The literary achievements of Transcendentalism are best exhibited in the "Dial," a quarterly "Magazine for Literature, Philosophy and Religion," begun July, 1840, and ending April, 1844. The editors were Margaret Fuller and R. W. Emerson; the contributors were the bright men and women who gave voice in literary form to the various utterances of the transcendental genius. Mr. Emerson's bravest lectures and noblest poems were first printed there. Margaret Fuller, besides numerous pieces of miscellaneous criticism, contributed the article on Goethe, alone enough to establish her fame as a discerner of spirits, and the paper on "The Great Lawsuit; Man versus Men--Woman versus Women," which was afterwards expanded into the book "Woman in the XIXth century." Bronson Alcott sent in chapters the "Orphic Sayings," which were an amazement to the uninitiated and an amusement to the profane. Charles Emerson, younger brother of the essayist, whose premature death was bewailed by the admirers of intellect and the lovers of pure character, proved by his "Notes from the Journal of a Scholar," that genius was not confined to a single member of his family. George Ripley, James Freeman Clarke, Theodore Parker, Wm. H. Channing, Henry Thoreau, Eliot Cabot, John S. Dwight the musical critic, C. P. Cranch the artist-poet, Wm. E. Channing, were liberal of contributions, all in characteristic ways; and unnamed men and women did their part to fill the numbers of this most remarkable magazine. The freshest thoughts on all subjects were brought to the editors' table; social tendencies were noticed; books were received; the newest picture, the last concert, was passed upon; judicious estimates were made of reforms and reformers abroad as well as at home; the philosophical discussions were able and discriminating; the theological papers were learned, broad and fresh. The four volumes are exceedingly rich in poetry, and poetry such as seldom finds a place in popular magazines. The first year's issue contained sixty-six pieces; the second, thirty-five; the third, fifty; the fourth, thirty-three; among these were Emerson's earliest inspirations. The "Problem," "Wood-notes," "The Sphinx," "Saadi," "Ode to Beauty," "To Rhea," first appeared in the "Dial." Harps that had long been silent, unable to make themselves heard amid the din of the later generation, made their music here. For Transcendentalism was essentially poetical and put its thoughts naturally into song. The poems in the "Dial," even leaving out the famous ones that have been printed since with their authors' names, would make an interesting and attractive volume. How surprised would some of those writers be if they should now in their prosaic days read what then they wrote under the spell of that fine frenzy!