any degree interefting. The 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 some species 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 groundwork of a poetical fabric; pure defcription was opposed to sense; and binding together the wild flowers which grew obvious to commmon fight and touch, was deemed a trifling and unprofitable amusement.

SUCH was the state of critical opinion, when Thomson published, in fucceffion, but not in

their prefent order,* the pieces which compose his Seafons; the firft capital work in which natural description was profeffedly the principal object. To paint the face of nature as changing through the changing seasons; to mark the approaches, and trace the progress of these viciffitudes, in a series of landskips all formed upon images of grandeur or beauty; and to give animation and variety to the whole by interspersing manners and incidents fuitable to the scenery; appears to be the general design of this Poem, Effentially different from a didactic piece, its business 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 husbandfo Thomson, in the midst of his delight

* They appeared in the following order; Winter, Summer, Spring,

Autuma.

ful

ful leffons of morality, and affecting relations, recurs to a view of that ftate of the feafon which introduced the digrèssion.

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 vast variety and quick fucceffion of objects prefented 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 conftitute the principal part of the present Effay.

ALTHOUGH each of the Seafons 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 strongly 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 feafons are fo many progreffive ftages in this circuit, which, like the acts in a well-conftructed drama, gradually disclose, ripen, and bring to an end the various business transacted on the great theatre of nature. The ftriking analogy which this period with its feveral divifions bears to the course of human exiftence, has been remarked and pursued by writers of all ages and countries.. Spring has been reprefented as the youth of the year the season of pleafing hope, lively energy, and rapid increase. Summer has been refembled to perfect manhood the feafon of fteady

fteady warmth, confirmed ftrength, and unremitting vigour. Autumn, which while it bestows the rich products of full maturity, is yet ever hastening to decline, has been aptly compared to that period, when the man, mellowed by age, yields the most valuable fruits of experience and wisdom, but daily exhibits increasing fymptoms of decay. The cold, cheerlefs, and fluggish Winter has almost without a metaphor been termed the decrepid and hoary old age of the year. Thus the hiftory of the year, pursued through its changing feafons, is that of an individual, whofe existence is marked by a progreffive course from its origin to its termination. It is thus represented by our Poet; this idea preserves an unity and connexion through his whole work; and the accurate obferver will remark a beautiful chain of circumftances in his defcription, by which the birth, vigour, decline, and extinction of the vital principle of the year are pictured in the most lively manner.

THIS