The fact of having been born is a bad augury for immortality. - George Santayana

With you a part of me hath passed away;
For in the peopled forest of my mind
A tree made leafless by this wintry wind
Shall never don again its green array.
Chapel and fireside, country road and bay,
Have something of their friendliness resigned;
Another, if I would, I could not find,
And I am grown much older in a day.
But yet I treasure in my memory
Your gift of charity, and young hearts ease,
And the dear honour of your amity;
For these once mine, my life is rich with these.
And I scarce know which part may greater be, — What I keep of you, or you rob from me.

Whenever a nation is converted to Christianity, its Christianity, in practice, must be largely converted to paganism.

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