The defect of this and all similar theories that I am acquainted with, or rather, let me say, the desideratum, is the neglect of a previous definition of the term "body." What do you mean by it? The immediate grounds of a man's size, visibility, tangibility, &c?--But these are in a continual flux even as a column of smoke. The material particles of carbon, nitrogen, oxygen, hydrogen, lime, phosphorus, sulphur, soda, iron, that constitute the ponderable organism in May, 1827, at the moment of Pollio's death in his 70th year, have no better claim to be called his "body," than the numerical particles of the same names that constituted the ponderable mass in May, 1787, in Pollio's prime of manhood in his 30th year;--the latter no less than the former go into the grave, that is, suffer dissolution, the one in a series, the other simultaneously. The result to the particles is precisely the same in both, and of both therefore we must say with holy Paul,--'"Thou fool! that which thou sowest, thou sowest not that body that shall be,"' &c. Neither this nor that is the body that abideth. Abideth, I say; for that which riseth again must have remained, though perhaps in an inert state.--It is not dead, but sleepeth;--that is, it is not dissolved any more than the exterior or phenomenal organism appears to us dissolved when it lieth in apparent inactivity during our sleep. Sound reasoning this, to the best of my judgment, as far as it goes. But how are we to explain the reaction of this fluxional body on the animal? In each moment the particles by the informing force of the living principle constitute an organ not only of motion and sense, but of consciousness. The organ plays on the organist. How is this conceivable? The solution requires a depth, stillness, and subtlety of spirit not only for its discovery, but even for the understanding of it when discovered, and in the most appropriate words enunciated. I can merely give a hint. The particles themselves must have an interior and gravitative being, and the multeity must be a removable or at least suspensible accident. LECTURE XIII. ON POESY OR ART. Man communicates by articulation of sounds, and paramountly by the memory in the ear; nature by the impression of bounds and surfaces on the eye, and through the eye it gives significance and appropriation, and thus the conditions of memory, or the capability of being remembered, to sounds, smells, &c. Now Art, used collectively for painting, sculpture, architecture and music, is the mediatress between, and reconciler of, nature and man. It is, therefore, the power of humanizing nature, of infusing the thoughts and passions of man into every thing which is the object of his contemplation; colour, form, motion and sound are the elements which it combines, and it stamps them into unity in the mould of a moral idea.