390 ON THE BOTANY OF [ApHl, 



the same poet's description of the scene from " delightful Skene," 

 including Richmond^ lofty Harrow, majestic Windsor, Ham's 

 embowering walks, matchless vale of Thames^ Clermont's terraced 

 height^ Esher's groves^ Twitnam's bowers, etc. etc., with the 

 concluding noble apostrophe to the whole, commencing with™ 

 " Heavens, what a goodly prospect spreads around !" etc., he 

 will be struck with the inferiority of that portion quoted, not 

 absolutely, but relatively to a description of scenery with which 

 the poet was well acquainted. The views from Richmond Ter- 

 race and Shene Hill are extensive, rich, and varied; but they 

 are not equal to the views from the hills of Clent, either 

 in extent, variety, or picturesque beauty. (See Thomson's 

 ' Seasons,' Summer, line 1400, and the same author's Spring, 

 line 901.) To our taste the following very brief description, 

 from a rural and nameless poet, is more graphic than that copied 

 from one whose name has been long enrolled among the most 

 ingenious of Britain's distinguished sons and panegyrists. The 

 observer is supposed to be on the very summit of Clent Hill, 

 properly so called, whence — 



" The eye now roves o'er Hagley's towers 

 And Dudley's clouds of smoke, • 

 To Shenstone's walks and sylvan bowers 

 And Uffmore's gi'oves of oak." 



This may not be very poetical, but it is very true. These are 

 among the most contiguous and prominent objects in the picture. 

 We may presume that upwards of one hundred years ago, for it 

 is more thau a century since the death of the great poet of the 

 ' Seasons,' Dudley was not crowned with smoke as it is now, and 

 that Shenstone's walks and sylvan bowers, if in existence, had 

 not reached the celebrity they now enjoy. But there is a want 

 of reality about Thomson's description of Hagley and Clent 

 which no amount of genius will be able to supply. 



The eminence of Sir Walter Scott, as a descriptive poet, is 

 perhaps mainly due to his minute acquaintance with the indivi- 

 dual scenes whose descriptions so often delight the readers of his 

 poetry, and which have conferred immortality on simple legen- 

 dary or traditionary stories. 



There are only four lines in the last quotation, and there are 

 just as many objects briefly described, Hagley Hall is flanked 

 by a tower at each corner of the ample quadrangle of which it 



