The Sketch-Book of Geoffrey Crayon

poor man to his lot, and, what is more, to the better lot of his neighbor, thus to have parks and pleasure-grounds thrown open for his recreation. He breathes the pure air as freely and lolls as luxuriously under the shade as the lord of the soil; and if he has not the privilege of calling all that he sees his own, he has not, at the same time, the trouble of paying for it and keeping it in order.
    I now found myself among noble avenues of oaks and elms, whose vast size bespoke the growth of centuries. The wind sounded solemnly among their branches, and the rooks cawed from their hereditary nests in the tree-tops. The eye ranged through a long lessening vista, with nothing to interrupt the view but a distant statue and a vagrant deer stalking like a shadow across the opening.
    There is something about these stately old avenues that has the effect of Gothic architecture, not merely from the pretended similarity of form, but from their bearing the evidence of long duration, and of having had their origin in a period of time with which we associate ideas of romantic grandeur. They betoken also the long-settled dignity and proudly-concentrated independence of an ancient family; and I have heard a worthy but aristocratic old friend observe, when speaking of the sumptuous palaces of modern gentry, that "money could do much with stone and mortar, but thank Heaven! there was no such thing as suddenly building up an avenue of oaks."
    It was from wandering in early life among this rich scenery, and about the romantic solitudes of the adjoining park of Fullbroke, which then formed a part of the Lucy estate, that some of Shakepeare's commentators have supposed he derived his noble forest meditations of Jaques and the enchanting woodland pictures in "As You Like It." It is in lonely wanderings through such scenes that the mind drinks deep but quiet draughts of inspiration, and becomes intensely sensible of the beauty and majesty of Nature. The imagination kindles into reverie and rapture, vague but exquisite images and ideas keep breaking upon it, and we revel in a mute and almost incommunicable luxury of thought. It was in some such mood, and perhaps under one of those very trees before me, which threw their broad shades over the grassy banks and quivering waters of the Avon, that the poet's fancy may have sallied forth into that little song which breathes the very soul of a rural voluptuary

        Unto the greenwood tree,
        Who loves to lie with me
        And tune his merry throat
        Unto the sweet bird's note,
        Come hither, come hither, come hither.
            Here shall he see
            No enemy,
        But winter and rough weather.
    I had now come in sight of the house. It is a large building of brick with stone quoins, and is in the Gothic style of Queen Elizabeth's day, having been built in the first year of her reign. The exterior remains very nearly in its original state, and may be considered a fair specimen of the residence of a wealthy country gentleman of those days. A great gateway opens from the park into a kind of courtyard in front of the house, ornamented with a grassplot, shrubs, and flower-beds. The gateway is in imitation of the ancient barbacan, being a kind of outpost and flanked by towers, though evidently for mere ornament, instead of defence. The front of the house is completely in the old style with stone-shafted casements, a great bow-window of heavy stone-work, and a portal with armorial bearings over it carved in stone. At each corner of the building is an octagon tower surmounted by a gilt ball and weather-cock.
    The Avon, which winds through the park, makes a bend just at the foot of a gently-sloping bank which sweeps down from the rear of the house. Large herds of deer were feeding or reposing upon its borders, and swans were sailing majestically upon its bosom. As I contemplated the venerable old mansion I called to mind Falstaff's encomium on Justice Shallow's abode, and the affected indifference and real vanity of the latter:

    "Falstaff. You have a goodly dwelling and a rich.
    Shallow. Barren, barren, barren; beggars all, beggars all, Sir
    John:—marry, good air."
    Whatever may have been the joviality of the old mansion in the days of Shakespeare, it had now an air of stillness and solitude. The great iron gateway that opened into the courtyard was locked, there was no show of servants bustling about the place; the deer gazed quietly at me as I passed, being no longer