Nature, he says, works in a cold and singular style of composition, but has the merit of never falling into 'mannerism.' Nature, that is, is a sublime landscape gardener whose work has to be accepted, and to whom the gardener must accommodate himself. A quaint instance of this theory may be found in the lecture which Henry Tilney in _Mansfield Park_ delivers to Catherine Morland. In Horace Walpole's theory, the evolution of the ha-ha, means that man and nature, the landowner and the country, are gradually forming an alliance, and it comes to the same thing whether one or the other assimilates his opposite. Briefly, this means one process by which the so-called love of nature was growing; it meant better roads and inns; the gradual reflux of town into country; and the growing sense already expressed by Cowley and Marvell, that overcrowded centres of population have their inconveniences, and that the citizen should have his periods of communion with unsophisticated nature. Squire and Wit are each learning to appreciate each other's tastes. The tourist is developed, and begins, as Gibbon tells us, to 'view the glaciers' now that he can view them without personal inconvenience. This, again, suggests that there is nothing radically new in the so-called love of nature. Any number of poets from Chaucer downwards may be cited to show that men were never insensible to natural beauty of scenery; to the outburst of spring, or the bloom of flowers, or the splendours of storms and sunsets. The indifference to nature of the Pope school was, so far, the temporary complacency of the new population focused in the metropolitan area in their own enlightenment and their contempt for the outside rustic. The love of field-sports was as strong as ever in the squire, and as soon as he began to receive some of the intellectual irradiation from the town Wit, he began to express the emotions which never found clearer utterance than in Walton's _Compleat Angler_. But there is a characteristic difference. With the old poets nature is in the background; it supplies the scenery for human action and is not itself consciously the object; they deal with concrete facts, with the delight of sport or rustic amusements: and they embody their feelings in the old conventions; they converse with imaginary shepherds: with Robin Hood or allegorical knights in romantic forests, who represent a love of nature but introduce description only as a set-off to the actors in masques or festivals. In Pope's time we have the abstract or metaphysical deity Nature, who can be worshipped with a distinct appreciation. The conventions have become obsolete, and if used at all, the poet himself is laughing in his sleeve. The serious aim of the poet is to give a philosophy of human nature; and the mere description of natural objects strikes him as silly unless tacked to a moral. Who could take offence, asks Pope, referring to his earlier poems, 'when pure description held