Page:Popular Science Monthly Volume 4.djvu/207

Rh images borrowed from trees. His artistic use of the pine as a simile for Satan's spear—

and the comparison of the rebel host to blasted pines, are fine examples of the poetical transmutation of botanical knowledge. Still finer is the exquisite description in "Lycidas" of the vernal flowers strewed on the hearse of his lamented friend. And, not to multiply quotations further, the vale of Vallombrosa has been immortalized forever by three lines in "Paradise Lost."

In later poetry, not of the present century, Shenstone and Cowper were both genuine lovers of Nature, and their works abound with passages relating to rural pleasures and scenery. Cowper, indeed, might be styled par excellence the poet of the country. No one ever believed more thoroughly than himself in his own epigrammatic line—

The revolution in the poetical taste of the time, afterward consummated by Wordsworth, was mainly initiated by the recluse of Olney. In Shenstone's poems, now, it is to be feared, little read, there are some verses bearing on the subject of this essay which have a curious resemblance to Mr. Tennyson's famous song, "Come into the garden, Maud." We quote eight lines to be found in the piece designated a "Pastoral Ballad, in Four Parts:"

The ring and manner of this are very similar to Mr. Tennyson's composition, and, although the measure is a little different, these verses might be interpolated in the modern song without in the least impairing its harmony, or affecting its verisimilitude.

The most distinguished names in the list of the natural poets of the present century are undoubtedly Sir Walter Scott, Wordsworth, and Mr. Tennyson. Of the two former it may be said, in passing,