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Spring is the inspiration, fall the expiration. Both seasons have their equinoxes, both their filmy, hazy air, their ruddy forest tints, their cold rains, their drenching fogs, their mystic moons; both have the same solar light and warmth, the same rays of the sun; yet, after all, how different the feelings which they inspire! One is the morning, the other the evening; one is youth, the other is age.

The difference is not merely in us; there is a subtle difference in the air, and in the influences that emanate upon us from the dumb forms of nature. All the senses report a difference. The sun seems to have burned out. One recalls the notion of Herodotus that he is grown feeble, and retreats to the south because he can no longer face the cold and the storms from the north. There is a growing potency about his beams in spring, a waning splendor about them in fall. One is the kindling fire, the other the subsiding flame.

It is rarely that an artist succeeds in painting unmistakably the difference between sunrise and sunset; and it is equally a trial of his skill to put upon canvas the difference between early spring and late fall, say between April and November. It was long ago observed that the shadows are more opaque in the morning than in the evening; the struggle between the light and the darkness more marked, the gloom more solid, the contrasts more sharp. The rays of the morning sun chisel out and cut down the shadows in a way those of the setting sun do not. Then the sunlight is whiter and newer in the morning,–not so yellow and diffused. A difference akin to this is true of the two seasons I am speaking of. The spring is the morning sunlight, clear and determined; the autumn, the afternoon rays, pensive, lessening, golden.

Does not the human frame yield to and sympathize with the seasons? Are there not more births in the spring and more deaths in the fall? In the spring one vegetates; his thoughts turn to sap; another kind of activity seizes him; he makes new wood which does not harden till past midsummer. For my part, I find all literary work irksome from April to August; my sympathies run in other channels; the grass grows where meditation walked. As fall approaches, the currents mount to the head again. But my thoughts do not ripen well till after there has been a frost. The burrs will not open much before that. A man’s thinking, I take it, is a kind of combustion, as is the ripening of fruits and leaves, and he wants plenty of oxygen in the air.

Then the earth seems to have become a positive magnet in the fall; the forge and anvil of the sun have had their effect. In the spring it is negative to all intellectual conditions, and drains one of his lightning.

To-day, October 21, I found the air in the bushy fields and lanes under the woods loaded with the perfume of the witch-hazel,–a sweetish, sickening odor. With the blooming of this bush, Nature says, “Positively the last.” It is a kind of birth in death, of spring in fall, that impresses one as a little uncanny. All trees and shrubs form their flower-buds in the fall, and keep the secret till spring. How comes the witch-hazel to be the one exception, and to celebrate its floral nuptials on the funeral day of its foliage? No doubt it will be found that the spirit of some lovelorn squaw has passed into this bush, and that this is why it blooms in the Indian summer rather than in the white man’s spring.

But it makes the floral series of the woods complete. Between it and the shad-blow of earliest spring lies the mountain of bloom; the latter at the base on one side, this at the base on the other, with the chestnut blossoms at the top in midsummer.