Stand under this tree and see how finely its leaves are cut against the
sky,--as it were, only a few sharp points extending from a midrib. They
look like double, treble, or quadruple crosses. They are far more
ethereal than the less deeply scolloped Oak-leaves. They have so little
leafy _terra firma_ that they appear melting away in the light, and
scarcely obstruct our view. The leaves of very young plants are, like
those of full-grown Oaks of other species, more entire, simple, and
lumpish in their outlines; but these, raised high on old trees, have
solved the leafy problem. Lifted higher and higher, and sublimated more
and more, putting off some earthiness and cultivating more intimacy with
the light each year, they have at length the least possible amount of
earthy matter, and the greatest spread and grasp of skyey influences.
There they dance, arm in arm with the light,--tripping it on fantastic
points, fit partners in those aërial halls. So intimately mingled are
they with it, that, what with their slenderness and their glossy
surfaces, you can hardly tell at last what in the dance is leaf and what
is light. And when no zephyr stirs, they are at most but a rich tracery
to the forest-windows.

I am again struck with their beauty, when, a month later, they thickly
strew the ground in the woods, piled one upon another under my feet.
They are then brown above, but purple beneath. With their narrow lobes
and their bold deep scollops reaching almost to the middle, they suggest
that the material must be cheap, or else there has been a lavish expense
in their creation, as if so much had been cut out. Or else they seem to
us the remnants of the stuff out of which leaves have been cut with a
die. Indeed, when they lie thus one upon another, they remind me of a
pile of scrap-tin.[1]