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only the heroic feelings, that are bred by poetic cultivation. Its power is as great in calming the soul as in elevating it in fostering the milder emotions, as the more exalted. It brings home to us all those aspects of life which take hold of our nature on its unselfish side, and lead us to identify our joy and grief with the good or ill of the system of which we form a part; and all those solemn or pensive feelings, which, without having any direct application to conduct, incline us to take life seriously, and predispose us to the reception of anything which comes before us in the shape of duty. Who does not feel himself a better man after a course of Dante, or of Wordsworth, or, I will add, of Lucretius or the Georgics, or after brooding over Gray s Elegy, or Shelley s Hymn to Intellectual Beauty? I have spoken of poetry, but all the other modes of art produce similar effects in their degree. The races and nations whose senses are naturally finer, and their sensuous perceptions more exercised, than ours, receive the same kind of impressions from painting and sculpture: and many of the more delicately organized among ourselves do the same. All the arts of expression tend to keep alive and in activity the feelings they express. Do you think that the great Italian painters would have filled the place they did in the European mind, would have been universally ranked among the greatest men of their time, if their productions had done nothing for it but to serve as the decoration of a public hall or a private salon? Their Nativities and Crucifixions, their glorious Madonnas and Saints, were to their susceptible Southern countrymen the great school not only of devotional, but of all the elevated and all the imaginative feelings. We colder Northerns may approach to a conception of this function of art when we listen to an oratorio of Handel, or give ourselves up to the emotions excited by a Gothic cathedral. Even apart from any specific emotional expression, the mere contemplation of beauty of a high order produces in no small degree this elevating effect on the character. The power of natural scenery addresses itself to the same region of human nature which corresponds to Art. There are few capable of feeling the sublimer order of natural beauty, such as your own Highlands and other mountain regions afford, who are not, at least temporarily, raised by it above the littlenesses of humanity, and made to feel the puerility of the petty objects which set men s interests at variance, contrasted with the nobler pleasures which all might share. To whatever avocations we may be called in life, let us never quash these susceptibilities within us, but carefully seek the opportunities of maintaining them in exercise. The more prosaic our ordinary duties, the more necessary it is to keep up the tone of our minds by frequent visits to that higher region of thought and feeling, in
