Voltaire, who had met Thomson and liked him—the liking, indeed, seemed to be universal—praised his tragedies for being 'elegantly writ.' 'It may be,' he says, 'that his heroes are neither moving nor busy enough, but taking him all in all, methinks he has the highest claim to the greatest esteem.' The value of Voltaire's criticism of an English dramatist is best appreciated by remembering his ignorant judgment of Shakespeare.
Thomson's laurels were gained in another field of poetry. On the production of Autumn in 1730, The Seasons in its complete form was published by subscription in quarto. The four books, as we have already said, appeared at different times, Winter being the first in order and Autumn the latest. The Hymn with which the poem concludes may be compared, and will not greatly suffer in the comparison, with Adam's morning hymn in the fifth book of Paradise Lost, and with Coleridge's Hymn in the Valley of Chamouni. Like them it is raised, to use the poet's own words, to an 'Almighty Father.' A brief extract shall be given:
'His praise, ye brooks, attune, ye trembling rills;
And let me catch it as I muse along.
Ye headlong torrents, rapid, and profound;
Ye softer floods, that lead the humid maze
Along the vale; and thou, majestic main,
A secret world of wonders in thyself,
Sound His stupendous praise, whose greater voice
Or bids you roar, or bids your roarings fall.
Soft roll your incense, herbs, and fruits, and flowers,
In mingled clouds to Him, whose sun exalts,
Whose breath perfumes you, and whose pencil paints.
Ye forests bend, ye harvests wave, to Him;
Breathe your still song into the reaper's heart,
As home he goes beneath the joyous moon.
* * * * *
Great source of day! best image here below
Of thy Creator, ever pouring wide,
From world to world, the vital ocean round,
On Nature write with every beam His praise.
The thunder rolls: be hushed the prostrate world;
While cloud to cloud returns the solemn hymn.
Bleat out afresh, ye hills; ye mossy rocks
Retain the sound: the broad responsive low,
Ye valleys, raise; for the Great Shepherd reigns,
And His unsuffering kingdom yet will come.'
Swift complains that the Seasons, being all descriptive, nothing is doing, a defect inseparable from the subject. But the work has a poet's best gift—imagination—and a poet's instinct for apprehending the charm of what is minute in Nature, as well as of what is grand.
Thomson has been called the naturalist's poet, and Hartley Coleridge observes that he is 'a perfect reservoir of natural images.' In his account of what he had learnt only by report he depends sometimes on the ignorant traditions of the country people; but in describing what he observes with the bodily eye, and with the eye of the mind, he is faithful to what he sees, and to what he perceives. No Dutch painter can be more exact and accurate than Thomson in the delineation of familiar scenes, and of animal life. In illustration of this gift, which Cowper shares with him, a scene, not to be surpassed for truthfulness of description, shall be quoted from Winter:
'Through the hushed air the whitening shower descends,
At first thin-wavering; till at last the flakes
Fall broad and wide and fast, dimming the day
With a continual flow. The cherished fields
Put on their winter robe of purest white.
'Tis brightness all; save where the new snow melts
Along the mazy current. Low the woods
Bow their hoar head; and ere the languid sun,
Faint from the west, emits his evening ray,
Earth's universal face, deep-hid and chill,
Is one wild dazzling waste, that buries wide
The works of man. Drooping, the labourer-ox
Stands covered o'er with snow, and then demands
The fruit of all his toil. The fowls of heaven,
Tamed by the cruel season, crowd around
The winnowing store, and claim the little boon
Which Providence assigns them. One alone,
The redbreast, sacred to the household gods,
Wisely regardful of th' embroiling sky,
In joyless fields and thorny thickets, leaves
His shivering mates, and pays to trusted man
His annual visit. Half afraid, he first
Against the window beats; then brisk, alights
On the warm hearth; then, hopping o'er the floor,
Eyes all the smiling family askance,
And pecks, and starts, and wonders where he is—
Till more familiar grown, the table-crumbs
Attract his slender feet. The foodless wilds
Pour forth their brown inhabitants. The hare,
Though timorous of heart and hard beset
By death in various forms, dark snares, and dogs,
And more unpitying men, the garden seeks
Urged on by fearless want. The bleating kind
Eye the bleak heaven, and next the glistening earth,
With looks of dumb despair; then, sad-dispersed
Dig for the withered herb through heaps of snow.'
Thomson loves also to paint the landscape on a broad scale, and though his diction is sometimes too florid, he generally satisfies the imagination, as, for instance, in the splendid description in Summer of a sand-storm in the desert.
'Breathed hot
From all the boundless furnace of the sky,
And the wide, glittering waste of burning sand,
A suffocating wind the pilgrim smites
With instant death. Patient of thirst and toil,
Son of the desert! even the camel feels,
Shot through his withered heart, the fiery blast.
Or from the black-red ether, bursting broad,
Sallies the sudden whirlwind. Straight the sands,
Commoved around, in gathering eddies play;
Nearer and nearer still they darkening come;
Till with the general all-involving storm
Swept up, the whole continuous wilds arise;
And by their noonday fount dejected thrown,
Or sunk at night in sad disastrous sleep,
Beneath descending hills, the caravan
Is buried deep. In Cairo's crowded streets
The impatient merchant, wondering, waits in vain,
And Mecca saddens at the long delay.'