Thomson, in the midst of his delightful lessons of morality, and affecting relations, recurs to a view of that state of the season which introduced the digression.
It is an attention to this leading idea, that in this piece there is a progressive series of descriptions, all tending to a certain point, and all parts of a general plan, which alone can enable us to range through the vast variety and quick succession of objects presented in it, with any clear conception of the writer's method, or true judgment concerning what may be regarded as forwarding his main purpose, or as merely ornamental deviation. The particular elucidation of this point will constitute the principal part of the present Essay.
Although each of the Seasons appears to have been intended as a complete piece, and contains within itself the natural order of beginning, middle, and termination, yet, as they were at length collected and modelled by their author, they have all a mutual relation to each other, and concur in forming a more comprehensive whole. The annual space in which the earth performs its revolution round the sun, is so strongly marked by nature for a perfect period, that all mankind have agreed in forming their computations of time upon it. In all the temperate climates of the globe, the four seasons are so many progressive stages in this circuit, which, like the acts in a well-constructed drama, gradually disclose, ripen, and bring to an end the various business transacted on the great theatre of nature. The striking analogy which this period with its several divisions bears to the course of human existence, has been remarked and pursued by writers of all ages and countries. Spring has been represented as the youth of the years—the season of pleasing hope, lively energy, and rapid increase. Summer has keen resembled to perfect manhood—the season of steady warmth, confirmed strength,
