The softer aspects of Nature, especially, require time and culture before man can enjoy them. To rude races her processes bring only terror, which is very slowly outgrown. Humboldt has best exhibited the scantiness of finer natural perceptions in Greek and Roman literature, in spite of the grand oceanic anthology of Homer, and the delicate water-coloring of the Greek Anthology and of Horace. The Oriental and the Norse sacred books are full of fresh and beautiful allusions; but the Greek saw in Nature only a framework for Art, and the Roman only a camping-ground for men. Even Virgil describes the grotto of Aeneas merely as a "black grove" with "horrid shade,"--"_Horrenti atrum nemus imminet umbrâ_." Wordsworth points out, that, even in English literature, the "Windsor Forest" of Anne, Countess of Winchelsea, was the first poem which represented Nature as a thing to be consciously enjoyed; and as she was almost the first English poetess, we might be tempted to think that we owe this appreciation, like some other good things, to the participation of woman in literature. But, on the other hand, it must be remembered that the voluminous Duchess of Newcastle, in her "Ode on Melancholy," describes among the symbols of hopeless gloom "the still moonshine night" and "a mill where rushing waters run about,"--the sweetest natural images. So woman has not so much to claim, after all. In our own country, the early explorers seemed to find only horror in its woods and waterfalls. Josselyn, in 1672, could only describe the summer splendor of the White Mountain region as "dauntingly terrible, being full of rocky hills, as thick as mole-hills in a meadow, and full of infinite thick woods." Father Hennepin spoke of Niagara, in the narrative still quoted in the guide-books, as a "frightful cataract"; though perhaps his original French phrase was softer. And even John Adams could find no better name than "horrid chasm" for the gulf at Egg Rock, where he first saw the sea-anemone.