press before us, when we are scarcely prepared to inquire into the cause; and yet we may fairly assert, that nothing contributes more surely to the attainment of permanent delight, than the investigation of the cause; and that it is most useful to ask ourselves why we are thus delighted, why thus affected, why melted into sympathy, why so absorbed. If we were worthy to advise a young philosopher, we should say, avoid sophistry and too refined conceptions; yet seek for principles, and those principles which are based on the simple truths which nature supplies; and let every theorem be tested by those principles which are immutable, so that perspicuity and accuracy may be secured. But with all this, do not expect evidence unsuitable to the nature of the subjects of your inquiry. To some belong demonstrable evidence-to others intuitive -varying with the subjects. Those who live above the regions of mere sense, and are seeking communion with the spirits of truth, are accustomed to the contemplation of true beauty, and live amidst agreeable sensations, which not only occupy the imagination, but engage the whole capacities of the mind; and there is not a beauty in nature or art, with which they are not acquainted. Every colour, every sound, every star of the night, every dew-drop of the morning, every space or expression in which beauty resides, is at once recognized as a portion of the excellence of eternal. perfection. Indeed they have an intuitive perception of the beautiful, which excites admiration even before the sensation can be rendered permanent by the operation of judgment. This sensation of the beautiful traverses the whole mind; but on no occasion does it hold a more ready affection, or produce a more instant interest, than when it embraces the outlines of the human form. It is then, the emotion of the beautiful evinces a very exquisite feature, by diffusing itself over the objects which excite it, so as to appear as if it belonged to them, and not to the mind which is occupied in reverie and contemplation. It is then the ardent and enthusiastic enter a dream of love and admiration, from which they are reluctant to awaken. They do awaken, but it is again to fall into sweet reveries, regarding their objects as containing a congenial spirit, expressive of feelings responsive to those with which they are gazed upon by their devotees. So unreservedly, yet unconsciously, is the transference of life and feeling made from the mind of the beholder to the object beheld, that the refined disciple declares, that nature is full of feeling, and animated by one great spirit, whose expression in every aspect is beauty. In a word, the lines of nature, and most especially those inclosing the human form, are as lines in the life of beauty itself, varied by the Creator to elicit with truth and fulness all our innate sensibilities, which consummate the evidences of our divine fashion and genealogy. The delightful overflowings of a mother's heart seem to her to be lovely emanations, radiating from the face of her little one. The lover, by the same law of imputation, ascribes all the charms with which his passion is inspired, to essences and qualities inherent in the object of his passion. And though this interesting phenomenon in our mental economy is attended with no ready explanation, yet whatever be the cause, we recognize in it the character of the emotion of the beautiful. It tends to diffuse itself over the beautiful object; and the mind, instead of recalling it, and viewing it as mere inert materialism, regards it as beaming with light and feeling. This is practical refinement-there is no fiction here; for man, as pious Enoch, now walks with God. In this exercise he learns to decide against all unworthy and vain occupations. His whole being is exalted. He knows God has placed him amidst things lovely and harmonious. In these beatific exercises he is often enabled to realize the relation of the beautiful in our own organization; and far from such being merely notional, he feels (with evidence suitable to the subject) that the beautiful is the representative of two of the leading economies of our nature,-viz., the material system and the intellectual capacity. It is then he declares that nature is the rule and manifestation of mathematics, her part being the apparent and material, whilst spirit dominates over the ideal only, and that there is nothing new in mathematics, in nature, or in man. Man is the summit and crown of all nature's developments, and in him will be found a true record of all past time, as the blooming apple contains all the earlier developments. In truth, man is a microcosm, or all the world in miniature. In man are inherent a spirit and nature material, which are but transcripts of each other, their laws being consonant. Perhaps, we may illustrate this somewhat mystic proposition by reminding the reader, that the crystals of ice are nothing else but water bounded by definite lines; showing (in analogy) the relation between real and ideal, spiritual and material,—both are essential to each other and yet different,-the diversity being in form only. An old English poet, the Rev. Thomas Denton, says:— Glow in the darting beam that gilds yon crystal sphere." And in another poem, it is said :— "Tho' wondering ignorance sees every form decay, New forms successive catch the vital ray, Sing their wild notes, or smile the allotted hour; And search Creation's ample circuit round, Tho' modes of being change, all life's immortal found." So also does the idea of a circle become a real circle, not from the latter emerging from the former, but from this itself becoming manifest. Indeed, all development or realization is nothing new or original, but only a manifestation, by a process of extension taking place in the idea; in truth, the real is the ideal in a condition (as when a pebble is cast into a stilly lake) of definition and limit. The real is to assist the intellectual, in its reflections on the beauties of creation, and thereby to encourage that yearning for the wonders of infinity, which the Christian philosopher is ever experiencing. CHAPTER VI. GENERAL EXPRESSION. We will return to our specific subject, by reminding our readers the medieval poets considered there was peculiar spirituality in the eye; and, therefore, they say, angels have only the endowments of sight and hearing. It is certain that the eye gives the promptest and surest indication of mental motion. It is through this channel the understanding and feeling are communicated; talent, genius, hope, fear, love, joy, hatred, sorrow, despair, and revenge, are expressed. Here is the path through which the refined mind is excited with a continual desire to attain higher excellence; through which exalted friendship, and other noble incentives, are constantly exercising. Often in the eyes may be seen that ethereal object, the beauty of the soul, as conceived in the purpose of Deity, and ordained from eternity to lead us through rugged time to peaceful paths by the river of life. The intelligent, the impassioned, the energetic, the imaginative, and the man of genius, are readily recognized by communications made through their eyes. The lover's hopes and fears, his joys and sorrows are all painted in the eye; indeed, every passion and gradation of feeling may be detected by the intelligent observer; yes, the soul is constantly at the window of the enchanted palace of sight, as a little bird who has a continual desire to chaunt its melodious airs in some unbounded sphere; and |