resides in the symbol. Who loves nature? Who does not? Is it only poets, and men of leisure and cultivation, who live with her? No; but also hunters, farmers, grooms, and butchers, though they express their affection in their choice of life, and not in their choice of words. The writer wonders what the coachman or the hunter values in riding, in horses, and dogs. It is not superficial qualities. When you talk with him, he holds these at as slight a rate as you. His worship is sympathetic; he has no definitions, but he is commanded in nature, by the living power which he feels to be there present. No imitation, or playing of these things, would content him; he loves the earnest of the north wind, of rain, of stone, and wood, and iron. A beauty not explicable is dearer than a beauty which we can see to the end of. It is nature the symbol, nature certifying the supernatural, body overflowed by life, which he worships, with coarse but sincere rites.

The inwardness and mystery of this attachment drive men of every class to the use of emblems. The schools of poets, and philosophers, are not more intoxicated with their symbols, than the populace with theirs. In our political parties, compute the power of badges and emblems. See the great ball which they roll from Baltimore to Bunker Hill! In the political processions, Lowell goes in a loom, and Lynn in a shoe, and Salem in a ship. Witness the cider-barrel, the logcabin, the hickory-stick, the palmetto, and all the cognisances of party. See the power of national emblems. Some stars, lilies, leopards, a crescent, a lion, an eagle, or other figure, which came into credit God knows how, on an old rag of bunting, blowing in the wind, on a fort, at the ends of the earth, shall make the blood tingle under the rudest or the most conventional exterior. The people fancy they hate poetry, and they are all poets and mystics!

Beyond this universality of the symbolic language, we are apprised of the divineness of this superior use of things, whereby the world is a temple, whose walls are covered with emblems, pictures, and commandments

of the Deity, in this, that there is no fact in nature which does not carry the whole sense of nature; and the distinctions which we make in events, and in affairs, of low and high, honest and base, disappear when nature is used as a symbol. Thought makes everything fit for use. The vocabulary of an omniscient man would embrace words and images excluded from polite conversation. What would be base, or even obscene, to the obscene, becomes illustrious, spoken in a new connection of thought. The piety of the Hebrew prophets purges their grossness. The circumcision is an example of the power of poetry to raise the low and offensive. Small and mean things serve as well as great symbols. The meaner the type by which a law is expressed the more pungent it is, and the more lasting in the memories of men; just as we choose the smallest box or case in which any needful utensil can be carried. Bare lists of words are found suggestive to an imaginative and excited mind; as it is related of Lord Chatham, that he was accustomed to read in Bailey's Dictionary when he was preparing to speak in Parliament. The poorest experience is rich enough for all the purposes of expressing thought. Why covet a knowledge of new facts? Day and night, house and garden, a few books, a few actions, serve us as well as would all trades and all spectacles. We are far from having exhausted the significance of the few symbols we use. We can come to use them yet with a terrible simplicity. It does not need that a poem should be long. Every word was once a poem. Every new relation is a new word. Also, we use defects and deformities to a sacred purpose, so expressing our sense that the evils of the world are such only to the evil eye. In the old mythology, mythologists observe, defects are ascribed to divine natures, as lameness to Vulcan, blindness to Cupid, and the like, to signify exuberances.

For, as it is dislocation and detachment from the life of God that makes things ugly, the poet, who reattaches things to nature and the Whole-re-attaching

even artificial things, and violations of nature, to nature, by a deeper insight-disposes very easily of the most disagreeable facts. Readers of poetry see the factory-village and the railway, and fancy that the poetry of the landscape is broken up by these; for these works of art are not yet consecrated in their reading; but the poet sees them fall within the great Order not less than the bee-hive or the spider's geometrical web. Nature adopts them very fast into her vital circles, and the gliding train of cars she loves like her own. Besides, in a centred mind, it signifies nothing how many mechanical inventions you exhibit. Though you add millions, and never so surprising, the fact of mechanics has not gained a grain's weight. The spiritual fact remains unalterable by many or by few particulars; as no mountain is of any appreciable height to break the curve of the sphere. A shrewd countryboy goes to the city for the first time, and the complacent citizen is not satisfied with his little wonder. It is not that he does not see all the fine houses, and know that he never saw such before, but he disposes of them as easily as the poet finds place for the railway. The chief value of the new fact is, to enhance the great and constant fact of Life, which can dwarf any and every circumstance, and to which the belt of wampum, and the commerce of America, are alike.

The world being thus put under the mind for and noun, the poet is he who can articulate it. For, for verb though life is great, and fascinates, and absorbs,-and though all men are intelligent of the symbols through which it is named,-yet they cannot originally use them. We are symbols, and inhabit symbols; workmen, work, and tools, words and things, birth and death, all are emblems; but we sympathise with the symbols, and, being infatuated with the economical uses of things, we do not know that they are thoughts. The poet, by an ulterior intellectual perception, gives them a power which makes their old use forgotten, and puts eyes and a tongue into every dumb and inanimate object. He perceives the independence of

the thought on the symbol, the stability of the thought, the accidency and fugacity of the symbol. As the eyes of Lyncæus were said to see through the earth, so the poet turns the world to glass, and shows us all things in their right series and procession. For, through that better perception, he stands one step nearer to things, and sees the flowing or metamorphosis; perceives that thought is multiform; that within the form of every creature is a force impelling it to ascend into a higher form; and, following with his eyes the life, uses the forms which express that life, and so his speech flows with the flowing of nature. All the facts of the animal economy, sex, nutriment, gestation, birth, growth, are symbols of the passage of the world into the soul of man, to suffer there a change, and reappear a new and higher fact. He uses forms according to the life, and not according to the form. This is true science. The poet alone knows astronomy, chemistry, vegetation, and animation, for he does not stop at these facts, but employs them as signs. He knows why the plain or meadow of space was strown with these flowers we call suns, and moons, and stars; why the great deep is adorned with animals, with men, and gods; for in every word he speaks he rides on them as the horses of thought.

By virtue of this science the poet is the Namer, or Language-maker, naming things sometimes after their appearance, sometimes after their essence, and giving to every one its own name and not another's, thereby rejoicing the intellect, which delights in detachment or boundary. The poets made all the words, and therefore language is the archives of history, and, if we must say it, a sort of tomb of the muses. For, though the origin of most of our words is forgotten, each word was at first a stroke of genius, and obtained currency, because for the moment it symbolised the world to the first speaker and to the hearer. etymologist finds the deadest word to have been once a brilliant picture. Language is fossil poetry. As the limestone of the continent consists of infinite masses

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of the shells of animalcules, so language is made up of images, or tropes, which now, in their secondary use, have long ceased to remind us of their poetic origin. But the poet names the thing because he sees it, or comes one step nearer to it than any other. This expression, or naming, is not art, but a second nature, grown out of the first, as a leaf out of a tree. What we call nature is a certain self-regulated motion, or change; and nature does all things by her own hands, and does not leave another to baptize her, but baptizes herself; and this through the metamorphosis again. I remember that a certain poet described it to me thus:

Genius is the activity which repairs the decays of things, whether wholly or partly of a material and finite kind. Nature, through all her kingdoms, insures herself. Nobody cares for planting the poor fungus; so she shakes down from the gills of one agaric countless spores, any one of which, being preserved, transmits new billions of spores to-morrow or next day. The new agaric of this hour has a chance which the old one had not. This atom of seed is thrown into a new place, not subject to the accidents which destroyed its parent two rods off. She makes a man; and, having brought him to ripe age, she will no longer run the risk of losing this wonder at a blow, but she detaches from him a new self, that the kind may be safe from accidents to which the individual is exposed. So when the soul of the poet has come to ripeness of thought, she detaches and sends away from it its poems or songs —a fearless, sleepless, deathless progeny, which is not exposed to the accidents of the weary kingdom of time: a fearless, vivacious offspring, clad with wings (such was the virtue of the soul out of which they came), which carry them fast and far, and infix them irrecoverably into the hearts of men. These wings are the beauty of the poet's soul. The songs, thus flying immortal from their mortal parent, are pursued by clamorous flights of censures, which swarm in far greater numbers, and threaten to devour them; but