‘It bears a glass which shows us many more.’
Its life is one sweet alternation of smiles and sighs and tears, and tears and sighs and smiles, till it is consummated at last in the open laughter of May.”
By the same hand we are directed to observe, “what a sweet flush of new green has started up to the face of this meadow! And the new-born daisies that stud it here and there, give it the look of an emerald sky, powdered with snowy stars. In making our way to yonder hedgerow, which divides the meadow from the little copse that lines one side of it, let us not take the shortest way, but keep religiously to the little footpath; for the young grass is as yet too tender to bear being trod upon; and the young lambs themselves, while they go cropping its crisp points, let the sweet daisies alone, as if they loved to look upon a sight as pretty and as innocent as themselves.” It is further remarked that “the great charm of this month, both in the open country and the garden, is undoubtedly the infinite green which pervades it every where, and which we had best gaze our fill at while we may, as it lasts but a little while,—changing in a few weeks into an endless variety of shades and tints, that are equivalent to as many different colours. It is this, and the budding forth of every living member of the vegetable world, after its long winter death, that in fact constitutes the spring; and the sight of which affects us in the manner it does, from various causes—chiefly moral and associated ones; but one of which is unquestionably physical: I mean the sight of so much tender green after the eye has been condemned to look for months and months on the mere negation of all colour, which prevails in winter in our climate. The eye feels cheered, cherished, and regaled by this colour, as the tongue does by a quick and pleasant taste, after having long palated nothing but tasteless and insipid things.—This is the principal charm of spring, no doubt. But another, and one that is scarcely second to this, is, the bright flush of blossoms that prevails over and almost hides every thing else in the fruit-garden and orchard. What exquisite differences and distinctions and resemblances there are between all the various blossoms of the fruit-trees; and no less in their general effect than in their separate details! The almond-blossom, which comes first of all, and while the tree is quite bare of leaves, is of a bright blush-rose colour; and when they are fully blown, the tree, if it has been kept to a compact head, instead of being permitted to straggle, looks like one huge rose, magnified by some fairy magic, to deck the bosom of some fair giantess. The various kinds of plum follow, the blossoms of which are snow-white, and as full and clustering as those of the almond. The peach and nectarine, which are now full blown, are unlike either of the above; and their sweet effect, as if growing out of the hard bare wall, or the rough wooden paling, is peculiarly pretty. They are of a deep blush colour, and of a delicate bell shape, the lips, however, divided, and turning backward, to expose the interior to the cherishing sun. But perhaps the bloom that is richest and most promising in its general appearance is that of the cherry, clasping its white honours all round the long straight branches, from heel to point, and not letting a leaf or a bit of stem be seen, except the three or four leaves that come as a green finish at the extremity of each branch. The other blossoms, of the pears, and (loveliest of all) the apples, do not come in perfection till next month.”
Spring.
The beauties of the seasons are a constant theme with their discoverers—the poets. Spring, as the reproductive source of “light and life and love,” has the preeminence with these children of nature. The authors of “The Forest Minstrel and other poems,” William and Mary Howitt, have high claims upon reflective and imaginative minds, in return for the truth and beauty contained in an elegant volume, which cultivates the moral sense, and infuses a devotional spirit, through exquisite description and just application. The writers have traversed “woods and wilds, and fields, and lanes, with a curious and delighted eye,” and “written not for the sake of writing,” but for the indulgence of their overflowing feelings. They are “members of the Society of Friends,” and those who are accustomed to regard individuals of that community as necessarily incapable of poetical impression, will be pleased by reading from Mr. Howitt’s “Epistle Dedicatory” what he says of his own verses, and of his helpmate in the work:—
And now ’tis spring, and bards are gathering flowers;
So I have cull’d you these, and with them sent
The gleanings of a nymph whom some few hours
Ago I met with—some few years I meant—
Gathering “true-love” amongst the wild-wood bowers;
You’ll find some buds all with this posy blent,
If that ye know them, which some lady fair
Viewing, may haply prize, for they are wond’rous rare.
Artists have seldom represented friends—“of the Society of Friends,”—with poetical feeling. Mr. Howitt’s sketch of himself, and her whom he found gathering “true-love,” though they were not clad perhaps “as worldlings are,” would inspire a painter, whose art could be roused by the pen, to a charming picture of youthful affection. The habit of some of the young men, in the peaceable community, maintains its character, without that extremity of the fashion of being out of fashion, which marks the wearer as remarkably formal; while the young females of the society, still preserving the distinction prescribed by discipline, dress more attractively, to the cultivated eye, than a multitude of the sex who study variety of costume. Such lovers, pictured as they are imagined from Mr. Howitt’s lines, would grace a landscape, enfoliated from other stanzas in the same poem, which raise the fondest recollections of the pleasures of boyhood in spring.
Then did I gather, with a keen delight,
All changes of the seasons, and their signs:
Then did I speed forth, at the first glad sight
Of the coy spring—of spring that archly shines
Out for a day—then goes—and then more bright
Comes laughing forth, like a gay lass that lines
A dark lash with a ray that beams and burns,
And scatters hopes and doubts, and smiles and frowns, by turns.