and secondary impressions. We are so used to thinking of "Hamlet" as a problem that we sometimes quite forget that it is a tragedy, just as we are so used to thinking of the sea as vast and vague, that we scarcely notice when it is white and green.
But there is another quarrel involved in which the young gentleman of culture comes into violent collision with the young lady of the cauliflowers. The first essential of the merely bookish view of the sea is that it is boundless, and gives a sentiment of infinity. Now it is quite certain, I think, that the cauliflower simile was partly created by exactly the opposite impression, the impression of boundary and of barrier. The girl thought of it as a field of vegetables, even as a yard of vegetables. The girl was right. The ocean only suggests infinity when you cannot see it; a sea mist may seem endless, but not a sea. So far from being vague and vanishing, the sea is the one hard straight line in Nature. It is the one plain limit; the only thing that God has made that really looks like a wall. Compared to the sea, not only sun and cloud are chaotic and doubtful, but solid mountains and standing forests may be said to melt and fade and flee in the presence of that lonely iron line. The old naval phrase, that the seas are England's bulwarks, is not a frigid and artificial metaphor; it came into the