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but his head is firm, and his hand is free. His materials are as finely wrought up as they are original and attractive in themselves. Milton's prose-style savours too much of poetry, and, as I have already hinted, of an imitation of the Latin. Dryden's is perfectly unexceptionable, and a model, in simplicity, strength, and perspicuity, for the subjects he treated of.





Dr. SPURZHEIM, in treating of the Physiology of the Brain, has the following curious passage:

“ The state of somnambulism equally proves the plurality of the organs. This is a state of incomplete sleep, wherein several organs are watching. It is known that the brain acts upon the external world by means of voluntary motion, of the voice, and of the five external senses. Now, if in sleeping some organs be active, dreams take place; if the action of the brain be propagated to the muscles, there follow motions; if the action of the brain be propagated to the vocal organs, the sleeping person speaks. Indeed, it is known that sleeping persons dream and speak; others dream, speak, hear, and answer; others still dream, rise, do various things, and walk. This latter state is called somnambulism, that is, the state of walking during sleep. Now, as the ear can hear, so the eyes may see, while the other organs sleep; and


there are facts quite positive which prove that several persons in the state of somnambulism have seen, but always with open eyes.

There are also convulsive fits, in which the patients see without hearing, and vice versa. Some somnambulists do things of which they are not capable in a state of watching; and dreaming persons reason sometimes better than they do when awake. This phenomenon is not astonishing," &c.-PhySIOGNOMICAL SYSTEM OF DRs. GALL AND SPURZHEIM, p. 217.

There is here a very singular mixing up of the flattest truisms with the most gratuitous assumptions; so that the one being told with great gravity, and the other delivered with the most familiar air, one is puzzled in a cursory perusal to distinguish which is which. This is an art of stultifying the reader, like that of the juggler, who shows you some plain matter-offact experiment just as he is going to play off his capital trick. The mind is, by this alternation of style, thrown off its guard; and between wondering first at the absurdity, and then at the superficiality of the work, becomes almost a convert to it. A thing exceedingly questionable is stated so roundly, you think there must be something in it: the plainest proposition is put in so doubtful and cautious a manner, you

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