THE UNTHINKABLE.--It is admitted by all who have thought upon the question that a First Cause is unthinkable--that a creative power is beyond the reach of human thought. It therefore follows that the miraculous is unthinkable. There is no possible way in which the human mind can even think of a miracle. It is infinitely beyond our power of conception. We can conceive of the statement, but not of the thing. It is impossible for the intellect to conceive of a clay pot producing oil. It is impossible to conceive even, of human life being perpetuated in the midst of fire. This is just as unthinkable as that twice two are twenty-seven. A man can say that three times three are two, but it is impossible to think of any such thing--that is, to think of such a statement as true. A man may say that he heard a stone sing a song and heard it afterward repeat a part of Milton's "Paradise Lost." Now, I can conceive of a man telling such a falsehood, but I cannot conceive of the thing having happened. ***** CAN HUMAN TESTIMONY Overcome the Apparently Impossible Without Explanation?--It can only be believed by a philosophic mind when explained--that is to say, by being destroyed as a miracle, and persisting simply as a fact. Now, I say that a miracle is unthinkable because a power above Nature, a power that created Nature, is unthinkable. And if a power above Nature be unthinkable, the miracles claiming to be supernatural are unthinkable. In other words, all consequences flowing from a belief in an infinite Creator are necessarily unthinkable. ***** EDOUARD REMENYI.--This week the great violinist, Edouard Remenyi, as my guest, visited the Bass Rocks House, Cape Ann, Mass., and for three days delighted and entranced the fortunate idlers of the beach. He played nearly all the time, night and day, seemingly carried away with his own music. Among the many selections given, were the andante from the Tenth Sonata in E flat, also from the Twelfth Sonata in G minor, by Mozart. Nothing could exceed the wonderful playing of the selections from the Twelfth Sonata. A hush as of death fell upon the audience, and when he ceased, tears fell upon applauding hands. Then followed the Elegie from Ernst; then "The Ideal Dance" composed by himself--a fairy piece, full of wings and glancing feet, moonlight and melody, where fountains fall in showers of pearl, and waves of music die on sands of gold--then came the "Barcarole" by Schubert, and he played this with infinite spirit, in a kind of inspired frenzy, as though music itself were mad with joy; then the grand Sonata in G, in three movements, by Beethoven.--August, 1880.