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And liberal applications lie in art as nature. The Warwickshire justice tells Shakspeare, after hearing him recite his stanzas on a sweetbriar, "Thou mightest have added some moral about life and beauty: poets never handle roses without one." But then Justice Shallow is the critic. The author of the "Citation and Examination" in which the criticism is uttered, has an imaginary dialogue between Vittoria Colonna and Michel Angelo-the former of whom defines the difference betwixt poetry and all other arts, all other kinds of composition, to be this in them, utility comes before delight; in this, delight before utility. Buonarotti submits that in some pleasing poems there is nothing whatsoever of the useful. But Vittoria thinks he is mistaken: an obvious moral is indeed a heavy protuberance, which injures the gracefulness of a poem ; but there is wisdom of one kind or other, she alleges, in every sentence of a really good composition, and it produces its effect in various ways. "The beautiful in itself is useful by awakening our finer sensibilities, which it must be our own fault if we do not often carry with us into action." Leigh Hunt, in his "Song of the Flowers," makes them exult in the fact, by their mere existence demonstrated, that heaven loves colour; that great Nature clearly joys in red and green : "What sweet thoughts she thinks of violets, and pinks, and a thousand flashing hues, made solely to be seen :"

"Uselessness divinest

Of a use the finest

Painteth us, the teachers of the end of use;

Travellers weary eyed

Bless us far and wide;

Unto sick and prison'd thoughts we give sudden truce;
Not a poor town window

Loves its sickliest planting,

But its wall speaks loftier truth than Babylon's whole vaunting."

So again Mr. Procter apostrophizes Nature in his "Song of the Snowdrop," as having surely sent it forth alone to the cold and sullen season, like a thought at random thrown,— sent it thus for some grave reason.

"If 'twere but to pierce the mind

With a single gentle thought,
Who shall deem thee hard or blind,

Who, that thou hast vainly wrought?"

Bishop Copleston, in his plea for a free cultivation of the poetic faculty, contends that its being entirely neglected must prove an irreparable injury to young minds-losing as they do that intellectual charm from which life borrows its loveliest graces: hence he takes exception to Locke's expression, that educators should beware of making "anything a boy's business but downright virtue." Surely, argues his critic, the improvement of the faculties which God has implanted in us is itself a virtue: our attention may be given in undue measure to one, and so may violate that just harmony without which nothing is virtuous, nothing lovely. The faculty itself, which the philosopher seems to condemn, the divine claims to be one of the kindest gifts of heaven. And why, then, it is asked, should man be niggardly where Providence has been bountiful? "Why should he think scorn of that pleasant land, and undervalue those fair possessions, which were not thought beneath the care of the Almighty ?" In the garden of Eden, we are reminded, was made to grow, not only what was good for food, but every tree also that was pleasant to the sight and in that garden man was placed, to keep it, and to dress it.

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It is, as Isaac Taylor remarks, by her diversities,—her gay adornments, her copious fund of forms, and her sportive freaks of shape and colour, that Nature allures the eye of man, while she draws him on toward the more arduous, but more noble pursuit of her hidden analogies. An insensible process goes on, the effect of which is gradually to invest general truths. with a sort of majesty, as well as beauty; so that, at length, this new charm is found to prevail over the graces and attractions of the exterior diversity of things.

Even philosophy, however, has been said to teach us that nature scatters the lavish beauties of form and colour not always with a utilitarian purpose; or rather, that beauty-merely

to display beauty-is often, as in birds and flowers and shells and crystals, the object of material organization. "There is no special use in the metallic lustre on the plumage of the humming-bird, and tropical blossoms blaze for the mere sake of being splendid." Yet is it owned to be noticeable that only in the lower ranks of the kingdom of being is nature lavish of beauty for the mere sake of the beautiful; and that as we advance upward in the scale of created things, a certain severity and reserve seem to grow upon nature itself.

Shenstone-a now all but forgotten poet-in a now quite forgotten ode, asserts, as in duty bound, the uses beyond use of Nature's fancy work:

"Search but the garden or the wood,

Let yon admired carnation own

Not all was meant for raiment, or for food,

Not all for needful use alone;

There while the seeds of future blossoms dwell,

'Tis colour'd for the sight, perfumed to please the smell.

"Why knows the nightingale to sing?

Why flows the pine's nectareous juice?

Why shines with paint the linnet's wing?

For sustenance alone? for use?

For preservation?"

An art-poet significantly and suggestively writes, in lines to which the contributory reader, must, on his part, supply readings as it were between the lines :

"This wild white rose-bud in my hand hath meanings meant for me alone,
Which no one else can understand: to you it breathes with altered tone;
How shall I class its properties for you? or its wise whisperings
Interpret? Other eyes and ears it teaches many other things."

The dull of hearing and seeing, it teaches very little. Josiah the curate, in Colonel Hamley's tale, finds nothing suggestive in a rose in a buttonhole-not that he lacks interest in the flower in what he thinks its proper place. He never, he owns, could see any possible affinity between flowers and broadcloth; and why people should pluck blossoms from the stems and leaves that harmonize so well with them, to stick them into a

dingy produce of the loom, he holds to be one of the puzzles of humanity. But Josiah is indulgent to that sister Rosa of his, who confessedly resembles the lilies in so far that she toils. not, neither does she spin; and who, idle child, seems to think human beings ought to be content with merely blooming.

We like our churches to be beautiful, and our temples, and our whole symbolic creations, Mr. Hannay somewhere observes; their beauty represents the general beauty of the universe, and that is one of the modes by which God is pleased to appeal to our faculties of love and wonder and admiration. "The Romanists call the Virgin Mary a 'mystical rose,' and a beautiful woman is a mystical rose; attractive, and yet, at the same time, a religious symbol-an object which keeps alive in you the sense of wonder and love of beauty, and thankfulness to the Supreme for the glories of His creation."

It has been said by an art-poet already quoted, that "the girl who twines in her soft hair the orange-flower, with love's devotion, by the mere act of being fair, sets countless laws of life in motion." Dr. Croly, in his " Salathiel," pleading for the right of beauty to have a natural power over the heart, urges, for instance, that all that overcomes selfishness-the besetting sin of the world-is an instrument of good; and goes on to say that beauty is but melody of a higher kind-both alike softening the troubled and hard nature of man. "Even if we looked on a lovely woman but as on a rose, an exquisite production of the summer hours of life, it would be idle to deny her influence in making even those summer hours sweeter." We may apply the suggestion in one of Mrs. Browning's last poems

"What if God has set her here

Less for action than for Being?-
For the eye and for the ear.

"Just to show what beauty may,
Just to prove what music can."

I

L

THE

A HISTRIONIC ASPECT OF LIFE.

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I CORINTHIANS vii. 31.

HE apostle would have his brethren so to use this world, as not abusing it; and for this reason, that "the fashion of this world passeth away." In the original the phrase runs: παράγει γὰρ τὸ ΣΧΗΜΑ τοῦ κόσμου τούτου. The expression is said by Grotius and others to be borrowed from the theatre, and to refer to the scene-shifting of the stage. Life here below has verily its histrionic aspects; the fashion of it passeth away much as do the scene-painter's creations, the stage-carpenter's framework, the spectacular effects and dissolving views, nay the very actors themselves. For, all the world is in some sense a stage, and all the men and women merely players—

"They have their exits and their entrances;

And one man in his time plays many parts,
His acts being seven ages."

Considering his own profession, the figure is one that must often have crossed and occupied Shakspeare's mind-at once so keenly observing and so profoundly meditative. Not that he harps much upon it, so much as might, perhaps, have been expected, in his plays. Still he does now and then recur to the histrionic metaphor. And it is in his graver mood, not his lighter, that he does so; in sober sadness, not with gibing glee. As where Lear, in the extremity of his distraction, intent on preaching to Gloster, takes for his text the wail of infancy, crying, the first time that it smells the air for

"When we are born, we cry, that we are come

To this great stage of fools."

Or again, as where Antonio, the care-fraught merchant of Venice, assured by a friend that he is looking far from well, indeed "marvellously changed," and remonstrated with for not taking life more easily, replies:

"I hold the world but as the world, Gratiano,

A stage where every man must play a part,
And mine a sad one."