Το prove that the moon is of all visible objects the most poetical, there needs no other evidence than the number of poetic lays in which she has been celebrated. The merit of these lays is proof of a totally different nature, and has nothing to do with the case in point; the inspiration being in the moon herself-the virtue of that inspiration in the souls of her votaries. Here however we find additional, and perhaps stronger proof of the same fact; for not only have poets of every age, and every country, found in the queen of night a nevertiring theme; but she has unquestionably the honour of having called forth some of the most memorable, and most brilliant effusions of poetic genius. To quote illustrative passages on this subject would be to fill volumes, and to make selections would be almost impossible, amongst instances so numerous and so fraught with interest; but there is one scene in the Merchant of Venice which deserves particular notice, for the natural and simple manner in which the poet has given us the most perfect idea of an exquisite moonlight night, apparently without effort, and almost without description. It is where the two lovers, escaped from danger and suspicion, first find time and

opportunity for the quiet enjoyment which is best appreciated after imminent risk. In this picture (for it is nothing less) we behold most strikingly the master hand by which the scene is drawn. Here is no babbling about silver rays,' 'soft influence,' or 'smiling light;' the passage commences merely with- The moon shines bright;' and then so perfect is the enjoyment of the lovers, both in each other and in all that surrounds them, that they immediately strike off comparisons between that particular night, and others that have been vividly impressed upon their imaginations, not by observation, but by passages from (perhaps their favourite) authors, where the moon has been called in to aid the representation of some of the most striking scenes. Had the happiness of Lorenzo and Jessica been less absorbing, or had the night been less beautiful, they might have told us how, and upon what objects the moon was then shining. But with them all was complete. They had no comments to make upon the lovely night, which we are left to suppose too exquisite for description; and after amusing themselves and each other with simple, but most beautiful allusions to classic history, they very naturally fall into that playful humour,

which belongs to perfect happiness, and descending from their poetic flights, turn upon each other the sportive badinage, which is more familiar to those who are but "earthly happy." They are then interrupted by the entrance of a messenger; but still, the mind of the poet having been filled to overflowing with his own idea, or rather his own intense feeling of this ecstatic night, he goes on after the first exuberance of fancy has been expended in mere association, to give us some description of the scene; and then follows that passage so highly imaginative and poetical, yet withal so simple, that it seems but to embody in words, the faint dreams that have floated through our own minds a thousand times without finding utterance :

"How sweet the moonlight sleeps upon this bank!
Here will we sit, and let the sounds of music
Creep in our ears; soft stillness, and the night,
Become the touches of sweet harmony.

Sit, Jessica. Look how the floor of Heaven

Is thick inlay'd with patines of bright gold;

There's not the smallest orb, which thou behold'st,

But in his motion like an angel sings,

Still quiring to the young-ey'd cherubims.

Such harmony is in immortal souls ;

But, whilst this muddy vesture of decay

Doth grossly close it in, we cannot hear it."

In contemplating the different attributes of

the moon, first, and most striking, is that distinctness of light and shade which characterise her influence over external nature. Here are no lesser lights, no minor shadows to constitute a medium between the two extremes. The whole earth is under the dominion of two ruling powers; and every material object presents on one side a surface distinctly visible, while the other is lost in impenetrable darkness. Not a wreath of ivy, a projecting cornice, or a broken turret, but the moon invests it with a beauty of her own, more attractive to the eye, and more potent in its influence upon the imagination, from the depth of mysterious shadow by which it is contrasted. Beautiful as her light unquestionably is, when it falls upon the verdure of the sloping bank, where every flower, and leaf, and tendril have their shining surface contrasted with their shadow, we should scarcely pause to offer our tribute of admiration, by telling how often the poet's lay has recorded events which took place "on such a night," but that in glancing from this scene of silvery brightness, we behold the deep gloom of the surrounding woods, the narrow defile, or the hollow cave, within whose confines the queen of night, with all her power, and all her splendour, is unable to penetrate.

Another striking attribute of the moon, and one which seems more especially to bring her within the sphere of human sympathy, is her alternate darkness and illumination; which last is familiarly spoken of as a periodical visitation; for so powerful are the senses over the imagination, that it is with some difficulty we realize the truth, that when the moon is invisible to our eyes, she is in reality as present with us as when her soft light salutes us in our nightly wanderings. Thus we hear perpetually of the constancy, as well as the inconstancy of the moon; just as a similitude with either quality may suit the poet's need. Of her constancy, because, lost as she is to our outward perceptions, we are able to calculate with undeviating certainty the hour of her return; of her inconstancy, because how profound soever are the devotions offered at her shrine, that shrine is no sooner invested with the full splendour of her celestial brightness, than the ineffable light begins to wane, and finally disappears.

From the long established custom of appealing to the moon in our descriptions of mental suffering, we might almost be led to pronounce that melancholy was one of her chief characteristics, were not this poetical propensity easily