incapable of changing with the changing emotions of the mind, that the chin must remain to be considered merely as a feature of the face, and nothing more.

These notions, derived from the study of the human countenance, may appear to give to the subject a greater degree of importance than it really deserves; for there are many individuals not aware that they have ever bestowed more physiognomical study upon the face of man, than upon the plate from which they dine. But let one of these relate his favourite story to a stranger, who neither raises his eyes nor his eyebrows while he is speaking, whose mouth never for one moment relaxes into a smile, and who gives no sign that he is interested by any other motion of the head or face; the teller of the story how little soever he may think he has studied the subject, will perceive that he has wasted his words upon one who could not, or would not appreciate their value. This fact he knows with certainty, and without being told; because from childhood he has always been accustomed to see earnest attention accompanied by certain movements, or positions of the face; and has observed, that the same face would be very differently affected by weariness or absence of mind. Thus, we gather knowledge from experience every day without being aware of it, and are satisfied with the possession of our gain without inquiring from whence it was obtained.

The sentiments upon which mankind are generally agreed respecting the beauty or deformity of the human countenance, originate more frequently in association, than, without examination of the subject, we should be disposed to allow. How often are we struck with a similarity between certain faces and certain animals of the brute creation; and just in proportion as the resemblance is gross and brutal, we regard it with disgust and horror. The ancients established for themselves a standard of beauty, as far removed from such resemblance as the form of the human countenance would allow; and sometimes, in their contempt for the rude expression of animal life, they rushed into the opposite extreme, and extinguished all apparent capability of living -in their anxiety to avoid the mark of the

beast, they lost sight of the characteristics of the man. The Egyptians appear to have imbodied in their sculpture the first, or rather the embryo idea of the sublime; and their huge, massive, and unmeaning heads, scarcely chisselled into form, are as far removed in their expression from what is gross, as what is human. The Grecians knew better what was requisite to the gratification of a refined and intellectual taste. They knew, that in order to ennoble their representations of the countenance of man, it must not only be divested of all resemblance to the brute, but that, to rouse the human bosom to sensations of admiration and delight, it must be enlivened with the expression of human intelligence. Had they proceeded but one step farther in their imitation of nature as it is-had they consulted the sympathies and affections of humanity, they might have immortalized the genius of the times by productions equally sublime, but infinitely more touching and beautiful.

As the Grecians reasoned and acted in the early stage of civilization, so we, in forming our earliest notions of the abstract nature of beauty, reason, perhaps unconsciously, to ourselves. We see that a low and rapidly retreating forehead, sunken eyes, short nose, distended and elevated at the tip, wide mouth, and scarcely perceptible chin, are common to animals of the most repulsive character; and we loathe the image of a human animal in any way resembling these. With that propensity inherent in our nature to rush towards the opposite of every thing which excites dislike or pain, we create a false taste, and affect to admire what is not to be found in real life. And as most living faces have some faint touch of resemblance to the animal creation, we are more enraptured than the rules of physiognomy would warrant, with the cold sublime of Grecian statuary. Nor is this taste likely to be corrected, because we study these marble beauties as statues only, and consequently find in them all that is required for loveliness in repose; but could a Grecian divinity step down from her pedestal, and come to visit our couch in sorrow, bend over us in sickness, or meet us at the door of our home after long absence and weary travel; we should then perceive the

combined qualities of strength and swiftness, endurance and facility of motion. Had one of these qualities been wanting-had he been feeble or inactive, had his power or his patience been soon expended, had he moved with awkwardness or difficulty, our admiration would have been considerably less, and we should probably now look with as little pleasure on the horse as on the rhinoceros. Again, every one thinks the stag a beautiful animal, perhaps the most beautiful in nature; but the stag wants the majestic power of the horse to give him an aspect of nobility, and, therefore, our admiration of him is of a qualified and secondary nature. In the same manner, it would not be difficult to trace the correspondence of our ideas through the whole extent of animal creation, except only where the chain of association is broken by accidental or local circumstances; and happy is it for the human race, that they are so constituted as to be disposed unanimously to avoid what is repulsive, and are able to partake, in social concord, of the exquisite enjoyment of admiring what is beautiful.

Had the mind of man been composed of heterogeneous or discordant elements, he must have wanted the grand principle of happiness-sympathy with his fellow-creatures. He might unquestionably have possessed his own enjoyments, but he must have been a selfish and isolated being. His intellectual powers might possibly have been cultivated, but without the stimulus of social affection, their growth must have been without grace, and their fruit without value. To compute the distance of the planets, to measure the surface of the earth, and penetrate into its secret mines, are occupations which might be carried on by man in his solitary and unconnected character; but in order that he might enjoy the benefit of a high tone of moral feeling, and thus be fitted for a state of existence where knowledge is only less supreme than love, it was necessary that the general current of his feelings should be softened and refined, by innumerable springs of tenderness and affection, flowing through the finer sensibilities of his nature, and filling that ocean of enjoyment, of which the human family have drank together in unity since the world began, and may continue to drink for generations yet to

come, without fear that the fountains should be sealed, or the waters should become less pure.

THE POETRY OF FLOWERS.

THERE are few natural objects more poetical in their general associations than flowers; nor has there ever been a poet, simple or sublime, who has not adorned his verse with these specimens of nature's cunning workmanship. From the majestic sunflower, towering above her sisters of the garden, and faithfully turning to welcome the god of day, to the little humble and well-known weed that is said to close its crimson eye before impending showers, there is scarcely one flower which may not from its loveliness, its perfume, its natural situation, or its classical association, be considered highly poeti

cal.

As the welcome messenger of spring, the snowdrop claims our first regard; and countless are the lays in which the praises of this little modest flower are sung. The contrast it presents of green and white, (ever the most pleasing of contrasts to the human eye,) may be one reason why mankind agree in their admiration of its simple beauties; but a far more powerful reason is the delightful association by which it is connected with the idea of returning spring; the conviction that the vegetable world through the tedious winter months has not been dead, but sleeping; and that long nights, fearful storms, and chilling blasts, have a limitation and a bound assigned them, and must in their appointed time give place to the fructifying and genial influence of spring. Perhaps we have murmured (for what is there in the ordinations of Providence at which man will not dare to murmur?) at the dreariness of winter. Perhaps we have felt the rough blast too piercing to accord with our artificial habits. Perhaps we have thought long of the melting of the snow that impeded our noon-day walk. But it vanishes at last; and there, beneath its white coverlet, lies the delicate snowdrop, so pure and pale, so true an emblem of hope, and trust, and confidence, that

it might teach a lesson to the desponding, and show the useless and inactive how invaluable are the stirrings of that energy that can work out its purpose in secret, and under oppression, and be ready in the fulness of time to make that purpose manifest and complete. The snowdrop teaches also another lesson. It marks out the progress of time. We cannot behold it without feeling that another spring has come, and immediately our thoughts recur to the events which have occurred since last its fairy bells were expanded. We think of those who were near and dear to us then. It is possible they may never be near again; it is equally possible they may be dear no longer. Memory is busy with the past; until anticipation takes up the chain of thought, and we conjure up, and at last shape out in characters of hope, a long succession of chances and changes to fill up the revolving seasons which must come and go before that little flower shall burst forth in its loveliness again. Happy is it for those who have so counted the cost of the coming year, that they shall not find at the end they have expended either hope or desire in fruitless speculations.

It is of little consequence what flower comes next under consideration. A few specimens will serve the purpose of proving, that these lovely productions of nature are, in their general associations, highly poetical. The primrose is one upon which we dwell with pleasure proportioned to our taste for rural scenery, and the estimate we have previously formed of the advantages of a peaceful and secluded life. In connexion with this flower, imagination pictures a thatched cottage standing on the slope of the hill, and a little woody dell, whose green banks are spangled all over with yellow stars, while a troop of rosy children are gambolling on the same bank, gathering the flowers, as we used to gather them ourselves, before the toils and struggles of mortal conflict had worn us down to what we are now; and thus presenting to the mind the combined ideas of natural enjoyment, innocence, and rural peace-the more vivid, because we can remember the time when something like this was mingled with the cup of which we drank-the more touching, because we doubt whether, if such pure drops were still

there, they would not to our taste have lost their sweetness.

The violet, while it pleases by its modest, retiring beauty, possesses the additional charm of the most exquisite of all perfumes, which, inhaled with the pure and invigorating breezes of spring, always brings back in remembrance a lively conception of that delightful season. Thus, in the language of poetry," the violet-scented gale" is synonymous with those accumulated and sweetlyblended gratifications which we derive from odours, flowers, and balmy breezes; and above all, from the contemplation of renovated nature, once more bursting forth into beauty and perfection.

The jessamine, also, with its dark green leaves, and little silver stars, saluting us with its delicious scent through the open casement, and impregnating the whole atmosphere of the garden with its sweetness, has been sung and celebrated by so many poets, that our associations are with their numbers, rather than with any intrinsic quality in the flower itself. Indeed, whatever may have first established the rank of flowers in the poetical world, they have become to us like notes of music, passed on from lyre to lyre; and whenever a chord is thrilled with the harmony of song, these lovely images present themselves, neither impaired in their beauty, nor exhausted of their sweetness, for having been the medium of poetic feeling ever since the world began.

ume:

It is impossible to expend a moment's thought upon the lily, without recurring to that memorable passage in the sacred vol"Consider the lilies of the field, how they grow. They toil not, neither do they spin; and yet I say unto you, that Solomon in all his glory was not arrayed like one of these." From the little common flower called heart's ease, we turn to that well known passage of Shakspeare, were the fairy king so beautifully describes the "little western flower." And the forget-me-not has a thousand associations tender and touching, but unfortunately, like many other sweet things, rude hands have almost robbed it of its charm. Who can behold the pale Narcissus, standing by the silent brook, its stately form reflected in the glassy mirror, without losing themselves in that most fanciful of all

poetical conceptions, in which the graceful youth is described as gazing upon his own beauty, until he becomes lost in admiration, and finally enamoured of himself: while hopeless echo sighs herself away into a sound, for the love, which having centred in such an object, was never to be bought by her caresses, nor won by her despair.

Through gardens, fields, forests, and even over rugged mountains, we might wander on in this fanciful quest after remote ideas of pleasurable sensation connected with present beauty and enjoyment; nor would our search be fruitless so long as the bosom of the earth afforded a receptacle for the germinating seed, so long as the gentle gales of summer continued to waft them from the parent stem, or so long as the welcome sun looked forth upon the ever-blooming garden

of nature.

One instance more, and we have done. The "lady rose," as poets have designated this queen o beauty, claims the latest, though not the least consideration in speaking of the poetry of flowers. In the poetic world, the first honors have been awarded to the rose, for what reason it is not easy to define; unless from its exquisite combination of perfume, form, and colour, which have entitled this sovereign of flowers in one country to be mated with the nightingale, in another, to be chosen with the distinction of red and white, as the badge of two honourable and royal houses. It would be difficult to trace the supremacy of the rose to its origin; but mankind have so generally agreed in paying homage to her charms, that our associations in the present day are chiefly with the poetic strains in which they are celebrated. The beauty of the rose is exhibited under so many different forms, that it would be impossible to say which had the greatest claim upon the regard of the poet; but certainly those kinds which have been recently introduced, or those which are reared by unnatural means, with care and difficulty, are to us the least poetical, because our associations with them are comparatively few, and those few relate chiefly to garden culture.

After all the pains that have been taken to procure, transplant, and propagate the rose, there is one kind perpetually blooming

around us through the summer months, without the aid or interference of man, which seems to defy his art to introduce a rival to his own unparalleled beauty-the common wild rose; so luxuriant, that it bursts spontaneously into blushing life, sometimes crowning the hoary rock with a blooming garland, and sometimes struggling with the matted weeds of the wilderness, yet ever finding its way to the open day, that it may bask and smile, and look up with thankfulness to the bright sun, without whose rays its cheek would know no beauty so tender, that the wild bee which had nestled in its scented bosom when that sun went down, returns in the morning and beholds the colour faded from its cheek, while by its side an infant rose is rising with the blush of a cherub, unfolding its petals to live its little day, and then, having expended its sweetness, to die like its fair sisters, without murmur or regret. Blooming in the sterile waste, this lovely flower is seen unfolding its fair leaves where there is no beauty to reflect its own, and thus calling back the heart of the weary traveller to thoughts of peace and joy-reminding him that the wilderness of human life, though rugged and barren to the discontented beholder, has also its sweet flowers, not the less welcome for being unlooked for, nor the less lovely for being cherished by a hand unseen.

There is one circumstance connected with the rose, which renders it a more true and striking emblem of earthly pleasure than any other flower-it bears a thorn. While its odorous breath is floating on the summer gale, and its blushing cheek, half hid amongst the sheltering leaves, seems to woo and yet shrink from the beholder's gaze, touch but with adventurous hand the garden queen, and you are pierced with her protecting thorns: would you pluck the rose and weave it into a garland for the brow you love best, that brow will be wounded: or place the sweet blossom in your bosom, the thorn will be there. This real or ideal mingling of pain and sorrow, with the exquisite beauty of the rose, affords a neverending theme to those who are best acquainted with the inevitable blending of clouds and sunshine, hope and fear, weal and wo, in this our earthly inheritance.