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invariably maintain their authority, so as to make that child feel himself under an imperative obligation to do whatever they command, although their commands will be sure in a great many instances to be opposed to his own feelings, will as readily acquire a habit of giving up his own inclinations, and making the will of others the guidance of his conduct.

Thus distinctly taught, when those children leave their homes, and merge from their parents' jurisdiction, the allegiance they owed to them, and under which they are supposed to have been acting, is transferred to their heavenly Father. Against his laws there are a thousand inclinations constantly awakening in their minds; but as the one has formed a habit of following his own desires, and the other of acting in opposition to his own feelings at the wish of his superiors; any person conversant with the power of habit, will easily perceive the great disadvantage of the former, when compared with the condition of the latter; even should they both have an equal desire to obey the dictates of their conscience, and the voice of Almighty God. These observations may, and perhaps, to give them their full force, should be more extended, but enough has been said to suggest a train of reflections to any mind that is likely to benefit from them.

In this age of refinement and improvement, it is to be lamented, that a relation so important as that of a parent, should in so many instances be entered on, and that by serious people too, with so little apparent concern, and with so little care as to their capacity for properly fulfilling it. It is difficult to conceive how any individual, with ordinary powers of mind, and the least degree of seriousness, can look upon a dear little child frisking his innocent gambols, in all the happiness of untasted wo, and not feel an intense anxiety as to his condition in time to come; can view him launched on the stage of eternal existence, as a being that must sail down the stream of time, and then be carried into that ocean of ages, the termination of which is for ever lost in the mist of obscurity and distance; and not feel the very awful responsibility that devolved upon him, as his instructor and parent.

Surely if there be one picture of imagination more fraught with horror than another, it is that of a child recognizing his parent in the gloomy caverns of despair, and mingling with the bitter cup of his torment all the imprecations and curses that we can fancy would come from a soul, on beholding the author of all the misery

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he should endure, by being for ever shut out from happiness and God.

F. G. L.

CASE OF SPECTRAL ILLUSION. (From the Phrenological Journal.) THE following very distinct and interesting narrative was read to the London Phrenological Society, and kindly communicated for insertion in the Phrenological Journal, by its learned author, a member of the English bar ;

"In December, 1823, A. was confined to his bed by inflammation on the chest, and was supposed by his medical attendants to be in considerable danger. One night, while unable to sleep from pain and fever, he saw sitting in a chair, on the left side of his bed, a female figure, which he immediately recognized to be that of a young lady, who died about two years before. His first feeling was surprise, and perhaps a little alarm; his second, that he was suffering from delirium. With this impression he put his head under the bedclothes, and after trying in vain to sleep, as a test of the soundness of his mind, he went through a long and complicated process of metaphysical reasoning. He then peeped out, and saw the figure in the same situation and position. He had a fire, but would not allow a candle or nurse in the room. A stick was kept by his side, to knock for the nurse when he required her attendance. Being too weak to move his body, he endeavoured to touch the figure with his stick; but upon a real object being put upon the chair, the imaginary one disappeared, and was not visible again that night.

"The next day he thought of little but the vision, and expected its return without alarm, and with some pleasure. He was not disappointed. It took the same place as before, and he employed himself in observations. When he shut his eyes or turned his head he ceased to see the figure; by interposing his hand, he could hide part of it; and it was shown like any mere material substance, by the rays of the fire which fell upon and were reflected from it. As the fire declined, it became less perceptible, and, as it went out, invisible. A similar appearance took place on several other nights, but it became less perceptible, and its visits less frequent as the patient recovered from his fever.

"He says the impressions on his mind were always pleasing, as the spectre looked at him with calmness and regard. He never supposed it real, but was unable to

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On the Preeminence of Poetry.

account for it on any philosophical principles within his knowledge.

"In the autumn of 1825, A.'s health was perfectly restored, and he had been free from any waking vision for nearly eighteen months. Some circumstances occurred which produced in him great mental excitement. One morning he dreamed of the figure, which stood by his side in an angry posture, and asked for a locket which he usually wore. He awoke, and saw it at the toilet with the locket in its hand. He rushed out of bed, and it instantly disappeared. During the next six weeks its visits were incessant, and the sensations which they produced were invariably horrible. Some years before, he had attended the dissection of a woman in a state of rapid decomposition. Though much disgusted at the time, the subject had been long forgotten; but it was recalled by the union of its purtrescent body with the spectre's features. The visits were not confined to the night, but frequently occurred while several persons were in the same room. They were repeated at intervals during the winter; but he was able to get rid of them by moving or sitting in an erect position. Though well, his pulse was hard, and generally from 90 to 100.

"A. is a person of good education, and literary habits. I have not the slightest doubt of his veracity. He never supposed the appearances above-mentioned other than illusions. He has always had a propensity towards the supernatural, without any belief in it; and he ascribes these effects of the imagination to the perusal of tales of wonder and other ghostly stories when a boy. He will not allow me to lay before the soci ety an account of his head, as connected with this statement, as he would not like to be called a dealer in the marvellous. I may however say, that ideality is large, and the reflective faculties very good."

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the most easily administers gratification. It may have been from such motives as these, that poetry has been compelled to yield the precedence to her younger sisters. Yet if a correct estimate were to be made of their varied merits, we might be enabled in some measure to perceive the superiority of the muse. Let us endeavour then briefly to consider the three arts respectively, in their origin, nature, and effects.

We may naturally suppose, that poetry was the first emanation of a devotional mind, in performing daily worship to the great Author of being. For we cannot help conceiving that it originally arose from that exalted feeling implanted in our nature for the adoration of Him who is supreme. In the first ages of the world it must have been most deeply enkindled within the bosom of man; for by frequent intercourse with beings of another sphere, the soul would necessarily receive an inspiration bordering on enthusiasm. To some whose feelings were more acute, and marked with peculiar sensibility, this heavenly language and vividness of imagination would impart that sublimity of genius which constitutes a poet.

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Music, which is so nearly allied to poetry, sprang into existence at a later peried, and undoubtedly was first designed to accompany those lofty strains that were dedicated to the praise of God." While poetry was bursting forth with untarnished splendour, as the unshackled efforts of man in his rudest state, the progress of music was slow in arriving at a station where it could possess the same power of fascination that it does at present. It was marked by a long and painful infaney, and waited to receive, the hand of im provement from more civilized times: whereas poetry ever remained the same; polished indeed, and rendered more love by the refinement of man,, uten

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If we contemplate the origin of painting, and trace it through every gradation to its present elevation, we shall observe, that time was not only slow in bringing it into existence, but that ages elapsed before it arrived at any degree of perfection To these observations we may add the wellknown fact, that all historical and religious truths were at first handed down to posterity, solely by the means of songs which were transmitted from bard to bard.? oz

Having seen the pre-eminence of poetry in its origin, namely, that it not only claims the precedence in the scale, of existence, but that it arose from feelings almost divine-let us examine the nature of each of the three sisters.

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On the Preeminence of Poetry.

We may perhaps define the nature of poetry to be, the union of intellect and feeling; and as such, the medium through which man displays not only the conceptions of a lofty mind, but the finest wrought sensibility of which he is susceptible. It has been in all ages a grand stimulus to devotional feeling, and a hallowed casket for the reception of the most important knowledge :-thinking thus, we may adopt the words of Denham, and day:

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senses than of the mind. Education may indeed impart a keener susceptibility of her charms, yet the most illiterate, having the feelings of nature implanted within them, will find themselves roused by the reality of her enchantment. Her effect upon the passions is gigantic, for she can give a correct representation of those objects which inflame the feelings of human

nature.

There are likewise many more who are capable of perceiving the beauty of paintTh' Eternal Cause in their immortal lines ing and music, than there are, who can Was taught, and poets were the first divines," feel the charms of poetry. This proves That the muse is more refined in her what was before asserted, that while it nature than her sisters, we must allow, requires no exertion of intellect to be dewhen we consider the different manner in lighted with music or painting, education which they act upon man. Poetry, that and vigorous mental powers are in some is, the effusions of the present time, does measure necessary for the enjoyment of not always so powerfully excite the pasthe muse. Still more does the superiority sions as either music or painting. The of poetry appear, when we reflect that passions are those sensations which have the last mentioned is the combination of no necessary connexion with the mind. the two former-it unites the harmony of They are indeed feelings, many of which the one with the imagination of the other. belong more strictly to the animal than to Could aught but a poet's mind have conthe intellectual world. For we shall find ceived such subjects as have been so that fear, anger, sorrow, joy, &c. are beautifully executed by a West, or a called forth in almost as great a degree in Martin ! Could aught but the finethe brute creation as in man. It is only wrought genius of a poet have elicited the as the intellectual energies, or the strength fairy sounds of a Handel, a Mozart, or a of the passions, preponderate, that he is Weber? Surely not; there seems then in shewn to be a reasonable creature. If | these respects an obvious connexion: not then the passions are not only of a differ- that either an artist or a musical composer, ent nature, but even often opposed to the could produce at pleasure the polished powers of the mind, we shall see that strains of the muse; yet it frequently poetry, which must pass through the happens, that the greatest poets have medium of the mind to the heart, cannot minds more susceptible of music and excite the passions to the degree that painting than the generality of mankind. either music or painting can, because it But as the nature of most things is best is more intellectual. Music is, indeed, known by their effects, we will briefly rather formed for the delight of those who glance over a few of those that are attached love sensual gratifications, than for those to these respective nymphs. who possess strong reasoning powers, or a vigorous mind. Not that it is necessarily an instrument of pleasure to the basest of -feelings, but that it is capable, and, in fact, is too often made so; for music can inspire the bosom at once with feelings noble and exalted, and render the heart effeminate with every vice of luxury.

Painting, by its richness of colour, accuracy of description, and all the magical illusions of light and shade, can give a more correct representation of any object, than either of her sisters. By bringing so forcibly to the mind, the realities which we both know and feel, she elicits an indefinable delight. Who, indeed, can gaze unmoved upon the productions of a Guido, a Raphael, a West, or a Reynolds? Yet, like music, the enjoyment of it is derived rather through the medium of the 132.-VOL. XI.

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The effect of music upon the mind is like that of the transient breeze of Arabian perfumes, with which the zephyr ravishes the senses. It calls up the most exquisite feelings; but when the chord of melody ceases, the fascinating charm is dissolved, even like a lovely scene of enchantment in romance, which vanishes at the touch of the magician's wand. Poetry, on the ́contrary, though its powers may not be so great at the moment, has a more lasting effect on the mind. . It possesses a tan gibility that proves its existence, and leaves an impression on the memory, which years may retain.

Music has a charm upon the soul of man, equal to that of a talisman. It can elate with joyful strains the sons of mirth, and it can soothe with delicious chords the child of sorrow. It can enkindle

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On the Preeminence of Poetry.

within the bosom a resistless energy, and prompt to bold and warlike deeds; it can melt the rougher feelings, and soften nature with the song of love. In either of these, it possesses a mighty influence; but this influence extends no farther. Though it may inspire joy or melancholy, heroism or love, beyond that it possesses no control. Even here the elation is such an evanescence of feeling, that it is extinguished almost as soon as excited. Whereas poetry, while it will at the same time as powerfully infuse all these, leaves a lasting impression on the mind.

What induced Edward to put the Cambrian bards to death? Was it not because of the effect of their songs on the minds of their followers? But shall we say that this effect depended more on the strains that accompanied them, than upon the songs themselves? We might as sensibly argue that a play owes more of its interest to the scenery, dress, &c., than to the poetry or action of the drama. Certainly the rich chords and masterly touches of the instruments ensured the songs of the bards a welcome reception; yet could music have recited a recollection of their country's wrongs, the tears of their kindred, a consciousness of the oppressor's tyranny, and of their own infamy? Could music have roused and kept in a continual flame the cherished fire of patriotism in their hearts? Surely not; this was the task of poetry.

Painting embodies, perhaps, more of reality than her sister arts; for by beauty of colouring, correctness of form, and accuracy of expression, an object may be more forcibly represented, than when it entirely depends upon words for description. Yet here its powers are limited; it cannot so well portray the feelings and passions as poetry. The inmost thoughts of the mind, the strugglings of the heart, would be accurately portrayed by the muse, in addition to the countenance being depicted as excited by such feelings. When to this we add the power of the imagination, in forcibly filling up these sketches, we can be no strangers to the superiority of poetry above painting. Imagination has such a gigantic effect on the mind, that when its vivid figures are called up, the cold reality sinks into nothing; and the bold graphic sketches, with the indistinct shadowing of objects, described by the muse, leave an impression more indelible than those of the

canvass.

Another remark with respect to music, ought not to be omitted. It has been

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observed that it will inspire devotion more deeply than poetry. Yet this is rather an animal excitation than the effusions of the heart; for though it may enkindle rapturous sensations, and soothe the mind into a serious reverie, it can never instil, or call forth, those sentiments of the soul toward its Creator, which constitute devotion. But poetry can do this, and more than this. It can fill the mind with the attributes of the great Father of all; it can overpower us with thrilling truths, and melt the most stubborn to conviction. Who has not felt the force of such passages as these, beyond all that the most solemn music can effect? "Lord, thou hast been our dwelling-place in all generations. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting thou art God." "O Lord, thou hast searched me and known me. Thou knowest my downsitting and mine uprising, thou understandest my thoughts afar off." "Like as a father pitieth his children, so the Lord pitieth them that fear him. For he knoweth our frame; he remembereth that we are dust." &c. &c. Yet these are only the most exalted strains of an inspired poet.

Before we conclude, it may not be impertinent to the subject, to make a remark relative to poetry.

In these days nothing is more common than to ridicule those who have been so unfortunate as to attempt the Parnassian heights. Every one is allowed, indeed it is esteemed as an indispensable accomplishment, to make some attainments in music or painting, but to cultivate an inclination to poetry is accounted the extreme of folly. We should certainly restrain the cacoethes scribendi as far as it interferes with more important duties, but when it is merely cultivated as an amusement, it certainly merits something better than contempt. As Mackenzie in his 'Man of Feeling,' observes, "There is a certain poetic ground, on which a man cannot tread without feelings that enlarge the heart: the causes of human depravity vanish before the romantic enthusiasm he professes, and many who are not able to reach the Parnassian heights, may yet approach so near as to be bettered by the air of the climate." Yet this cannot be affirmed either of music or painting; and as neither of them, particularly the former, has any necessary connexion with the mind or the heart, they can only be esteemed as inferior pursuits.

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Profanation of the Lord's Day, in London.

Having made this brief survey, perhaps it will be seen that poetry is not so deserving of the slight she too often receives. We have remarked, that she not only claims precedence in the scale of existence, but that her origin is in some measure divine, and that she was at first the only medium through which historic and moral truth were conveyed to posterity. We have observed, that in her nature she is the most refined, in as much as her character is the most intellectual. And, lastly, we have noticed, that the effect she produces on the mind, though not always so powerful at the moment, is far the most permanent. Reasoning from these arguments, we are led to the conclusion, that poetry is far preeminent above painting or music. Beaconsfield.

J. A. B.

AWFUL PROFANATION OF THE LORD'S DAY,

IN LONDON.

The following Statement was persented by the Secretaries of the Christian Instruction Society to a Special General Meeting of its Subscribers and Friends, held at Albion Chapel, Tuesday Evening, November 3, 1829.

"THE earliest dawn of God's holy day is met by scenes of dissipation and riot, occasioned by abandoned characters, of both sexes, returning to their homes after a night of debauchery in those haunts of vice which are now to be found in every part of the metropolis, under the specious names of Coffee, Oyster, and Liquor shops, And it has occurred, that peaceable inha bitants have been roused from their slumbers by the noise and violence of those who thus prowl the streets.

"As the sacred day advances, it is melancholy to know that the bustle of business commences in the various markets of this city, where, in defiance of the laws of the country and of God, an open traffic continues with unabated activity till the hour of prayer arrives, when, in some instances, a veil is partially drawn, till, as the phrase is, the "church hours" are over.

"Thus Covent Garden Market has for years exhibited, not only the fearless exposure of goods for sale on several hundred stalls, but also the assemblance of multitudes of the most abandoned characters, who indulge in language so filthy and blasphemous, as to make them the terror of every sober inhabitant or decent pas

senger.

"The other markets, in the west of London, exhibit congenial scenes. In the Hungerford, Newport, Fleet, and Carnaby

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markets, there are to be seen persons in almost every shop, ready to sell their various commodities, though in some cases, by the appearance of a few shutters, deceitful homage is offered to the hallowed day. But in Clare Market, near Drury Lane, no attempt is made to hide their iniquity; every shop is completely open, and every avenue is crowded by people, who are invited to purchase by the most public display of articles of every kind, and by the shameless importunity of those who sell them.

"There is every reason to believe, that Billingsgate and the markets in the eastern and southern parts of the metropolis are in no better state.

"Let any serious person walk through Rosemary Lane, Whitechapel, Spitalfields, Bethnal Green, Shoreditch, and St. Luke's, on the one side; or by Drury Lane, Soho, St. Giles, Tottenham Court Road, Paddington, and the Edgeware Road, on the other side; or by Clerkenwell, Saffron Hill, and Leather Lane, in the centre of this city; and he will behold scenes which must deeply afflict his mind.

"The following description of one of these neighbourhoods is supplied by a gentleman connected with the Society:

"In walking from Pentonville to the Minories, I had observed numerous persons lounging about the public-houses and winevaults, and many others offering various articles for sale at the corners of the streets. This I was in some measure prepared for, having witnessed such things on my former visits to London. When going down the Minories, however, toward the lower end, I was astonished to perceive many of the clothes-shops partially open, the door-ways within and without hung round with various articles of wearing apparel, having the prices marked on tickets in glaring characters, and the pavement occupied with salesmen inviting the attention of the populace to the quality and cheapness of their merchandise. I went on from hence, through Rosemary Lane, to St. George's Road, and here (in the Lane) the guilty scene obtruded itself upon my notice, without any attempt to cover its deformity, or conceal its shame. The shops of grocers, butchers, bakers, coal and corn dealers, salesmen, and others, were wide open; while stalls and benches were arranged throughout the street, and covered with articles for food and clothing of all descriptions; and, what I took to be, when looking on them in the distance, a mob collected to witness a quarrel or a fight, I found was a dense mass of persons engaged in all the interest, and bustle, and confusion of worldly traffic.

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