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‘So is the whole place, in my eyes,’ said Claude. ‘I have seen nothing in England to be compared to this little strip of paradise between two great waste worlds of sea and moor. Lynmouth might be matched among the mountains of Wales and Ireland. The first three miles of the Rheidol, from the Devil’s Bridge towards Aberystwith, or the gorge of the Wye, down the opposite watershed of the same mountains, from Castle Dufferin down to Rhaiadyr, are equal to it in magnificence of form and colour, and superior in size. But I question whether anything ever charmed me more than did the return to the sounds of nature which greeted me to-day, as I turned back from the dreary, silent moorland turnpike into this new road, terraced along the cliffs and woods–those who first thought of cutting it must have had souls in them above the herd–and listened to a glorious concert in four parts, blending and supporting each other in exquisite harmony, from the shrill treble of a thousand birds, and the soft melancholy alto of the moaning woods, downward through the rich tenor hum of innumerable insects, who hung like sparks of fire beneath the glades of oak, to the bass of the unseen surge below,

“Whose deep and dreadful organ-pipe,”

far below me, contrasted strangely with the rich soft inland character of the deep woods, luxuriant ferns, and gaudy flowers. It is that very contrast which makes the place so unique. One is accustomed to connect with the notion of the sea bare cliffs, breezy downs, stunted shrubs struggling for existence: and instead of them behold a forest wall, 500 feet high, of almost semi-tropic luxuriance. At one turn, a deep glen, with its sea of green woods, filled up at the mouth with the bright azure sheet of ocean.–Then some long stretch of the road would be banked on one side with crumbling rocks, festooned with heath, and golden hawkweed, and London pride, like velvet cushions covered with pink lace, and beds of white bramble blossom alive with butterflies; while above my head, and on my right, the cool canopy of oak and birch leaves shrouded me so close, that I could have fancied myself miles inland, buried in some glen unknown to any wind of heaven, but that everywhere between green sprays and grey stems, gleamed that same boundless ocean blue, seeming, from the height at which I was, to mount into the very sky. It looked but a step out of the leafy covert into blank infinity. And then, as the road wound round some point, one’s eye could fall down, down, through the abyss of perpendicular wood, tree below tree clinging to and clothing the cliff, or rather no cliff; but perpendicular sheet of deep wood sedge, and broad crown ferns, spreading their circular fans.–But there is no describing them, or painting them either.–And then to see how the midday sunbeams leapt past one down the abyss, throwing out here a grey stem by one point of burnished silver, there a hazel branch by a single leaf of glowing golden green, shooting long bright arrows down, through the dim, hot, hazy atmosphere of the wood, till it rested at last upon the dappled beach of pink and grey pebbles, and the dappled surge which wandered up and down among them, and broke up into richer intricacy with its chequer-work of woodland shadows, the restless net of snowy foam.’

‘You must be fresh from reading Mr. Ruskin’s book, Claude, to be able to give birth to such a piece of complex magniloquence as that last period of yours.’

‘Why, I saw all that, and ten thousand things more; and yet do you complain of me for having tried to put one out of all those thousand things into words? And what do you mean by sneering at Mr. Ruskin? Are there not in his books more and finer passages of descriptive poetry–word-painting–call them what you will, than in any other prose book in the English language?’