For a breeze of morning moves,

And the planet of Love is on high . . .

—Tennyson, Maud (1855)

It is a part of special prudence never to do anything because one has an inclination to do it; but because it is one’s duty, or is reasonable.

—Matthew Arnold, Notebooks (1868)

The sun was just redly leaving the insubstantial dove-gray waves of the hills behind the Chesil Bank when Charles, not dressed in the clothes but with all the facial expression of an undertaker’s mute, left the doors of the White Lion. The sky was without cloud, washed pure by the previous night’s storm and of a deliciously tender and ethereal blue; the air as sharp as lemon-juice, yet as clean and cleansing. If you get up at such an hour in Lyme today you will have the town to yourself. Charles, in that earlier-rising age, was not quite so fortunate; but the people who were about had that pleasant lack of social pretension, that primeval classlessness of dawn population: simple people setting about their day’s work. One or two bade Charles a cheery greeting; and got very peremp-tory nods and curt raisings of the ashplant in return. He would rather have seen a few symbolic corpses littering the streets than those bright faces; and he was glad when he left the town behind him and entered the lane to the Undercliff.

But his gloom (and a self-suspicion I have concealed, that his decision was really based more on the old sheepstealer’s adage, on a dangerous despair, than on the nobler movings of his conscience) had an even poorer time of it there; the quick walking sent a flood of warmth through him, a warmth from inside complemented by the warmth from without brought by the sun’s rays. It seemed strangely distinct, this undefiled dawn sun. It had almost a smell, as of warm stone, a sharp dust of photons streaming down through space. Each grass-blade was pearled with vapor. On the slopes above his path the trunks of the ashes and sycamores, a honey gold in the oblique sunlight, erected their dewy green vaults of young leaves; there was something mysteriously religious about them, but of a religion before religion; a druid balm, a green sweetness over all ... and such an infinity of greens, some almost black in the further recesses of the foliage; from the most intense emerald to the palest pomona. A fox crossed his path and strangely for a moment stared, as if Charles was the intruder; and then a little later, with an uncanny similarity, with the same divine assumption of possession, a roe deer looked up from its browsing; and stared in its small majesty before quietly turning tail and slipping away into the thickets. There is a painting by Pisanello in the National Gallery that catches exactly such a moment: St. Hubert in an early Renaissance forest, confronted by birds and beasts. The saint is shocked, almost as if the victim of a practical joke, all his arrogance dowsed by a sudden drench of Nature’s profound-est secret: the universal parity of existence.

It was not only these two animals that seemed fraught with significance. The trees were dense with singing birds-blackcaps, whitethroats, thrushes, blackbirds, the cooing of woodpigeons, filling that windless dawn with the serenity of evening; yet without any of its sadness, its elegaic quality. Charles felt himself walking through the pages of a bestiary, and one of such beauty, such minute distinctness, that every leaf in it, each small bird, each song it uttered, came from a perfect world. He stopped a moment, so struck was he by this sense of an exquisitely particular universe, in which each was appointed, each unique. A tiny wren perched on top of a bramble not ten feet from him and trilled its violent song. He saw its glittering black eyes, the red and yellow of its song-gaped throat—a midget ball of feathers that yet managed to make itself the Announcing Angel of evolution: I am what I am, thou shall not pass my being now. He stood as Pisanel-lo’s saint stood, astonished perhaps more at his own astonish-ment at this world’s existing so close, so within reach of all that suffocating banality of ordinary day. In those few mo-ments of defiant song, any ordinary hour or place—and therefore the vast infinity of al............