Throughout the poetry of the eighteenth century we have observed a turning from the general to the specific. There is likewise a similar tendency to localization. The classical poetry of Nature belonged to no special spot, hardly to any special country. The poetry of Wordsworth and of Walter Scott was, on the other hand, eminently local. They celebrated the mountains and islands and streams of the region they knew. Wordsworth complained that before his day no one had sung of British mountains. It is interesting to note the growth of this passion for certain spots definitely pointed out and named, certain natural scenes known and loved as a person might be. A brief survey of the mountains and streams thus celebrated in eighteenth-century poetry will serve as illustrative. After Dyer’s “Grongar Hill” come other mountains of Wales. The hoary heights of huge Plynlymmon; the wide, aërial side of Cader-ydris; the craggy summits of cold Snowdon, king of mountains; Clyder’s cloud-enveloped head; Caer-caraduc, and others are spoken of with evident pleasure and not a little artistic perception. In Scotland the hills of Cheviot, the Pentland Hills, the mountains in the Ossian country, and those around Lochleven, are chief. In England we have the scarry side of Braids, Dafset’s ridgy mountain, Edge-Hill, Almada Hill, Derwent’s naked peaks, huge Breaden, blue-topp’d Wrekin, giant Skiddaw, the solemn wall of Malvern, the Cambrian Hills, the hills of Ilmington, and others. The spirit of localization in its application to mountains does not often go beyond calling the mountain by its own name, and using some phrase showing that this mountain is known as separate from the general mass. In its application to streams the feeling is more detailed in expression. Ramsay’s streams and pools are closely localized. Dyer celebrates not only Towy’s flood, but the Vaga, the Ryddal, the Ystwith, the Clevedoc, the Lune, and especially the Usk. Dr. Dalton traces the course of the Borrowdale Beck from Lodore Falls to the lake. Langhorne follows the track of the Bela through solitary meads, and then through the rough realms of Stainmore. He also celebrates his joy as a child in the river Eden. Smollett, on his sick bed, writes an ode to Leven Water. Bruce sings of the Po, the Queech, the Severn, and especially of his youthful delight in the Gairney. Mickle writes of the Forth, the Annan, the Ewes, and the Wauchope, but dwells with most zest on his early love of the Esk. Of peculiar interest is Akenside’s apostrophe to the Wansbeck. Hamilton, Langhorne, and Logan wrote of the Yarrow, Cowper of the Ouse, Burns of the Ayr, the Doon, the Nith, the Afton, the Devon, and many another Scotch stream, while Bowles wrote of the Itchin, the Tweed, the Cherwell, and the Wansbeck. A map might be made on which should be represented only the mountains and streams spoken of with some particularity, with something more than a mere mention, in English poetry between