into their own places, and thus become inseparable from the idea, the perfection of art is gained. Serve us up these choice _morceaux_ each month, dear EDITOR; let them not be missed from the generous board, lest the banquet be incomplete. Let me tell you, in passing, that your correspondent HARRY FRANCO'S tale is a caution to dowagers. Never have I encountered such a startling incident on the high seas, out of 'DON JUAN.' . . . DID it occur to 'N.' that the change suggested in the mere inscription of his epigram, '_Religious Disputation_,' would be entirely out of keeping? 'Uniting the circumstances,' as Commissioner LIN would say, would produce such discrepancy as was occasioned lately at a democratic meeting in one of the western States, where a certain resolution in favor of our old friend and correspondent, Gen. CASS, was made to undergo a slight metamorphosis by the substitution of the name of Mr. VAN BUREN; causing it to read something like this: 'Whereas Gen. MARTIN VAN BUREN emigrated to the west from New-Hampshire in early life with his knapsack on his back, and unsheathed his sword in repelling the Indians and fighting against the British!' etc. This historical fiction, in the antagonistic excitement of the moment, was carried by an almost unanimous vote! . . . INVERSION of mere words, or involution of phrase and syntax, let us whisper in the ear of our Troy correspondent, is not a very great beauty in poetry. His own good thoughts are spoiled by this affectation. It requires an artist to employ frequent inversion successfully. The opening of the '_Lines on a Bust of Dante_', by Mr. T. W. PARSONS, affords a pleasing example in this kind. It is clear and musical: 'See from this counterfeit of him Whom Arno shall remember long, _How stern of lineament, how grim The father was of Tuscan song_.'