plentier, and perhaps also these exhibitions of hers are cheapened in estimation by the fact that in enjoying them we are not getting the better of anybody else. Your true lovers of nature, however, contrive to get even this solace; and Wordsworth looking upon mountains as his own peculiar sweethearts, was jealous of anybody else who ventured upon even the most innocent flirtation with them. As if such fellows, indeed, could pretend to that nicer sense of what-d'ye-call-it which was so remarkable in him! Marry come up! Mountains, no doubt, may inspire a profounder and more exclusive passion, but on the whole I am not sorry to have been born and bred among more domestic scenes, where I can be hospitable without a pang. I am going to ask you presently to take potluck with me at a board where Winter shall supply whatever there is of cheer.

I think the old fellow has hitherto had scant justice done him in the main. We make him the symbol of old age or death, and think we have settled the matter. As if old age were never kindly as well as frosty; as if it had no reverend graces of its own as good in their way as the noisy impertinence of childhood, the elbowing selfconceit of youth, or the pompous mediocrity of middle life! As if there were anything discreditable in death, or nobody had ever longed for it! Suppose we grant that Winter is the sleep of the year, what then? I take it upon me to say that his dreams are finer than the best reality of his waking rivals.

"Sleep, Silence' child, the father of soft Rest,"

is a very agreeable acquaintance, and most of us are better employed in his company than anywhere else. For my own part, I think Winter a pretty wide-awake old boy, and his bluff sincerity and hearty ways are more congenial to my mood, and more wholesome for me,

than any charms of which his rivals are capable. Spring is a fickle mistress, who either does not know her own mind, or is so long in making it up, whether you shall have her or not have her, that one gets tired at last of her pretty miffs and reconciliations. You go to her to be cheered up a bit, and ten to one catch her in the sulks, expecting you to find enough good-humor for both. After she has become Mrs. Summer she grows a little more staid in her demeanor; and her abundant table, where you are sure to get the earliest fruits and vegetables of the season, is a good foundation for steady friendship; but she has lost that delicious aroma of maidenhood, and what was delicately rounded grace in the girl gives more than hints of something like redundance in the matron. Autumn is the poet of the family. He gets you up a splendor that you would say was made out of real sunset; but it is nothing more than a few hectic leaves, when all is done. He is but a sentimentalist, after all; a kind of Lamartine whining along the ancestral avenues he has made bare timber of, and begging a contribution of good-spirits from your own savings to keep him in countenance. But Winter has his delicate sensibilities too, only he does not make them as good as indelicate by thrusting them forever in your face. He is a better poet than Autumn, when he has a mind, but, like a truly great one as he is, he brings you down to your bare manhood, and bids you understand him out of that, with no adventitious helps of association, or he will none of you. He does not touch those melancholy chords on which Autumn is as great a master as Heine. Well, is there no such thing as thrumming on them and maundering over them till they get out of tune, and you wish some many hand would crash through them and leave them dangling brokenly forever? Take Winter as you find him, and he

turns out to be a thoroughly honest fellow, with no nonsense in him, and tolerating none in you, which is a great comfort in the long run. He is not what they call a genial critic; but bring a real man along with you, and you will find there is a crabbed generosity about the old cynic that you would not exchange for all the "Season of mists and creamy concessions of Autumn. mellow fruitfulness," quotha? That's just it; Winter soon blows your head clear of fog and makes you see things as they are; I thank him for it! The truth is, between ourselves, I have a very good opinion of the whole family, who always welcome me without making me feel as if I were too much of a poor relation. There ought to be some kind of distance, never so little, you know, to give the true relish. They are as good company, the worst of them, as any I know, and I am not a little flattered by a condescension from any one of them; but I happen to hold Winter's retainer, this time, and, like an honest advocate, am bound to make as good a showing as I can for him, even if it cost a few slurs upon the rest of the household. Moreover, Winter is coming, and one would like to get on the blind side of him.

The love of Nature in and for herself, or as a mirror for the moods of the mind, is a modern thing. The fleeing to her as an escape from man was brought into fashion by Rousseau; for his prototype Petrarch, though he had a taste for pretty scenery, had a true antique horror for the grander aspects of nature. He got once to the top of Mont Ventoux, but it is very plain that he did not enjoy it. Indeed, it is only within a century or so that the search after the picturesque has been a safe employment. It is not so even now in Greece or Southern Italy. Where the Anglo-Saxon carves his cold fowl, and leaves the relics of his picnic, the ancient or mediæval man might be pretty confident that some ruffian would

try the edge of his knife on a chicken of the Platonic sort, and leave more precious bones as an offering to the genius of the place. The ancients were certainly more social than we, though that, perhaps, was natural enough, when a good part of the world was still covered with forest. They huddled together in cities as well for safety as to keep their minds warm. The Romans had a fondness for country life, but they had fine roads, and Rome was always within easy reach. The author of the Book of Job is the earliest I know of who showed any profound sense of the moral meaning of the outward world; and I think none has approached him since, though Wordsworth comes nearest with the first two books of the "Prelude." But their feeling is not precisely of the kind I speak of as modern, and which gave rise to what is called descriptive poetry. Chaucer opens his Clerk's Tale with a bit of landscape admirable for its large style, and as well composed as any Claude.

"There is right at the west end of Itaille,
Down at the root of Vesulus the cold,

A lusty plain abundant of vitaille,

Where many a tower and town thou mayst behold,
That founded were in time of fathers old,

And many an other délectable sight;

And Salucës this noble country hight."

What an airy precision of touch there is here, and what a sure eye for the points of character in landscape! But the picture is altogether subsidiary. No doubt the works of Salvator Rosa and Gaspar Poussin show that there must have been some amateur taste for the grand and terrible in scenery; but the British poet Thomson ("sweet-souled " is Wordsworth's apt word) was the first to do with words what they had done partially with colors. He was turgid, no good metrist, and his English is like a translation from one of those poets who wrote in Latin after it was dead; but he was a man of sincere

genius, and not only English, but European literature is largely in his debt. He was the inventor of cheap amusement for the million, to be had of All-out-doors for the asking. It was his impulse which unconsciously gave direction to Rousseau, and it is to the school of Jean Jacques that we owe St. Pierre, Cowper, Châteaubriand, Wordsworth, Byron, Lamartine, George Sand, Ruskin,the great painters of ideal landscape.

So long as men had slender means, whether of keeping out cold or checkmating it with artificial heat, Winter was an unwelcome guest, especially in the country. There he was the bearer of a lettre de cachet, which shut its victims in solitary confinement with few resources but to boose round the fire and repeat ghoststories, which had lost all their freshness and none of their terror. To go to bed was to lie awake of cold, with an added shudder of fright whenever a loose casement or a waving curtain chose to give you the gooseflesh. Bussy Rabutin, in one of his letters, gives us a notion how uncomfortable it was in the country, with green wood, smoky chimneys, and doors and windows that thought it was their duty to make the wind whistle, not to keep it out. With fuel so dear, it could not have been much better in the city, to judge by Ménage's warning against the danger of our dressing-gowns taking fire, while we cuddle too closely over the sparing blaze. The poet of Winter himself is said to have written in bed, with his hand through a hole in the blanket; and we may suspect that it was the warmth quite as much as the company that first drew men together at the coffee-house. Coleridge, in January, 1800, writes to Wedgewood: "I am sitting by a fire in a rug greatcoat. . . . . It is most barbarously cold, and you, I fear, can shield yourself from it only by perpetual imprisonment." This thermometrical view of winter is, I grant, a