The greatest talents have been frequently misapplied and have produced evil proportionate to the extent of their powers. Both reason and revelation seem to assure us that such minds will be condemned to eternal death, but while on earth, these vicious instruments performed their part in the great mass of impressions, by the disgust and abhorrence which they excited. It seems highly probable that moral evil is absolutely necessary to the production of moral excellence. A being with only good placed in view may be justly said to be impelled by a blind necessity. The pursuit of good in this case can be no indication of virtuous propensities. It might be said, perhaps, that infinite Wisdom cannot want such an indication as outward action, but would foreknow with certainly whether the being would choose good or evil. This might be a plausible argument against a state of trial, but will not hold against the supposition that mind in this world is in a state of formation. Upon this idea, the being that has seen moral evil and has felt disapprobation and disgust at it is essentially different from the being that has seen only good. They are pieces of clay that have received distinct impressions: they must, therefore, necessarily be in different shapes; or, even if we allow them both to have the same lovely form of virtue, it must be acknowledged that one has undergone the further process, necessary to give firmness and durability to its substance, while the other is still exposed to injury, and liable to be broken by every accidental impulse. An ardent love and admiration of virtue seems to imply the existence of something opposite to it, and it seems highly probable that the same beauty of form and substance, the same perfection of character, could not be generated without the impressions of disapprobation which arise from the spectacle of moral evil. When the mind has been awakened into activity by the passions, and the wants of the body, intellectual wants arise; and the desire of knowledge, and the impatience under ignorance, form a new and important class of excitements. Every part of nature seems peculiarly calculated to furnish stimulants to mental exertion of this kind, and to offer inexhaustible food for the most unremitted inquiry. Our mortal Bard says of Cleopatra: Custom cannot stale Her infinite variety. The expression, when applied to any one object, may be considered as a poetical amplification, but it is accurately true when applied to nature. Infinite variety seems, indeed, eminently her characteristic feature. The shades that are here and there blended in the picture give spirit, life, and prominence to her exuberant beauties, and those roughnesses and inequalities, those inferior parts that support the superior, though they sometimes offend the fastidious microscopic eye of short-sighted man, contribute to the symmetry, grace, and fair proportion of the whole.