And so is language. Take Mr. Burroughs’s manner in any of its moods: its store of single, sufficient words, for instance, especially the homely, rugged words and idioms, and the flavor they give, is second to the work they do; or take his use of figures--when he speaks of De Quincey’s “discursive, roundabout style, herding his thoughts as a collie dog herds sheep,”--and unexpected, vivid, apt as they are, they are even more effective. One is often caught up by the poetry of these essays and borne aloft, but never on a gale of words; the lift and sweep are genuine emotion and thought. As an essayist,--as a nature-writer I ought to say,--Mr. Burroughs’s literary care is perhaps nowhere so plainly seen as in the simple architecture of his essay plans, in their balance and finish, a quality that distinguishes him from others of the craft, and that neither gift nor chance could so invariably supply. The common fault of outdoor books is the catalogue--raw data, notes. There are paragraphs of notes in Mr. Burroughs, volumes of them in Thoreau. The average nature-writer sees not too much of nature, but knows all too little of literary values; he sees everything, gets a meaning out of nothing; writes it all down; and gives us what he sees, which is precisely what everybody may see; whereas, we want also what he thinks and feels. Some of our present writers do nothing but feel and divine and fathom--the animal psychologists, whatever they are. The bulk of nature-writing, however, is journalistic, done on the spot, into a note-book, as were the journals of Thoreau--fragmentary, yet with Thoreau often exquisite fragments--bits of old stained glass, unleaded, and lacking unity and design. No such fault can be found with Mr. Burroughs. He goes pencilless into the woods, and waits before writing until his return home, until time has elapsed for the multitudinous details of the trip to blur and blend, leaving only the dominant facts and impressions for his pen. Every part of his work is of selected stock, as free from knots and seams and sap-wood as a piece of old-growth pine. There is plan, proportion, integrity to his essays--the naturalist living faithfully up to a sensitive literary conscience.