In this chapter, the narrator turns to three possible sources of spiritual stimulation. The first, history, proved to be unstimulating, and even depressing. Finally he gave it up, declaring, "Alas! how little does the memory of these human inhabitants enhance the beauty of the landscape!" In considering this first part of the chapter, we should note a symbol that appears twice — the covered-up wells of the Breed place and the Quoil place. As was mentioned in the commentary on "The Ponds," springs and wells are often-used symbols for inspiration. That these particular wells are covered up and no longer flow indicates that the narrator's inspiration has been cut off in this spiritual "winter." It is significant, however, that the wells are merely covered up and that they are not destroyed; this signifies the hope of the narrator that he may once again "uncover" and tap his "well" of inspiration.
When the narrator turns from history to nature, the second possible source of stimulation, we again see him looking for confirmation of his hope that his spiritual life will not die. When he saw the owl, he observed a sign of torpidity in nature that reflected his own spiritual torpidity. But when the owl burst into flight, nature showed the narrator that there was still vitality in nature beneath the appearance of lifelessness; nature did not die simply because of winter. Watching the owl and discovering the skunk-cabbages which still grew in the swamps in winter, the narrator was taught by nature that he need not die spiritually simply because he was experiencing a psychological winter. This realization did not produce ecstasy in the narrator, but it did give him hope for spiritual survival. Like the "hardier bird" in the swamp, he hopefully awaited the return of spring.
After reading such chapters as "Solitude," "Visitors," and "The Village," the reader will find it ironic that the final, possible source of stimulation, human company, is the most vitalizing one. To the narrator, the philosopher made heaven and earth meet; he produced a sense of ecstatic integration in the narrator's spiritual "winter."
