But when you have consoled yourself for having lost the _happiness_ of nature, let its _perfection_ be a model to your heart. If you can issue from the circle in which art keeps you enclosed and find nature again, if it shows itself to you in its greatness and in its calm, in its simple beauty, in its childlike innocence and simplicity, oh! then pause before its image, cultivate this feeling lovingly. It is worthy of you, and of what is noblest in man. Let it no more come into your mind to _change_ with it; rather embrace it, absorb it into your being, and try to associate the infinite advantage it has over you with that infinite prerogative that is peculiar to you, and let the divine issue from this sublime union. Let nature breathe around you like a lovely _idyl_, where far from artifice and its wanderings you may always find yourself again, where you may go to draw fresh courage, a new confidence, to resume your course, and kindle again in your heart the flame of the _ideal_, so readily extinguished amidst the tempests of life. If we think of that beautiful nature which surrounded the ancient Greeks, if we remember how intimately that people, under its blessed sky, could live with that free nature; how their mode of imagining, and of feeling, and their manners, approached far nearer than ours to the simplicity of nature, how faithfully the works of their poets express this; we must necessarily remark, as a strange fact, that so few traces are met among them of that _sentimental_ interest that we moderns ever take in the scenes of nature and in natural characters. I admit that the Greeks are superiorly exact and faithful in their descriptions of nature. They reproduce their details with care, but we see that they take no more interest in them and more heart in them than in describing a vestment, a shield, armor, a piece of furniture, or any production of the mechanical arts. In their love for the object it seems that they make no difference between what exists in itself and what owes its existence to art, to the human will. It seems that nature interests their minds and their curiosity more than moral feeling. They do not attach themselves to it with that depth of feeling, with that gentle melancholy, that characterize the moderns. Nay, more, by personifying nature in its particular phenomena, by deifying it, by representing its effects as the acts of free being, they take from it that character of calm necessity which is precisely what makes it so attractive to us. Their impatient imagination only traverses nature to pass beyond it to the drama of human life. It only takes pleasure in the spectacle of what is living and free; it requires characters, acts, the accidents of fortune and of manners; and whilst it happens with us, at least in certain moral dispositions, to curse our prerogative, this free will, which exposes us to so many combats with ourselves, to so many anxieties