A Scotch lawyer had long laboured under this kind of monomania, which at length proved fatal. His physician had long seen that some secret grief was gnawing the heart and sucking the life-blood of his patient, and he at last extorted the confession, that a skeleton was ever watching him from the foot of his bed. The physician tried various modes to dispel the illusion, and once placed himself in the field of the vision, and was not a little terrified when the patient exclaimed, that he saw the skull peering at him over his left shoulder. The “Martyr Philosopher,” too, in the “Diary of a Physician,” saw, shortly preceding his death, a figure in black deliberately putting away the books in his study, throwing his pens and ink into the fire, and folding up his telescope, as if they were now useless. The truth is _he himself_ had been engaged in that occupation, but it was his own disordered imagination that raised the spectre. You will believe from these illustrations, Astrophel, that Seneca is right in his aphorism,— “Nullum fit magnum ingenium sine misturâ dementiæ.” And Pope also in his unconscious imitation,— “Great wits to madness nearly are allied.” Lord Castlereagh, when commanding in early life a militia regiment in Ireland, was stationed one night in a large desolate country house, and his bed was at one end of a long dilapidated room, while, at the other extremity, a great fire of wood and turf had been prepared within a huge gaping old-fashioned chimney. Waking in the middle of the night, he lay watching from his pillow the gradual darkening of the embers on the hearth, when suddenly they blazed up, and a naked child stepped from among them upon the floor. The figure advanced slowly towards Lord Castlereagh, rising in stature at every step, until, on coming within two or three paces of his bed, it had assumed the appearance of a ghastly giant, pale as death, with a bleeding wound on the brow, and eyes glaring with rage and despair. Lord Castlereagh leaped from his bed, and confronted the figure in an attitude of defiance. It retreated before him, diminishing as it withdrew in the same manner that it had previously shot up and expanded; he followed it, pace by pace, until the original child-like form disappeared among the embers. He then went back to his bed, and was disturbed no more. The melancholy story of the Requiem of Mozart is an apt and sublime illustration of this influence. It was written by desire of a solemn personage, who repeatedly, he affirmed, called on him during its composition, and disappeared on its completion. The requiem was soon chanted over _his own_ grave; and the man in black was, I believe, but a phantom of his own creation.