It was thus that poets were educated to find that exaltation in the terrors of mountainous regions which Gray expressed when he said: "Not a precipice, not a torrent, not a cliff, but is pregnant with religion and poetry." The weaker side of modern Romance, the play-acting and pretence that has always accompanied it, may be seen in the gardening mania. It was not enough to be a country gentleman; the position must be improved by the added elegances of a hermit's cell and an Egyptian pyramid. It is like children's play; the day is long, the affairs of our elders are tedious, we are tired of a life in which there is no danger and no hunger; let us pretend that we are monks, or ancient Romans. The mature imagination interprets the facts; this kind of imagination escapes from the facts into a world of make-believe, where the tyranny and cause and effect is no longer felt. It is not a hard word to call it childish; the imagination of these early Romantics had a child's weakness and a child's delightful confidence and zest. The same play activity expressed itself in literature, where an orgy of imitation ushered in the real movement. The antiquarian beginnings of Romantic poetry may be well illustrated by the life and works of Thomas Warton. He passed his life as a resident Fellow of Trinity College, Oxford, and devoted his leisure, which was considerable, to the study of English poetry and Gothic architecture. He was not yet thirty when, in 1757, he was elected Professor of Poetry, a post which he held for ten years. During this time he planned a complete History of English Poetry, a task which Pope and Gray in turn had contemplated and abandoned. The historical interest which is so conspicuous in early Romanticism owed not a little, it may be remarked in passing, to the initiative of Pope, who must therefore be given a place in any full genealogy of the Romantic family. Warton's _History_, so far as it was completed, was published between 1774 and 1781, when he relaxed his efforts, and took up lesser tasks. In 1785 he was made Poet Laureate on the strength of his early poems and later scholarship. He died in 1790. Warton's poems are a curious study. Spenser and Milton are his masters, and he is a docile pupil. His poetry is all derivative, and might be best described as imitation poetry. Christopher North said of him that "the gods had made him poetical, but not a poet," a saying which contains the whole truth. He puts together a mosaic of phrases borrowed from his teachers, and frames them in a sentimental setting of his own. Here are some passages from _The Pleasures of Melancholy_, which, though he wrote it at the age of seventeen, does not differ in method or inspiration from the rest of his poetical work: