But if the colour of life looks so well in the rather sham scenery of Hyde Park, it looks brilliant and grave indeed on a real sea-coast. To have once seen it there should be enough to make a colourist. O memorable little picture! The sun was gaining colour as it neared setting, and it set not over the sea, but over the land. The sea had the dark and rather stern, but not cold, blue of that aspect--the dark and not the opal tints. The sky was also deep. Everything was very definite, without mystery, and exceedingly simple. The most luminous thing was the shining white of an edge of foam, which did not cease to be white because it was a little golden and a little rosy in the sunshine.

It was still the whitest thing imaginable. And the next most luminous thing was the little child, also invested with the sun and the colour of life.

In the case of women, it is of the living and unpublished blood that the violent world has professed to be delicate and ashamed. See the curious history of the political rights of woman under the Revolution. On the scaffold she enjoyed an ungrudged share in the fortunes of party.

Political life might be denied her, but that seems a trifle when you consider how generously she was permitted political death. She was to spin and cook for her citizen in the obscurity of her living hours; but to the hour of her death was granted a part in the largest interests, social, national, international. The blood wherewith she should, according to Robespierre, have blushed to be seen or heard in the tribune, was exposed in the public sight unsheltered by her veins.

Against this there was no modesty. Of all privacies, the last and the innermost--the privacy of death--was never allowed to put obstacles in the way of public action for a public cause. Women might be, and were, duly suppressed when, by the mouth of Olympe de Gouges, they claimed a "right to concur in the choice of representatives for the formation of the laws"; but in her person, too, they were liberally allowed to bear political responsibility to the Republic. Olympe de Gouges was guillotined. Robespierre thus made her public and complete amends.

THE HORIZON

To mount a hill is to lift with you something lighter and brighter than yourself or than any meaner burden. You lift the world, you raise the horizon; you give a signal for the distance to stand up. It is like the scene in the Vatican when a Cardinal, with his dramatic Italian hands, bids the kneeling groups to arise. He does more than bid them. He lifts them, he gathers them up, far and near, with the upward gesture of both arms; he takes them to their feet with the compulsion of his expressive force. Or it is as when a conductor takes his players to successive heights of music. You summon the sea, you bring the mountains, the distances unfold unlooked-for wings and take an even flight. You are but a man lifting his weight upon the upward road, but as you climb the circle of the world goes up to face you.

Not here or there, but with a definite continuity, the unseen unfolds.

This distant hill outsoars that less distant, but all are on the wing, and the plain raises its verge. All things follow and wait upon your eyes. You lift these up, not by the raising of your eyelids, but by the pilgrimage of your body. "Lift thine eyes to the mountains." It is then that other mountains lift themselves to your human eyes.

It is the law whereby the eye and the horizon answer one another that makes the way up a hill so full of universal movement. All the landscape is on pilgrimage. The town gathers itself closer, and its inner harbours literally come to light; the headlands repeat themselves; little cups within the treeless hills open and show their farms. In the sea are many regions. A breeze is at play for a mile or two, and the surface is turned. There are roads and curves in the blue and in the white. Not a step of your journey up the height that has not its replies in the steady motion of land and sea. Things rise together like a flock of many-feathered birds.

But it is the horizon, more than all else, you have come in search of.

That is your chief companion on your way. It is to uplift the horizon to the equality of your sight that you go high. You give it a distance worthy of the skies. There is no distance, except the distance in the sky, to be seen from the level earth; but from the height is to be seen the distance of this world. The line is sent back into the remoteness of light, the verge is removed beyond verge, into a distance that is enormous and minute.

So delicate and so slender is the distant horizon that nothing less near than Queen Mab and her chariot can equal its fineness. Here on the edges of the eyelids, or there on the edges of the world--we know no other place for things so exquisitely made, so thin, so small and tender. The touches of her pa.s.sing, as close as dreams, or the utmost vanishing of the forest or the ocean in the white light between the earth and the air; nothing else is quite so intimate and fine. The extremities of a mountain view have just such tiny touches as the closeness of closed eyes shuts in.

On the horizon is the sweetest light. Elsewhere colour mars the simplicity of light; but there colour is effaced, not as men efface it, by a blur or darkness, but by mere light. The bluest sky disappears on that shining edge; there is not substance enough for colour. The rim of the hill, of the woodland, of the meadow-land, of the sea--let it only be far enough--has the same absorption of colour; and even the dark things drawn upon the bright edges of the sky are lucid, the light is among them, and they are mingled with it. The horizon has its own way of making bright the pencilled figures of forests, which are black but luminous.

On the horizon, moreover, closes the long perspective of the sky. There you perceive that an ordinary sky of clouds--not a thunder sky--is not a wall but the underside of a floor. You see the clouds that repeat each other grow smaller by distance; and you find a new unity in the sky and earth that gather alike the great lines of their designs to the same distant close. There is no longer an alien sky, tossed up in unintelligible heights above a world that is subject to intelligible perspective.

Of all the things that London has foregone, the most to be regretted is the horizon. Not the bark of the trees in its right colour; not the spirit of the growing gra.s.s, which has in some way escaped from the parks; not the smell of the earth unmingled with the odour of soot; but rather the mere horizon. No doubt the sun makes a beautiful thing of the London smoke at times, and in some places of the sky; but not there, not where the soft sharp distance ought to shine. To be dull there is to put all relations and comparisons in the wrong, and to make the sky lawless.

A horizon dark with storm is another thing. The weather darkens the line and defines it, or mingles it with the raining cloud; or softly dims it, or blackens it against a gleam of narrow sunshine in the sky. The stormy horizon will take wing, and the sunny. Go high enough, and you can raise the light from beyond the shower, and the shadow from behind the ray.

Only the shapeless and lifeless smoke disobeys and defeats the summer of the eyes.

Up at the top of the seaward hill your first thought is one of some compa.s.sion for sailors, inasmuch as they see but little of their sea. A child on a mere Channel cliff looks upon s.p.a.ces and sizes that they cannot see in the Pacific, on the ocean side of the world. Never in the solitude of the blue water, never between the Cape of Good Hope and Cape Horn, never between the Islands and the West, has the seaman seen anything but a little circle of sea. The Ancient Mariner, when he was alone, did but drift through a thousand narrow solitudes. The sailor has nothing but his mast, indeed. And but for his mast he would be isolated in as small a world as that of a traveller through the plains.

Round the plains the horizon lies with folded wings. It keeps them so perpetually for man, and opens them only for the bird, replying to flight with flight.

A close circlet of waves is the sailor's famous offing. His offing hardly deserves the name of horizon. To hear him you might think something of his offing, but you do not so when you sit down in the centre of it.

As the upspringing of all things at your going up the heights, so steady, so swift, is the subsidence at your descent. The further sea lies away, hill folds down behind hill. The whole upstanding world, with its looks serene and alert, its distant replies, its signals of many miles, its signs and communications of light, gathers down and pauses. This flock of birds which is the mobile landscape wheels and goes to earth. The Cardinal weighs down the audience with his downward hands. Farewell to the most delicate horizon.

IN JULY

One has the leisure of July for perceiving all the differences of the green of leaves. It is no longer a difference in degrees of maturity, for all the trees have darkened to their final tone, and stand in their differences of character and not of mere date. Almost all the green is grave, not sad and not dull. It has a darkened and a daily colour, in majestic but not obvious harmony with dark grey skies, and might look, to inconstant eyes, as prosaic after spring as eleven o'clock looks after the dawn.

Gravity is the word--not solemnity as towards evening, nor menace as at night. The daylight trees of July are signs of common beauty, common freshness, and a mystery familiar and abiding as night and day. In childhood we all have a more exalted sense of dawn and summer sunrise than we ever fully retain or quite recover; and also a far higher sensibility for April and April evenings--a heartache for them, which in riper years is gradually and irretrievably consoled.

But, on the other hand, childhood has so quickly learned to find daily things tedious, and familiar things importunate, that it has no great delight in the mere middle of the day, and feels weariness of the summer that has ceased to change visibly. The poetry of mere day and of late summer becomes perceptible to mature eyes that have long ceased to be sated, have taken leave of weariness, and cannot now find anything in nature too familiar; eyes which have, indeed, lost sight of the further awe of midsummer daybreak, and no longer see so much of the past in April twilight as they saw when they had no past; but which look freshly at the dailiness of green summer, of early afternoon, of every sky of any form that comes to pa.s.s, and of the darkened elms.

Not unbeloved is this serious tree, the elm, with its leaf sitting close, unthrilled. Its stature gives it a dark gold head when it looks alone to a late sun. But if one could go by all the woods, across all the old forests that are now meadowlands set with trees, and could walk a county gathering trees of a single kind in the mind, as one walks a garden collecting flowers of a single kind in the hand, would not the harvest be a harvest of poplars? A veritable pa.s.sion for poplars is a most intelligible pa.s.sion. The eyes do gather them, far and near, on a whole day's journey. Not one is unperceived, even though great timber should be pa.s.sed, and hill-sides dense and deep with trees. The fancy makes a poplar day of it. Immediately the country looks alive with signals; for the poplars everywhere reply to the glance. The woods may be all various, but the poplars are separate.

All their many kinds (and aspens, their kin, must be counted with them) shake themselves perpetually free of the motionless forest. It is easy to gather them. Glances sent into the far distance pay them a flash of recognition of their gentle flashes; and as you journey you are suddenly aware of them close by. Light and the breezes are as quick as the eyes of a poplar-lover to find the willing tree that dances to be seen.

No lurking for them, no reluctance. One could never make for oneself an oak day so well. The oaks would wait to be found, and many would be missed from the gathering. But the poplars are alert enough for a traveller by express; they have an alarum aloft, and do not sleep. From within some little grove of other trees a single poplar makes a slight sign; or a long row of poplars suddenly sweep the wind. They are salient everywhere, and full of replies. They are as fresh as streams.

It is difficult to realize a drought where there are many poplars. And yet their green is not rich; the coolest have a colour much mingled with a cloud-grey. It does but need fresh and simple eyes to recognize their unfaded life. When the other trees grow dark and keep still, the poplar and the aspen do not darken--or hardly--and the deepest summer will not find a day in which they do not keep awake. No waters are so vigilant, even where a lake is bare to the wind.

When Keats said of his Dian that she fastened up her hair "with fingers cool as aspen leaves," he knew the coolest thing in the world. It is a coolness of colour, as well as of a leaf which the breeze takes on both sides--the greenish and the greyish. The poplar green has no glows, no gold; it is an austere colour, as little rich as the colour of willows, and less silvery than theirs. The sun can hardly gild it; but he can shine between. Poplars and aspens let the sun through with the wind. You may have the sky sprinkled through them in high midsummer, when all the woods are close.

Sending your fancy poplar-gathering, then, you ensnare wild trees, beating with life. No fisher's net ever took such glancing fishes, nor did the net of a constellation's shape ever enclose more vibrating Pleiades.

CLOUD

During a part of the year London does not see the clouds. Not to see the clear sky might seem her chief loss, but that is shared by the rest of England, and is, besides, but a slight privation. Not to see the clear sky is, elsewhere, to see the cloud. But not so in London. You may go for a week or two at a time, even though you hold your head up as you walk, and even though you have windows that really open, and yet you shall see no cloud, or but a single edge, the fragment of a form.

Guillotine windows never wholly open, but are filled with a doubled gla.s.s towards the sky when you open them towards the street. They are, therefore, a sure sign that for all the years when no other windows were used in London, n.o.body there cared much for the sky, or even knew so much as whether there were a sky.

But the privation of cloud is indeed a graver loss than the world knows.

Terrestrial scenery is much, but it is not all. Men go in search of it; but the celestial scenery journeys to them. It goes its way round the world. It has no nation, it costs no weariness, it knows no bonds. The terrestrial scenery--the tourist's--is a prisoner compared with this. The tourist's scenery moves indeed, but only like Wordsworth's maiden, with earth's diurnal course; it is made as fast as its own graves. And for its changes it depends upon the mobility of the skies. The mere green flushing of its own sap makes only the least of its varieties; for the greater it must wait upon the visits of the light. Spring and autumn are inconsiderable events in a landscape compared with the shadows of a cloud.

The cloud controls the light, and the mountains on earth appear or fade according to its pa.s.sage; they wear so simply, from head to foot, the luminous grey or the emphatic purple, as the cloud permits, that their own local colour and their own local season are lost and cease, effaced before the all-important mood of the cloud.

The sea has no mood except that of the sky and of its winds. It is the cloud that, holding the sun's rays in a sheaf as a giant holds a handful of spears, strikes the horizon, touches the extreme edge with a delicate revelation of light, or suddenly puts it out and makes the foreground shine.

Every one knows the manifest work of the cloud when it descends and partakes in the landscape obviously, lies half-way across the mountain slope, stoops to rain heavily upon the lake, and blots out part of the view by the rough method of standing in front of it. But its greatest things are done from its own place, aloft. Thence does it distribute the sun.

Thence does it lock away between the hills and valleys more mysteries than a poet conceals, but, like him, not by interception. Thence it writes out and cancels all the tracery of Monte Rosa, or lets the pencils of the sun renew them. Thence, hiding nothing, and yet making dark, it sheds deep colour upon the forest land of Suss.e.x, so that, seen from the hills, all the country is divided between grave blue and graver sunlight.

And all this is but its influence, its secondary work upon the world. Its own beauty is unaltered when it has no earthly beauty to improve. It is always great: above the street, above the suburbs, above the gas-works and the stucco, above the faces of painted white houses--the painted surfaces that have been devised as the only things able to vulgarise light, as they catch it and reflect it grotesquely from their importunate gloss. This is to be well seen on a sunny evening in Regent Street.

Even here the cloud is not so victorious as when it towers above some little landscape of rather paltry interest--a conventional river heavy with water, gardens with their little evergreens, walks, and shrubberies; and thick trees impervious to the light, touched, as the novelists always have it, with "autumn tints." High over these rises, in the enormous scale of the scenery of clouds, what no man expected--an heroic sky. Few of the things that were ever done upon earth are great enough to be done under such a heaven. It was surely designed for other days. It is for an epic world. Your eyes sweep a thousand miles of cloud. What are the distances of earth to these, and what are the distances of the clear and cloudless sky? The very horizons of the landscape are near, for the round world dips so soon; and the distances of the mere clear sky are unmeasured--you rest upon nothing until you come to a star, and the star itself is immeasurable.

But in the sky of "sunny Alps" of clouds the sight goes farther, with conscious flight, than it could ever have journeyed otherwise. Man would not have known distance veritably without the clouds. There are mountains indeed, precipices and deeps, to which those of the earth are pigmy. Yet the sky-heights, being so far off, are not overpowering by disproportion, like some futile building fatuously made too big for the human measure. The cloud in its majestic place composes with a little Perugino tree. For you stand or stray in the futile building, while the cloud is no mansion for man, and out of reach of his limitations.

The cloud, moreover, controls the sun, not merely by keeping the custody of his rays, but by becoming the counsellor of his temper. The cloud veils an angry sun, or, more terribly, lets fly an angry ray, suddenly bright upon tree and tower, with iron-grey storm for a background. Or when anger had but threatened, the cloud reveals him, gentle beyond hope.

It makes peace, constantly, just before sunset.

It is in the confidence of the winds, and wears their colours. There is a heavenly game, on south-west wind days, when the clouds are bowled by a breeze from behind the evening. They are round and brilliant, and come leaping up from the horizon for hours. This is a frolic and haphazard sky.

All unlike this is the sky that has a centre, and stands composed about it. As the clouds marshalled the earthly mountains, so the clouds in turn are now ranged. The tops of all the celestial Andes aloft are swept at once by a single ray, warmed with a single colour. Promontory after league-long promontory of a stiller Mediterranean in the sky is called out of mist and grey by the same finger. The cloudland is very great, but a sunbeam makes all its nations and continents sudden with light.