Supposing that my method is indeed that of nature itself, and that I have made no mistakes in applying it, I have now conducted my pupil through the region of sensations to the boundaries of childish reason. The first step beyond should be that of a man. But before beginning this new career, let us for a moment cast our eyes over what we have just traversed. Every age and station in life has a perfection, a maturity, all its own. We often hear of a full-grown man; in contemplating a full-grown child we shall find more novelty, and perhaps no less pleasure. The existence of finite beings is so barren and so limited that when we see only what is, it never stirs us to emotion. Real objects are adorned by the creations of fancy, and without this charm yield us but a barren satisfaction, tending no farther than to the organ that perceives them, and the heart is left cold. The earth, clad in the glories of autumn, displays a wealth which the wondering eye enjoys, but which arouses no feeling within us; it springs less from sentiment than from reflection. In spring the landscape is still almost bare; the forests yield no shade; the verdure is only beginning to bud; and yet the heart is deeply moved at the sight. We feel within us a new life, when we see nature thus revive; delightful images surround us; the companions of pleasure, gentle tears, ever ready to spring at the touch of tender feelings, brim our eyes. But upon the panorama of the vintage season, animated and pleasant though it be, we have no tears to bestow. Why is there this difference? It is because imagination joins to the sight of spring-time that of following seasons. To the tender buds the eye adds the flowers, the fruit, the shade, sometimes also the mysteries that may lie hid in them. Into a single point of time our fancy gathers all the year's seasons yet to be, and sees things less as they really will be than as it would choose to have them. In autumn, on the contrary, there is nothing but bare reality. If we think of spring then, the thought of winter checks us, and beneath snow and hoar-frost the chilled imagination dies. The charm we feel in looking upon a lovely childhood rather than upon the perfection of mature age, arises from the same source. If the sight of a man in his prime gives us like pleasure, it is when the memory of what he has done leads us to review his past life and bring up his younger days. If we think of him as he is, or as he will be in old age, the idea of declining nature destroys all our pleasure. There can be none in seeing a man rapidly drawing near the grave; the image of death is a blight upon everything.