Canto Iii.

PROGRESS OF THE MIND.

I. Now rose, adorn'd with Beauty's brightest hues, The graceful HIEROPHANT, and winged MUSE; Onward they step around the stately piles, O'er porcelain floors, through laqueated ailes, Eye Nature's lofty and her lowly seats, Her gorgeous palaces, and green retreats, Pervade her labyrinths with unerring tread, And leave for future guests a guiding thread.

First with fond gaze blue fields of air they sweep, Or pierce the briny chambers of the deep; 10 Earth's burning line, and icy poles explore, Her fertile surface, and her caves of ore; Or mark how Oxygen with Azote-Gas Plays round the globe in one aerial mass, Or fused with Hydrogen in ceaseless flow Forms the wide waves, which foam and roll below.

Next with illumined hands through prisms bright Pleased they untwist the sevenfold threads of light; Or, bent in pencils by the lens, convey To one bright point the silver hairs of Day. 20 Then mark how two electric streams conspire To form the resinous and vitreous fire; Beneath the waves the fierce Gymnotus arm, And give Torpedo his benumbing charm; Or, through Galvanic chain-work as they pass, Convert the kindling water into gas.

The magnetic ether may also be supposed to consist of two fluids, one of which attracts the needle, and the other repels it; and, perhaps, chemical affinities, and gravitation itself, may consist of two kinds of ether surrounding the particles of bodies, and may thence attract at one distance and repel at another; as appears when two insulated electrised balls are approached to each other, or when two small globules of mercury are pressed together.]

How at the poles opposing Ethers dwell, Attract the quivering needle, or repel. How Gravitation by immortal laws Surrounding matter to a centre draws; 30 How Heat, pervading oceans, airs, and lands, With force uncheck'd the mighty mass expands; And last how born in elemental strife Beam'd the first spark, and lighten'd into Life.

Now in sweet tones the inquiring Muse express'd Her ardent wish; and thus the Fair address'd. "Priestess of Nature! whose exploring sight Pierces the realms of Chaos and of Night; Of space unmeasured marks the first and last, Of endless time the present, future, past; 40 Immortal Guide! O, now with accents kind Give to my ear the progress of the Mind. How loves, and tastes, and sympathies commence From evanescent notices of sense? How from the yielding touch and rolling eyes The piles immense of human science rise?-- With mind gigantic steps the puny Elf, And weighs and measures all things but himself!"

The indulgent Beauty hears the grateful Muse, Smiles on her pupil, and her task renews. 50 Attentive Nymphs in sparkling squadrons throng, And choral Virgins listen to the song; Pleased Fawns and Naiads crowd in silent rings, And hovering Cupids stretch their purple wings.

II. "FIRST the new actions of the excited sense, Urged by appulses from without, commence; With these exertions pain or pleasure springs, And forms perceptions of external things. Thus, when illumined by the solar beams, Yon waving woods, green lawns, and sparkling streams, In one bright point by rays converging lie 61 Plann'd on the moving tablet of the eye; The mind obeys the silver goads of light, And IRRITATION moves the nerves of sight.

"These acts repeated rise from joys or pains, And swell Imagination's flowing trains; So in dread dreams amid the silent night Grim spectre-forms the shuddering sense affright; Or Beauty's idol-image, as it moves, Charms the closed eye with graces, smiles, and loves; 70 Each passing form the pausing heart delights, And young SENSATION every nerve excites.

"Oft from sensation quick VOLITION springs, When pleasure thrills us, or when anguish stings; Hence Recollection calls with voice sublime Immersed ideas from the wrecks of Time, With potent charm in lucid trains displays Eventful stories of forgotten days. Hence Reason's efforts good with ill contrast, Compare the present, future, and the past; 80 Each passing moment, unobserved restrain The wild discordancies of Fancy's train; But leave uncheck'd the Night's ideal streams, Or, sacred Muses! your meridian dreams.

If we reexcite the ideas in which they differ, it is called distinguishing. If we reexcite those in which they correspond, it is called comparing.]

"And last Suggestion's mystic power describes Ideal hosts arranged in trains or tribes. So when the Nymph with volant finger rings Her dulcet harp, and shakes the sounding strings; As with soft voice she trills the enamour'd song, Successive notes, unwill'd, the strain prolong; 90 The transient trains ASSOCIATION steers, And sweet vibrations charm the astonish'd ears.

"ON rapid feet o'er hills, and plains, and rocks, Speed the scared leveret and rapacious fox; On rapid pinions cleave the fields above The hawk descending, and escaping dove; With nicer nostril track the tainted ground The hungry vulture, and the prowling hound; Converge reflected light with nicer eye The midnight owl, and microscopic fly; 100 With finer ear pursue their nightly course The listening lion, and the alarmed horse.

"The branching forehead with diverging horns Crests the bold bull, the jealous stag adorns; Fierce rival boars with side-long fury wield The pointed tusk, and guard with shoulder-shield; Bounds the dread tiger o'er the affrighted heath Arm'd with sharp talons, and resistless teeth; The pouncing eagle bears in clinched claws The struggling lamb, and rends with ivory jaws; 110 The tropic eel, electric in his ire, Alarms the waves with unextinguish'd fire; The fly of night illumes his airy way, And seeks with lucid lamp his sleeping prey; Fierce on his foe the poisoning serpent springs, And insect armies dart their venom'd stings.

"Proud Man alone in wailing weakness born, No horns protect him, and no plumes adorn; No finer powers of nostril, ear, or eye, Teach the young Reasoner to pursue or fly.-- 120 Nerved with fine touch above the bestial throngs, The hand, first gift of Heaven! to man belongs; Untipt with claws the circling fingers close, With rival points the bending thumbs oppose, Trace the nice lines of Form with sense refined, And clear ideas charm the thinking mind. Whence the fine organs of the touch impart Ideal figure, source of every art; Time, motion, number, sunshine or the storm, But mark varieties in Nature's form. 130

Now, as the whole universe with all its parts possesses a certain form or figure, if any part of it moves, that form or figure of the whole is varied. Hence, as motion is no other than a perpetual variation of figure, our idea of motion is also a real resemblance of the motion that produced it.

Hence arises the certainty of the mathematical sciences, as they explain these properties of bodies, which are exactly resembled by our ideas of them, whilst we are obliged to collect almost all our other knowledge from experiment; that is, by observing the effects exerted by one body upon another.]

"Slow could the tangent organ wander o'er The rock-built mountain, and the winding shore; No apt ideas could the pigmy mite, Or embryon emmet to the touch excite; But as each mass the solar ray reflects, The eye's clear glass the transient beams collects; Bends to their focal point the rays that swerve, And paints the living image on the nerve. So in some village-barn, or festive hall The spheric lens illumes the whiten'd wall; 140 O'er the bright field successive figures fleet, And motley shadows dance along the sheet.-- Symbol of solid forms is colour'd light, And the mute language of the touch is sight.

Here whilst the stimulated part of the retina resembles exactly the visible figure of the whole in miniature, the various kinds of stimuli from different colours mark the visible figures of the minuter parts; and by habit we instantly recall the tangible figures.

So that though our visible ideas resemble in miniature the outline of the figure of coloured bodies, in other respects they serve only as a language, which by acquired associations introduce the tangible ideas of bodies. Hence it is, that this sense is so readily deceived by the art of the painter to our amusement and instruction. The reader will find much very curious knowledge on this subject in Bishop Berkeley's Essay on Vision, a work of great ingenuity.]

"HENCE in Life's portico starts young Surprise With step retreating, and expanded eyes; The virgin, Novelty, whose radiant train Soars o'er the clouds, or sinks beneath the main, With sweetly-mutable seductive charms Thrills the young sense, the tender heart alarms. 150 Then Curiosity with tracing hands And meeting lips the lines of form demands, Buoy'd on light step, o'er ocean, earth, and sky, Rolls the bright mirror of her restless eye. While in wild groups tumultuous Passions stand, And Lust and Hunger head the Motley band; Then Love and Rage succeed, and Hope and Fear; And nameless Vices close the gloomy rear; Or young Philanthropy with voice divine Convokes the adoring Youth to Virtue's shrine; 160 Who with raised eye and pointing finger leads To truths celestial, and immortal deeds.

As some of these sensations become familiar by repetition, other objects not previously attended to present themselves, and produce the idea of novelty, which is a less degree of surprise, and like that is not perceived in our dreams, though for another reason; because in sleep we possess no voluntary power to compare our trains of ideas with our previous knowledge of nature, and do not therefore perceive their difference by intuitive analogy from what usually occurs.

As the novelty of our ideas is generally attended with pleasurable sensation, from this arises Curiosity, or a desire of examining a variety of objects, hoping to find novelty, and the pleasure consequent to this degree of surprise; see Additional Note VII. 3.]

III. "As the pure language of the Sight commands The clear ideas furnish'd by the hands; Beauty's fine forms attract our wondering eyes, And soft alarms the pausing heart surprise. Warm from its cell the tender infant born Feels the cold chill of Life's aerial morn; Seeks with spread hands the bosoms velvet orbs, With closing lips the milky fount absorbs; 170 And, as compress'd the dulcet streams distil, Drinks warmth and fragrance from the living rill; Eyes with mute rapture every waving line, Prints with adoring kiss the Paphian shrine, And learns erelong, the perfect form confess'd, IDEAL BEAUTY from its Mother's breast.

The characteristic of beauty therefore is that it is the object of love; and though many other objects are in common language called beautiful, yet they are only called so metaphorically, and ought to be termed agreeable. A Grecian temple may give us the pleasurable idea of sublimity, a Gothic temple may give us the pleasurable idea of variety, and a modern house the pleasurable idea of utility; music and poetry may inspire our love by association of ideas; but none of these, except metaphorically, can be termed beautiful, as we have no wish to embrace or salute them.

Our perception of beauty consists in our recognition by the sense of vision of those objects, first, which have before inspired our love by the pleasure, which they have afforded to many of our senses; as to our sense of warmth, of touch, of smell, of taste, hunger and thirst; and, secondly, which bear any analogy of form to such objects.]

"Now on swift wheels descending like a star Alights young EROS from his radiant car; On angel-wings attendant Graces move, And hail the God of SENTIMENTAL LOVE. 180 Earth at his feet extends her flowery bed, And bends her silver blossoms round his head; Dark clouds dissolve, the warring winds subside. And smiling ocean calms his tossing tide, O'er the bright morn meridian lustres play, And Heaven salutes him with a flood of day.

Te, Dea, te fugiunt venti, te nubila coeli, Adventumque tuum; tibi suaves dædala tellus Submittit flores; tibi rident æquora ponti; Placatumque nitet diffuso lumine coelum. LUCRET.]

"Warm as the sun-beam, pure as driven snows, The enamour'd GOD for young DIONE glows; Drops the still tear, with sweet attention sighs, And woos the Goddess with adoring eyes; 190 Marks her white neck beneath the gauze's fold, Her ivory shoulders, and her locks of gold; Drinks with mute ecstacy the transient glow, Which warms and tints her bosom's rising snow. With holy kisses wanders o'er her charms, And clasps the Beauty in Platonic arms; Or if the dewy hands of Sleep, unbid, O'er her blue eye-balls close the lovely lid, Watches each nascent smile, and fleeting grace, That plays in day-dreams o'er her blushing face; 200 Counts the fine mazes of the curls, that break Round her fair ear, and shade her damask cheek; Drinks the pure fragrance of her breath, and sips With tenderest touch the roses of her lips;-- O'er female hearts with chaste seduction reigns, And binds SOCIETY in silken chains.

IV. "IF the wide eye the wavy lawns explores, The bending woodlands, or the winding shores, Hills, whose green sides with soft protuberance rise, Or the blue concave of the vaulted skies;-- 210 Or scans with nicer gaze the pearly swell Of spiral volutes round the twisted shell; Or undulating sweep, whose graceful turns Bound the smooth surface of Etrurian urns, When on fine forms the waving lines impress'd Give the nice curves, which swell the female breast; The countless joys the tender Mother pours Round the soft cradle of our infant hours, In lively trains of unextinct delight Rise in our bosoms recognized by sight; 220 Fond Fancy's eye recalls the form divine, And TASTE sits smiling upon Beauty's shrine.

All these various kinds of pleasure at length become associated with the form of the mother's breast; which the infant embraces with its hands, presses with its lips, and watches with its eyes; and thus acquires more accurate ideas of the form of its mother's bosom, than of the odour and flavour or warmth, which it perceives by its other senses. And hence at our maturer years, when any object of vision is presented to us, which by its waving or spiral lines bears any similitude to the form of the female bosom, whether it be found in a landscape with soft gradations of rising and descending surface, or in the forms of some antique vases, or in other works of the pencil or the chisel, we feel a general glow of delight, which seems to influence all our senses; and if the object be not too large, we experience an attraction to embrace it with our arms, and to salute it with our lips, as we did in our early infancy the bosom of our mother. And thus we find, according to the ingenious idea of Hogarth, that the waving lines of beauty were originally taken from the temple of Venus.]

"Where Egypt's pyramids gigantic stand, And stretch their shadows o'er the shuddering sand; Or where high rocks o'er ocean's dashing floods Wave high in air their panoply of woods; Admiring TASTE delights to stray beneath With eye uplifted, and forgets to breathe; Or, as aloft his daring footsteps climb, Crests their high summits with his arm sublime. 230

"Where mouldering columns mark the lingering wreck Of Thebes, Palmyra, Babylon, Balbec; The prostrate obelisk, or shatter'd dome, Uprooted pedestal, and yawning tomb, On loitering steps reflective TASTE surveys With folded arms and sympathetic gaze; Charm'd with poetic Melancholy treads O'er ruin'd towns and desolated meads; Or rides sublime on Time's expanded wings, And views the fate of ever-changing things. 240

"When Beauty's streaming eyes her woes express, Or Virtue braves unmerited distress; Love sighs in sympathy, with pain combined, And new-born Pity charms the kindred mind; The enamour'd Sorrow every cheek bedews, And TASTE impassion'd woos the tragic Muse.

Other distressful scenes have been supposed to give pleasure to the spectator from exciting a comparative idea of his own happiness, as when a shipwreck is viewed by a person safe on shore, as mentioned by Lucretius, L. 3. But these dreadful situations belong rather to the terrible, or the horrid, than to the tragic; and may be objects of curiosity from their novelty, but not of Taste, and must suggest much more pain than pleasure.]

"The rush-thatch'd cottage on the purple moor, Where ruddy children frolic round the door, The moss-grown antlers of the aged oak, The shaggy locks that fringe the colt unbroke, 250 The bearded goat with nimble eyes, that glare Through the long tissue of his hoary hair;-- As with quick foot he climbs some ruin'd wall, And crops the ivy, which prevents its fall;-- With rural charms the tranquil mind delight, And form a picture to the admiring sight. While TASTE with pleasure bends his eye surprised In modern days at Nature unchastised.

"The GENIUS-FORM, on silver slippers born, With fairer dew-drops gems the rising morn; 260 Sheds o'er meridian skies a softer light, And decks with brighter pearls the brow of night; With finer blush the vernal blossom glows, With sweeter breath enamour'd Zephyr blows, The limpid streams with gentler murmurs pass, And gayer colours tinge the watery glass, Charm'd round his steps along the enchanted groves Flit the fine forms of Beauties, Graces, Loves.

V. "Alive, each moment of the transient hour, When Rest accumulates sensorial power, 270 The impatient Senses, goaded to contract, Forge new ideas, changing as they act; And, in long streams dissever'd, or concrete In countless tribes, the fleeting forms repeat. Which rise excited in Volition's trains, Or link the sparkling rings of Fancy's chains; Or, as they flow from each translucent source, Pursue Association's endless course.

But the immediate cause of our propensity to imitation above that of other animals arises from the greater facility, with which by the sense of touch we acquire the ideas of the outlines of objects, and afterwards in consequence by the sense of sight; this seems to have been observed by Aristotle, who calls man, "the imitative animal;" see Zoonomia, Vol. I. Sect. XXII.]

"Hence when the inquiring hands with contact fine Trace on hard forms the circumscribing line; 280 Which then the language of the rolling eyes From distant scenes of earth and heaven supplies; Those clear ideas of the touch and sight Rouse the quick sense to anguish or delight; Whence the fine power of IMITATION springs, And apes the outlines of external things; With ceaseless action to the world imparts All moral virtues, languages, and arts. First the charm'd Mind mechanic powers collects, Means for some end, and causes of effects; 290 Then learns from other Minds their joys and fears, Contagious smiles and sympathetic tears.

"What one fine stimulated Sense discerns, Another Sense by IMITATION learns.-- So in the graceful dance the step sublime Learns from the ear the concordance of Time. So, when the pen of some young artist prints Recumbent Nymphs in TITIAN'S living tints; The glowing limb, fair cheek, and flowing hair, Respiring bosom, and seductive air, 300 He justly copies with enamour'd sigh From Beauty's image pictured on his eye.

"Thus when great ANGELO in wondering Rome Fix'd the vast pillars of Saint Peter's dome, Rear'd rocks on rocks sublime, and hung on high A new Pantheon in the affrighted sky. Each massy pier, now join'd and now aloof, The figured architraves, and vaulted roof, Ailes, whose broad curves gigantic ribs sustain, Where holy echoes chant the adoring strain; 310 The central altar, sacred to the Lord, Admired by Sages, and by Saints ador'd, Whose brazen canopy ascends sublime On spiral columns unafraid of Time, Were first by Fancy in ethereal dyes Plann'd on the rolling tablets of his eyes; And his true hand with imitation fine Traced from his Retina the grand design.

It should be added, that as our ideas, when we perceive external objects, are believed to consist in the actions of the immediate organs of sense in consequence of the stimulus of those objects; so when we think of external objects, our ideas are believed to consist in the repetitions of the actions of the immediate organs of sense, excited by the other sensorial powers of volition, sensation, or association.]

"The Muse of MIMICRY in every age With silent language charms the attentive stage; 320 The Monarch's stately step, and tragic pause, The Hero bleeding in his country's cause, O'er her fond child the dying Mother's tears, The Lover's ardor, and the Virgin's fears; The tittering Nymph, that tries her comic task, Bounds on the scene, and peeps behind her mask, The Punch and Harlequin, and graver throng, That shake the theatre with dance and song, With endless trains of Angers, Loves, and Mirths, Owe to the Muse of Mimicry their births. 330

"Hence to clear images of form belong The sculptor's statue, and the poet's song, The painter's landscape, and the builder's plan, And IMITATION marks the mind of Man.

VI. "WHEN strong desires or soft sensations move The astonish'd Intellect to rage or love; Associate tribes of fibrous motions rise, Flush the red cheek, or light the laughing eyes. Whence ever-active Imitation finds The ideal trains, that pass in kindred minds; 340 Her mimic arts associate thoughts excite And the first LANGUAGE enters at the sight.

Secondly, when we put ourselves into the attitude that any passion naturally occasions, we soon in some degree acquire that passion; hence when those that scold indulge themselves in loud oaths and violent actions of the arms, they increase their anger by the mode of expressing themselves; and, on the contrary, the counterfeited smile of pleasure in disagreeable company soon brings along with it a portion of the reality, as is well illustrated by Mr. Burke. (Essay on the Sublime and Beautiful.)

These are natural signs by which we understand each other, and on this slender basis is built all human language. For without some natural signs no artificial ones could have been invented or understood, as is very ingeniously observed by Dr. Reid. (Inquiry into the Human Mind.)]

"Thus jealous quails or village-cocks inspect Each other's necks with stiffen'd plumes erect; Smit with the wordless eloquence, they know The rival passion of the threatening foe. So when the famish'd wolves at midnight howl, Fell serpents hiss, or fierce hyenas growl; Indignant Lions rear their bristling mail, And lash their sides with undulating tail. 350 Or when the Savage-Man with clenched fist Parades, the scowling champion of the list; With brandish'd arms, and eyes that roll to know Where first to fix the meditated blow; Association's mystic power combines Internal passions with external signs.

"From these dumb gestures first the exchange began Of viewless thought in bird, and beast, and man; And still the stage by mimic art displays Historic pantomime in modern days; 360 And hence the enthusiast orator affords Force to the feebler eloquence of words.

"Thus the first LANGUAGE, when we frown'd or smiled, Rose from the cradle, Imitation's child; Next to each thought associate sound accords, And forms the dulcet symphony of words; The tongue, the lips articulate; the throat With soft vibration modulates the note; Love, pity, war, the shout, the song, the prayer Form quick concussions of elastic air. 370

"Hence the first accents bear in airy rings The vocal symbols of ideal things, Name each nice change appulsive powers supply To the quick sense of touch, or ear or eye. Or in fine traits abstracted forms suggest Of Beauty, Wisdom, Number, Motion, Rest; Or, as within reflex ideas move, Trace the light steps of Reason, Rage, or Love. The next new sounds adjunctive thoughts recite, As hard, odorous, tuneful, sweet, or white. 380 The next the fleeting images select Of action, suffering, causes and effect; Or mark existence, with the march sublime O'er earth and ocean of recording TIME.

Nouns are the names of the ideas of things, first as they are received by the stimulus of objects, or as they are afterwards repeated; secondly, they are names of more abstracted ideas, which do not suggest at the same time the external objects, by which they were originally excited; or thirdly, of the operations of our minds, which are termed reflex ideas by metaphysical writers; or lastly, they are the names of our ideas of parts or properties of objects; and are termed by grammarians nouns adjective.

Verbs are also in reality names of our ideas of things, or nouns, with the addition of another idea to them, as of acting or suffering; or of more than one other annexed idea, as of time, and also of existence. These with the numerous abbreviations, so well illustrated by Mr. Horne Tooke in his Diversions of Purley, make up the general theory of language, which consists of the symbols of ideas represented by vocal or written words; or by parts of those words, as their terminations; or by their disposition in respect to their order or succession; as further explained in Additional Note XIV.]

"The GIANT FORM on Nature's centre stands, And waves in ether his unnumber'd hands; Whirls the bright planets in their silver spheres, And the vast sun round other systems steers; Till the last trump amid the thunder's roar Sound the dread Sentence "TIME SHALL BE NO MORE!"

"Last steps Abbreviation, bold and strong, 391 And leads the volant trains of words along; With sweet loquacity to HERMES springs, And decks his forehead and his feet with wings.

VII. "As the soft lips and pliant tongue are taught With other minds to interchange the thought; And sound, the symbol of the sense, explains In parted links the long ideal trains; From clear conceptions of external things The facile power of Recollection springs. 400

"Whence REASON'S empire o'er the world presides, And man from brute, and man from man divides; Compares and measures by imagined lines Ellipses, circles, tangents, angles, sines; Repeats with nice libration, and decrees In what each differs, and in what agrees; With quick Volitions unfatigued selects Means for some end, and causes of effects; All human science worth the name imparts, And builds on Nature's base the works of Arts. 410

Reasoning is that operation of the sensorium by which we excite two or many tribes of ideas, and then reexcite the ideas in which they differ or correspond. If we determine this difference, it is called judgment; if we in vain endeavour to determine it, it is called doubting.

If we reexcite the ideas in which they differ, it is called distinguishing. If we reexcite those in which they correspond, it is called comparing.]

"The Wasp, fine architect, surrounds his domes With paper-foliage, and suspends his combs; Secured from frost the Bee industrious dwells, And fills for winter all her waxen cells; The cunning Spider with adhesive line Weaves his firm net immeasurably fine; The Wren, when embryon eggs her cares engross, Seeks the soft down, and lines the cradling moss; Conscious of change the Silkworm-Nymphs begin Attach'd to leaves their gluten-threads to spin; 420 Then round and round they weave with circling heads Sphere within Sphere, and form their silken beds. --Say, did these fine volitions first commence From clear ideas of the tangent sense; From sires to sons by imitation caught, Or in dumb language by tradition taught? Or did they rise in some primeval site Of larva-gnat, or microscopic mite; And with instructive foresight still await On each vicissitude of insect-state?-- 430 Wise to the present, nor to future blind, They link the reasoning reptile to mankind! --Stoop, selfish Pride! survey thy kindred forms, Thy brother Emmets, and thy sister Worms!

"Thy potent acts, VOLITION, still attend The means of pleasure to secure the end; To express his wishes and his wants design'd Language, the means, distinguishes Mankind; For future works in Art's ingenious schools His hands unwearied form and finish tools; 440 He toils for money future bliss to share, And shouts to Heaven his mercenary prayer. Sweet Hope delights him, frowning Fear alarms, And Vice and Virtue court him to their arms.

There is a criterion by which we may distinguish our voluntary acts or thoughts from those that are excited by our sensations: "The former are always employed about the means to acquire pleasurable objects, or to avoid painful ones; while the latter are employed about the possession of those that are already in our power."

The ideas and actions of brutes, like those of children, are almost perpetually produced by their present pleasures or their present pains; and they seldom busy themselves about the means of procuring future bliss, or of avoiding future misery.

Whilst the acquiring of languages, the making of tools, and the labouring for money, which are all only the means of procuring pleasure; and the praying to the Deity, as another means to procure happiness, are characteristic of human nature.]

"Unenvied eminence, in Nature's plan Rise the reflective faculties of Man! Labour to Rest the thinking Few prefer! Know but to mourn! and reason but to err!-- In Eden's groves, the cradle of the world, Bloom'd a fair tree with mystic flowers unfurl'd; 450 On bending branches, as aloft it sprung, Forbid to taste, the fruit of KNOWLEDGE hung; Flow'd with sweet Innocence the tranquil hours, And Love and Beauty warm'd the blissful bowers. Till our deluded Parents pluck'd, erelong, The tempting fruit, and gather'd Right and Wrong; Whence Good and Evil, as in trains they pass, Reflection imaged on her polish'd glass; And Conscience felt, for blood by Hunger spilt, The pains of shame, of sympathy, and guilt! 460

VIII. "LAST, as observant Imitation stands, Turns her quick glance, and brandishes her hands, With mimic acts associate thoughts excites, And storms the soul with sorrows or delights; Life's shadowy scenes are brighten'd and refin'd, And soft emotions mark the feeling mind.

The effect of this powerful agent in the moral world, is the foundation of all our intellectual sympathies with the pains and pleasures of others, and is in consequence the source of all our virtues. For in what consists our sympathy with the miseries or with the joys of our fellow creatures, but in an involuntary excitation of ideas in some measure similar or imitative of those which we believe to exist in the minds of the persons whom we commiserate or congratulate!]

"The Seraph, SYMPATHY, from Heaven descends, And bright o'er earth his beamy forehead bends; On Man's cold heart celestial ardor flings, And showers affection from his sparkling wings; 470 Rolls o'er the world his mild benignant eye, Hears the lone murmur, drinks the whisper'd sigh; Lifts the closed latch of pale Misfortune's door, Opes the clench'd hand of Avarice to the poor, Unbars the prison, liberates the slave, Sheds his soft sorrows o'er the untimely grave, Points with uplifted hand to realms above, And charms the world with universal love.

"O'er the thrill'd frame his words assuasive steal, And teach the selfish heart what others feel; 480 With sacred truth each erring thought control, Bind sex to sex, and mingle soul with soul; From heaven, He cried, descends the moral plan, And gives Society to savage man.

"High on yon scroll, inscribed o'er Nature's shrine, Live in bright characters the words divine. "IN LIFE'S DISASTROUS SCENES TO OTHERS DO, WHAT YOU WOULD WISH BY OTHERS DONE TO YOU." --Winds! wide o'er earth the sacred law convey, Ye Nations, hear it! and ye Kings, obey! 490

"Unbreathing wonder hush'd the adoring throng, Froze the broad eye, and chain'd the silent tongue; Mute was the wail of Want, and Misery's cry, And grateful Pity wiped her lucid eye; Peace with sweet voice the Seraph-form address'd, And Virtue clasp'd him to her throbbing breast."

END OF CANTO III.

ORIGIN OF SOCIETY.