the same author, the "Temple of Nature," was published soon after his death, which took place in 1802.. The three former of the above mentioned treatises have been frequently noticed in reviews, and even in volumes, written expressly for the purpose. The general principles, contained in the Temple of Nature, do not materially differ from those in Zoonomia; and the style of the poetry does not essentially differ from that of the Botanic Garden. Indeed the frequent references, made in this volume to his former works, show it to be merely an appendage, or further illustration of his general system. But, as this and the other writings of the same author are extensively read, as they profess to exhibit theories and opinions upon subjects of the highest importance, repeated examinations may not be use·less. Though the poet and philosopher so widely differ, though each be destined to move in a different sphere, Doctor Darwin has attempted to unite them, and promiscuously to "blend "philosophy and imagination.” He has endeavored to charm our fancies, to awaken our sensibilities, and lead us through the paths of philosophical theory and demonstration on the same page. While the poet is soaring through realms of ethereal "gas," and surveying the planets, bound in their "silver zone," the philosopher is creeping in the earth through beds of lime stone, marl, and zinc. A poem, like this, we now examine, cannot be constructed without frequent use of prosopopoeia. But, as this figure is founded on association, and as ideas entirely heterogeneous will not easily associate, the success of a poet is often uncertain. Like a meteor of the night, a bewildered imagination may astonish with its glare, but permits no human being to purits track. Association cannot give teeth to a mathematical point; she cannot make a triangle laugh, or a trapezium bleed. In vain does she attempt to unite phosphorus and oxygen in connubial love. sue This attempt to "blend philosophy with imagination" cannot fail of being injurious to true science. The investiga tion of physical truth should never be clothed with the dazzling robes of poetry. They divide the attention, and ob-, scure the object of research. Imagination should never be "enlisted under the banners of science" in any other way, than as a relief to the mind from the fatigue of philosophical investigation. The attempt of Doctor Darwin to account for the production, the continuance, and the operations of animal life exhibits a system in the highest degree extravagant and unsatisfactory to every rational inquirer The fundamental principles of his theory are bold assumptions, which he uses, as universal axioms. He supposes the mind to be a subtle fluid, which he denominates the sensorium, or spirit of animation. This fluid is secreted in the brain and nerves, where it principally resides, but is extended through the whole system. It is produced by a decomposition of the oxygen, contained in the blood. He asserts, that this sensorial pow er is capable of exciting contractions in the animal fibres, and that these contractions or vibrations constitute our ideas, He gives this sensorium four powers, termed irritability, sensibility, voluntarity, and associability. A certain quantity of stimulus applied to the spirit of animation induces that to contract the fibres, and thus produces irritation. A certain quantity of contraction the Doctor supposes to produce pleasure; a greater or less quantity produces pain; these constitute sensation, which he defines "an exertion or change of "the central parts of the sensorium, or of the whole of it, beginning at some of those extreme parts of it, which re"side in the muscles or organs of sense." A certain quantity of sensation, our author says, produces desire or aversion; these constitute volition, which he defines "an exer"tion or change of the central parts of the sensorium, or of "the whole of it, terminating in some of those extreme parts "of it, which reside in the muscles or organs of sense." He believes association to be " an exertion or change of some "extreme part of the sensorium, residing in the muscles or organs of sense, in consequence of some antecedent or at "tendant fibrous contractions." It will be observed, that, on the above theory, animal motions, or configurations of the organs of sense, constitute our ideas. We presume, that the reader already has as clear and consistent ideas of this system of animal life, as he would obtain by a detail of particulars, Doctor Darwin in his preface to the Botanic Garden has asserted, that “extravagant theories are useful, because they "produce investigation." If they be useful in proportion to their extravagance and absurdity, Doctor Darwin deserves well of the world. The publication of corrupt theories on this principle is at least " doing evil, that good may come.” If the above sketched theory have any effect on the mind, we think its tendency dangerous. It evidently leads to the most absurd conclusions of materialism; and we see not how the implicit pupil of Darwinian metaphysics can stop short of Spinoza's creed, Though bold assertions of this kind do not appear, his positions necessarily lead to such conclusions. The Temple of Nature is divided into four cantos, each containing from four hundred and fifty to five hundred lines with particular and additional notes. The poetry of Doctor Darwin discovers extensive reading, and great researches into antiquity. His imagination is unbounded; capable of exhibiting itself in any form; of compounding the most incongruous scenes in nature, and uniting the most dissimilar objects. Although his poetry frequently consists of proper nouns and technical terms harmo niously collocated, yet his style is generally adorned with the most splendid imagery. His digressive allusions to antiquity and sometimes to recent events are just and elegant, and highly interest the reader. Indeed the greatest excellencies of his poem are found in his digressions from the principal subject. But though our author possessed so copious an imagination, the reader will feel, on the perusal of his works, that weariness, which arises from uniformity of structure in the lines, from the frequent recurrence of imagery slightly varied, and from repetition of words. This, we think, aris es in part from the nature of the subject; and, had the Doctor selected a better theme, he would undoubtedly have been more distinguished among English poets. We think his poetic talents would be more honorably and usefully displayed in a picturesque, than in a didactic poem; and he, who appears but indifferently in the latter, might have excelled in the for mer. 1 pro While perusing the Temple of Nature we endeavored to mark its principal traits, whether of beauty or defect.* The first canto contains an attempt to account for the duction of animal life, to which theory the former half is merely preparatory. Our author introduces his poem by requesting his muse to inform him, how organic forms arose from elemental strife, and in what manner love and sympathy affect the heart, and produce pleasure and pain. The former part of the question is rather too difficult to be put to the muse, and requires an answer, about which she troubles herself very little. He then represents immortal love, as having existed before creation; and, after requesting her to write his verse with her polished arrows, he anticipates the following compliments to his cantos. cant. I. 1. 29 "So shall my lines soft rolling eyes engage, "And snow white fingers turn the volant page; "The smiles of beauty all my toils repay, "And youths and virgins chaunt the living lay." When the Doctor wrote these lines, he was within a year or two of three score and ten, and yet he anticipates ample reward for his poetic labors from the smiles of beauty and the songs of youths and virgins, We fear, he did not live to realize all that sensual enjoyment, which his hoary imagination then anticipated. Our author appears to fall in love with certain words, and so frequently courts their use, as sometimes to introduce them with impropriety. Thus the epithet volant in the lines above quoted we find in different The most important of those remarks, with various specimens of the poetry and notes, both particular and additional, will form the substance of this review. Frequent reference to the notes is made necessary for the sake of a more complete elucidation of the poeng. parts of the work connected with the following nouns, volant page, volant finger, volant word, volant train. In the description of paradise and the fall of man the etry is easy, and, with few exceptions, very pleasing. po "Where Eden's sacred bowers triumphant sprung, cant. 1.1. 331 “On sun bright lawns unclad the Graces stray'd, In the representation of paradise, filled with little, skulking cupids, we see Darwinian imagination, which was always haunted by loves, cupids, and graces. In the above lines. we find the word velvet; another of our author's unhappy. favorites. In the course of the poem this epithet is used in the following different connexions, velvet avenues, velvet margin, velvet grounds, velvet loves, velvet harness, velvet orbs, velvet hands. "And rock'd the golden cradle of the world.", In a note upon this line Doctor Darwin supposes the inhabitants of Europe, Africa, and part of Asia to have descended from one family, dwelling on the banks of the Mediterranean, as mentioned in the Mosaic history; but he thinks it apparent, that the inhabitants of China and the islands of the south sea had some other origin, because the language of the Chinese entirely differs from all others, and because the islanders had not learned the art of domesticating fire. We mention this, because such oblique darts against the truth of the facts, recorded in revelation, are frequently thrown by modern skeptics. By allowing a part only of the scriptures to be true, they destroy the foundation of the whole, as a work of Divine authority. Having described the convulsions of nature consequent upon the eating of the forbidden fruit, our author introduces |