things with him. The persons, the opinions, and the day, and Nature became ancillary to a man."

The third and last of the general aspects under which Beauty is considered is its relation to the intellect. "Besides the relation of things to virtue, they have a relation to thought."

INTELLECTUAL BEAUTY.

"The intellect searches out the absolute order of things as they stand in the mind of God, and without the colors of affection. The intellectual and the active powers seem to succeed each other, and the exclusive activity of the one generates the exclusive activity of the other. There is something unfriendly in each to the other; but they are like the alternate periods of feeding and working in animals: each prepares and will be followed by the other. Therefore does Beauty, which in relation to actions, as we have seen, comes unsought, and comes because it is unsought, remain for the apprehension and pursuit of the intellect; and then again, in its turn, of the active power. Nothing divine dies. All good is eternally reproductive. The beauty of Nature re-forms itself in the mind; and not for barren contemplation, but for new creation."

Emerson here devotes a few sentences to a rapid survey of the relations between Beauty and Art.

BEAUTY AND ART.

"All men are in some degree impressed by the face of the world-some men even to delight. This love of Beauty is taste. Others have the same love in such excess that, not content with admiring, they seek to em

body it in new forms. The creation of Beauty is Art. The production of a work of art throws a light upon the mystery of humanity. A work of art is an abstract or epitome of the world. It is the result or expression of Nature in miniature. For, although the works of Nature are innumerable, and all different, the result or expression of them all is similar and single. Nature is a sea of forms radically alike and even unique. A leaf, a sunbeam, a landscape, the ocean, make an analogous impression on the mind. What is common to them all-that perfectness and harmony is Beauty. The standard of Beauty is the entire circuit of natural forms—the totality of Nature which the Italians expressed by defining Beauty as 'Il piu nell' uno.' Nothing is quite beautiful alone; nothing but is beautiful in the whole. A single object is only so far beautiful as it suggests this universal grace. The poet, the painter, the sculptor, the musician, the architect, seek each to concentrate this radiance of the world on one point; and each in his several work to satisfy the love of Beauty which stimulates him to produce. Thus is Art a Nature passed through the alembic of man. Thus in Art does Nature work through the will of a man filled with the beauty of her first works."

In closing this chapter on Beauty, Mr. Emerson gives the keynote to all his philosophy of the universe-in fact, almost a summation of it, embracing, as it does, his view of the ultimate reason of the world, in so far, at least, as we can in any good degree apprehend it:

BEAUTY NOT THE ULTIMATE END.

"The world thus exists to the soul to satisfy the desire of Beauty. This I call an ultimate end. No reason

can be asked or given why the soul seeks Beauty. Beauty, in its largest and profoundest sense, is one expression for the universe. God is the All-Fair. Truth and Goodness and Beauty are but different faces of the same All. But Beauty in Nature is not ultimate. It is the herald of inward and internal Beauty, and is not alone a solid and satisfactory good. It must stand as a part, and not as yet the last or highest expression of Nature."

Language in Emerson's classification is the third of the uses which Nature subserves to man. A few sentences, much disjointed in our condensation, but yet, as they stand, serving to show the high estimate which he puts upon this use. "Words are signs of natural facts. The use of natural history is to give us aid in supernatural history; the use of the outer creation is to give us language for the beings and changes of the inward creation. Every word which is used to express a moral or intellectual fact, if traced to its root, is found to be borrowed from some material appearance." Thus, “right” means straight; "wrong" means twisted; "spirit" primarily means wind; "transgression" the crossing of a line. We say the "heart" to express emotion, the "head" to denote thought, and so on. "And thought' and 'emotion' are words borrowed from sensible things, and now appropriated to spiritual nature. Most of the process by which this transformation is made is hidden from us in the remote time when language

was framed; but the same tendency may be daily observed in children. Children and savages use only nouns, or names of things, which they convert into verbs, and apply to analogous mental acts." But, continues Emerson, in phrases that might have been written by Swedenborg :

NATURAL SYMBOLISM.

"This origin of all words that convey a spiritual import-so conspicuous a fact in the history of language— is our least debt to Nature. It is not only words that are emblematic; it is things which are emblematic. Every natural fact is a symbol of some spiritual fact. Every appearance in Nature corresponds to some state of the mind; and that state of the mind can only be described by presenting that natural appearance as a picture. An enraged man is a lion; a cunning man is a fox; a firm man is a rock; a learned man is a torch. A lamb is innocence; a snake is subtle spite; flowers express to us the delicate affections. Light and darkness are our familiar expressions for knowledge and ignorance; and heat for love. Visible distance, behind and before us, is respectively our image for memory and hope."

This idea of universal symbolism is followed still farther into the realms of the spiritual and the ideal, up to the very dwelling-place of the Supreme Being:

FACTS AS TYPICAL.

"Who looks upon a river, in a meditative hour, and is not reminded of the flux of all things? Throw a

stone into the stream, and the circles that propagate themselves are the beautiful type of all influence. Man is conscious of a universal soul within or behind his individual life, wherein, as in a firmament, the natures of justice, truth, love, freedom, arise and shine. This universal soul he calls Reason. It is not mine or thine or his; but we are its. We are its property and men. · And the blue sky in which the private earth is buried, the sky with its eternal calm, and full of everlasting orbs, is the type of reason. That which, intellectually considered, we call reason, we call Spirit when considered in relation to Nature. Spirit is the Creator. Spirit hath life in itself. And man, in all ages and countries, embodies it in his language as the FATHER.

"There is nothing lucky or capricious in these analogies; but they are constant, and pervade Nature. These are not the dreams of a few poets here and there; but man is an analogist, and studies relations in all objects. He is placed in the center of beings, and a ray of relation passes from every other being to him. And neither can man be understood without these objects, nor these objects without man.

"All the facts in natural history, taken by themselves, have no value, but are barren like a single sex. But marry it to human history, and it is full of life. Whole Floras, all Linnæus's and Buffon's volumes, are dry catalogues of facts; but the most trivial of these facts-the habit of a plant, the organs or work or noise of an insect, applied to the illustration of a fact in intellectual philosophy, or in any way associated with human nature, affects us in the most lively and agreeable manner. The seed of a plant-to what affecting analogies in the nature of man is that little fruit made use of in all