James Thomson, the son of a minister well esteemed for his piety and diligence, was born September 7, 1700, at Ednam, in the shire of Roxburgh, of which his father was pastor. His mother, whose name was Hume, inherited as co-heiress a portion of a small estate. The revenue of a parish in Scotland is seldom large; and it was probably in commiseration of the difficulty with which Mr. Thomson supported his family, having nine children, that Mr. Riccarton, a neighbouring minister, discovering in James uncommon promises of future excellence, undertook to superintend his education, and provide him books. He was taught the common rudiments of learning at the school of Jedburgh, a place which he delights to recollect in his poem of “Autumn;” but was not considered by his master as superior to common boys, though in those early days he amused his patron and his friends with poetical compositions; with which, however, he so little pleased himself that on every New Year’s Day he threw into the fire all the productions of the foregoing year.
From the school he was removed to Edinburgh, where he had not resided two years when his father died, and left all his children to the care of their mother, who raised upon her little estate what money a mortgage could afford; and, removing with her family to Edinburgh, lived to see her son rising into eminence.
The design of Thomson’s friends was to breed him a minister. He lived at Edinburgh, at a school, without distinction or expectation, till at the usual time he performed a probationary exercise by explaining a psalm. His diction was so poetically splendid, that Mr. Hamilton, the professor of divinity, reproved him for speaking language unintelligible to a popular audience; and he censured one of his expressions as indecent, if not profane. This rebuke is reported to have repressed his thoughts of an ecclesiastical character, and he probably cultivated with new diligence his blossoms of poetry, which, however, were in some danger of a blast; for, submitting his productions to some who thought themselves qualified to criticise, he heard of nothing but faults; but, finding other judges more favourable, he did not suffer himself to sink into despondence. He easily discovered that the only stage on which a poet could appear with any hope of advantage was London; a place too wide for the operation of petty competition and private malignity, where merit might soon become conspicuous, and would find friends as soon as it became reputable to befriend it. A lady who was acquainted with his mother advised him to the journey, and promised some countenance or assistance, which at last he never received; however, he justified his adventure by her encouragement, and came to seek in London patronage and fame. At his arrival he found his way to Mr. Mallet, then tutor to the sons of the Duke of Montrose. He had recommendations to several persons of consequence, which he had tied up carefully in his handkerchief; but as he passed along the street, with the gaping curiosity of a newcomer, his attention was upon everything rather than his pocket, and his magazine of credentials was stolen from him.
His first want was a pair of shoes. For the supply of all his necessities, his whole fund was his “Winter,” which for a time could find no purchaser; till at last Mr. Millan was persuaded to buy it at a low price; and this low price he had for some time reason to regret; but, by accident, Mr. Whately, a man not wholly unknown among authors, happening to turn his eye upon it, was so delighted that he ran from place to place celebrating its excellence. Thomson obtained likewise the notice of Aaron Hill, whom, being friendless and indigent, and glad of kindness, he courted with every expression of servile adulation.
“Winter” was dedicated to Sir Spencer Compton, but attracted no regard from him to the author; till Aaron Hill awakened his attention by some verses addressed to Thomson, and published in one of the newspapers, which censured the great for their neglect of ingenious men. Thomson then received a present of twenty guineas, of which he gives this account to Mr. Hill:—
“I hinted to you in my last that on Saturday morning I was with Sir Spencer Compton. A certain gentleman, without my desire, spoke to him concerning me: his answer was that I had never come near him. Then the gentleman put the question, if he desired that I should wait on him? He returned, he did. On this the gentleman gave me an introductory letter to him. He received me in what they commonly call a civil manner; asked me some common-place questions, and made me a present of twenty guineas. I am very ready to own that the present was larger than my performance deserved; and shall ascribe it to his generosity, or any other cause, rather than the merit of the address.”
The poem, which, being of a new kind, few would venture at first to like, by degrees gained upon the public; and one edition was very speedily succeeded by another.
Thomson’s credit was now high, and every day brought him new friends; among others Dr. Rundle, a man afterwards unfortunately famous, sought his acquaintance, and found his qualities such that he recommended him to the Lord Chancellor Talbot.
“Winter” was accompanied, in many editions, not only with a preface and dedication, but with poetical praises by Mr. Hill, Mr. Mallet (then Malloch), and Mira, the fictitious name of a lady once too well known. Why the dedications are, to “Winter” and the other Seasons, contrarily to custom, left out in the collected works, the reader may inquire.
The next year (1727) he distinguished himself by three publications: of “Summer,” in pursuance of his plan; of “A Poem on the Death of Sir Isaac Newton,” which he was enabled to perform as an exact philosopher by the instruction of Mr. Gray; and of “Britannia,” a kind of poetical invective against the Ministry, whom the nation then thought not forward enough in resenting the depredations of the Spaniards. By this piece he declared himself an adherent to the Opposition, and had therefore no favour to expect from the Court.
Thomson, having been some time entertained in the family of Lord Binning, was desirous of testifying his gratitude by making him the patron of his “Summer;” but the same kindness which had first disposed Lord Binning to encourage him, determined him to refuse the dedication, which was by his advice addressed to Mr. Dodington, a man who had more power to advance the reputation and fortune of a poet.
“Spring” was published next year, with a dedication to the Countess of Hertford, whose practice it was to invite every summer some poet into the country, to hear her verses and assist her studies. This honour was one summer conferred on Thomson, who took more delight in carousing with Lord Hertford and his friends than assisting her ladyship’s poetical operations, and therefore never received another summons.
“Autumn,” the season to which the “Spring” and “Summer” are preparatory, still remained unsung, and was delayed till he published (1730) his works collected.
He produced in 1727 the tragedy of Sophonisba, which raised such expectation that every rehearsal was dignified with a splendid audience, collected to anticipate the delight that was preparing for the public. It was observed, however, that nobody was much affected, and that the company rose as from a moral lecture. It had upon the stage no unusual degree of success. Slight accidents will operate upon the taste of pleasure. There is a feeble line in the play:—
“O Sophonisba, Sophonisba, O!”
This gave occasion to a waggish parody —
“O, Jemmy Thomson, Jemmy Thomson, O!”
which for a while was echoed through the town.
I have been told by Savage, that of the prologue to Sophonisba, the first part was written by Pope, who could not be persuaded to finish it; and that the concluding lines were added by Mallet.
Thomson was not long afterwards, by the influence of Dr. Rundle, sent to travel with Mr. Charles Talbot, the eldest son of the Chancellor. He was yet young enough to receive new impressions, to have his opinions rectified and his views enlarged; nor can he be supposed to have wanted that curiosity which is inseparable from an active and comprehensive mind. He may therefore now be supposed to have revelled in all the joys of intellectual luxury; he was every day feasted with instructive novelties; he lived splendidly without expense: and might expect when he returned home a certain establishment.
At this time a long course of opposition to Sir Robert Walpole had filled the nation with clamours for liberty, of which no man felt the want, and with care for liberty which was not in danger. Thomson, in his travels on the Continent, found or fancied so many evils arising from the tyranny of other governments, that he resolved to write a very long poem, in five parts, upon Liberty. While he was busy on the first book, Mr. Talbot died; and Thomson, who had been rewarded for his attendance by the place of secretary of the briefs, pays in the initial lines a decent tribute to his memory. Upon this great poem two years were spent, and the author congratulated himself upon it as his noblest work; but an author and his reader are not always of a mind. Liberty called in vain upon her votaries to read her praises, and reward her encomiast: her praises were condemned to harbour spiders, and to gather dust: none of Thomson’s performances were so little regarded. The judgment of the public was not erroneous; the recurrence of the same images must tire in time; an enumeration of examples to prove a position which nobody denied, as it was from the beginning superfluous, must quickly grow disgusting.
The poem of “Liberty” does not now appear in its original state; but, when the author’s works were collected after his death, was shortened by Sir George Lyttelton, with a liberty which, as it has a manifest tendency to lessen the confidence of society, and to confound the characters of authors, by making one man write by the judgment of another, cannot be justified by any supposed propriety of the alteration, or kindness of the friend. I wish to see it exhibited as its author left it.
Thomson now lived in ease and plenty, and seems for a while to have suspended his poetry: but he was soon called back to labour by the death of the Chancellor, for his place then became vacant; and though the Lord Hardwicke delayed for some time to give it away, Thomson’s bashfulness or pride, or some other motive perhaps not more laudable, withheld him from soliciting; and the new Chancellor would not give him what he would not ask. He now relapsed to his former indigence; but the Prince of Wales was at that time struggling for popularity, and by the influence of Mr. Lyttelton professed himself the patron of wit; to him Thomson was introduced, and being gaily interrogated about the state of his affairs said “that they were in a more poetical posture than formerly,” and had a pension allowed him of one hundred pounds a year.
Being now obliged to write, he produced (1738) the tragedy of Agamemnon, which was much shortened in the representation. It had the fate which most commonly attends mythological stories, and was only endured, but not favoured. It struggled with such difficulty through the first night that Thomson, coming late to his friends with whom he was to sup, excused his delay by telling them how the sweat of his distress had so disordered his wig that he could not come till he had been refitted by a barber. He so interested himself in his own drama that, if I remember right, as he sat in the upper gallery, he accompanied the players by audible recitation, till a friendly hint frighted him to silence. Pope countenanced Agamemnon by coming to it, the first night, and was welcomed to the theatre by a general clap; he had much regard for Thomson, and once expressed it in a poetical epistle sent to Italy, of which, however, he abated the value by transplanting some of the lines into his Epistle to Arbuthnot.
About this time (1737) the Act was passed for licensing plays, of which the first operation was the prohibition of Gustavus Vasa, a tragedy of Mr. Brooke, whom the public recompensed by a very liberal subscription; the next was the refusal of Edward and Eleonora, offered by Thomson. It is hard to discover why either play should have been obstructed. Thomson likewise endeavoured to repair his loss by a subscription, of which I cannot now tell the success. When the public murmured at the unkind treatment of Thomson, one of the Ministerial writers remarked that “he had taken a Liberty which was not agreeable to Britannia in any Season.” He was soon after employed, in conjunction with Mr. Mallet, to write the masque of Alfred, which was acted before the Prince at Cliefden House.
His next work (1745) was, Tancred and Sigismunda, the most successful of all his tragedies, for it still keeps its turn upon the stage. It may be doubted whether he was, either by the bent of nature or habits of study, much qualified for tragedy. It does not appear that he had much sense of the pathetic; and his diffusive and descriptive style produced declamation rather than dialogue. His friend Mr. Lyttelton was now in power, and conferred upon him the office of Surveyor–General of the Leeward Islands; from which, when his deputy was paid, he received about three hundred pounds a year.
The last piece that he lived to publish was the “Castle of Indolence,” which was many years under his hand, but was at last finished with great accuracy. The first canto opens a scene of lazy luxury that fills the imagination. He was now at ease, but was not long to enjoy it, for, by taking cold on the water between London and Kew, he caught a disorder, which, with some careless exasperation, ended in a fever that put an end to his life, August 27, 1748. He was buried in the church of Richmond, without an inscription; but a monument has been erected to his memory in Westminster Abbey.
Thomson was of stature above the middle size, and “more fat than bard beseems,” of a dull countenance and a gross, unanimated, uninviting appearance; silent in mingled company, but cheerful among select friends, and by his friends very tenderly and warmly beloved. He left behind him the tragedy of Coriolanus, which was, by the zeal of his patron, Sir George Lyttelton, brought upon the stage for the benefit of his family, and recommended by a prologue, which Quin, who had long lived with Thomson in fond intimacy, spoke in such a manner as showed him “to be,” on that occasion, “no actor.” The commencement of this benevolence is very honourable to Quin, who is reported to have delivered Thomson, then known to him only for his genius, from an arrest by a very considerable present; and its continuance is honourable to both, for friendship is not always the sequel of obligation. By this tragedy a considerable sum was raised, of which part discharged his debts, and the rest was remitted to his sisters, whom, however removed from them by place or condition, he regarded with great tenderness, as will appear by the following letter, which I communicate with much pleasure, as it gives me at once an opportunity of recording the fraternal kindness of Thomson, and reflecting on the friendly assistance of Mr. Boswell, from whom I received it:—
“Hagley in Worcestershire, October the 4th, 1747.
“My Dear Sister, — I thought you had known me better than to interpret my silence into a decay of affection, especially as your behaviour has always been such as rather to increase than diminish it. Don’t imagine, because I am a bad correspondent, that I can ever prove an unkind friend and brother. I must do myself the justice to tell you that my affections are naturally very fixed and constant; and if I had ever reason of complaint against you (of which, by-the-bye, I have not the least shadow), I am conscious of so many defects in myself as dispose me to be not a little charitable and forgiving.
“It gives me the truest heart-felt satisfaction to hear you have a good kind husband, and are in easy contented circumstances; but were they otherwise, that would only awaken and heighten my tenderness towards you. As our good and tender-hearted parents did not live to receive any material testimonies of that highest human gratitude I owed them (than which nothing could have given me equal pleasure), the only return I can make them now is by kindness to those they left behind them. Would to God poor Lizy had lived longer, to have been a farther witness of the truth of what I say and that I might have had the pleasure of seeing once more a sister who so truly deserved my esteem and love! But she is happy, while we must toil a little longer here below: let us, however, do it cheerfully and gratefully, supported by the pleasing hope of meeting you again on a safer shore, where to recollect the storms and difficulties of life will not perhaps be inconsistent with that blissful state. You did right to call your daughter by her name: for you must needs have had a particular tender friendship for one another, endeared as you were by nature, by having passed the affectionate years of your youth together: and by that great softener and engager of hearts, mutual hardship. That it was in my power to ease it a little, I account one of the most exquisite pleasures of my life. But enough of this melancholy, though not unpleasing, strain.
“I esteem you for your sensible and disinterested advice to Mr. Bell, as you will see by my letter to him. As I approve entirely of his marrying again, you may readily ask me why I don’t marry at all. My circumstances have hitherto been so variable and uncertain in this fluctuating world, as induce to keep me from engaging in such a state: and now, though they are more settled, and of late (which you will be glad to hear) considerably improved, I begin to think myself too far advanced in life for such youthful undertakings, not to mention some other petty reasons that are apt to startle the delicacy of difficult old bachelors. I am, however, not a little suspicious that, was I to pay a visit to Scotland (which I have some thought of doing soon), I might possibly be tempted to think of a thing not easily repaired if done amiss. I have always been of opinion that none make better wives than the ladies of Scotland; and yet who more forsaken than they, while the gentlemen are continually running abroad all the world over? Some of them, it is true, are wise enough to return for a wife. You see, I am beginning to make interest already with the Scots ladies. But no more of this infectious subject. Pray let me hear from you now and then; and though I am not a regular correspondent, yet perhaps I may mend in that respect. Remember me kindly to your husband, and believe me to be
“Your most affectionate Brother,
(Addressed) “To Mrs. Thomson in Lanark.”
The benevolence of Thomson was fervid, but not active; he would give on all occasions what assistance his purse would supply, but the offices of intervention or solicitation he could not conquer his sluggishness sufficiently to perform. The affairs of others, however, were not more neglected than his own. He had often felt the inconveniences of idleness, but he never cured it; and was so conscious of his own character that he talked of writing an Eastern tale “Of the Man who Loved to be in Distress.” Among his peculiarities was a very unskilful and inarticulate manner of pronouncing any lofty or solemn composition. He was once reading to Dodington, who, being himself a reader eminently elegant, was so much provoked by his odd utterance that he snatched the paper from his hands and told him that he did not understand his own verses.
The biographer of Thomson has remarked that an author’s life is best read in his works; his observation was not well timed. Savage, who lived much with Thomson, once told me how he heard a lady remarking that she could gather from his works three-parts of his character: that he was “a great lover, a great swimmer, and rigorously abstinent;” “but,” said Savage, “he knows not any love but that of the sex; he was, perhaps, never in cold water in his life; and he indulges himself in all the luxury that comes within his reach.” Yet Savage always spoke with the most eager praise of his social qualities, his warmth and constancy of friendship, and his adherence to his first acquaintance when the advancement of his reputation had left them behind him.
As a writer, he is entitled to one praise of the highest kind: his mode of thinking and of expressing his thoughts is original. His blank verse is no more the blank verse of Milton, or of any other poet, than the rhymes of Prior are the rhymes of Cowley. His numbers, his pauses, his diction, are of his own growth, without transcription, without imitation. He thinks in a peculiar train, and he thinks always as a man of genius; he looks round on Nature and on Life with the eye which Nature bestows only on a poet; the eye that distinguishes in everything presented to its view whatever there is on which imagination can delight to be detained, and with a mind that at once comprehends the vast and attends to the minute. The reader of the “Seasons” wonders that he never saw before what Thomson shows him, and that he never yet has felt what Thomson impresses. His is one of the works in which blank verse seems properly used. Thomson’s wide expansion of general views, and his enumeration of circumstantial varieties, would have been obstructed and embarrassed by the frequent intersections of the sense, which are the necessary effects of rhyme. His descriptions of extended scenes and general effects bring before us the whole magnificence of Nature, whether pleasing or dreadful. The gaiety of Spring, the splendour of Summer, the tranquillity of Autumn, and the horror of Winter, take in their turns possession of the mind. The poet leads us through the appearances of things as they are successively varied by the vicissitudes of the year, and imparts to us so much of his own enthusiasm that our thoughts expand with his imagery and kindle with his sentiments. Nor is the naturalist without his part in the entertainment, for he is assisted to recollect and to combine, to arrange his discoveries, and to amplify the sphere of his contemplation. The great defect of the “Seasons” is want of method; but for this I know not that there was any remedy. Of many appearances subsisting all at once, no rule can be given why one should be mentioned before another; yet the memory wants the help of order, and the curiosity is not excited by suspense or expectation. His diction is in the highest degree florid and luxuriant, such as may be said to be to his images and thoughts “both their lustre and their shade;” such as invests them with splendour, through which, perhaps, they are not always easily discerned. It is too exuberant, and sometimes may be charged with filling the ear more than the mind.
These poems, with which I was acquainted at their first appearance, I have since found altered and enlarged by subsequent revisals, as the author supposed his judgment to grow more exact, and as books or conversation extended his knowledge and opened his prospects. They are, I think, improved in general; yet I know not whether they have not lost part of what Temple calls their “race,” a word which, applied to wines in its primitive sense, means the flavour of the soil.
“Liberty,” when it first appeared, I tried to read, and soon desisted. I have never tried again, and therefore will not hazard either praise or censure. The highest praise which he has received ought not to be suppressed: it is said by Lord Lyttelton, in the Prologue to his posthumous play, that his works contained
“No line which, dying, he could wish to blot.”
Last updated Sunday, March 27, 2016 at 11:56