then would gaze on the more distant scene,—

here an

emblem

of

his own

unfruitful life :

forget those beings

benevolence,

the world,

and human
life,

appeared a
scene of

kindred loveliness:

Nay, Traveller! rest. This lonely yew-tree stands
Far from all human dwelling: what if here
No sparkling rivulet spread the verdant herb?
What if the bee love not these barren boughs?
Yet, if the wind breathe soft, the curling waves,
That break against the shore, shall lull thy mind
By one soft impulse saved from vacancy.

Who he was

That piled these stones and with the mossy sod
First covered, and here taught this aged tree
With its dark arms to form a circling bower,
I well remember. He was one who owned
No common soul. In youth by science nursed,

And led by Nature into a wild scene

Of lofty hopes, he to the world went forth
A favoured being, knowing no desire

Which genius did not hallow; 'gainst the taint
Of dissolute tongues, and jealousy and hate,
And scorn,-against all enemies prepared,

All but neglect. The world, for so it thought,
Owed him no service: wherefore he at once
With indignation turned himself away,

And with the food of pride sustained his soul
In solitude. Stranger! these gloomy boughs
Had charms for him; and here he loved to sit,
His only visitants a straggling sheep,

The stone-chat, or the glancing sand-piper:
And on these barren rocks, with fern and heath,
And juniper and thistle, sprinkled o'er,
Fixing his downcast eye, he many an hour
A morbid pleasure nourished, tracing here
An emblem of his own unfruitful life:
And, lifting up his head, he then would gaze
On the more distant scene,-how lovely 'tis
Thou seest, and he would gaze till it became
Far lovelier, and his heart could not sustain
The beauty, still more beauteous! Nor, that time,
When Nature had subdued him to herself,
Would he forget those beings to whose minds,
Warm from the labours of benevolence,

The world, and human life, appeared a scene

Of kindred loveliness: then he would sigh,

Inly disturbed, to think that others felt

What he must never feel and so, lost Man !

On visionary views would fancy feed,

Till his eye streamed with tears. In this deep vale

He died, this seat his only monument.

If thou be one whose heart the holy forms

Of young imagination have kept pure,

Stranger! henceforth be warned; and know that pride, Howe'er disguised in its own majesty,

Is littleness; that he who feels contempt

For any living thing, hath faculties

Which he has never used; that thought with him
Is in its infancy. The man whose eye

Is ever on himself doth look on one,

The least of Nature's works, one who might move
The wise man to that scorn which wisdom holds
Unlawful, ever. O be wiser, thou!

Instructed that true knowledge leads to love;
True dignity abides with him alone
Who, in the silent hour of inward thought,
Can still suspect, and still revere himself,
In lowliness of heart.-Wordsworth.

EXAMPLE FOR PRACTICE.

As hunger and the animal passions govern brutes, and as the parts which chiefly minister to them in the face are the organs of smell and taste, the unusual development of the nose and the mouth degrades or brutifies the human countenance. But we remarked, in regard to this, that the nose is not elevated in man, to increase the organ of smelling; it belongs to the voice, to human voice and speech. And so must we consider the different functions of the mouth. In brutes, it is for prehension, tearing, and mastication; in man, its more distinguishable office is speech and expression. Model the lips for this, for eloquence and the expression of the softer passions, and it becomes beautiful; extend the teeth, and make the lips a mere covering for them, and it is brutal, at variance with human physiognomy and detracting from whatever is agreeable in the face.

Our principle will apply with equal force to the motions of the face as to the permanent form. Human sentiments prevailing in the expression of a face will always make it agreeable or lovely. Expression is even of more consequence than shape: it will light up features otherwise heavy; it will make us forget all but the quality of the mind. As the natural tones of the voice are understood and felt by all, so it is with the movements of the countenance : on these we are continually intent, and the mind ever insensibly exercised.—Sir C. Bell, Anatomy of Expression.

SKELETON FORM-SUBJECT IN ITALICS.

The splendour falls. The light shakes.

The cataract leaps.

They die.

O (ye) hark; O (ye) hear; the borns of Elfland are sweet.