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At no period of the year are the sunsets so varied and beautiful as in autumn. The many-coloured woods of the year's eventide correspond to the many-coloured clouds of the sunset sky; and as the heavens burst into their brightest hues, and exhibit their loveliest transfigurations when the daylight is fading into the gloom of night, so the year unfolds its richest tints and its fairest charms when it is about to sink into the darkness and desolation of winter. The beauty of the autumnal tints is commonly supposed to be confined to the fading foliage of the trees. This is indeed the most obvious feature of the season — that which appeals to every eye, and reads its lesson to every heart. But nature here, as everywhere else, loves to reproduce in her smallest things the peculiarities of her greatest. It was a beautiful myth, created by the glowing imagination of the Greek poets, that the great god Pan, the impersonation of nature, wedded the nymph Echo; so that every note which he blew from his pipe of reeds awakened a harmonious response in her tender bosom. Most truly does this bright fancy represent the real design of nature, according to which we hear on every hand some curious reverberation of some familiar sound, and see all things delighting to wear each other's robes. The fading frees pipe their many-coloured music aloft on the calm blue October air — for the chromatic scale is the harmonious counterpart of the musical — and the lowly plants that grow beneath their shadow dance to the music. The weeds by the wayside are gifted with a beauty in the decline of life equal to that of the proudest oaks and beeches. Each season partakes to some extent of the characteristics of all the other seasons, and shares in all the varied beauties of the year. Thus we find an autumn in each spring in the death of the primroses and lilies, and a harvest in each summer in the ripe hay-fields; and every one has noticed that the sky of September possesses much of the fickleness of spring in the rapid change of its clouds and the variableness of its weather. Very strikingly is this mutual repetition by the seasons of each other's characteristic features seen in the resemblance between the tints of the woods in spring and in autumn. The first leaves of the oak expand from the bud in a pale tender crimson; the young leaves of the maple tree, and all the leaves that appear on a maple stump, are of a remarkable copper colour; the immature foliage of the hazel and alder is marked by a dark purple tinge, singularly rich and velvety-looking. Not more varied is the tinting of the autumnal woods than that of the spring woods. And it may be remarked that the colour into which any tree fades in autumn is the same as it wears when it bursts the cerements of spring, and unfolds to the sunny air. Its birth is a prophecy of its death, and its death of its birth. Nature's cradles have not more of beginning in them than of ending; and nature's graves have not more of ending in them than of beginning. No one can take a walk in the melancholy woodland in the calm October days without being deeply impressed by the thought of the great waste of beauty and creative skill seen in the faded leaves which rustle beneath his feet. Take up and examine one of these leaves attentively, and you are astonished at, the wealth of ingenuity displayed in it. It is a miracle of design, elaborately formed and richly coloured — in reality more precious than any jewel; and yet it is dropped off the bough as if it had no value, and rots away unheeded in the depths of the forest. Myriads of similar gems are heaped beneath the leafless trees, to moulder away in the rains of November. It saddens us to think of this continual lavish production and careless discarding of forms of beauty and wonder, which we see everywhere throughout nature. Could not the foliage be so contrived as to remain permanently on the trees, and only suffer such a periodical change as the evergreen ivy undergoes? Must the web of nature's fairest embroidery be taken down every year, and every year woven back again to its old completeness and beauty? Is nature waiting for some great compensation, as Penelope of old waited for her absent husband, when she unravelled each evening the work of each day, and thus deluded her eager lovers with vain promises? Yes! she weaves and unweaves her web of loveliness each season — not in order to mock us with delusive hopes, but to wean us from all false loves, and teach us to wait and prepare for the true love of our souls, which is found, not in the passing things of earth, but in the abiding realities of heaven. This is the secret of all her lavish wastefulness. For this she perpetually sacrifices and perpetually renews her beauty; for this she counts all her most precious things but as dross. By the pathos of her autumn loveliness she is appealing to all that is deepest and truest in our spiritual nature; and through her fading flowers and her withering grass, and all her fleeting glories, she is speaking to us words of eternal life, whereby our souls may be enriched and beautified for ever.

(H. Macmillan, D. D.)

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KJV: To every thing there is a season, and a time to every purpose under the heaven:

WEB: For everything there is a season, and a time for every purpose under heaven: