the security of the citizen, it places man in his truest relations to the world in which he lives. And he who is insensible to these pleasures, must lack some chord in the harp of humanity, worshipping, if he worship, at some strange shrine.
Who loves a garden still his Eden keeps;
Perennial pleasures plants, and wholesome harvests reaps.
In laying out a garden there must be protection from the north winds, and if the hills are wooded thus much is gained for profit as for ornament. Every homestead supposes a wood-lot and forest paths for walking and meditation. So the garden claims some shading down from pasture fields and the wilder scenery skirting it. The orchard is an improvement on the garden, and holds a nobler relation to the house and its occupants. Without suitable ornaments and enclosures, these must be set to the side of the farm solely, not to the house, humanity, nor art. Eyes and feet have their claims along with the hands upon the landscape, beauty and convenience having one mind concerning the best ways of dealing with it. It is clear that art has an interest, and should have its hand, in a good well, wholesome cellar, as in the fertility of the soil, the modesty of the grasses and shrubbery. Alleys are best determined by the nature of the grounds. They have a picturesque effect; so have gates, especially when they open into a wood, or are seen in perspective at the end of an avenue or a lane. Winding paths give pleasing surprises, if accommodated to the grounds, take us by the most attractive route; slopes, swells, irregularities of surface, heightening the pleasure attending the prospect. There are spots, too, that plead for their clump of trees, for a single one, for an alcove, an arbor, a conservatory, for a fence, – structure of some sort, be it ever so plain – and these once there, please the eye as if grown there.
Arbors are especially ornamental. No country residence is furnished without the embellishment of a summer-house. It may be constructed of the simplest stuff grown near at hand in the woods. For one shall not range far in that direction without falling soon upon every curve in the geometry of beauty, as if nature designing to surprise him anticipated his coming, and had grown his materials in the underwood along the lines especially of ancient fence rows, where young pines bent by the lopping of the axe, snow falls, or other accident, in seeking to recover their rectitude, describe every graceful form of curve or spiral suited to his rustic works. These may be combined in ways wonderfully varied; and the pleasure attending the working them into a shapely whole, has charms akin to the composing of poems and pictures. There is a delight, too, in surprising these stags of the woods in their coverts, of which only artists can speak.
Neath hemlocks dark and whispering pines,
Wandering he loiters curiously,
The forest Muse her searching sense combines
To range the shades their cunning curves to see —
Brackets grotesque, strange gnarled things,
Wreathed rails and balusters in twisted pairs,
Rhyming their rival coils for sportful stairs;
Scrolls, antlers, volutes – full-armed he brings
His fagot sheaf of spoils, and binds;
While frolic fancy sylvan serpents finds,
And Druid lyres for poet's pleasance strings.
Then for rainy days, one has the choice of books, pen, or handicraft, to vary his pleasures. There is a charm in using tools to him who has cunning in his hands for converting woods to ornamental uses, – the simplest, roughest sticks even, – in setting trellises, hurdles, espaliers for vines,
" – auxiliary poles for hops,
Ascending spiral, ranged in meet array;"
in making or mending articles and implements of any kind, for house or grounds, to be objects of interest whenever he views them afterwards.
The eyes have a property in things and territories not named in any title deeds, and are the owners of our choicest possessions. Nor do we dwell in this emblematic world, and call it ours, any part of it, without using them: that is ours which they have assisted the hands in creating. Nature sketches rudely the outlines of her plans on the landscape; 'tis the artist's privilege to fill out and finish these draughts, improving upon her suggestions. Nor is there a spot which does not kindly take ornament, as if its canvas were spread awaiting the finishing touches. And had he a thousand hands, uninterrupted leisure, the taste and genius, what pleasure were comparable to that of devoting them to drawing lines thereon which shall survive him, to enrich every eye beholding them, though it were only in passing! So a good man impresses his image on the landscape he improves, and imparts qualities that perpetuate its occupant to after times.
"Days may conclude with nights, and suns may rest
As dead within the west,
Yet the next morn regilds the fragrant east."
I know not how it is with others, to me the spring's invitations are irresistible. I may be scholarly inclined, and my tasks indoors delightful, yet my garden claims me, monopolizing all my morning hours; and I know for me has come the season's summons which I shall not set aside: no, not for studies nor hospitalities which become rivals for my time and attentions. My garden waits; is the civiller host, the better entertainer. Then I have a religion in this business, and duties must waive compliments. My tasks are not postponable during the summer days; if called away from these engagements, I shall first take counsel of my plants for leave of absence, with intent of hastening back. Importunities were impertinent while the spell is on me. Would the sun but shine all night long for my work to continue! Sure of gathering the better crop, I bend to my task, foreseeing the avails of leisure coming in at the close of my autumn rounds.
"Me, let my poverty to ease resign
When my bright hearth reflects its blazing cheer,
In season let me plant the pliant vine,
And, with light hand, my swelling apples rear."
Such toils are wholesome. One cannot afford to dispense with their income of vigor. Then they fill the days with varied business, the mind gliding from head to hands, from hands to head, in pleasing interludes, to pour for him so deep a draught of Lethe, and so refreshing, that the morning breaks only to release the sleeper to begin anew his labors with the old enthusiasm. Even the stiffness of his fatigues promotes rectitude and probity of carriage: his hearty affection for his pursuit, shedding lustre on all he takes in hand. His garden is ever charming, always opportune. He walks there at all hours, at sunrise, noon, nightfall, finding more than he sought in it, each successive visit being as new as the first.
"All living things," says the Bhagavad Gita, "are generated from the bread they eat; bread is generated from rain, rain from divine worship, and divine worship from good works." A creed dealing thus supersensibly with the elements must have fertilizing properties, and bring the gardener to his task little tinctured by noxious notions of any kind. If he fall short of being the reverent naturalist, the devout divine, surrounded thus by shapes of skill, types of beauty, tokens of design, every hue in the chromatic, every device in the symbolic gamut, I see not what shall make him these; nor why Newton, Goethe, Boëhme, should have published their discoveries for his benefit; why it should occur to him to use his eyes at all when he looks through this glass, regards these signatures, views these blooms, these clasping tendrils, laughing leaves, Tyrian draperies, the sympathies of his plants and trees with the weather, their sleep, their thirst for the mists, and worship of the East; as if
Moistures their mothers were,
Their fathers flames,
and earth were virtually "wife of heaven," as Homer says.
His is no mere cloud tillage, nor unproductive earth culture. The firmament overhead reflects its lustre in his mind, the mists ascend there from the watered ground beneath, and he sows the mingled sense
