Give gold a price, and teach its beams to shine; Through secret streams diffusively they bless, JAMES THOMSON was born at Ednam, near Kelso, county of Roxburgh, on the 11th of September, 1700. His father, who was then minister of the parish of Ednam, removed a few years afterwards to that of Southdean in the same county, a primitive and the Cheviots. Here the young poet spent his boyish years. The gift of poesy came early, and some lines written by him at the age of fourteen, show how soon his manner was formed: And, while their bounties glide, concealed from view, retired district situated among the lower slopes of Relieve our wants, and spare our blushes too. JAMES THOMSON. The publication of the Seasons was an important era in the history of English poetry. So true and beautiful are the descriptions in the poem, and so entirely do they harmonise with those fresh feelings and glowing impulses which all would wish to cherish, that a love of nature seems to be synonymous with a love of Thomson. It is difficult to conceive a person of education in this country, imbued James Thomson. with an admiration of rural or woodland scenery, not entertaining a strong affection and regard for that delightful poet, who has painted their charms with so much fidelity and enthusiasm. The same features of blandness and benevolence, of simplicity of design and beauty of form and colour, which we recognise as distinguishing traits of the natural landscape, are seen in the pages of Thomson, conveyed by his artless mind as faithfully as the lights and shades on the face of creation. No criticism or change of style has, therefore, affected his popularity. We may smile at sometimes meeting with a heavy monotonous period, a false ornament, or tumid expression, the result of an indolent mind working itself up to a great effort, and we may wish the subjects of his description were sometimes more select and dignified; but this drawback does not affect our permanent regard or general feeling; our first love remains unaltered; and Thomson is still the poet with whom some of our best and purest associations are indissolubly joined. In the Seasons | Now I surveyed my native faculties, In his eighteenth year, Thomson was sent to Edinburgh college. His father died, and the poet proceeded to London to push his fortune. His college friend Mallet procured him the situation of tutor to the son of Lord Binning, and being shown some of his descriptions of Winter,' advised him to connect them into one regular poem. This was done, and 'Winter' was published in March 1726, the poet having received only three guineas for the copyright. A second and a third edition appeared the same year. 'Summer' appeared in 1727. In 1728 he issued proposals for publishing, by subscription, the 'Four Seasons; the number of subscribers, at a guinea each copy, was 387; but many took more than one, and Pope (to whom Thomson had been introduced by Mallet) took three copies. The tragedy of Sophonisba was next produced; and in 1731 the poet accompanied the son of Sir Charles Talbot, afterwards lord chancellor, in the capacity of tutor or travelling companion, to the continent. They visited France, Switzerland, and Italy, and it is easy to conceive with what pleasure Thomson must have passed or sojourned among scenes which he had often viewed in imagination. In November of the same year the poet was at Rome, and no doubt indulged the wish expressed in one of his letters, 'to see the fields where Virgil gathered his immortal honey, and tread the same ground where men have thought and acted so greatly. On On his return next year he published his poem of Liberty, and obtained the sinecure situation of Secretary of Briefs in the Court of Chancery, which he held till the death of Lord Talbot, the chancellor. The succeed 1 This curious fragment was first published in 1841, in a life of Thomson by Mr Allan Cunningham, prefixed to an illus trated edition of the 'Seasons.' 12 F ing chancellor bestowed the situation on another, Thomson-not having, it is said, from characteristic indolence, solicited a continuance of the office. He again tried the stage, and produced Agamemnon, which was coldly received. Edward and Eleonora followed, and the poet's circumstances were brightened by a pension of L.100 a-year, which he obtained through Lyttelton from the Prince of Wales. He further received the appointment of Surveyor General of the Leeward Islands, the duties of which he was allowed to perform by deputy, and which brought him L.300 per annum. He was now in comparative opulence, and his residence at Kewlane, near Richmond, was the scene of social enjoyment and lettered ease. Retirement and nature became, he said, more and more his passion every day. I have enlarged my rural domain,' he writes to a friend: 'the two fields next to me, from the first of which I have walled-no, no-paled in, about as much as my garden consisted of before, so that the walk runs round the hedge, where you may figure me walking any time of the day, and sometimes at night. His house appears to have Thomson's Cottage. been elegantly furnished: the sale catalogue of his effects, which enumerates the contents of every room, prepared after his death, fills eight pages of print, and his cellar was stocked with wines and Scotch ale. In this snug suburban retreat Thomson now applied himself to finish the 'Castle of Indolence,' on which he had been long engaged, and a tragedy on the subject of Coriolanus. The poem was published in May 1748. In August following, he took a boat at Hammersmith to convey him to Kew, after having walked from London. He caught cold, was thrown into a fever, and, after a short illness, died (27th of August 1748). No poet was ever more deeply lamented or more sincerely mourned. Though born a poet, Thomson seems to have advanced but slowly, and by reiterated efforts, to refinement of taste. The natural fervour of the man overpowered the rules of the scholar. The first edition of the 'Seasons' differs materially from the second, and the second still more from the third. Every alteration was an improvement in delicacy of thought and language, of which we may mention one instance. In the scene betwixt Damon and Musidora-'the solemnly-ridiculous bathing, as Campbell has justly termed it the poet had originally introduced three damsels! Of propriety of language consequent on these corrections, we may cite an example in a line from the episode of Lavinia And as he viewed her ardent o'er and o'er, stood originally And as he run her ardent o'er and o'er. One of the finest and most picturesque similes in the work was supplied by Pope, to whom Thomson had given an interleaved copy of the edition of 1736. The quotation will not be out of place here, as it is honourable to the friendship of the brother poets, and tends to show the importance of careful revision, without which no excellence can be attained in literature or the arts. How deeply must it be regretted that Pope did not oftener write in blank verse! In autumn, describing Lavinia, the lines of Thomson were Thoughtless of beauty, she was Beauty's self, And pleased a look as Patience e'er put on, To glean Palemon's fields. Pope drew his pen through this description, and supplied the following lines, which Thomson must have been too much gratified with not to adopt with pride and pleasure-and so they stand in all the subsequent editions : Thoughtless of beauty, she was Beauty's self, That the genius of Thomson was purifying and working off its alloys up to the termination of his existence, may be seen from the superiority in style and diction of the 'Castle of Indolence.' 'Between the period of his composing the Seasons and the Castle of Indolence,' says Mr Campbell, he wrote several works which seem hardly to accord with the improvement and maturity of his taste exhibited in the latter production. To the Castle of Indolence he brought not only the full nature, but the perfect art of a poet. The materials of that exquisite poem are derived originally from Tasso; but he was more immediately indebted for them to the Faery Queen: and in meeting with the paternal spirit of Spenser, he seems as if he were admitted more intimately to the home of inspiration.' If the critic had gone * The interleaved copy with Pope's and Thomson's alterations is in the possession of the Rev. J. Mitford. See that gentleman's edition of Gray's works, vol. ii. p. 8, where other instances are given. All Pope's corrections were adopted by Thomson. over the alterations in the 'Seasons,' which Thomson had been more or less engaged upon for about sixteen years, he would have seen the gradual improvement of his taste, as well as imagination. So far as the art of the poet is concerned, the last corrected edition is a new work. The power of Thomson, however, lay not in his art, but in the exuberance of his genius, which sometimes required to be disciplined and controlled. The poetic glow is spread over all. He never slackens in his enthusiasm, nor tires of pointing out the phenomena of nature which, indolent as he was, he had surveyed under every aspect, till he had become familiar with all. Among the mountains, vales, and forests, he seems to realise his own words Man superior walks Amid the glad creation, musing praise, But he looks also, as Johnson has finely observed, the snow, the Siberian exile, or the Arab pilgrims, I care not, Fortune, what you me deny; 'The love of nature,' says Coleridge, 'seems to have το 1780. only strikes us by its unwieldy difference from the this want of keeping between his style and his.subcommon costume of expression.' Cowper avoided jects, adapting one to the other with inimitable ease, grace, and variety; yet only rising in one or two instances to the higher flights of Thomson. Inscribed to her Grace Henrietta, Duchess of MarlIn 1843, a Poem to the Memory of Mr Congreve, borough, was reprinted for the Percy Society (under the care of Mr Peter Cunningham) as a genuine though unacknowledged production of Thomson, first published in 1729. We have no doubt of the genuineness of this poem as the work of Thomson. It possesses all the characteristics of his style-its exaggeration, enthusiasm, and the peculiar rhythm of his blank verse. The poet's praise of Congreve is excessive, and must have been designed rather to gratify the Duchess of Marlborough than to record Thomson's own deliberate convictions. Jeremy Collier would have started with amazement from such a tribute as the following: What art thou, Death! by mankind poorly feared, Of dark futurity, with heaven our guide, And endless joys, still rising, ever new. These Congreve tastes, safe on the ethereal coast, The gentle and benevolent nature of Thomson is seen in this slight shade of censure. He, too, flattered the 'gross vulgar,' but it was with adulation, not licentiousness. We subjoin a few of the detached pictures and descriptions in the 'Seasons,' and part of the Castle of Indolence.' [Showers in Spring.] The north-east spends his rage; he now, shut up Within his iron cave, the effusive south Warms the wide air, and o'er the void of heaven Breathes the big clouds with vernal showers distent. At first, a dusky wreath they seem to rise, Scarce staining either, but by swift degrees, In heaps on heaps the doubled vapour sails Along the loaded sky, and, mingling deep, Sits on the horizon round, a settled gloom; Not such as wintry storms on mortals shed, Oppressing life; but lovely, gentle, kind, And full of every hope, of every joy, The wish of nature. Gradual sinks the breeze Into a perfect calm, that not a breath Is heard to quiver through the closing woods, Or rustling turn the many-twinkling leaves Of aspen tall. The uncurling floods, diffused In glassy breadth, seem, through delusive lapse, Forgetful of their course. 'Tis silence all, And pleasing expectation. Herds and flocks Drop the dry sprig, and, mute-imploring, eye The falling verdure. Hushed in short suspense, The plumy people streak their wings with oil, To throw the lucid moisture trickling off, And wait the approaching sign, to strike at once Into the general choir. Even mountains, vales, And forests, seem impatient to demand The promised sweetness. Man superior walks Amid the glad creation, musing praise, And looking lively gratitude. At last, The clouds consign their treasures to the fields, And, softly shaking on the dimpled pool Prelusive drops, let all their moisture flow In large effusion o'er the freshened world. | The stealing shower is scarce to patter heard By such as wander r through through the forest-walks, Beneath the umbrageous multitude of leaves. [Birds Pairing in Spring.] To the deep woods They haste away, all as their fancy leads, Or roughening waste their humble texture weave: day, When by kind duty fixed. Among the roots Of herds and flocks a thousand tugging bills As thus the patient dam assiduous sits, Not to be tempted from her tender task Or by sharp hunger or by smooth delight, Though the whole loosened spring around her blows, Her sympathising lover takes his stand Nor toil alone they scorn; exalting love, To tempt him from her nest. hence The wild-duck O'er the rough moss, and o'er the trackless waste The heath-hen flutters: pious fraud! to lead The hot-pursuing spaniel far astray. [A Summer Morning.] With quickened step Brown night retires: young day pours in apace, The native voice of undissembled joy; [Summer Evening.] Low walks the sun, and broadens by degrees, A thousand shadows at her beck. First this * She sends on earth; then that of deeper dye His folded flock secure, the shepherd home Is also shunned; whose mournful chambers hold- Among the crooked lanes, on every hedge, Thence weary vision turns; where, leading soft [Autumn Evening Scene.] But see the fading many-coloured woods, Meantime, light shadowing all, a sober calm Thus solitary, and in pensive guise, Oft let me wander o'er the russet mead, And through the saddened grove, where scarce is One dying strain, to cheer the woodman's toil. heard Haply some widowed songster pours his plaint, * The western sun withdraws the shortened day, And humid evening, gliding o'er the sky, In her chill progress, to the ground condensed The vapour throws. Where creeping waters ooze, Where marshes stagnate, and where rivers wind, Cluster the rolling fogs, and swim along The dusky-mantled lawn. Meanwhile the moon, Full-orbed, and breaking through the scattered clouds, Shows her broad visage in the crimsoned east. The lovely young Lavinia once had friends; And Fortune smiled, deceitful, on her birth; For, in her helpless years deprived of all, Of every stay, save innocence and heaven, She, with her widowed mother, feeble, old, And poor, lived in a cottage, far retired Among the windings of a woody vale; By solitude and deep surrounding shades, But more by bashful modesty, concealed. Together thus they shunned the cruel scorn Which virtue, sunk to poverty, would meet From giddy passion and low-minded pride: Almost on Nature's common bounty fed; |