Upon the death of his generous patron, lord chancellor Talbot, for whom the nation joined with Mr. Thomson in the most sincere inward sorrow, he wrote an elegiac poem, which does honour to the author, and to the memory of that great man he meant to celebrate.  He enjoyed, during lord Talbot’s life, a very profitable place, which that worthy patriot had conferred upon him, in recompence of the care he had taken in forming the mind of his son.  Upon his death, his lordship’s successor reserved the place for Mr. Thomson, and always expected when he should wait upon him, and by performing some formalities enter into the possession of it.  This, however, by an unaccountable indolence he neglected, and at last the place, which he might have enjoyed with so little trouble, was bestowed upon another.

Amongst the latest of Mr. Thomson’s productions is his Castle of Indolence, a poem of so extraordinary merit, that perhaps we are not extravagant, when we declare, that this single performance discovers more genius and poetical judgment, than all his other works put together.  We cannot here complain of want of plan, for it is artfully laid, naturally conducted, and the descriptions rise in a beautiful succession:  It is written in imitation of Spenser’s stile; and the obsolete words, with the simplicity of diction in some of the lines, which borders on the ludicrous, have been thought necessary to make the imitation more perfect.

’The stile (says Mr. Thomson) of that admirable poet, as well as the measure in which he wrote, are, as it were, appropriated by custom to all allegorical poems written in our language; just as in French, the stile of Marot, who lived under Francis the 1st, has been used in Tales and familiar Epistles, by the politest writers of the age of Louis the XIVth.’

We shall not at present enquire how far Mr. Thomson is justifiable in using the obsolete words of Spenser:  As Sir Roger de Coverley observed on another occasion, much may be said on both sides.  One thing is certain, Mr. Thomson’s imitation is excellent, and he must have no poetry in his imagination, who can read the picturesque descriptions in his Castle of Indolence, without emotion.  In his LXXXIst Stanza he has the following picture of beauty: 

  Here languid beauty kept her pale-fac’d court,
  Bevies of dainty dames, of high degree,
  From every quarter hither made resort;
  Where, from gross mortal care, and bus’ness free,
  They lay, pour’d out in ease and luxury: 
  Or should they a vain shew of work assume,
  Alas! and well-a-day! what can it be? 
  To knot, to twist, to range the vernal bloom;
  But far is cast the distaff, spinning-wheel and loom.

He pursues the description in the subsequent Stanza.