“The Pompadour pigeon is the species, which, by carrying the fruit of the cinnamon to different places, is a great disseminator of this valuable tree.”—See _Brown_’s Illustr. Tab. 19. Footnote 348: p. 307.—_The past, the present, and future of pleasure._ “Whenever our pleasure arises from a succession of sounds, it is a perception of a complicated nature, made up of a _sensation_ of the present sound or note, and an _idea_ or remembrance of the foregoing, while their mixture and concurrence produce such a mysterious delight, as neither could have produced alone. And it is often heightened by an anticipation of the succeeding notes. Thus Sense, Memory and Imagination are conjunctively employed.”—_Gerrard_ on Taste. This is exactly the Epicurean theory of Pleasure, as explained by Cicero:—“Quocirca corpus gaudere tamdiu, dum præsentem sentiret voluptatem: animum et præsentem percipere pariter cum corpore et prospicere venientem, nec præteritam præterfluere sinere.” Madame de Staël accounts upon the same principle for the gratification we derive from _rhyme_:—“Elle est l’image de l’espérance et du souvenir. Un son nous fait désirer celui qui doit lui répondre, et quand le second retentit il nous rappelle celui qui vient de nous échapper.” Footnote 349: p. 308.—_Whose glimpses are again withdrawn._ “The Persians have two mornings, the Soobhi Kazim and the Soobhi Sadig, the false and the real day-break. They account for this phenomenon in a most whimsical manner. They say that as the sun rises from behind the Kohi Qaf (Mount Caucasus), it passes a hole perforated through that mountain, and that darting its rays through it, it is the cause of the Soobhi Kazim, or this temporary appearance of day-break. As it ascends, the earth is again veiled in darkness, until the sun rises above the mountain, and brings with it the Soobhi Sadig, or real morning.”—_Scott Waring._ He thinks Milton may allude to this, when he says,— “Ere the blabbing Eastern scout, The nice morn on the Indian steep From her cabin’d loop-hole peep.” Footnote 350: p. 309.—_In his magnificent Shalimar._