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which they copy originals more or less excellent. A good original, therefore, forms an æra in the art itself; and the history of every art divides itself into periods comprehending the intervals between the appearance of different approved originals. Sometimes, indeed, various models of a very different caft may exercise the talents of imitators during a fingle period; and this will more frequently be the cafe, as arts become more generally known and studied; difference of taste being always the refult of liberal and varied pursuit.

How strongly thefe periods are marked in the history of Poetry, both ancient and modern, a cursory view will fuffice to fhew. The fcarcity of originals here is univerfally acknowledged and lamented, and the prefent race of poets are thought particularly chargeable with this defect. It ought, however, to be allowed in their favour, that if genius has declined, tafte has improved; and that if they imitate more, they choose better models to copy after.

That THOMSON'S SEASONS is the original whence our modern defcriptive poets have derived that more elegant and correct ftyle of painting natural objects which distinguishes them from their immediate predeceffors, will, I think, appear evident to one who examines their feveral cafts and manners. That none

of them, however, have yet equalled their mafter; and that his performance is an exquifite piece, replete with beauties of the most engaging and delightful kind; will be fenfibly felt by all of congenial taste :and perhaps no poem was ever compofed which addreffed itself to the feelings of a greater number of readers. It is, therefore, on every account, an object well worthy the attention of criticism; and an enquiry into the peculiar nature of its plan and the manner of its execution may be an agreeable introduction to a re-perufal of it in the elegant edition now offered to the public.

The description of such natural objects as by their beauty, grandeur, or novelty, agreeably imprefs the imagination, has at all times been a principal and favourite occupation of poetry. Various have been the methods in which fuch descriptions have been introduced. They have been made fubfervient to the purposes of ornament and illustration, in the more elevated and abstracted kinds of poetry, by being used as objects of fimilitude. They have constituted a pleafing and neceffary part of epic narration, when employed in forming a scenery suitable to the events. The fimple tale of paftoral life could fcarcely without their aid be rendered in any degree interefting. The

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precepts of an art, and the systems of philofophers, depend upon the adventitious ornaments afforded by them for almost every thing which can render them fit fubjects for poetry.

Thus intermixed as they are with almost all, and effential to fome fpecies of poetry, it was, however; thought that they could not legitimately conftitute the whole, or even the principal part, of a capital piece. Something of a more folid nature was required as the ground-work of a poetical fabric; pure defcription was oppofed to fenfe; and, binding together the wild flowers which grew obvious to common fight and touch, was deemed a trifling and unprofitable amusement.

Such was the ftate of critical opinion, when THOMSON publifhed, in fucceffion, but not in their prefent order, the pieces which compofe his SEASONS; the firft capital work in which natural defcription was profeffedly the principal object. To paint the face of nature as changing through the changing feafons; to mark the approaches, and trace the progrefs of these viciffitudes, in a feries of landscapes all

*They appeared in the following order: Winter, Summer, Spring, Autumn.

formed upon images of grandeur or beauty; and to give animation and variety to the whole by interfperfing manners and incidents suitable to the scenery; appears to be the general defign of this Poem. Effentially different from a didactic piece, its bufinefs is to defcribe, and the occupation of its leifure to teach. And as in the Georgics, whenever the poet has, for a while, borne away by the warmth of fancy, wandered through the flowery wilds of defcription, he fuddenly checks himself, and returns to the toils of the husbandman; fo THOMSON, in the midst of his delightful leffons of morality, and affecting relations, recurs to a view of that ftate of the season which introduced the digreffion.

It is an attention to this leading idea, that in this piece there is a progreffive series of defcriptions, all tending to a certain point, and all parts of a general plan, which alone can enable us to range through the vaft variety and quick fucceffion of objects presented in it, with any clear conception of the writer's method, or true judgment concerning what may be regarded as forwarding his main purpose, or as merely ornamental deviation. The particular elucidation of this point will constitute the principal part of the prefent Effay.

Although each of the SEASONS appears to have been intended as a complete piece, and contains within itself the natural order of beginning, middle, and termination, yet as they were at length collected and modelled by their author, they have all a mutual relation to each other, and concur in forming a more -comprehenfive whole. The annual space in which the earth performs its revolution round the fun is fo ffrongly marked by nature for a perfect period, that all mankind have agreed in forming their computations of time upon it. In all the temperate climates of the globe, the four seasons are so many progreffive stages in this circuit, which, like the acts in a well-constructed drama, gradually disclofe, ripen, and bring to an end the various bufinefs tranfacted on the great theatre of Nature. The ftriking analogy which this period with its feveral divifions bears to the course of human existence, has been remarked and purfued by writers of all ages and countries. Spring has been reprefented as the youth of the year-the feafon of pleafing hope, lively energy, and rapid increafe. Summer has been resembled to perfect manhood-the fea fon of fteady warmth, confirmed strength, and unremitting vigour. Autumn, which, while it beftows the rich products of full maturity, is yet ever haften

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