Summary

1911 Encyclopædia Britannica (1911)

Between the first of war songs, composed in a storm on a moor, and the pathos of “Mary in Heaven,” he has made every chord in our northern life to vibrate. The distance from “Duncan Gray” to “Auld Lang Syne” is nearly as great as that from Falstaff to Ariel. There is the vehemence of battle, the wail of woe, the march of veterans “red-wat-shod,” the smiles of meeting, the tears of parting friends, the gurgle of brown burns, the roar of the wind through pines, the rustle of barley rigs, the thunder on the hill—all Scotland is in his verse.
Source: Wikisource

1911 Encyclopædia Britannica (1911)

In suitable atmospheric conditions its beauty is unique. The play of colour is exquisite, the basalt combining every tint of warm red, brown and rich maroon; sea-weeds and lichens paint the cave green and gold; while the lime that has filtered through has crusted the pillars here and there a pure snow-white. From the sombre roof of smooth rock or broken pillars hang yellow, crimson and white stalactites. The floor of the cave is the green sea, out of which the columns rise on either side with a regularity so perfect as to suggest the hand of man rather than the work of Nature.
Source: Wikisource

1911 Encyclopædia Britannica (1911)

As a painter of nature she has much in common with Wordsworth. She keeps her eye on the object, but adds, like Wordsworth, the visionary gleam, and receives from nature but what she herself gives. Like Wordsworth she lays us on the lap of earth and sheds the freshness of the early world. She, too, had found love in huts where poor men dwell, and her miller, her bagpipers, her workers in mosaic are as faithful renderings in prose of peasant life and sentiment as Wordsworth's leech-gatherer and wagoners and gleaners are in verse.
Source: Wikisource

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