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analyse its parts and its uses, it appears to be the most consummate of our members. And


there are other parts, that may maintain no mean rivalship against it.

What a sublimity is to be attributed to his upright form! He is not fashioned, veluti pecora, quæ natura prona atque ventri obedientia finxit. He is made cæli convexa tueri. The looks that are given him in his original structure, are “looks commercing with the skies.”

How surpassingly beautiful are the features of his countenance;' the eyes, the nose, the mouth! How noble do they appear in a state of repose ! With what never-ending variety and emphasis do they express the emotions of his mind! In the visage of man, uncorrupted and undebased, we read the frankness and ingenuousness of his soul, the clearness of his reflections, the penetration of his spirit. What a volume of understanding is unrolled in his broad, expanded, lofty brow! In his countenance we see expressed at one time sedate confidence and awful intrepidity, and at another godlike condescension and the most melting tender

Who can behold the human eye, suddenly suffused with moisture, or gushing with tears unbid, and the quivering lip, without unspeakable emotion? Shakespear talks of an eye, “whose bend could awe the world.”

What a niraculous thing is the human complexion! We are sent into the world naked, that


perceive in many cases, that the believer in mysteries docs little more, than dress up his deity in the choicest of human attributes and qualifications. I have lived among, and I feel an ardent interest in and love for, my brethren of mankind. This sentiment, which I regard with complacency in my own breast, I would gladly cherish in others. In such a cause I am well pleased to enrol myself a missionary.

February 15, 1831.

The particulars respecting the author, referred to in the title-page, will be found principally in Essays VII, IX, XIV, and STIII.

all the variations of the blood might be made visible. However trite, I cannot avoid quoting here the lines of the most deep-thinking and philosophical of our poets :

We understood
Her by her sight: her pure and eloquent blood
Spoke in her cheeks, and so distinctly wrought,
That one might almost say her body thought.

What a curious phenomenon is that of blushing ! It is impossible to witness this phenomenon without interest and sympathy. It comes at once, unanticipated by the person in whom we behold it. It comes from the soul, and expresses with equal certainty shame, modesty, and vivid, uncontrolable affection. It spreads, as it were in so many stages, over the cheeks, the brow, and the neck, of him or her in whom the sentiment that gives birth to it is working

Thus far I have not mentioned speech, not perhaps the most inestimable of human gifts, but, if it is not that, it is at least the endowment, which makes man social, by which principally we impart our sentiments to each other, and which changes us from solitary individuals, and bestows on us a duplicate and multipliable existence. Beside which it incalculably increases the perfection of one. The man who does not speak, is an unfledged thinker; and the man that does not write, is but half an investigator.

Not to enter into all the mysteries of articulate speech and the irresistible power of eloquence, whether addressed to a single hearer, or instilled into the ears of many,—a topic that belongs perhaps less to the chapter of body than mind,-let us for a moment fix our thoughts steadily upon that little implement, the human voice. Of what unnunbered modulations is it susceptible! What terror

What terror may it inspire! How

may it electrify the soul, and suspend all its functions ! How infinite is its melody! How instantly it subdues the hearer to pity or to love! How does the listener hang upon every note praying that it may last for ever,

that even silence
Was took ere she was ware, and wished she might
Deny her nature, and be never more,
Still to be so displaced.

It is here especially that we are presented with the triumphs of civilisation. How immeasurable is the distance between the voice of the clown, who never thought of the power that dwells in this faculty, who delivers himself in a rude, discordant and unmodulated accent, and is accustomed to confer with his fellow at the distance of two fields, and the man who understands his instrument as Handel understood the organ, and who, whether he thinks of it or no, sways those that hear him as implicitly as Orpheus is said to have subdued the brute creation!

From the countenance of man let us proceed to his figure. Every limb is capable of speaking, and

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