[330] In “Observations on the River Wye,” by William Gilpin, pp. 103–8, Dyer’s “Grongar Hill” is, however, criticized for not accurately representing distance. The grove must be distant if it can be rightfully called purple, but the castle beyond it “is touched with all the strength of a foreground; you see the very ivy creeping upon the walls.” [331] “The Fleece,” i, 577. [332] _Ibid._, ii, 55. [333] _Ibid._, 310. [334] _Ibid._, 518. [335] _Ibid._, 241. [336] “The Fleece,” i, 555. [337] _Ibid._, 59. [338] _Ibid._, 41. [339] “The Country Walk,” ll. 86–99; 33–40. [340] He calls the sun “Phoebus” and “Apollo;” he occasionally uses such words as “swain,” “bloomy,” “sylvan,” “verdant,” “flowery;” and he speaks of “the wanton zephyr;” and he refers to a grove as the “haunt of Phyllis.” [341] “The Country Walk,” ll. 58–63. [342] Cf. “Grongar Hill,” l. 137. [343] Cf. “The Country Walk,” l. 120. [344] Thomson to Mallet, September, 1726. [345] Thomson’s letters to Mallet in 1726. [346] Letter to Mallet, July 10, 1725. [347] _Ibid._, August 2, 1726. [348] Letters to Mallet, June 13 and July 10, 1726. [349] Cf. “The Wanderer,” v, 237, 238 (roads); v, 253–68 (fields and bushes); v, 230–35 (sunset); v, 363–74 (the rainbow); iv, 59–63 (morning); iii, 15–27 (moonrise); v, 8, 15–20 (foliage and flowers); v, 203–10 (bean fields); i, 195–98 (winter landscape); iv, 85–96 (sunrise). [350] In 1730 appeared a parody entitled “The Thresher’s Miscellany” by “Arthur Duck.” [351] “The Chace,” ii, 79–82. [352] “To the Right Honorable Lady Anne Coventry.” [353] An excellent example is “Nancy of the Vale” which takes as its model, Nerine Galatea! thymo mihi dulcior Hyblae! Candidior cygnis! hedera formosior alba, but compares Nancy to the “wild-duck’s tender young,” to the water-lily on Avon’s side, her eyes to the azure plume of the halcyon, etc. [354] “Rural Elegance,” st. 20. [355] _Ibid._, st. 19. [356] “Rural Elegance,” sts. 4, 5, 6, 8. [357] _Ibid._, st. 16. [358] “The Spleen,” ll. 646–87. [359] _Ibid._, l. 681. [360] “The Epistle of the Thistle.” [361] “Contemplation.” [362] See Hervey, “Meditations,” ii, 239; Fielding, “Tom Jones,” VII, chap. i. [363] “To Thomson on Sophonisba.” [364] “Night Thoughts,” v, 126–30. [365] _Ibid._, 176. [366] _Ibid._, 171. [367] See “Night Thoughts,” vi, where there is an interesting statement of the theory afterward expounded in Coleridge’s “Ode to Dejection.” Compare Young’s, Objects are but th’ occasion; ours th’ exploit; Ours is the cloth, the pencil, and the paint, Which nature’s admirable picture draws (“Night,” vi, 431), with Coleridge’s, O Lady! we receive but what we give And in our life alone does nature live; Ours is her wedding garment; ours her shroud. In the same passage by Young is the line concerning the power of our senses that Half create the wondrous world they see,