[291] _Ibid._, ll. 189, 388. [292] “Winter,” ll. 1–14. [293] “Summer,” ll. 1103–68. [294] “Autumn,” ll. 311–48. [295] “Winter,” ll. 72–201. [296] See as illustrative, “Winter,” ll. 127, 738–41. [297] “Summer,” l. 1704. [298] “Autumn,” ll. 1088–1102. [299] See as illustrative, “Spring,” ll. 30–31, 139–41, 145–51, 398–444; “Winter,” ll. 54–57, 77–80, 195–96, 202–3, etc. [300] “Autumn,” ll. 710–31; cf. Wordsworth, “Prelude,” viii, 265. [301] “Autumn,” ll. 151–52; “Summer,” ll. 47–66. [302] “Spring,” ll. 189–202. [303] “Summer,” ll. 1647–59. [304] _Ibid._, ll. 1682–98. [305] “Spring,” ll. 34–43. [306] _Ibid._, ll. 44–47. [307] “Autumn,” ll. 153–69. [308] “Summer,” ll. 352–70. [309] _Ibid._, ll. 371–442. [310] “Spring,” ll. 589–608. [311] “Spring,” ll. 494–509. [312] “Spring,” ll. 107–13, 950–62; “Summer,” ll. 1406–41. [313] W. D. McClintock, unpublished notes. [314] “Summer,” ll. 819–29; “Autumn,” ll. 781–804; cf. Shairp, “Poetic Interpretation of Nature,” p. 191, for the geographical use of Nature in Milton. [315] “Summer,” ll. 1161–68. [316] Cf. Wordsworth, “To Joanna,” ll. 54–65. [317] “Winter,” ll. 714–16; “Spring,” ll. 849–52. [318] “Autumn,” ll. 773–76. [319] “Winter,” ll. 116–17. [320] In 1720 there appeared in the “Edinburgh Miscellany,” a poem entitled, “On a Country Life by a Student in the University.” The poem is interesting as being Thomson’s first poetical treatment of the theme which he was afterward to adopt. The verse is in somewhat stiff and formal heroic couplets, and the poem is marked by classicisms. But there are lines and phrases suggestive of Thomson’s later work and the plan and general tone are, as Sir Harris Nicholas has pointed out, strongly suggestive of “The Seasons.” The young poet’s love of country life is quite clearly genuine. [321] Cf. also remarks in Preface to second, third, and fourth editions of “Winter”: “I know no subject more elevating, more amusing; more ready to awake the poetical enthusiasm, the philosophical reflection, and the moral sentiment, than the works of Nature. Where can we meet with such variety, such beauty, such magnificence? All that enlarges and transports the soul? What more inspiring than a calm, wide survey of them?” [322] “Spring,” ll. 868–74. [323] “Autumn,” ll. 670–72. Cf. Wordsworth, “The Tables Turned,” st. 6. [324] “Summer,” ll. 1380–82. [325] “Autumn,” l. 1309. [326] Compare Pope’s rhetorical statement of the same speculative conception. [327] Since the publication of this study of Thomson I have read with much interest Leon Morel’s “James Thomson: Sa vie et ses œuvres,” 1895. Chaps. iii and iv of Part II deal fully with Thomson’s attitude toward external Nature and with his technical excellences as a descriptive poet. [328] Dyer uses almost as many words ending in “y” as Ambrose Philips. “Stenchy,” “towery,” “framy,” “sleeky,” “thready,” “cropsy,” “spiry,” are illustrative. [329] “The Fleece,” i, 193.