But as one turns
the leaves of Mrs. Creevey's magic book-perhaps one ought to say turns
its petals--the forests and the fields come and make themselves at home
in the city everywhere. By virtue of it I have been more in the country
in a half-hour than if I had lived all June there. When I lift my eyes
from its pictures or its letter-press my vision prints the eidolons of
wild flowers everywhere, as it prints the image of the sun against the
air after dwelling on his brightness. The rose-mallow flaunts along
Fifth Avenue and the golden threads of the dodder embroider the house
fronts on the principal cross streets; and I might think at times that it
was all mere fancy, it has so much the quality of a pleasing illusion.
Yet Mrs. Creevey's book is not one to lend itself to such a deceit by any
of the ordinary arts. It is rather matter of fact in form and manner,
and largely owes what magic it has to the inherent charm of its subject.
One feels this in merely glancing at the index, and reading such titles
of chapters as "Wet Meadows and Low Grounds"; "Dry Fields--Waste Places
--Waysides"; "Hills and Rocky Woods, Open Woods"; and "Deep, Cool, Moist
Woods"; each a poem in itself, lyric or pastoral, and of a surpassing
opulence of suggestion. The spring and, summer months pass in stately
processional through the book, each with her fillet inscribed with the
names of her characteristic flowers or blossoms, and brightened with the
blooms themselves.
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