But it is not only the mere versifiers who have succumbed to this temptation. By far the most important of the early blank verse poems was Thomson’s “Seasons,” which, first appearing from 1726-1730, was subsequently greatly revised and altered up to the edition of 1746, the last to be issued in the author’s lifetime.[99] The importance and success of “The Seasons” as one of the earliest indications of the “Return to Nature” has received adequate recognition, but Thomson was an innovator in the style, as well as in the matter, of his poem. As Dr. Johnson remarked, he saw things always with the eyes of a poet, and the quickened and revived interest in external nature which he reflects inevitably impelled him to search for a new diction to give it expression. We can see him, as it were, at work trying to replace the current coinage with a new mintage of his own, or rather with a mixed currency, derived partly from Milton, and partly from his own resources. His diction is thus in some degrees as artificial as the stock diction of his period, especially when his attempts to emulate or imitate the magnificence of Milton betray him into pomposity or even absurdity; but his poetical language as a whole is leavened with so much that is new and his very own as to make it clear that the Romantic revival in the style, as well as in the contents, of poetry has really begun. The resulting peculiarities of style did not escape notice in his own time. He was recognized as the creator of a new poetical language, and was severely criticized even by some of his friends. Thus Somerville urged with unusual frankness a close revision of the style of “The Seasons”: Read Philips much, consider Milton more But from their dross extract the purer ore: To coin new words or to restore the old In southern lands is dangerous and bold; But rarely, very rarely, will succeed When minted on the other side of Tweed.[100] Thomson’s comment on this criticism was emphatic: “Should I alter my ways I should write poorly. I must choose what appears to be the most significant epithet or I cannot proceed.”[101] Hence, though lines and whole passages of “The Seasons” were revised, and large additions made, the characteristics of the style were on the whole preserved. And one of the chief characteristics, due partly to the influence of Milton, and partly to the obvious fact that for Thomson with new thoughts and impressions to convey to his readers, the current and conventional vocabulary of poetry needed reinforcement, is an excessive use of latinisms.[102] Thus in “Spring” we find, e.g., “_prelusive_ drops,” “the _amusive_ arch” (the rainbow), “the torpid sap _detruded_ to the root,” etc., as well as numerous passages such as Joined to these Innumerous songsters in the freshening shade Of new-sprung leaves, their modulations mix Mellifluous. (“Spring,” 607 foll.)