the swallow. A deep, woody green lane, such as Hobbima or Ruysdael might have painted—a lane that hints of nightingales, forms one boundary of the garden, and a sloping meadow the other; while the cottage itself, a low, thatched, irregular building, backed by a blooming orchard, and covered with honeysuckle and jessamine, looks like the chosen abode of snugness and comfort. And so it is.

RUTH.

FROM “THE COMPLETE ANGLER.”

Ven. On my word, master, this is a gallant trout; what shall we do with him?

Pisc. Marry, e’en eat him to supper: we’ll go to my hostess, from whence we came; she told me, as I was going out of door, that my brother Peter, a good angler, and a cheerful companion, had sent word he would lodge there to-night, and bring a friend with him. My hostess has two beds, and I know you and I may have the best. We’ll rejoice with my brother Peter and his friend, tell tales, or sing ballads, or make a catch, or find some harmless sport to content us, and pass away a little time without offense to God or man.

Ven. A match, good master: let’s go to that house, for the linen looks white, and smells of lavender, and I long to lie in a pair of sheets that smell so. Let’s be going, good master, for I am hungry again with fishing.

Pisc. Nay, stay a little, good scholar; I caught my last trout with a worm. Now I will put on a minnow, and try a quarter of an hour about yonder trees for another, and so walk toward our lodging. Look you, scholar, thereabout we shall have a bite presently, or not at all. Have with you, sir, o’ my word I have hold of him. Oh, it is a great loggerheaded 165chub; come, hang him upon that willow twig, and let’s be going. But turn out of the way a little, good scholar, toward yonder high honeysuckle hedge; there we’ll sit and sing while this shower falls so gently upon the teeming earth, and gives yet a sweeter smell to the lovely flowers that adorn these verdant meadows.

Look! under that broad beach-tree I sat down when I was last this way a fishing, and the birds in the adjoining grove seemed to have a friendly contention with an echo, whose dead voice seemed to live in a hollow tree, near to the brow of that primrose hill; there I sat viewing the silver streams glide silently toward their center, the tempestuous sea, yet sometimes opposed by rugged roots and pebble-stones, which broke their waves and turned them into foam; and sometimes I beguiled time by viewing the harmless lambs—some leaping securely in the cool shade, while others sported themselves in the cheerful sun; and saw others craving comfort from the swollen udders of their bleating dams. As I thus sat, these and other sights had so fully possessed my soul with content, that I thought, as the poet has happily expressed it,

As I left this place, and entered into the next field, a second pleasure entertained me; it was a handsome milk-maid, that had not yet attained so much age and wisdom as to load her mind with any fears of many things that will never be, as too many men too often do; but she cast away all care, and sung like a nightingale: her voice was good, and the ditty fitted for it; it was that smooth song which was made by Kit Marlow, now at least fifty years ago; and the milk-maid’s mother sung an answer to it, which was made by Sir Walter Raleigh in his younger days.

They were old-fashioned poetry, but choicely good—I think much better than the strong lines that are now in fashion in this critical age. Look yonder! on my word, yonder they both be, a milking again. I will give her the chub, and persuade them to sing those two songs to us.

God speed you, good woman! I have been a fishing, and am going to Bleak-Hall to my bed, and having caught more fish than will sup myself and my friend, I will bestow this upon you and your daughter, for I use to sell none.

Milk-W. Marry, God requite you, sir, and we’ll eat it cheerfully; and if you come this way a fishing two months hence, o’ grace of God, I’ll give you a syllabub of new verjuice, in a new-made hay-cock for it, and my Maudlin shall sing you one of her best ballads; for she and I both love all anglers, they be such honest, civil, quiet men. In the mean time, will you drink a draught of red cow’s milk? you shall have it freely.

166Pisc. No, I thank you; but I pray do us a courtesy that shall stand you and your daughter in nothing, and yet we will think ourselves still something in your debt: it is but to sing us a song that was sung by your daughter when I last passed over this meadow about eight or nine days since.

Milk-M. What song was it, I pray? Was it, “Come, Shepherds, Deck your Heads?” or “As at Noon Dulcina Rested?” or “Phillida, Flout me?” or “Chevy Chase?” or “Johnny Armstrong?” or “Troy Town?”

Pisc. It is none of those; it is a song that your daughter sung the first part, and you sung the answer to it.

Milk-W. O, I know it now; I learned the first part in my golden age, when I was about the age of my poor daughter; and the latter part—which indeed fits me best now—but two or three years ago, when the cares of the world began to take hold of me; but you shall, God willing, hear them both, and sung as well as we can, for we both love anglers. Come, Maudlin, sing the first part to the gentlemen with a merry heart, and I’ll sing the second when you have done:

THE MILK-MAID’S SONG.

Ven. Trust me, master, it is a choice song, and sweetly sung by honest Maudlin. I now see it was not without cause that our good Queen Elizabeth did so often wish herself a milk-maid all the month of May, because they are not troubled with fears and cares, but sing sweetly all the day, and sleep securely all the night; and without doubt honest, innocent, pretty Maudlin does so. I’ll bestow Sir Thomas Overbury’s milk-maid’s wish upon her, “That she may die in the spring, and, being dead, may have good store of flowers stuck round about her winding-sheet.”

THE MILK-MAID’S MOTHER’S ANSWER.

Pisc. Well sung, good woman; I thank you. I’ll give you another dish of fish one of these days, and then beg another song of you.

THE SOLITARY REAPER.

THE HUSBANDMAN.

THE GARDEN.

Among the manifold creatures of God that have in all ages diversely entertained many excellent wits, and drawne them to the contemplation of the Divine Wisdome, none have provoked men’s studies more, or satisfied their desires so much, as plants have done, and that upon just and worthy causes; for what greater delight is there than to behold the earth appareled with plants as with a robe of embroidered worke, set with orient pearles, and garnished with great diversity of rare and costly jewels. But the principal delighte is in the minde, singularly enriched with the knowledge of these visible things, setting forth to us the invisible wisdome and admirable workmanship of Almighty God!

OF GARDENS.

The earth is the garden of nature, and each fruitful country a Paradise. The Turks, who pass their days in gardens here, will have gardens also hereafter, and delighting in flowers on earth, must have lilies and roses in heaven. The delightful world comes after death, and Paradise 172succeeds the grave. The verdant state of things is the symbol of the resurrection; and to flourish in the state of glory, we must first be sown in corruption.

A GARDEN.

THE GARDEN OF ALCINOUS.

THE GARDEN OF EDEN.

OF GARDENS.

God Almighty first planted a garden; and, indeed, it is the purest of human pleasures; it is the greatest refreshment to the spirits of man; without which buildings and palaces are but gross handiwork; and as men shall ever see, that, when ages grow to civility and elegancy, men come to build stately, sooner than to garden finely, as if gardening were the greater perfection. I do hold it in the royal ordering of gardens, there ought to be gardens for all the months in the year, in which, severally, things of beauty may be in season.

And because the breath of flowers is far sweeter in the air (where it 175comes and goes, like the warbling of music) than in the hand, therefore nothing is more fit for that delight than to know what be the flowers and plants that do best perfume the air. Roses, damask and red, are fast flowers of their smells, so that you may walk by a whole row of them, and find nothing of their sweetness; yea, though it be in a morning’s dew. Bays, likewise, yield no smell as they grow; rosemary little, nor sweet marjoram; that which above all others yields the sweetest smell in the air is the violet, which comes twice a year, about the middle of April, and about Bartholomew-tide. Next to that is the musk rose; then the strawberry leaves dying, with a most excellent cordial smell; then the flower of the vines—it is a little dust, like the dust of a bent, which grows upon the cluster in the first coming forth; then sweet-brier, then wall-flowers, which are very delightful to be set under a parlor or lower chamber window; then pinks and gilliflowers, especially the matted pink and clove gilliflowers; then the honeysuckles, so that they be somewhat afar off. Of bean-flowers I speak not, because they are field-flowers; but those which perfume the air most delightfully, not passed by as the rest, but being trodden upon and crushed, are three, that is, burnet, wild thyme, and water-mints; therefore you are to set whole alleys of them, to have the pleasure when you walk or tread.

For gardens (speaking of those which are indeed prince-like, as we have done of buildings), the contents ought not well to be under thirty acres of ground, and to be divided into three parts: a green in the entrance, a heath or desert in the going forth, and the main garden in the midst, besides alleys on both sides; and I like well that four acres of ground be assigned to the green, six to the heath, four and four to either side, and twelve to the main garden. The green hath two pleasures: the one, because nothing is more pleasant to the eye than green grass kept finely shorn; the other, because it will give you a fair alley in the midst, by which you may go in front upon a stately hedge, which is to inclose the garden; but because the alley will be long, and, in great heat of the year, or day, you ought not to leave the shade in the garden by going in the sun through the green, therefore you are, of either side the green, to plant a covert alley upon carpenter’s work, about twelve foot in height, by which you may go in shade into the garden. As for the making of knots or figures with divers colored earths, that they may lie under the windows of the house on that side which the garden stands, they be but toys; you may see as good sights many times in tarts.

GARDENING.

For my own part, as the country life, and this part of it more particularly (namely, gardening), were the inclination of my youth itself, so they are the pleasure of my age; and I can truly say, that among many 176great employments that have fallen to my share, I have never asked or sought for any one of them, but often endeavored to escape from them, into the ease and freedom of a private scene, where a man may go his own way and his own pace in the common paths or circles of life.

The measure of choosing well is, whether a man likes what he has chosen, which, I thank God, has befallen me; and though among the follies of my life building and planting have not been the least, and have cost me more than I have the confidence to own, yet they have been fully recompensed by the sweetness and satisfaction of this retreat, where, since my resolution taken of never entering again into any public employments, I have passed five years without ever going once to town, though I am almost in sight of it, and have a house there always ready to receive me. Nor has this been any sort of affectation, as some have thought it, but a mere want of desire or humor to make so small a remove.

FLOWERS AND ART.

No portion of creation has been resorted to by mankind with more success for the ornament and decoration of their labors than the vegetable world. The rites, emblems, and mysteries of religion; national achievements, eccentric masks, and the capricious visions of fancy, have been wrought by the hand of the sculptor on the temple, the altar, or the tomb; but plants, their foliage, flowers, or fruits, as the most graceful, varied, and pleasing objects that meet our view, have been more universally the object of design, and have supplied the most beautiful, and perhaps the earliest, embellishments of art. The pomegranate, the almond, and flowers were selected, even in the wilderness by divine appointment, to give form to the sacred utensils; the rewards of merit, the wreath of the victor, were arboraceous. In later periods the acanthus, the ivy, the lotus, the vine, the palm, and the oak flourished under the chisel or in the loom of the artist; and in modern days the vegetable world affords the almost exclusive decorations of ingenuity and art. The cultivation of flowers is, of all the amusements of mankind, the one to be selected and approved as the most innocent in itself, and most perfectly devoid of injury or annoyance to others; the employment is not only conducive to health and peace of mind, but probably more good-will has arisen and friendships been founded by the intercourse and communication connected with this pursuit than from any other whatsoever; the pleasures, the ecstasies of the horticulturist are harmless and pure; a streak, a tint, a shade, becomes his triumph, which, though often obtained by chance, are secured alone by morning care, by evening caution, and 177the vigilance of days—an employ which in its various grades excludes neither the opulent nor the indigent, and, teeming with boundless variety, affords an unceasing excitement to emulation, without contempt or ill-will.

CHINESE GARDENING.

What is it that we seek in the possession of a pleasure-garden? The art of laying out gardens consists in an endeavor to combine cheerfulness of aspect, luxuriance of growth, shade, solitude, and repose in such a manner that the senses may be deluded by an imitation of rural nature. Diversity, which is the main advantage of free landscape, must therefore be sought in a judicious choice of soil, an alternation of chains of hills and valleys, gorges, brooks, and lakes covered with aquatic plants. Symmetry is wearying, and ennui and disgust will soon be excited in a garden where every part betrays constraint and art.

EMPLOYMENT.

THE GARDEN.

THE GARDENER.

LINES.

182

SAXON SONG OF SUMMER.