It is then, the emotion of the beautiful evinces a very exquisite feature, by diffusing itself over the objects which excite it, so as to appear as if it belonged to them, and not to the mind which is occupied in reverie and contemplation. It is then the ardent and enthusiastic enter a dream of love and admiration, from which they are reluctant to awaken. They do awaken, but it is again to fall into sweet reveries, regarding their objects as containing a congenial spirit, expressive of feelings responsive to those with which they are gazed upon by their devotees. So unreservedly, yet unconsciously, is the transference of life and feeling made from the mind of the beholder to the object beheld, that the refined disciple declares, that nature is full of feeling, and animated by one great spirit, whose expression in every aspect is beauty. In a word, the lines of nature, and most especially those inclosing the human form, are as lines in the life of beauty itself, varied by the Creator to elicit with truth and fulness all our innate sensibilities, which consummate the evidences of our divine fashion and genealogy. The delightful overflowings of a mother's heart seem to her to be lovely emanations, radiating from the face of her little one. The lover, by the same law of imputation, ascribes all the charms with which his passion is inspired, to essences and qualities inherent in the object of his passion. And though this interesting phenomenon in our mental economy is attended with no ready explanation, yet whatever be the cause, we recognize in it the character of the emotion of the beautiful. It tends to diffuse itself over the beautiful object; and the mind, instead of recalling it, and viewing it as mere inert materialism, regards it as beaming with light and feeling. This is practical refinement—there is no fiction here; for man, as pious Enoch, now walks with God. In this exercise he learns to decide against all
