Or it might be that Ellery Charming came up the avenue to join me in a fishing excursion on the river. Strange and happy times were those when we cast aside all irksome forms and strait-laced habitudes and delivered ourselves up to the free air, to live like the Indians or any less conventional race during one bright semicircle of the sun. Rowing our boat against the current, between wide meadows, we turned aside into the Assabeth. A more lovely stream than this, for a mile above its junction with the Concord, has never flowed on earth, nowhere, indeed, except to lave the interior regions of a poet’s imagination. It is sheltered from the breeze by woods and a hillside; so that elsewhere there might be a hurricane, and here scarcely a ripple across the shaded water. The current lingers along so gently that the mere force of the boatman’s will seems sufficient to propel his craft against it. It comes flowing softly through the midmost privacy and deepest heart of a wood which whispers it to be quiet; while the stream whispers back again from its sedgy borders, as if river and wood were hushing one another to sleep. Yes; the river sleeps along its course and dreams of the sky and of the clustering foliage, amid which fall showers of broken sunlight, imparting specks of vivid cheerfulness, in contrast with the quiet depth of the prevailing tint. Of all this scene, the slumbering river has a dream-picture in its bosom. Which, after all, was the most real,—the picture, or the original?—the objects palpable to our grosser senses, or their apotheosis in the stream beneath? Surely the disembodied images stand in closer relation to the soul. But both the original and the reflection had here an ideal charm; and, had it been a thought more wild, I could have fancied that this river had strayed forth out of the rich scenery of my companion’s inner world; only the vegetation along its banks should then have had an Oriental character.