cency and completion; they delighted in whatever pleased the eye; to them it was not enough to have merely the idea of a divinity, they must have it placed before them, shaped in the most perfect symmetry, and presented with the nicest judgment; and if we look upon any Greek production of art, the beauty of its parts, and the harmony of their union, the complete and complacent effect of the whole, are the striking characteristics. It is the same in their poetry. In Homer you have a poem perfect in its form, whether originally so, or from the labour of after critics, I know not; his descriptions are pictures brought vividly before you, and as far as the eye and understanding are concerned, I am indeed gratified. But if I wish my feelings to be affected, if I wish my heart to be touched, if I wish to melt into sentiment and tenderness, I must turn to the heroic songs of the Goths, to the poetry of the middle ages. The worship of statues in Greece had, in a civil sense, its advantage, and disadvantage; advantage, in promoting statuary and the arts; disadvantage, in bringing their gods too much on a level with human beings, and thence depriving them of their dignity, and gradually giving rise to scepticism and ridicule. But no statue, no artificial emblem, could satisfy the Northman's mind; the dark wild imagery of nature, which surrounded him, and the freedom of his life, gave his mind a tendency to the infinite, so that he found rest in that which presented no end,

and derived satisfaction from that which was indistinct.

We have few and uncertain vestiges of Gothic literature till the time of Theodoric, who encouraged his subjects to write, and who made a collection of their poems. These consisted chiefly of heroic songs, sung at the Court; for at that time this was the custom. Charlemagne, in the beginning of the ninth century, greatly encouraged letters, and made a further collection of the poems of his time, among which were several epic poems of great merit; or rather in strictness there was a vast cycle of heroic poems, or minstrelsies, from and out of which separate poems were composed. The form of poetry was, however, for the most part, the metrical romance and heroic tale. Charlemagne's army, or a large division of it, was utterly destroyed in the Pyrenees, when returning from a successful attack on the Arabs of Navarre and Arragon; yet the name of Roncesvalles became famous in the songs of the Gothic poets. The Greeks and Romans would not have done this; they would not have recorded in heroic verse the death and defeat of their fellow-countrymen. But the Goths, firm in their faith, with a constancy not to be shaken, celebrated those brave men who died for their religion and their country! What, though they had been defeated, they died without fear, as they had lived without reproach; they left no stain on their names, for they fell fighting for

their God, their liberty, and their rights; and the song that sang that day's reverse animated them to future victory and certain vengeance.

I must now turn to our great monarch, Alfred, one of the most august characters that any age has ever produced; and when I picture him after the toils of government and the dangers of battle, seated by a solitary lamp, translating the holy scriptures into the Saxon tongue, - when I reflect on his moderation in success, on his fortitude and perseverance in difficulty and defeat, and on the wisdom and extensive nature of his legislation, I am really at a loss which part of this great man's character most to admire. Yet above all, I see the grandeur, the freedom, the mildness, the domestic unity, the universal character of the middle ages condensed into Alfred's glorious institution of the trial by jury. I gaze upon it as the immortal symbol of that age;-an age called indeed dark;-but how could that age be considered dark, which solved the difficult problem of universal liberty, freed man from the shackles of tyranny, and subjected his actions to the decision of twelve of his fellow countrymen? The liberty of the Greeks was a phenomenon, a meteor, which blazed for a short time, and then sank into eternal darkness. It was a combination of most opposite materials, slavery and liberty. Such can neither be happy nor lasting. The Goths on the other hand said, You shall be our Emperor; but we must be Princes

on our own estates, and over them you shall have no power! The Vassals said to their Prince, We will serve you in your wars, and defend your castle; but we must have liberty in our own circle, our cottage, our cattle, our proportion of land. The Cities said, We acknowledge you for our Emperor; but we must have our walls and our strong holds, and be governed by our own laws. Thus all combined, yet all were separate; all served, yet all were free. Such a government could not exist in a dark age. Our ancestors may not indeed have been deep in the metaphysics of the schools; they may not have shone in the fine arts; but much knowledge of human nature, much practical wisdom must have existed amongst them, when this admirable constitution was formed 15 and I believe it is a decided truth, though certainly an awful lesson, that nations are not the most happy at the time when literature and the arts flourish the most among them.

The translations I had promised in my syllabus I shall defer to the end of the course, when I shall give a single lecture of recitations illustrative of the different ages of poetry. There is one Northern tale I will relate, as it is one from which Shakspeare derived that strongly marked and extraordinary scene between Richard III. and the Lady Anne. It may not be equal to that in strength and genius, but it is, undoubtedly, superior in decorum and delicacy.

A Knight had slain a Prince, the lord of a strong castle, in combat. He afterwards contrived to get into the castle, where he obtained an interview with the Princess's attendant, whose life he had saved in some encounter; he told her of his love for her mistress, and won her to his interest. She then slowly and gradually worked on her mistress's mind, spoke of the beauty of his person, the fire of his eyes, the sweetness of his voice, his valour in the field, his gentleness in the court; in short, by watching her opportunities, she at last filled the Princess's soul with this one image; she became restless; sleep forsook her; her curiosity to see this Knight became strong; but her maid still deferred the interview, till at length she confessed she was in love with him ;-the Knight is then introduced, and the nuptials are quickly celebrated.

In this age there was a tendency in writers to the droll and the grotesque, and in the little dramas which at that time existed, there were singular instances of these. It was the disease of the age. It is a remarkable fact that Luther and Melancthon, the great religious reformers of that day, should have strongly recommended for the education of children, dramas, which at present would be considered highly indecorous, if not bordering on a deeper sin. From one which they particularly recommended, I will give a few extracts; more I should not think it right to do. The play opens with