The tendency of everything to maintain and propagate its nature is simply the inertia of a stable juxtaposition of elements, which are not enough dis… - George Santayana

Love not as do the flesh-imprisoned men
Whose dreams are of a bitter bought caress,
Or even of a maiden's tenderness
Whom they love only that she loves again.
For it is but thyself thou lovest then,
Or what thy thoughts would glory to possess;
But love thou nothing thou wouldst love the less
If henceforth ever hidden from thy ken.
Love but the formless and eternal Whole
From whose effulgence one unheeded ray
Breaks on this prism of dissolving clay
Into the flickering colours of thy soul.
These flash and vanish; bid them not to stay,
For wisdom brightens as they fade away.

I was still “at the church door”. Yet in belief, in the clarification of my philosophy, I had taken an important step. I no longer wavered between alternative views of the world, to be put on or taken off like alternative plays at the theatre. I now saw that there was only one possible play, the actual history of nature and of mankind, although there might well be ghosts among the characters and soliloquies among the speeches. Religions, all religions, and idealistic philosophies, all idealistic philosophies, were the soliloquies and the ghosts. They might be eloquent and profound. Like Hamlet's soliloquy they might be excellent reflective criticisms of the play as a whole. Nevertheless they were only parts of it, and their value as criticisms lay entirely in their fidelity to the facts, and to the sentiments which those facts aroused in the critic.

Another sort of landscape poetry is to be found in Wordsworth, for whom the title of poet of nature might perhaps be claimed. To him the landscape is an influence. What he renders, beyond such pictorial touches as language is capable of, is the moral inspiration which the scene brings to him. This moral inspiration is not drawn at all from the real processes of nature which every landscape manifests in some aspect and for one moment. Such would have been the method of Lucretius; he would have passed imaginatively from the landscape to the sources of the landscape; he would have disclosed the poetry of matter, not of spirit. Wordsworth, on the contrary, dwells on adventitious human matters. He is no poet of genesis, evolution, and natural force in its myriad manifestations. Only a part of the cosmic process engages his interest, or touches his soul — the strengthening or chastening of human purposes by the influences of landscape. These influences are very real; for as food or wine keeps the animal heart beating, or quickens it, so large spaces of calm sky, or mountains, or dells, or solitary stretches of water, expand the breast, disperse the obsessions that cramp a man’s daily existence, and even if he be less contemplative and less virtuous than Wordsworth, make him, for the moment, a friend to all things, and a friend to himself.

Yet these influences are vague and for the most part fleeting. Wordsworth would hardly have felt them so distinctly and so constantly had he not found a further link to bind landscape to moral sentiment. Such a link exists. The landscape is the scene of human life. Every spot, every season, is associated with the sort of existence which falls to men in that environment. Landscape for Wordsworth’s age and in his country was seldom without figures. At least, some visible trace of man guided the poet and set the key for his moral meditation. Country life was no less dear to Wordsworth than landscape was; it fitted into every picture; and w