of distant hedges, the curling spires of smoke, are observations that show the trained eye.[330] His colors seem to be rather carefully discriminated. Yellow receives unusual emphasis. The linnet’s yellow plumage, the yellow foliage of the beech, the mountain-tops shining yellow in the sun, and even the “yellow barn” catch his eye. This preference for yellow characterizes his later work. He speaks of “yellow corn,” “yellow tillages,” “yellowing plains,” and the “yellow Tiber.” He also liked the words “golden” and “sunny.” Purple is applied to evening and to the groves at evening, and seems to be used with some real sense of the modern specific meaning of the word. In later work the color purple became almost a stock epithet with him; Purple Eve Stretches her shadows,[331] When many-colour’d Evening sinks behind The purple woods and hills,[332] The purple skirts of flying day,[333] When evening mild Purples the valleys,[334] Wide abroad Expands the purple deep,[335] are typical phrases. He also notices the “thousand flaming flowers” in the fields, the silver and gold of the morning clouds, the shining of lakes, the evening colors reflected in slow streams, and the soft fair hues of distant mountain summits. He delights in the sounds of Nature, especially in the songs of birds. Not for many years after Dyer is there so effective a bit of bird-song poetry as the closing lines of “Grongar Hill.” Nor is he indifferent to odors, for he notes the perfumed breeze from the valley, the fragrant brakes, and the sweet-smelling honeysuckle. It is worthy of note that in these two short poems nearly a hundred natural facts are mentioned. In this wide observation Dyer includes some features not hitherto counted as parts of a poetic landscape. The “windy summit wild and high,” naked rocks, and barren ground, are mingled with the softer details, and Each gives each a double charm. He nowhere dwells upon mountains in his descriptions, but the slight touches here and there and the general tone of the poems are sufficient to show his great delight in mountain scenery. He represents himself as climbing slowly and looking back often so as not to miss a single phase of the view unfolding before him. Once on the top he gazes out over the lovely prospect and exclaims, Now, even now, my joys run high As on the mountain turf I lie. In “The Fleece” are further indications of this love of mountains and wide views. The passage beginning Huge Breaden’s stony summit once I climbed[336] is typical. Those slow-climbing wilds, that lead the step Insensibly to Dover’s windy cliff, Tremendous height![337] and By the blue steeps of distant Malvern walled, Solemnly vast.[338] have something of the modern touch.