All of Thoreau's books belong to the literature of Walking, and are as true in spirit in Paris or London as in Concord. His natural history, for which he had a passion, is the natural history of the walker, not always accurate, as I have pointed out, but always graphic and interesting. Wordsworth was about the first poet-walker--a man of letters who made a business of walking, and whose study was really the open air. But he was not a Holy-Lander in the Thoreau sense. He did not walk to get away from people as Thoreau did, but to see a greater variety of them, and to gather suggestions for his poems. Not so much the wild as the human and the morally significant were the objects of Wordsworth's quest. He haunted waterfalls and fells and rocky heights and lonely tarns, but he was not averse to footpaths and highways, and the rustic, half-domesticated nature of rural England. He was a nature-lover; he even calls himself a nature-worshiper; and he appears to have walked as many, or more, hours each day, in all seasons, as did Thoreau; but he was hunting for no lost paradise of the wild; nor waging a war against the arts and customs of civilization. Man and life were at the bottom of his interest in Nature. Wordsworth never knew the wild as we know it in this country--the pitilessly savage and rebellious; and, on the other hand, he never knew the wonderfully delicate and furtive and elusive nature that we know; but he knew the sylvan, the pastoral, the rustic-human, as we cannot know them. British birds have nothing plaintive in their songs; and British woods and fells but little that is disorderly and cruel in their expression, or violent in their contrasts. Wordsworth gathered his finest poetic harvest from common nature and common humanity about him--the wayside birds and flowers and waterfalls, and the wayside people. Though he called himself a worshiper of Nature, it was Nature in her half-human moods that he adored--Nature that knows no extremes, and that has long been under the influence of man--a soft, humid, fertile, docile Nature, that suggests a domesticity as old and as permanent as that of cattle and sheep. His poetry reflects these features, reflects the high moral and historic significance of the European landscape, while the poetry of Emerson, and of Thoreau, is born of the wildness and elusiveness of our more capricious and unkempt Nature.