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The poets are quite right in decking their mistresses with the spoils of the landscape, flower-gardens, gems, rainbows, flushes of morning, and stars of night, since all beauty points at identity, and whatsoever thing does not express to me the sea and sky, day and night, is somewhat forbidden and wrong. Into every beautiful object there enters somewhat immeasurable and divine, and just as much into form bounded by outlines, like mountains on the horizon, as into tones of music, or depths of space. Polarized light showed the secret architecture of bodies; and when the second-sight of the mind is opened, now one color or form or gesture, and now another, has a pungency, as if a more interior ray had been emitted, disclosing its deep holdings in the frame of things.

The laws of this translation we do not know, or why one feature or gesture enchants, why one word or syllable intoxicates, but the fact is familiar that the fine touch of the eye, or a grace of manners, or a phrase of poetry, plants wings at our shoulders; as if the Divinity, in his approaches, lifts away mountains of obstruction, and deigns to draw a truer line, which the mind knows and owns. This is that haughty force of beauty, "vis superba forma," which the poets praise, -under calm and precise outline, the immeasurable and divine: Beauty hiding all wisdom and power in its calm sky.

All high beauty has a moral element in it, and I find the antique sculpture as ethical as Marcus Antoninus: and the beauty ever in proportion to the depth of thought. Gross and obscure natures, however decorated, seem impure shambles; but character gives splendor to youth, and awe to wrinkled skin and gray hairs. An adorer of truth we cannot choose but obey, and the woman who has shared with us the moral sentiment, her locks must appear to us sublime. Thus there is a climbing scale of culture, from the first agreeable sensation which a sparkling gem or a scarlet stain affords the eye, up through fair outlines and details of the landscape, features of the human face and form, signs and tokens of thought and character in manners, up to the ineffable mysteries of the intellect. Wherever we begin, thither our steps tend: an ascent from the joy of a horse in his trappings, up to the perception of Newton, that the globe on which we ride is only a larger apple falling from a larger tree; up to the perception of Plato, that globe and universe are rude and early expressions of an all-dissolving Unity, the first stair on the scale to the temple of the Mind.

IX.

ILLUSIONS.

Flow, flow the waves hated,
Accursed, adored,

The waves of mutation:
No anchorage is.

Sleep is not, death is not;
Who seem to die live.
House you were born in,
Friends of your spring-time,
Old man and young maid,
Day's toil and its guerdon,
They are all vanishing,
Fleeing to fables,

Cannot be moored.

See the stars through them,
Through treacherous marbles.

Know, the stars yonder,
The stars everlasting,

Are fugitive also,

•And emulate, vaulted,

The lambent heat-lightning,
And fire-fly's flight.

When thou dost return
On the wave's circulation,
Beholding the shimmer,
The wild dissipation,
And, out of endeavor
To change and to flow,
The gas becomes solid,
And phantoms and nothings
Return to be things,
And endless imbroglio

Is law and the world,

Then first shalt thou know,
That in the wild turmoil,

Horsed on the Proteus,
Thou ridest to power,
And to endurance.

VOL. II.

21

EE

ILLUSIONS.

S

OME years ago, in company with an agreeable party, I spent a long summer day in exploring the Mammoth Cave in Kentucky. We traversed, through spacious galleries af fording a solid masonry foundation for the town and county overhead, the six or eight black miles from the mouth of the cavern to the innermost recess which tourists visit, a niche or grotto made of one seamless stalactite, and called, I believe, Serena's Bower. I lost the light of one day. I saw high domes, and bottomless pits; heard the voice of unseen waterfalls; paddled three quarters of a mile in the deep Echo River, whose waters are peopled with the blind fish; crossed the streams "Lethe" and "Styx"; plied with music and guns the echoes in these alarming galleries; saw every form of stalagmite and stalactite in the sculptured and fretted chambers, icicle, orange-flower, acanthus, grapes, and snowball. We shot Bengal lights into the vaults and groins of the sparry cathedrals, and examined all the masterpieces which the four combined engineers, water, limestone, gravitation, and time, could make in the dark.

The mysteries and scenery of the cave had the same dignity that belongs to all natural objects, and which shames the fine things to which we foppishly compare them. I remarked, especially, the mimetic habit, with which Nature, on new instruments, hums her old tunes, making night to mimic day, and chemistry to ape vegetation. But I then took notice, and still chiefly remember, that the best thing which the cave had to offer was an illusion. On arriving at what is called the "Star-Chamber," our lamps were taken from us by the guide, and extinguished or put aside, and, on looking upwards, I saw or seemed to see the night heaven thick with stars glimmering more or less brightly over our heads, and even what

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