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A year among the trees

Chapter 64: CLIPPED HEDGE-ROWS.
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About This Book

The volume offers a seasonal tour of New England woodlands, combining natural history, species descriptions, and landscape observation. It profiles many native trees and shrubs, noting forms, foliage, and identifying features, and organizes scenes by seasons and habitats. Interspersed essays examine trees' relations to soil, water, climate, electricity, birds, and insects, and discuss their roles in health, shade, and ornament. Practical and aesthetic considerations mingle with reflections on poetic and folkloric associations, while guidance on planting, forest rotation, and the varied expressions of trees rounds out a handbook for both the curious walker and the practical planter.

CLIPPED HEDGE-ROWS.

No art connected with gardening has been so generally ridiculed in modern times as the topiary art, or that of vegetable sculpture. It is certainly not worthy of defence; and yet it seems to me quite as rational to cut out a figure in box or yew, as to shear the branches of a hedge-row to reduce it to architectural proportions. I cannot see why vegetable architecture is any more rational than vegetable sculpture. I cannot see why those persons who admire a clipped hedge-row should object to an “Adam and Eve in yew,” or a “Green Dragon in box,” nor why those who are willing to torture a row of shrubbery by this Procrustean operation should not be pleased with a “Noah’s Ark in holly,” or an “old maid-of-honor in wormwood,” as described in Pope’s satire. Of the two operations, I consider the one that still maintains its ground in popular taste the most senseless. “An old maid-of-honor in wormwood” would at least have the merit of being ridiculous; but a clipped hedge-row is simply execrable, without affording any amusement.