In “Pamela” (Richardson, 1740) there is much talk about the value of travel in Great Britain and on the continent, but there is not a word about the scenery of the places visited. Pamela sums up her impressions of travel in England in one sentence. “These excursions have given me infinite delight and pleasure, and enlarged my notions of the wealth and power of the kingdom” (Vol. III, p. 304). When Lord B. and Pamela are spending their honeymoon in their Kentish house they plan certain improvements such as cutting a vista through the coppice; they train the vines around the windows because they love the mingled odors of woodbines and jessamines; and they listen for two hours at a stretch to the “responsive songs of two warbling nightingales” (Vol. II, p. 163). Earlier in their career, during a walk in the garden, the fragrance from a bank of flowers inspires Lord B. to sing a typical eighteenth-century song of which this is one stanza: The purple violet, damask rose, Each, to delight your senses, blows. The lilies ope as you appear; And all the beauties of the year Diffuse their odours at your feet, Who give to ev’ry flower its sweet. There is not a hint in the book of any feeling toward Nature except such as is characteristic of the pseudo-classical poetry. In “Joseph Andrews” (Fielding, 1742) there are four brief passages in which Nature is touched upon. Two of these are evidently meant as satires on the ordinary descriptions of sunrise. The first one is as follows: “Aurora now began to show her blooming cheeks over the hills, whilst ten millions of feathered songsters, in jocund chorus, repeated odes a thousand times sweeter than those of our laureate” (p. 43; cf. p. 219). The longest description is of a vale with a winding rivulet, many trees, and soil “spread with a verdure which no paint could imitate,” the whole place being such as “might have raised romantic ideas in older minds than those of Joseph and Fanny” (p. 226). In “Jonathan Wild” (Fielding, 1743) there are no references to the world of Nature. In “David Simple” (Sarah Fielding, 1744) the search of the hero for a true friend is so complicated and absorbing an occupation that there is no room for observation of the external world. In “Clarissa Harlowe” (Richardson, 1748) there is one simile drawn from Nature (Vol. II, p. 478), one mention of the “variegated prospects” from Hampstead Heath (Vol. III, p. 198), and one reference to an overgrown ivy so thick as to be a shelter from the rain (Vol. I, p. 394). In “Roderick Random” (Smollett, 1748) there are no references to Nature. Of the eight passages referring to Nature in “Tom Jones” (Fielding, 1749) two are satirical of the conventional descriptions and similitudes of the day. Aurora now first opened her casement, _Anglicé_, the day began to break (Vol. II, p. 9).