[393] “All-beauteous Nature! by thy boundless charms,” “the vast, various Landscape,” “sight-refreshing green,” “the thousand-colored tulip,” are typical Thomsonian phrases. “Liquid lapse of murm’ring waters” --“Enthusiast,” l. 93, “Paradise Lost,” viii, 263; “Mountain shagg’d with horrid shapes” --“Enthusiast,” l. 75; “Comus,” l. 429; “When young-eyed spring profusely throws From her green lap the pink and rose.” --“Ode to Fancy,” l. 106; “Song on May Morning;” “Then lay me by some haunted stream, Rapt in some wild poetic dream.” --“Ode to Fancy,” l. 41; “L’Allegro,” l. 129; are some of the characteristic instances of the echoes from Milton. [394] “The Enthusiast.” [395] _Ibid._ [396] “Ode to Fancy.” [397] “The Enthusiast.” [398] “The Enthusiast.” Cf. Thomson, “Liberty,” ii, 1–26, for a similar eulogy of a past golden age, but without Warton’s modern application. [399] “An Essay on the Genius and Writings of Pope.” [400] Note such lines as Haste thee nymph, and hand in hand, With thee lead a buxom band; Bring fantastic-footed joy, etc., But ever against restless heat, etc., Let not my due feet fail to climb, etc.--“Approach of Summer.” [401] See under “Travels.” [402] “Hope.” [403] “Vision of Fancy,” Elegy 3. [404] _Ibid._ [405] “Fable IV.” [406] “The Bee Flower.” [407] “To the Rev. Lamb.” [408] “Fable IV.” [409] “Autumnal Elegy.” [410] “Fable X.” [411] “Inscription on the Door of a Study.” [412] “The Immensity of the Supreme Being.” [413] _Ibid._, l. 56. Cf. also the similar lines in “Hymn to the Supreme Being,” st. 16. It was apparently a favorite image. See Browning’s reference to it in his poem on Smart. [414] “Almada Hill,” l. 330. [415] “The Sorceress,” st. 4. [416] “Elegy,” st. 4. [417] “Syr Martyn,” ii, 31. [418] “Pollio,” st. 3. [419] “Eskdale Braes,” st. 1. [420] See Bailey Saunders, “Life and Letters of James Macpherson,” p. 14. [421] “Carric-Thura.” [422] “Carthon.” [423] Dr. Blair has a significant comment on the truth in the poems of Ossian. “The introduction of foreign images betrays a poet copying not from nature, but from other writers. Hence so many lions and tigers, and eagles and serpents which we meet with in the similes of modern poets; as if these animals had acquired some right to a place in poetical comparisons for ever, because employed by ancient authors. They employed them with propriety, as objects generally known in their country; but they are absurdly used for illustration by us, who know them only at second-hand, or by description.” [424] Blair’s “Critical Dissertation,” in Tauchnitz ed. of the “Ossian Poems.” [425] See “Child of Elle,” “Edom o’ Gordon,” “Hardyknute,” and others. [426] “Robin and Makyne.” [427] “Lord Thomas and Fair Annet.” [428] “Robin Hood and Guy of Gisborne.” [429] “Adam Bell.” [430] “Barbara Allan’s Cruelty.” [431] “The Marriage of Sir Gawaine.” [432] “Gil Morice.”