We are sure that all who can appreciate beautiful poetry will be gratified by the following pathetic lamentation of the elegant Vanier:—
—No greater beauty can adorn
The hamlet, than a grove of ancient Oak.
Ah! how unlike their sires of elder times
The sons of Gallia now! They, in each tree
Dreading some unknown power, dared not to lift
An axe. Though scant of soil, they rather sought
For distant herbage, than molest their groves.
Now all is spoil and violence. Where now
Exists an Oak, whose venerable stem
Has seen three centuries? unless some steep,
To human footstep inaccessible,
Defend a favour'd plant. Now, if some sire
Leave to his heir a forest scene, that heir,
With graceless hands, hews down each awful trunk,
Worthy of Druid reverence. There he rears
A paltry copse, destined, each twentieth year,
To blaze inglorious on the hearth. Hence woods,
Which shelter'd once the stag and grisly boar,
Scarce to the timorous hare sure refuge lend.
Farewell each rural virtue, with the love
Of rural scenes! Sage Contemplation wings
Her flight; no more from burning suns she seeks
A cool retreat. No more the poet sings,
Amid re-echoing groves, his moral lay.
As it is thus a general complaint that noble trees are rarely to be found, we must seek them where we can, and consider them, when found, as matters of curiosity, and pay them a due respect. And yet, we should suppose, they are not so frequently found here in a state of nature as in more uncultivated countries. In the forests of America, and other scenes, they have filled the plains from the beginning of time; and where they grow so close, and cover the ground with so impervious a shade that even a weed can scarce rise beneath them, the single tree is lost. Unless it stand on the outskirt of the wood, it is circumscribed, and has not room to expand its vast limbs as nature directs. When we wish, therefore, to find the most sublime sylvan character, the Oak, the elm, or the ash, in perfection, we must not look for it in close, thick woods, but standing single, independent of all connections, as we sometimes find it in our own forests, though oftener in better protected places, shooting its head wildly into the clouds, spreading its arms towards every wind of heaven:
—The Oak
Thrives by the rude concussion of the storm.
He seems indignant, and to feel
The impression of the blast with proud disdain;
But, deeply earth'd, the unconscious monarch owes
His firm stability to what he scorns:
More fix'd below, the more disturb'd above.
Again, we are told that the foliage of the Oak is
Tenacious of the stem, and firm against the wind.
The shade of the Oak-tree has been a favourite theme with British poets. Thomson, speaking of Hagley Park, the seat of his friend Littleton, calls it the British Tempe, and describes him as courting the muse beneath the shade of solemn Oaks:
—There, along the dale
With woods o'erhung, and shagged with mossy rocks,
Whence on each hand the gushing waters play,
And down the rough cascade white dashing fall,
Or gleam in lengthened vista through the trees,
You silent steal; or sit beneath the shade
Of solemn Oaks, that tuft the swelling mounts,
Thrown graceful round by Nature's careless hand,
And pensive listens to the various voice
Of rural peace: the herds, the flocks, the birds,
The hollow whispering breeze, the plaint of rills,
That, purling down amid the twisted roots
Which creep around, their dewy murmurs shake
On the soothed ear.
Wordsworth also mentions the fine broad shade of the spreading Oak:
Beneath that large old Oak, which near their door
Stood, and, from its enormous breadth of shade,
Chosen for the shearer's covert from the sun,
Thence, in our rustic dialect, was called
The clipping tree: a name which yet it bears.