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"To one, it is ten years of years.
Nothing; the Autumn fall of leaves
“Ah, sweet, even now in that bird's song
Fain to be hearken'd? When those bells
Strove not her steps to reach my side
This is almost equalled in sadness by his
"To-night this sunset spreads two golden wings
Cleaving the western sky;
Wing'd, too, with wind it is, and winnowings
"Even thus hope's hours, in ever eddying flight,
With the first light she laugh'd, and the last light
"And now the mustering rooks innumerable
While for the day's death, like a tolling knell,
"Is hope not plum'd, as 'twere a fiery dart?
Even as thou goest, must she, too, depart,
Emerson in the following suggestive verses shows the power that scenery connected with his early years had of recalling the past:
And in a similar manner Longfellow writes of the seashore:
"Palingene- "I lay upon the headland height and listen'd To the incessant sobbing of the sea
sis." H. W.
In caverns under me,
And watch'd the waves that toss'd and fled and glisten'd,
"Then suddenly as one from sleep I started,
"A moment only and the light and glory
And the wild roses of the promontory
Matthew Arnold gives a more modern version of the ideas Coleridge expressed in the "Ode on Dejection," which has already been quoted in this chapter. The comparison of the two passages is a very interesting one. The form in which Coleridge gives expression
to his thoughts is more poetical and the treatment more that of a mystic. Matthew Arnold has not the tolerance of the older poet nor his gentle outlook on the world, and his verse lacks somewhat of skill in construction, though it has a strength and charm of its own, and goes very straight to the mark. But both poets see clearly that the feelings and thoughts that arise in the mind from intercourse with nature are personal to the observers, and depend upon the temperament, the constitution, and the environment of each one.
"Fools that these mystics are
Who prate of nature! For she
And we find, as we would expect in one whose poetry is full of the restlessness of modern life, numerous references to the effects of nature on the feelings:
"Come to the window, sweet is the night air!
Where the sea meets the moon-blanch'd land,
Of pebbles which the waves draw back and fling,
Begin and cease, and then again begin,
"Thyrsis." "He hearkens not! light comer, he is flown!
And scent of hay new-mown.
But Thyrsis never more we swains shall see.
Yes, thou art gone! and round me too the night
In ever-nearing circle draws her shade.
I see her veil draw soft across the day,
I feel her softly chilling breath invade
The cheek grown thin, the brown hair sprent with grey;
I feel her finger light
Laid pausefully upon life's headlong train;
The foot less prompt to meet the morning dew,
The heart less bounding at emotions new,
One of the modern great poets writes in a very remarkable ode to Autumn, full of imagination and suggestion, and felicitously worded phrases, these stanzas: