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fections of fo different a kind, and so distract the attention, that they never fail to diminish the force of the pathetic. On these accounts, writers much inferior in respect to the powers of description and imagery, have equalled our poet in elegant and benevolent fentiment, and perhaps excelled him in interefting narration. Of thefe, it will be fufficient to mention the ingenious author of a French poem on the Seafons; who, though a mere copyift in the defcriptive parts, has made many pleafing additions to the manners and incidents proper for fuch a com❤ pofition.

But there is a strain of sentiment of a higher and more digreffive nature, with which THOMSON has occupied a confiderable portion of his poem. The fundamental principles of Moral Philosophy, ideas concerning the origin and progress of government' and civilization, hiftorical sketches, and reviews of the characters most famous in ancient and modern history, are interspersed through the various parts of the SEASONS. The manly, liberal, and enlightened fpirit which this writer breathes in all his works, must ever endear him to the friends of truth and virtue; and, in particular, his genuine patriotifm and zeal in the cause of liberty will render his writings always esti

mable to the British reader. But, just and important as his thoughts on these topics may be, there may remain a doubt in the breast of the critic, whether their introduction in a piece like this do not, in some inftances, break in upon that unity of character which every work of art should fupport. We have feen, from the general plan and tenor of the poem, that it is profeffedly of the rural caft. The objects it is chiefly converfant with are those presented by the hand of Nature, not the products of human art; and when man himself is introduced as a part of the groupe, it would seem that, in conformity to the reft, he ought to be represented in fuch a state only, as the fimpleft forms of fociety, and moft unconftrained fituations in it, exhibit. Courts and cities, camps and fenates, do not well accord with filvan scenery. From the principle of congruity, therefore, a critic might be induced to reject fome of these digreffive ornaments, though intrinsically beautiful, and doubtless contributing to the elevation and variety of the piece. His judgment in this respect would be a good deal influenced by the manner of their introduction. In fome inftances this is fo eafy and na tural, that the mind is fcarcely fenfible of the deviation; in others it is more abrupt and unartful.

As examples of both, we may refer to the paffages in which various characters from English, and from Grecian and Roman history, are difplayed. The former, by a happy gradation, is introduced at the clofe of a delightful piece, containing the praises of Britain; which is itself a kind of digreffion, though a very apt and seasonable one. The latter has no other connexion with the part at which it is inferted, than the very forced and diftant one, that, as reading may be reckoned among the amusements appropriated to Winter, such subjects as these will naturally offer themselves to the ftudious mind.

There is another fource of fentiment to the Poet of the SEASONS, which, while it is fuperior to the laft in real elevation, is also strictly connected with the nature of his work. The genuine philofopher, while he furveys the grand and beautiful objects every where furrounding him, will be prompted to lift his eye to the great cause of all these wonders; the planner and architect of this mighty fabric, every minute part of which fo much awakens his curiofity and admiration. The laws by which this Being acts, the ends which he seems to have pursued, must excite his humble researches; and in proportion as he difcovers infinite power in the means, directed by infi

nite goodness in the intention, his foul must be wrapt in aftonishment, and expanded with gratitude. The economy of Nature will, to fuch an observer, be the perfect fcheme of an all-wife and beneficent mind ; and every part of the wide creation will appear to proclaim the praise of its great Author. Thus a new connexion will manifeft itself between the several parts of the universe; and a new order and defign will be traced through the progress of its various revolutions.

THOMSON'S SEASONS is as eminently a religious, as it is a defcriptive poem. Thoroughly impreffed with fentiments of veneration for the Author of that affemblage of order and beauty which it was his province to paint, he takes every proper occafion to excite fimilar emotions in the breafts of his readers. Entirely free from the gloom of superstition and the narrowness of bigotry, he every where represents the Deity as the kind and beneficent parent of all his works, always watchful over their best interests, and from seeming evil ftill educing the greateft poffible good to all his creatures. In every appearance of nature he beholds the operation of a divine hand; and regards, according to his own emphatical phrase, each change throughout the revolving year as but the "varied God." This fpirit, which breaks forth

at intervals in cach division of his poem, fhines full and concentred in that noble Hymn which crowns the work. This piece, the fublimeft production of its kind fince the days of MILTON, fhould be confidered as the winding up of all the variety of matter and design contained in the preceding parts; and thus is not only admirable as a separate compofition, but is contrived with masterly fkill to ftrengthen the unity and connexion of the great whole.

Thus is planned and conftructed a Poem, which, founded as it is upon the unfading beauties of Nature, will live as long as the language in which it is written shall be read. If the perufal of it be in any respect rendered more interefting or inftructive by this imperfect Effay, the purpose of the writer will be fully anfwered.

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