A further characteristic of the use of Nature in the classical period is a personification of natural objects with the ulterior purpose of making them conscious of the charms or emotions of some person. When such personification arises out of an intimate identification of man with Nature, a subjective recognition of the unity of all existence, or when it is the outgrowth of a supreme passion compelling the phenomena of Nature into apparent sympathy with its own joy or grief, the expression is sure to bear the mark of inner conviction or strong emotion. But when the personification is manifestly a laborious artistic device, when it is based on neither belief nor passion, it must be considered the mark of an age slightly touched by real feeling for nature. And such, in general, were the personifications so freely used in the English classical poetry. There is an artificiality, even a grotesqueness, about some of them that forbids even temporary poetic credence on the part of the reader. A good example is in Waller’s “At Pens-hurst,” where the susceptible deer and beeches and clouds mourn with Waller over the cruelty of his stony-hearted Sacharissa.[133] At the death of any illustrious man or fair lady all Nature was convulsed with grief. When Caelestia died the rivulets were flooded by the tears of the water-gods, the brows of the hills were furrowed by new streams, the heavens wept, sudden damps overspread the plains, the lily hung its head, and birds drooped their wings. When Amaryllis had informed Nature of the death of Amyntas all creation “began to roar and howl with horrid yell.”[134] When Thomas Gunston died just before he had finished his seat at Newington, Watts declared that the curling vines would in grief untwine their amorous arms, the stately elms would drop leaves for tears, and that even the unfinished gates and buildings would weep.[135] In love poetry Nature is frequently represented as abashed and discomfited before the superior charms of some fair nymph. Aurora blushes when she sees cheeks more beauteous than her own. Lilies wax pale with envy at a maiden’s fairness.[136] When bright Ophelia comes lilies droop and roses die before their lofty rival.[137] So the sun, when he sees the beautiful ladies in Hyde Park, Sets in blushes and conveys his fires To distant lands.[138] And when that modest luminary is aware of the presence of the fair Maria he Seems to descend with greater care; And, lest she see him go to bed, In blushing clouds conceales his head.[139]