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of the original. Having shewn that much of what his Biographer deemed genuine admiration must in fact have been blind wonderment,—how is the rest to be accounted for?—Thomson was fortunate in the very title of his Poem, which seemed to bring it home to the prepared sympathies of every one: in the next place, notwithstanding his high powers, he writes a vicious style; and his false ornaments are exactly of that kind which would be most likely to strike the undiscerning. He likewise abounds with sentimental common-places, that from the manner in which they were brought forward bore an imposing air of novelty. In any well-used Copy of the Seasons the Book generally opens of itself with the rhapsody on love, or with one of the stories, (perhaps Damon and Musidora); these also are prominent in our Collections of Extracts; and are the parts of his Works which, after all, were probably most efficient in first recommending the Author to general notice. Pope, repaying praises which he had received, and wishing to extol him to the highest, only styles him "an elegant and philosophical Poet;" nor are we able to collect any unquestionable proofs that the true characteristics of Thomson's genius as an imaginative Poet were perceived, till the elder Warton, almost 40 Years after the publication of the Seasons, pointed them out by a note in his Essay on the life and writings of Pope. In the Castle of Indolence (of which Gray speaks so coldly) these characteristics were almost as conspicuously displayed, and in verse more harmonious and diction more pure. Yet that fine Poem was neglected on its appearance, and is at this day the delight only of a Few!
When Thomson died, Collins breathed his regrets into an Elegiac Poem, in which he pronounces a poetical curse upon him who should regard with insensibility the place where the Poet's remains were deposited. The Poems of the mourner
