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“But, hang it! I had all the fun of catching the fish, and only miss the pleasure of eating him, which at this time would not be great.”

“The fun, I take it,” said my soldier, “is in triumphing, and not in being beaten at the last.”

“Well, have it so; but I would not exchange those ten or fifteen minutes with that trout for the tame two hours you have spent in catching that string of thirty. To see a big fish after days of small fry is an event; to have a jump from one is a glimpse of the sportsman’s paradise; and to hook one, and actually have him under your control for ten minutes,–why, that is paradise itself as long as it lasts.”

One day I went down to the house of a settler a mile below, and engaged the good dame to make us a couple of loaves of bread, and in the evening we went down after them. How elastic and exhilarating the walk was through the cool, transparent shadows! The sun was gilding the mountains, and its yellow light seemed to be reflected through all the woods. At one point we looked through and along a valley of deep shadow upon a broad sweep of mountain quite near and densely clothed with woods, flooded from base to summit by the setting sun. It was a wild, memorable scene. What power and effectiveness in Nature, I thought, and how rarely an artist catches her touch! Looking down upon or squarely into a mountain covered with a heavy growth of birch and maple, and shone upon by the sun, is a sight peculiarly agreeable to me. How closely the swelling umbrageous heads of the trees fit together, and how the eye revels in the flowing and easy uniformity, while the mind feels the ruggedness and terrible power beneath!

As we came back, the light yet lingered on the top of Slide Mountain.

“‘The last that parleys with the setting sun,'”

said I, quoting Wordsworth.

“That line is almost Shakespearean,” said my companion. “It suggests that great hand at least, though it has not the grit and virility of the more primitive bard. What triumph and fresh morning power in Shakespeare’s lines that will occur to us at sunrise to-morrow!–

“‘And jocund day
Stands tiptoe on the misty mountain tops.’

“Or in this:–

“‘Full many a glorious morning have I seen
Flatter the mountain tops with sovran eye.’

“There is savage, perennial beauty there, the quality that Wordsworth and nearly all the modern poets lack.”

“But Wordsworth is the poet of the mountains,” said I, “and of lonely peaks. True, he does not express the power and aboriginal grace there is in them, nor toy with them and pluck them up by the hair of their heads, as Shakespeare does. There is something in Peakamoose yonder, as we see it from this point, cutting the blue vault with its dark, serrated edge, not in the bard of Grasmere; but he expresses the feeling of loneliness and insignificance that the cultivated man has in the presence of mountains, and the burden of solemn emotion they give rise to. Then there is something much more wild and merciless, much more remote from human interests and ends, in our long, high, wooded ranges than is expressed by the peaks and scarred groups of the lake country of Britain. These mountains we behold and cross are not picturesque,–they are wild and inhuman as the sea. In them you are in a maze, in a weltering world of woods; you can see neither the earth nor the sky, but a confusion of the growth and decay of centuries, and must traverse them by your compass or your science of woodcraft,–a rift through the trees giving one a glimpse of the opposite range or of the valley beneath, and he is more at sea than ever; one does not know his own farm or settlement when framed in these mountain treetops; all look alike unfamiliar.”