opening, illustrating, and heightening one idea, before 10 he passes on to another. His composition is an extended funeral sermon over buried joys and pleasures. His laments over Greece, Rome, and the fallen in various engagements, have quite the character of panegyrical orations; while by the 15 very attempt to describe the celebrated buildings and sculptures of antiquity, he seems to confess that _they_ are the poetical text, his the rhetorical comment. Still it is a work of splendid talent, though, as a whole, not of the highest poetical 20 excellence. Juvenal is perhaps the only ancient author who habitually substitutes declamation for poetry. 5. The _philosophy of mind_ may equally be made subservient to poetry, as the philosophy of nature. 25 It is a common fault to mistake a mere knowledge of the heart for poetical talent. Our greatest masters have known better--they have subjected metaphysics to their art. In Hamlet, Macbeth, Richard, and Othello, the philosophy of 30 mind is but the material of the poet. These personages are ideal; they are effects of the contact of a given internal character with given outward circumstances, the results of combined conditions determining (so to say) a moral curve of original and inimitable properties. Philosophy is 5 exhibited in the same subserviency to poetry in many parts of Crabbe's _Tales of the Hall_. In the writings of this author there is much to offend a refined taste; but, at least in the work in question, there is much of a highly poetical cast. It is a 10 representation of the action and reaction of two minds upon each other and upon the world around them. Two brothers of different characters and fortunes, and strangers to each other, meet. Their habits of mind, the formation of those habits by 15 external circumstances, their respective media of judgment, their points of mutual attraction and repulsion, the mental position of each in relation to a variety of trifling phenomena of everyday nature and life, are beautifully developed in a 20 series of tales molded into a connected narrative. We are tempted to single out the fourth book, which gives an account of the childhood and education of the younger brother, and which for variety of thought as well as fidelity of 25 description is in our judgment beyond praise. The Waverley Novels would afford us specimens of a similar excellence. One striking peculiarity of these tales is the author's practice of describing a group of characters bearing the same general 30 features of mind, and placed in the same general circumstances; yet so contrasted with each other in minute differences of mental constitution, that