The world in which we live has been variously said and sung by the most ingenious poets and philosophers: these reducing it to formulae and chemical ingredients, those striking the lyre in high-sounding measures for the handiwork of God. What experience supplies is of a mingled tissue, and the choosing mind has much to reject before it can get together the materials of a theory. Dew and thunder, destroying Atilla and the Spring lambkins, belong to an order of contrasts which no repetition can assimilate. There is an uncouth, outlandish strain throughout the web of the world, as from a vexatious planet in the house of life. Things are not congruous and wear strange disguises: the consummate flower is fostered out of dung, and after nourishing itself awhile with heaven’s delicate distillations, decays again into indistinguishable soil; and with Caesar’s ashes, Hamlet tells us, the urchins make dirt pies and filthily besmear their countenance. Nay, the kindly shine of summer, when tracked home with the scientific spyglass, is found to issue from the most portentous nightmare of the universe — the great, conflagrant sun: a world of hell’s squibs, tumultuary, roaring aloud, inimical to life. The sun itself is enough to disgust a human being of the scene which he inhabits; and you would not fancy there was a green or habitable spot in a universe thus awfully lighted up. And yet it is by the blaze of such a conflagration, to which the fire of Rome was but a spark, that we do all our fiddling, and hold domestic tea-parties at the arbour door.

The Greeks figured Pan, the god of Nature, now terribly stamping his foot, so that armies were dispersed; now by the woodside on a summer noon trolling on his pipe until he charmed the hearts of upland ploughmen. And the Greeks, in so figuring, uttered the last word of human experience. To certain smoke-dried spirits matter and motion and elastic aethers, and the hypothesis of this or that other spectacled professor, tell a speaking story; but for youth and all ductile and congenial minds, Pan is not dead, but of all the classic hierarchy alone survives in triumph; goat-footed, with a gleeful and an angry look, the type of the shaggy world: and in every wood, if you go with a spirit properly prepared, you shall hear the note of his pipe.

For it is a shaggy world, and yet studded with gardens; where the salt and tumbling sea receives clear rivers running from among reeds and lilies; fruitful and austere; a rustic world; sunshiny, lewd, and cruel. What is it the birds sing among the trees in pairing-time? What means the sound of the rain falling far and wide upon the leafy forest? To what tune does the fisherman whistle, as he hauls in his net at morning, and the bright fish are heaped inside the boat? These are all airs upon Pan’s pipe; he it was who gave them breath in the exultation of his heart, and gleefully modulated their outflow with his lips and fingers. The coarse mirth of herdsmen, shaking the dells with laughter and striking out high echoes from the rock; the tune of moving feet in the lamplit city, or on the smooth ballroom floor; the hooves of many horses, beating the wide pastures in alarm; the song of hurrying rivers; the colour of clear skies; and smiles and the live touch of hands; and the voice of things, and their significant look, and the renovating influence they breathe forth — these are his joyful measures, to which the whole earth treads in choral harmony. To this music the young lambs bound as to a tabor, and the London shop-girl skips rudely in the dance. For it puts a spirit of gladness in all hearts; and to look on the happy side of nature is common, in their hours, to all created things. Some are vocal under a good influence, are pleasing whenever they are pleased, and hand on their happiness to others, as a child who, looking upon lovely things, looks lovely. Some leap to the strains with unapt foot, and make a halting figure in the universal dance. And some, like sour spectators at the play, receive the music into ............