‘To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.’ Thus Nature is a kind of universal home, and every object it presents to us an old acquaintance with unaltered looks. ——‘Nature did ne’er betray The heart that lov’d her, but through all the years Of this our life, it is her privilege To lead from joy to joy.’ For there is that consent and mutual harmony among all her works, one undivided spirit pervading them throughout, that, if we have once knit ourselves in hearty fellowship to any of them, they will never afterwards appear as strangers to us, but, which ever way we turn, we shall find a secret power to have gone out before us, moulding them into such shapes as fancy loves, informing them with life and sympathy, bidding them put on their festive looks and gayest attire at our approach, and to pour all their sweets and choicest treasures at our feet. For him, then, who has well acquainted himself with Nature’s works, she wears always one face, and speaks the same well-known language, striking on the heart, amidst unquiet thoughts and the tumult of the world, like the music of one’s native tongue heard in some far-off country. We do not connect the same feelings with the works of art as with those of nature, because we refer them to man, and associate with them the separate interests and passions which we know belong to those who are the authors or possessors of them. Nevertheless, there are some such objects, as a cottage, or a village church, which excite in us the same sensations as the sight of nature, and which are, indeed, almost always included in descriptions of natural scenery. ‘Or from the mountain’s sides View wilds and swelling floods, And hamlets brown, and dim-discover’d spires, And hear their simple bell.’ Which is in part, no doubt, because they are surrounded with natural objects, and, in a populous country, inseparable from them; and also because the human interest they excite relates to manners and feelings which are simple, common, such as all can enter into, and which, therefore, always produce a pleasing effect upon the mind. A. NO. 7.] ON POSTHUMOUS FAME,—WHETHER [MAY 22, 1814. SHAKSPEARE WAS INFLUENCED BY A LOVE OF IT?