I have been here in this country about three days, and all that time my chief reading has been the “Address to Lochlomond” you were so obliging as to send to me. Were I impannelled one of the author’s jury, to determine his criminality respecting the sin of poesy, my verdict should be “guilty! a poet of nature’s making!”. It is an excellent method for improvement, and what I believe every poet does, to place some favourite classic author in his own walks of study and composition, before him as a model. Though your author had not mentioned the name, I could have, at half a glance, guessed his model to be Thomson. Will my brother-poet forgive me, if I venture to hint that his imitation of that immortal bard is in two or three places rather more servile than such a genius as his required:—e.g.
“To soothe the maddening passions all to peace.”
Address.
“To soothe the throbbing passions into peace.”
Thomson.
I think the “Address” is in simplicity, harmony, and elegance of versification, fully equal to the “Seasons.” Like Thomson, too, he has looked into nature for himself: you meet with no copied description. One particular criticism I made at first reading; in no one instance has he said too much. He never flags in his progress, but, like a true poet of nature’s making kindles in his course. His beginning is simple and modest, as if distrustful of the strength of his pinion; only, I do not altogether like—
—————————————“Truth
The soul of every song that’s nobly great.”
Fiction is the soul of many a song that is nobly great. Perhaps I am wrong: this may be but a prose criticism. Is not the phrase in line 7, page 6, “Great lake,” too much vulgarized by every-day language for so sublime a poem?
“Great mass of waters, theme for nobler song,”
is perhaps no emendation. His enumeration of a comparison with other lakes is at once harmonious and poetic. Every reader’s ideas must sweep the