Another use of Nature is based on the poet’s perception of the analogies between external Nature and human life or character. One outcome of this sense for analogies is in abundant similitudes, a literary use of Nature common in all languages, at all periods. In the pseudo-classical poetry of England we have seen that the similitudes were conventional and superficial. In a period of intimate knowledge and love of the outer world there is stress on the truth and beauty of the picture from Nature as well as on the human fact symbolized, and the analogy is subtly and sympathetically conceived. Wordsworth’s A violet by a mossy stone Half hidden from the eye is perfect in itself as a picture of Nature, and it is exquisitely apt in describing Lucy. He discovered in Nature that which in its inner significance was truly a counterpart of the human idea. With regard to the similitudes of the transition poetry I have noted two interesting facts. In the first place, in proportion to the whole use of Nature, the use of Nature in similitudes is very much less in the transition than in the classical poetry. In the second place, in no other way of using Nature was the changed conception of the outer world so slow to manifest itself. Stock similes persisted even in authors who, in other respects, gave clear evidence of the new spirit. It was apparently easier to be original and individual in a new realm, than to break away from the established conventions of an accepted literary form. As another outcome of the recognized correspondence between Nature and life the facts of Nature become, as it were, an allegory of human experience. From Dyer on there is a strain of pensive, gently didactic moralizing drawn from the poet’s observation of Nature. A river, however beautiful in itself because of its ceaseless motion, its shifting colors, its varied banks, its progress to the sea, is transformed in the poet’s mind into a symbol of the vicissitudes and the final goal of life. Of the more obvious analogies of this sort we find many examples, but of the highly imaginative use of Nature whereby the external fact, however truly and beautifully perceived, seems hardly thought of except as a symbol of the hidden things of the spirit and of the life to come, we find almost no examples outside of Blake.