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Extra resources for Newton Demands the Muse: Newton’s Opticks and the 18th Century Poets
Thomson begins with the white light of the diamond, watches in the spectrum the ruby's red, the yellow 20 "Summer," 11. 140-159. These lines, particularly those on the opal, are reminiscent of Newton's experiment with his comb-shaped instrument, which he reports in Opticks, Book I, Part II, Proposition V ; ed. , pp. 140-141: "But if I so much accelerated the Motion, that the Colours by reason of their quick Succession could not be distinguished from one another, the Appearance of the single Colours ceased.
38 James Thomson, "To the Memory of Sir Isaac Newton," 11. 5-7. 40 Aaron Hill, "Epitaph on Sir Isaac Newton," in Works (second edition), London, 1744, III. 44-45. [ 38] COLOR AND LIGHT From him they turned to the Source of Light, as did Smart in this particular passage: Yet what were thou to him, who knew his works Before creation form'd them. . 41 Old figures of speech came back in this generation with new significance. "43 The sun was the "fountain of light and colour, warmth of life! The king of glory I"44 It was the "fountain of the golden day,"45 the "radiant ruler of the year," the "ocean of flame"48: this great spring of uncreated might!
6 "The Sun his welcome light. . 9 6 "A Poem on Sir Isaac Newton," ed. cit. James Thomson, "Summer," first edition, 1727; ed. , p. 121. David Mallett, The Excursion; Chalmers, XIV. 19. 8 Richard Savage, The Wanderer, in Johnson, Works, Vol. 45, p. 50. 9 Moses Browne, "Essay on the Universe," in Poems on Several Subjects, London, 1739, p. 315. 6 7 [ 23 3 NEWTON DEMANDS THE MUSE Samuel Boyse varied the conventional pattern slightly by returning his colors back to the light from which they came: .