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THE AUTOCRAT OF THE BREAKFAST-TABLE.

helpless,—poor things!—while Nature dresses and undresses them, like so many full-sized, but under-witted children.

Did you ever read old Daddy Gilpin? Slowest of men, even of English men; yet delicious in his slowness, as is the light of a sleepy eye in woman. I always supposed "Dr. Syntax" was written to make fun of him. I have a whole set of his works, and am very proud of it, with its gray paper, and open type, and long ſſ, and orange-juice landscapes. The Père Gilpin had the kind of science I like in the study of Nature,—a little less observation than White of Selborne, but a little more poetry.―Just think of applying the Linnæan system to an elm! Who cares how many stamens or pistils that little brown flower, which comes out before the leaf, may have to classify it by? What we want is the meaning, the character, the expression of a tree, as a kind and as an individual.

There is a mother-idea in each particular kind of tree, which, if well marked, is probably embodied in the poetry of every language. Take the oak, for instance, and we find it always standing as a type of strength and endurance. I wonder if you ever thought of the single mark of supremacy which distinguishes this tree from all our other forest-trees? All the rest of them shirk the work of resisting gravity; the oak alone defies it. It chooses the horizontal direction for its limbs, so that their whole weight