advantage in descriptive poetry: for although it be true, that poetical composition, being rather calculated for amusement than instruction, and addressing itself to the many who feel, rather than to the few who reason, is improperly occupied about the abstruse and argumentative parts of a science; yet, to reject those grand and beautiful ideas which a philosophical view of Nature offers to the mind, merely because they are above the comprehension of vulgar readers, is surely an unnecessary degradation of this noble art. Still more narrow and unreasonable is that critical precept, which, in conformity to the received notion that fiction is the soul of poetry, obliges the poet to adopt antient errors in preference to modern truths; and this even where truth has the the advantage in point of poetical effect. In fact, modern philosophy is as much superior to the antient in sublimity as in solidity; and the most vivid Imagination cannot paint to itself scenes of grandeur equal to those which cool science and demonstration offer to the enlightened mind. Objects so vast and magnificent as planets rolling with even pace through their orbits, comets rushing along their devious track, light springing from its unexhausted source, mighty rivers formed in their subterranean beds, do not require, or even admit, a heightening from the fancy. The most faithful pencil here produces the noblest pictures; and Thomson, by strictly adhering to the character of the poet of Nature, has treated all these topics with a true sublimity, which a writer of less knowledge and accuracy could never have attained. The strict propriety with which subjects from Astronomy and the other parts of Natural Philosophy are introduced into a poem describing the changes of the Seasons, need not be insisted on, since it is obvious that the primary cause of all these changes is to be sought in principles derived from these sciences. They are the groundwork of the whole; and establish that connected series of
