In Dr. Darwin, too, we read of an epileptic girl, who during a fit of reverie, when insensible to all external _stimuli_, conversed fluently with imaginary people, and was surprised to hear of her illusions when fully awake. And, in Andral, of a gentleman of distinguished ability, who believed that an absent friend was sitting among his guests, welcoming him to his table, and, with great courtesy, handing him a chair. You remember how pathetically Crabbe has illustrated this illusion in his poem of “Sir Eustace Gray.” CAST. Hark to the profane philosopher who associates poetry with madness! Tell me, Master Evelyn, while you wandered in the Water walks of Magdalene, with the balmy breezes of heaven around your brow, and the mellow sunbeam streaming through the green leaves upon your cheek, with the inspired volumes of Virgil, and Theocritus, and Bion, and Moschus, breathing nature in all the lines of their beautiful idylls—while Astrophel, perchance, was musing among cobwebs in Friar Bacon’s study—tell me, felt you not the sublimity and truth of poesy? You remind me of the quaint tradition among the shepherds of Snowdonia, that if two persons lie down, on midsummer eve, to sleep upon a certain rock on Snowdon, one will wake a poet, the other a maniac. I pr’ythee, think otherwise of Tasso, whose reveries were an ecstasy of bright thoughts. Even when the light of day is eclipsed, as when the senseless orbs of Homer and Milton were merged in “ever-during dark,” the thoughts of a poet may be deeper and clearer for the gloom. IDA. And so pure and holy withal. In the “Defensio Secunda,” I remember this gem of sentiments:—“Involved in darkness, not so much from the imperfection of our optic powers, as from the shadow of the Creator’s wings,—a darkness which he frequently irradiates with an inner and far superior light.” Never did poet feel more intensely than Milton the truth of that divine thought, that “the shadow of God is light.” CAST. And call up that glory of the Elizabethan age, Philip Sidney, whose life, in the words of Campbell, was “a poetry in action,” and who more than embodied the brightest pictures of Tasso and Ariosto, and eclipsed the glory of that Chevalier Bayard, like himself, “sans peur et sans reproche.” EV. I cry you mercy, fairest ladies, I speak not of the light of poetry, but of its shadows. _Cheromania_ is the first form of _monomania_, or the madness of one idea; and this is marked by cheerfulness and splendid ideas, which indeed often tend to mitigate the melancholy scenes of derangement, as if “the light that led astray was light from heaven.” I will illustrate this by repeating to you the letter to his brother, of a young officer, whose progressive changes of mind, from excitement to confirmed mania, it was my duty to watch over. _December 4th, 1832._ “To ——, Esq.