history, are interspersed through the various parts of the Seasons. The manly, liberal, and enlightened spirit which this writer breathes in all his works, must ever endear him to the friends of truth and virtue; and in particular, his genuine patriotism and zeal in the cause of liberty will render his writings always estimable to the British reader. But, just and important as his thoughts on these topics may be, there may remain a doubt in the breast of the critic, whether their introduction in a piece like this do not, in some instances, break in upon that unity of character which every work of art should support. We have seen, from the general plan and tenor of the poem, that it is professedly of the rural cast. The objects it is chiefly conversant with are those presented by the hand of Nature, not the products of human art; and when man himself is introduced as a part of the groupe, it would seem that, in conformity to the rest, he ought to be represented in such a state only, as the simplest forms of society, and most unconstrained situations in it, exhibit. Courts and cities, camps and senates, do not well accord with sylvan scenery. From the principle of congruity, therefore, a critic might be induced to reject some of these digressive ornaments, though intrinsically beautiful, and doubtless contributing to the elevation and variety of the piece. His judgment in this respect would be a good deal influenced by the manner of their introduction. In some instances this is so easy and natural, that the mind is scarcely sensible of the deviation; in others it is more abrupt and unartful. As examples of both, we may refer to the passages in which various characters from English, and from Grecian and Roman history, are displayed. The former, by a happy gradation, is introduced at the close of a delightful piece, containing the praises of Britain; which is itself a kind of digression, though a very apt and seasonable one. The latter has no other connexion with the part at which it is inserted,
