Part 4

But whatever beauty these contrasts exhibit, the effect is altogether lost if the clump be not well balanced. If no side preponderate so as to offend the eye, it is enough, and unless the clump have sustained some external injury, it is seldom deficient in point of balance. Nature generally conducts the stems and branches in such easy forms, wherever there is an opening, and fills up all with such nice contrivance, and with so much picturesque irregularity, that we rarely wish for an amendment in her works. So true is this, that you may not take away a tree from a clump without infallibly destroying the balance which can never again be restored.

When the clump grows larger, it becomes qualified only as a remote object, combining with vast woods, and forming a part of some extensive scene, either as a first, a second, or a third distance.

The great use of the larger clump is to lighten the heaviness of a continued distant wood, and connect it gently with the plain, that the transition may not be too abrupt. All we wish to find in a clump of this kind is proportion and general form.

With respect to proportion, the detached clump must not encroach too much on the dignity of the wood it aids, but must observe a proper subordination. A large tract of country covered with wood, will admit several of these auxiliary clumps, of different dimensions. But if the wood be of a smaller size, the clumps must also be smaller and fewer.

As the clump becomes larger and recedes in the landscape, all the pleasing contrasts we expected in the smaller clumps are lost, and we are satisfied with a general form. No regular form is pleasing. A clump on the side of a hill, or in any situation where the eye can more easily investigate its shape, must be circumscribed by an irregular line; in which the undulations, both at the base and summit of the clump, should be strongly marked, as the eye has probably a distinct view of both. But if seen only on the top of a hill, or along the distant horizon, a little variation in the line which forms the summit, so as to break any disagreeable regularity there, will be sufficient.

As a large tract of wood requires a few large clumps to connect it gently with the plain, so these large clumps themselves require the same service from a single tree, or a few trees, according to their size.

The Copse, the Glen, and the open Grove next demand our notice.

The Copse is a species of scenery composed generally of forest-trees, intermixed with brushwood, which latter is periodically cut down in twelve, thirteen, or fourteen years. In its dismantled state, nothing can be more forlorn. The area is covered with bare roots and knobs, from which the brushwood has been cut; while the forest-trees, intermingled among them, present their ragged stems, despoiled of all their lateral branches, which the luxuriance of the surrounding thickets had choked. The copse, however, soon repairs the injury it has thus suffered. One winter only sees its disgrace. The following summer produces luxuriant shoots; and two summers more restore it almost to perfect beauty.

It is of little moment what species of wood composes the copse; for we do not expect from it scenes of picturesque beauty, but are satisfied if it yields us a shady sequestered path, which it generally furnishes in great perfection. It is among the luxuries of nature, to retreat into the cool recesses of the full-grown copse from the severity of a meridian sun, and to be serenaded by the humming insects of the shade, whose continuous song has a more refreshing sound than the buzzing vagrant fly, which wantons in the glare of day, and, as Milton expresses it,

----winds her sultry horn.

In distant landscape the copse hath seldom any effect. The beauty of a wood in a distant view arises in some degree from its tuftings which break and enrich the lights, but chiefly from its contrast with the plain, and from the grand shapes and forms, occasioned by the retiring and advancing parts of the forest, which produce vast masses of light and shade, and give effect to the whole.

These beauties appear rarely in the copse. Instead of that rich and tufted bed of foliage, which the distant forest exhibits, the copse presents a meagre and unaccommodating surface. It is age which gives the tree its tufted form, and the forest its effect. A nursery of saplings produces it not, and the copse is little more, nor does the intermixture of full-grown trees assist the appearance. Their clumpy heads blend ill with the spiry tops of the juniors. Neither have they any connection with each other. The woodman's judgment is shown in leaving the timber-trees at proper intervals, that they may neither hinder each other's growth, nor the growth of the underwood. But the woodman does not pretend to manage his trees with a view to picturesque beauty; and from his management, it is impossible they should produce a mass of light and shade. Besides, the copse forms no contrast with the plain, nor presents those beautiful projections and recesses which the skirts of the forest exhibit. A copse is a plot of ground, proportioned off for the purpose of nurturing wood. Of course it must be fenced from cattle; and these fences, which are in themselves disgusting, generally form the copse into a square, or some other regular figure; so that we have not only a deformity, but a want also of a connecting tie between the wood and the plain. Instead of a softened undulating line, we have a harsh fence.

The best effect which the copse produces, is on the lofty banks of the river; this may be seen particularly on the Wye. In navigating such a river, the deficiencies of this mode of scenery, as you view it upwards from a boat, are lost; and in almost every state it has a good effect. While it enriches the bank, its uncouth shape, unless the fence is too much in view, and all its other unpleasant appearances, are concealed.

When a winding walk is carried through a copse, which must necessarily in a few years, even in point of picturesque beauty, be given to the axe, shall the whole be cut down together? Or shall a border be left, as is sometimes done, on each side of the walk?

This is a difficult question; but Gilpin thinks it should all go together. Unless the border you leave be very broad, it will have no effect, even at present. You will see through it; it will appear meagre, and will never unite happily with the neighbouring parts when they begin to grow; at least, it ought not to stand longer than two years. The rest of the copse will then be growing beautiful, and the border may be dispensed with till it is replaced. But the way, decidedly, is to cut down all together. In a little time it will recover its beauty.

We now proceed to the Glen. A wide and open space between hills, is called a vale. If it be of smaller dimensions, we call it a valley. But when this space is contracted to a chasm, it becomes a glen.

A glen, therefore, is commonly the offspring of a mountainous country; though sometimes found elsewhere, with its usual accompaniments of woody banks, and a rivulet at the bottom. The glen may be more or less contracted. It may form one single sweep, or its deviations may be irregular. The wood may consist of full-grown trees, or of underwood, or of a mixture of both. The path winding through it may run along the upper or the lower part. Or the rivulet may foam among rocks, or murmur among pebbles;--it may form transparent pools, overhung with wood;--or, which is frequently the case, it may be invisible, and an object only of the ear. All these circumstances are capable of an infinite variety.

The beauties of the internal parts of the glen consist chiefly in the glades, or openings, which are found in it. If the whole were a thicket, little beauty would result. Unlike the copse, its furniture is commonly of a fortuitous growth, and escapes those periodical defalcations to which the copse is subject, and generally exhibits more beautiful scenery. It abounds with frequent openings. The eye is carried down, from the higher grounds, to a sweep of the river--or to a little gushing cascade--or to the face of a fractured rock, garnished with hanging wood--or perhaps to a cottage, with its scanty area of lawn falling to the river on one side, and sheltered by a clump of oaks on the other; while the smoke, wreathing behind the trees, disperses and loses itself as it gains the summit of the glen. Or, still more beautifully, the eye breaks out at some opening, perhaps into the country, enriched with all the varieties of distant landscape--plains and woods melting together--a winding river--blue mountains--or perhaps some bay of the sea, with a little harbour and shipping.

As an object of distance also, the woody glen has often a good effect--climbing the sides of mountains, breaking their lines, and giving variety to their bleak and barren sides.

From the glen we hasten to the open Grove, which is composed of trees arising from a smooth area, and consisting either of pines or of the deciduous race. Beautiful groves of both may be seen. That of the pine will always be dry, as it is the peculiar quality of its leaves to imbibe moisture: but in lightness, variety, and general beauty, that of deciduous trees excels. If, however, you wish your grove to be in the gloomy style, the pine race will serve your purpose best.

The open grove rarely makes a picturesque appearance. It may, indeed, have the effect of other woods in distant scenery; for the trees of which it is formed need not be separated from each other, as in the copse, but, being well massed together, may receive beautiful effects of light. When we enter its recesses, it is not so well calculated to please. There it wants variety, and that not only from the smoothness of the surface, but from the uniformity of the furniture--at least if it be an artificial scene, in which the trees, having been planted in a nursery, grow all alike, with upright stems. And yet a walk, upon a velvet turf, winding at pleasure among these natural columns, whose twisting branches at least admit some variety, with a spreading canopy of foliage over the head, is pleasing, and in hot weather refreshing. Sometimes we find the open grove of natural growth; it is then more various and irregular, and becomes, of course, a more pleasing scene. And yet, when woods of this kind continue, as they sometimes do, in unpeopled countries, through half a province, they become tiresome, and prove that it is not wood, but variety of landscape, that delights the eye. The pleasing tranquillity of groves hath ever been in high repute among the innocent and refined part of mankind:

Groves were planted to console at noon The pensive wanderer in their shades. At eve The moonbeam sliding softly in between The sleeping leaves, is all the light he wants For meditation.

Indeed, no species of landscape is so fitted for meditation. The forest attracts the attention by its grandeur, and the park scene by its beauty; while the paths through copses, dells, and thickets, are too close, devious, interrupted, and often too beautiful to allow the mind to be at perfect ease. But the uniform sameness of the grove leaves the eye disengaged; and the feet wandering at pleasure, where they are confined by no path, want little direction. The mind, therefore, undisturbed, has only to retire within itself. Hence the philosopher, the devotee, the poet, all retreated to these quiet recesses; and,

from the world retired, Conversed with angels and immortal forms.

In classic times, the grove was the haunt of gods; and in the days of Nature, before art had introduced a kind of combination against her, men had no idea of worshipping God in a temple made with hands. The templum nemorale was the only temple he knew.

In the resounding wood, All vocal beings hymned their equal God.

And to this idea, indeed, one of the earliest forms of the artificial temple seems to have been indebted. Many learned men have thought the Gothic arch of our cathedral churches was an imitation of the natural grove. It arises from a lofty stem, or from two or three stems, if they be slender; which being bound together, and spreading in every direction, cover the whole roof with their ramifications. In the close recesses of the beechen grove, we find this idea the most complete. The lofty, narrow aisle--the pointed arch--the clustered pillar, whose parts separating without violence, diverge gradually to form the fretted roof--find there perhaps their earliest archetype. Bryant has wrought out this idea in a beautiful fragment, entitled "God's First Temples:"

The groves were God's first temples. Ere man learned To hew the shaft, and lay the architrave, And spread the roof above them,--ere he framed The lofty vault, to gather and roll back The sound of anthems,--in the darkling wood, Amidst the cool and silence he knelt down, And offered to the Mightiest solemn thanks And supplication. For his simple heart Might not resist the sacred influences, That, from the stilly twilight of the place, And from the gray old trunks, that, high in heaven, Mingled their mossy boughs, and from the sound Of the invisible breath that swayed at once All their green tops, stole over him, and bowed His spirit with the thought of boundless Power And inaccessible Majesty. Ah, why Should we, in the world's riper years, neglect God's ancient sanctuaries, and adore Only among the crowd, and under roofs That our frail hands have raised! Let me, at least, Here in the shadow of this aged wood, Offer one hymn--thrice happy, if it find Acceptance in his ear.