which springs from the bitter contemplation of evil. His nature is essentially sprightly and sensuous, with here a bit of Suckling and there a bit of Fletcher, carrying us back to an elder period of British poetry by the careless grace and freedom of his movement, and proving his connection with the present by the openness of his mind to all liberal thought and philanthropic feeling. Good-humor and benevolence are so dominant in his nature, that they prevent him from having any deep perceptions of evil and calamity. He is personally affronted when he sees the thunder-cloud push away the sunshine from life; and God, to him, is not only absolute Good, but absolute Good Nature. It would be easy to quote passages from these volumes illustrative of his acute observation, his largeness of sympathy, his delicacy and daintiness of touch, his sweetness, humor, pathos, and fancy. As a specimen of the playful and beautiful ingenuity of his mind, we extract a portion of his little poem on "Love-Letters made of Flowers." "An exquisite invention this, Worthy of Love's most honeyed kiss, This art of writing _billets-doux_ In buds and odors and bright hues! In saying all one feels and thinks In clever daffodils and pinks; In puns of tulips; and in phrases, Charming for their truth, of daisies; Uttering, as well as silence may, The sweetest words the sweetest way. How fit, too, for the lady's bosom! The place where _billets-doux_ repose 'em. "What delight, in some sweet spot Combining _love_ with _garden_ plot, At once to cultivate one's flowers And one's epistolary powers! Growing one's own choice words and fancies In orange tubs and beds of pansies; One's sighs and passionate declarations In odorous rhetoric of carnations; Seeing how far one's stocks will reach; Taking due care one's flowers of speech To guard from blight as well as bathos, And watering every day one's pathos!" From the exquisite little poem entitled "Songs of the Flowers" we should like to cut a few stanzas; but our limits forbid. MUSIC.