365 



because it was to be a principal feature in 

 the rough scene, and yet describe it as 

 flowing between its sedgy banks ; and you 

 see it does flow very gently where the re- 

 flections and the sedges begin; for here, 

 immediately below us, as far as the effect 

 of the cascade extends, and where the water 

 is really agitated, there are neither sedges 

 nor reflections. The broken banks, too, 

 you see are disguised and softened by the 

 foliage that hangs over them, and by the 

 sedges below ; and certainly the indistinct 

 reflections of such a bank in a flowing 

 stream, is a very mild example of rough- 

 ness, and much more suited to Claude, 

 than Salvator. If the fairy, whom Sey- 

 mour just now was speaking of, would on- 

 ly touch the two banks with her wand, and 

 make them change their places, without 

 changing the water— the scene above— own 

 the truth Howard— would then be all 

 softness, harmony, and variety; and this 

 below, would be harsh, edgy, and in- 

 sipid. 



