The natural introduction, the portico, the ante-room, of the Ocean, which prepares us thoroughly to appreciate its vast and melancholy extent, is to be found in the dreary course of the rivers of north-western France, the vast sands of the South, or the sad and rarely trodden _Landes_ of Brittany. All who approach the sea by any of those routes are greatly impressed by that intermediate region. All along the rivers, there is a seemingly infinite chaos of roots and stumps, of willows and the like water-loving vegetation, and the waters becoming more and more brackish, at length become absolutely salt--the veritable sea-water. In the Landes, on the other hand, as we approach the sea, we have a preliminary and preparatory sea of low-growing and coarse shrubs, broom, and bushes. Proceed a league or two, and you see sickly and drooping trees which seem, after their manner, to tell you how much they suffer from the blighting breath of their near neighbor, and great tyrant, the Sea. Evidently, if they were not held there by their great strong roots they would fly to some climate more genial and some soil more generous; they turn every branch from the sea and towards the earth, as though they were a routed host, disorganized, panic-stricken, and prepared to seek safety in flight. Fixed to the soil, they bend themselves eastward, twisting, writhing, mutely agonized at every new assault of the storm-winds from the seaward. Still nearer to the Sea, the trunk of the tree is slender, its stature dwarfish, and its few poor branches spread themselves confusedly to the horizon. On the shore, on the very margin and boundary line between land and Sea, where the crushed shells rise in a fine and pungent dust, the trees are invaded, covered, choked up with it; their pores are closed, they inhale no air, they are stifled; still living as to form, they are mere petrified trees, spectral trees, melancholy shadows which have not even the privilege of departing,--sad prisoners--even in death! Long before we are face to face with the Sea, we can hear and imagine that grand and terrible entity. At first, we hear only a dull, uniform, and distant moaning, which grows louder and louder still, until its majestic roar silences, or covers, all meaner sounds. Very soon we perceive that that roar is not monotonous, but has its alternating notes; its full, rich, mellow tenor, and its round, deep, majestic bass. The pendulum of the clock oscillates less regularly than that alternating moan and roar of the Ocean in its grand unrest. And this latter, let me repeat it, has _not_ the monotony of the pendulum, for in "what those wild waves are saying," we feel, or fancy that we feel the thrilling intonations of life. And in fact, at high flood, when wave rears its crest upon wave, immense, electric, there mingles with the tumultuous roaring of the fiercely rushing waters, the sound of the shells and pebbles, and the thousand things animate as well as