And here, if this book should induce any readers to visit the Forest, let me earnestly advise them to do so, as far as possible, on foot. I see but this main difference between rich and poor—that the poor work to get money, the rich spend money to get work. And I know no better way for Englishmen to use their superfluous energies than in learning their own country by walking over its best scenes.
I will only ask any one to make the experiment between walking and driving over the same ground; and see how much he will learn by the one, how much lose by the other method. In the one case, he simply hurries or stops, at the discretion of some ignorant driver, who regards him of less importance than his horses; in the other, he can pause to sketch many a scene before invisible, can at his leisure search each heath or quarry for flowers or fossils, can turn aside across the field-paths to any village church, or wander through any wood which may invite him to its solitude, and, above all, know the pleasure of being tired, and the sweetness of rest in the noontide shade.
The Entrance from Barrow’s Moor to Mark Ash.
CHAPTER II.
ITS SCENERY.
The Stream in the Queen’s Bower Wood.
As I said in the last chapter, one of the main objects of this book is to dwell upon the beauty of the Forest scenery. I chose the New Forest as a subject, because, although in some points it may not be more beautiful than many other parts of England—and I am glad to think so,—it gives, more than any other place, a far greater range of subject, in sea, and moor, and valley; because too, the traveller can here go where he pleases, without any of those lets and hindrances which take away so much pleasure; and, lastly, because here can best be seen Nature’s crown of glory—her woods.
And, first, for a few words of general bearing upon this point. I do not think we ever estimate the woods highly enough, ever know their real worth, until we find some favourite retreat levelled to the ground, and then feel the void and irreparable blankness which is left. Consider, too, the purposes to which Nature turns her woods, either softening the horrors of the precipice, or adorning spaces which else would be utterly without interest, or adding beauty to beauty. Consider, further, how she beguiles us when we are in them, leading us forward, each little rise appearing a hill, because we cannot see its full extent; how, too, the paths close behind us, shutting us out with their silent doorways from all noise and turmoil, whilst the soft green light fills every dim recess, and deepens each pillared aisle, the floor paved with the golden mosaic of the sunlight.
Consider not only their beauty, but their use, breaking, for the plants, the fall of winter showers, and storing for them, against summer’s drought, their wealth of springs and streams—giving to the cattle shade from the heat, and shelter from the storm. This for the plants and beasts of the field,—but for man, binding together the sandy shore, carrying off the fog and miasma from the marsh, raising the strongest bulwark against the sea, and truest shield against the pestilence.