AftergivingmanyillustrationsofScott’suseofcolourinhispoetry，Ruskinquotesthepresentpassage，whichhesaysis\"stillmoreinteresting，becauseithasnoforminitatallexceptinoneword（chalice），butwhollycomposesitsimageryeitherofcolour，orofthatdelicatehalf—believedlifewhichwehaveseentobesoimportantanelementinmodernlandscape。\"
\"Twomoreconsiderations，\"headds，\"are，however，suggestedbytheabovepassage。Thefirst，thattheloveofnaturalhistory，excitedbythecontinualattentionnowgiventoallwildlandscape，heightensreciprocallytheinterestofthatlandscape，andbecomesanimportantelementinScott’sdescription，leadinghimtofinish，downtotheminutestspecklingofbreast，andslightestshadeofattributedemotion，theportraitureofbirdsandanimals；instrangeoppositiontoHomer’sslightlynamed’sea—crows，whohavecareoftheworksofthesea，’andDante’ssinging—birds，ofundefinedspecies。Comparecarefullythe2dand3dstanzasofRokeby。
\"ThesecondpointIhavetonoteisScott’shabitofdrawingaslightmoralfromeveryscene，……andthatthisslightmoralisalmostalwaysmelancholy。Herehehasstoppedshortwithoutentirelyexpressingit：
\"Themountain—shadows……lieLikefuturejoystoFancy’seye。’
Hiscompletedthoughtwouldbe，thatthesefuturejoys，likethemountain—shadows，werenevertobeattained。Itoccursfullyutteredinmanyotherplaces。Heseemstohavebeenconstantlyrebukinghisownworldlyprideandvanity，butneverpurposefully：