contemplative eye even in these everyday surroundings. The calm of evening—
With matron step slow moving, while the Night
Treads on her sweeping train[1],
or the river shining in the moonlight beneath the 'wearisome but needful length' of Olney bridge, or the creep of autumn over wood and field and weedy fallow, or the advent of winter and the shrouding of the valley under snow, or the coming of spring, when—
The primrose ere her time
Peeps through the moss that clothes the hawthorn root[2],
—every mood of nature in his sequestered vale is painted with a vividness and skill that evoke our admiration, and with a sympathy and grace which win our heart. That quiet valley has thus become classic ground, for as long as English poetry is read, the affections of men will be drawn to the home of Cowper by the banks of the Ouse.
The other two lowland writers whom I have selected were contemporaries of Cowper, though Thomson died when Cowper was only seventeen years old. In dealing with their influence, we turn to the Scottish lowlands where they both were born, and from which came their poetic impulse.
A traveller, familiar with the low grounds of England, when he first enters the northern lowlands is at once impressed by their much more limited extent. He finds them to occupy comparatively restricted spaces between uplands and highlands, their largest expanse lying in the
