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Thoughts' and 'The Grave' are written in blank verse: The Castle of Indolence' and 'The Schoolmistress' in Spenserian stanza; The Spleen' and 'Grongar Hill' in octosyllabics, while the early odes of Gray and those of Collins are composed in a great variety of simple but novel lyric measures." *

The only important writer who had employed blank verse in undramatic poetry between the publication of "Paradise Regained" in 1672, and Thomson's "Winter" in 1726, was John Philips. In the brief prefatory note to "Paradise Lost," the poet of "L'Allegro" and "Il Penseroso," forgetting or disdaining the graces of his youthful muse, had spoken of rhyme as "the invention of a barbarous age," as "a thing trivial and of no true musical delight." Milton's example, of course, could not fail to give dignity and authority to the majestic rhythm that he had used; and Philips' mock-heroic "The Splendid Shilling (1701), his occasional piece, "Blenheim" (1705), and his Georgic "Cyder " (1706), were all in avowed imitation of Milton. But the well-nigh solitary character of Philips' experiments was recognized by Thomson, in, his allusion to the last-named poem:

"Philips, Pomona's bard, the second thou
Who nobly durst, in rime-unfettered verse,
With British freedom sing the British song."

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In speaking of Philips' imitations of Milton, Johnson said that if the latter "had written after the improvements made by Dryden, it is reasonable to

*"Eighteenth Century Literature," p. 207.
"Autumn," lines 645-47.

believe he would have admitted a more pleasing modulation of numbers into his work."* Johnson hated Adam Smith, but when Boswell mentioned that Smith, in his rhetorical lectures at Glasgow University, had given the preference to rhyme over blank verse, the doctor exclaimed, "Sir, I was once in company with Smith and we did not take to each other; but had I known that he loved rhyme as much as you tell me he does, I should have hugged him."

In 1725 James Thomson, a young Scotchman, came to London to push his literary fortunes. His countryman, David Malloch,-or Mallet, as he called himself in England, at that time private tutor in the family of the Duke of Montrose, procured Thomson introductions into titled society, and helped him to bring out "Winter," the first installment of "The Seasons," which was published in 1726. Thomson's friend and biographer (1762), the Rev. Patrick Murdoch, says that the poem was "no sooner read than universally admired; those only excepted who had not been used to feel, or to look for anything in poetry beyond a point of satirical or epigrammatic wit, a smart antithesis richly trimmed with rhyme." This is a palpable hit at the Popean school; and indeed there could be no stronger contrast than between Thomson and Pope, not alone in subject and feeling, but in diction and verse. Thomson's style is florid and luxuriant, his numbers flowing and diffuse, while Pope had wonted the English ear to the extreme of compression in both language and meter. Pope is among the most quotable of poets, while Thomson's long poem, in spite of *"Life of Philips."

its enduring popularity, has contributed but a single phrase to the stock of current quotation:

"To teach the young idea how to shoot."

"Winter" was followed by "Summer" in 1727, "Spring" in 1728, and the completed "Seasons" in 1730. Thomson made many changes and additions in subsequent editions. The original "Seasons" contained only 3902 lines (exclusive of the "Hymn"), while the author's final revision of 1746 gave 5413. One proof that "The Seasons" was the work of a fresh and independent genius is afforded by the many imitations to which it soon gave birth. In Germany, a passage from Brockes' translation (1745) was set to music by Haydn. J. P. Uz (1742) and Wieland each producd a "Frühling," in Thomson's manner; but the most distinguished of his German disciples was Ewald Christian von Kleist, whose "Frühling" (1749) was a description of a country walk in spring, in 460 hexameter lines, accompanied, as in Thomson's "Hymn," with a kind of "Gloria in excelsis," to the creator of nature. "The Seasons" was translated into French by Madame Bontemps in 1759, and called forth, among other imitations, "Les Saisons" of Saint Lambert, 1769 (revised and extended in 1771.) In England, Thomson's influence naturally manifested itself less in direct imitations of the scheme of his poem than in the contagion of his manner, which pervades the work of many succeeding poets, such as Akenside, Armstrong, Dyer, Somerville and Mallet. "There was hardly one verse writer of any eminence," says Gosse, * "from 1725-50, who was not in some

"Eighteenth Century Literature," p. 221

manner guided or biased by Thomson, whose genius is to this day fertile in English literature."

We have grown so accustomed to a more intimate treatment and a more spiritual interpretation of nature, that we are perhaps too apt to undervalue Thomson's simple descriptive or pictorial method. Compared with Wordsworth's mysticism, with Shelley's passionate pantheism, with Byron's romantic gloom in presence of the mountains and the sea, with Keats' joyous re-creation of mythology, with Thoreau's Indianlike approach to the innermost arcana-with a dozen other moods familiar to the modern mind-it seems to us unimaginative. Thomson has been likened, as a colorist, to Rubens; and possibly the glow, the breadth, and the vital energy of his best passages, as of Rubens' great canvases, leave our finer perceptions untouched, and we ask for something more esoteric, more intense. Still there are permanent and solid qualities in Thomson's landscape art, which can give delight even now to an unspoiled taste. To a reader of his own generation, "The Seasons" must have come as the revelation of a fresh world of beauty. Such passages as those which describe the first spring showers, the thunderstorm in summer, the trout-fishing, the sheep-washing, and the terrors of the winter night, were not only strange to the public. of that day, but were new in English poetry.

That the poet was something of a naturalist, who wrote lovingly and with his "eye upon the object," is evident from a hundred touches, like "auriculas with shining meal";

or,

"The yellow wall-flower stained with iron brown;"

"The bittern knows his time, with bill engulfed,

To shake the sounding marsh."*

Thomson's scenery was genuine. His images of external nature are never false and seldom vague, like Pope's. In a letter to Lyttelton, † he speaks of "the Muses of the great simple country, not the little fine-lady Muses of Richmond Hill." His delineations, if less sharp and finished in detail than Cowper's, have greater breadth. Coleridge's comparison of the two poets is well known: "The love of nature seems to have led Thomson to a cheerful religion, and a gloomy religion to have led Cowper to a love of nature. . . In chastity of diction and the harmony of blank verse, Cowper leaves Thomson immeasurably below him; yet I still feel the latter to have been the born poet."

The geologist Hugh Miller, who visited Lyttelton's country seat at Hagley in 1845, describes the famous landscape which Thomson had painted in "Spring":

"Meantime you gain the height from whose fair brow
The bursting prospect spreads immense around,
And, snatched o'er hill and dale and wood and lawn,
And verdant field and darkening heath between,

And villages embosomed soft in trees,

And spiry towns, by surging columns marked

Of household smoke, your eye extensive roams.

To where the broken landscape, by degrees

Ascending, roughens into rigid hills,

O'er which the Cambrian mountains, like far clouds,
That skirt the blue horizon, dusky rise."

*Cf. Chaucer: "And as a bitoure bumbleth in the mire."

-Wyf of Bathes Tale. + Phillimore's "Life of Lyttelton," Vol. I. p. 286.

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