in all its ornaments, as the favourite of Love and Pleasure. His Autumn, after a rich prospect of its bounties and splendours, gently fades into "the sere, the yellow leaf," and with the lengthened night, the clouded sun, and the rising storm, sinks into the arms of Winter. It is remarkable, that in order to produce something of a similar effect in his Summer, a season which, on account of its uniformity of character, does not admit of any strongly-marked gradations, he has comprized the whole of his description within the limits of a single day, pursuing the course of the sun from its rising to its setting. A Summer's day is, in reality, a just model of the entire season. Its beginning is moist and temperate; its middle, sultry and parching; its close, soft and refreshing. By thus exhibiting all the vicissitudes of Summer under one point of view, they are rendered much more striking than could have been done in a series of feebly contrasted and scarcely distinguishable periods.
With this idea of the general plan of the whole work, and of its several parts, we proceed to take a view of the various subjects composing the descriptive series of which it principally consists.
Every grand and beautiful appearance in Nature, that distinguishes one portion of the annual circuit from another, is a proper source of materials for the Poet of the Seasons. Of these, some are obvious to the common observer, and require only justness and elegance of taste for the selection: others discover themselves only to the mind opened and enlarged by science and philosophy. All the knowledge we acquire concerning natural objects by such a train of observation and reasoning as merits the appellation of science, is comprehended under the two divisions of natural philosophy and natural history. Both of these may be employed to
advantage
