also pseudo-classical tragedies; but his only other poem of much importance
is 'The Castle of Indolence' (a subject appropriate to his own
good-natured, easy-going disposition), which appeared just before his
death, in 1748. In it he employs Spenser's stanza, with real skill, but in
a half-jesting fashion which the later eighteenth-century Romanticists also
seem to have thought necessary when they adopted it, apparently as a sort
of apology for reviving so old-fashioned a form.

'The Seasons' was received with enthusiasm not only in England but in
France and Germany, and it gave an impulse for the writing of descriptive
poetry which lasted for a generation; but Thomson's romantic achievement,
though important, is tentative and incomplete, like that of all beginners.
He described Nature from full and sympathetic first-hand observation, but
there is still a certain stiffness about his manner, very different from
the intimate and confident familiarity and power of spiritual
interpretation which characterizes the great poets of three generations
later. Indeed, the attempt to write several thousand lines of pure
descriptive poetry was in itself ill-judged, since as the German critic
Lessing later pointed out, poetry is the natural medium not for description
but for narration; and Thomson himself virtually admitted this in part by
resorting to long dedications and narrative episodes to fill out his
scheme. Further, romantic as he was in spirit, he was not able to free
himself from the pseudo-classical mannerisms; every page of his poem
abounds with the old lifeless phraseology--'the finny tribes' for 'the
fishes,' 'the vapoury whiteness' for 'the snow' or 'the hard-won treasures
of the year' for 'the crops.' His blank verse, too, is comparatively
clumsy--padded with unnecessary words and the lines largely end-stopped.

WILLIAM COLLINS. There is marked progress in romantic feeling and power of
expression as we pass from Thomson to his disciple, the frail lyric poet,