peared in the People's Friend of May 1871, evincing great patience and research:

1. A glorious devil, large in heart and brain,

2.

Doomed for a certain term to walk the night, 3. The world forsaking with a calm disdain, 4. Majestic rises on the astonished sight.

6.

5. Type of the wise who soar, but never roam,-
Mark how it mounts to man's imperial race!
7. High is his perch, but humble is his home,
8. Fast anchored in the deep abyss of space.

9. And oft the craggy cliff he loved to climb,

10.

Where Punch and Scaramouch aloft are seen; II. Where Science mounts in radiant car sublime, And twilight fairies tread the circled green.

12.

13. And, borne aloft by the sustaining blast, 14.

Whom no man fully sees, and none can see ; 15. 'Wildered and weary, sits him down at last, Beneath the shelter of an aged tree.

16.

17. I will not stop to tell how far he fled,

18.

To view the smile of evening on the sea; 19. He tried to smile, and, half succeeding, said, 'I smell a loller in the wind,' said he.

20.

21. 'What if the lion in his rage I meet?'

22.

(The Muse interprets thus his tender thought.) 23. The scourge of Heaven! what terrors round him

24.

wait!

From planet whirled to planet more remote.

25. Thence higher still, by countless steps conveyed, Remote from towns he ran his godly race;

26.

27. He lectured every youth that round him played28. The jostling tears ran down his honest face.

29. 'Another spring!' his heart exulting cries. 30. Vain are his weapons, vainer is his force; 31. A milk-white lion of tremendous size

32.

Lays him along the snows a stiffened corpse.

33. The hay-cock rises, and the frequent rake 34. Looks on the bleeding foe that made him bleed ; 35. And the green lizard and the golden snake 36. Pause at the bold irrevocable deed.

37. Will ye one transient ray of gladness dart,
38. To bid the genial tear of pity flow?
39. By Heaven! I would rather coin my heart,
40. Or Mr. Miller's, commonly called Joe!

1. Tennyson; 2. Shakespeare; 3. Thomson; 4. Taite; 5. Wordsworth; 6. Pope; 7. Grahame ; 8. Cowper; 9. Beattie; 10. Rogers; II. Hemans; 12. Collins; 13. Longfellow; 14. Prior; 15. Beattie ; 16. Burns; 17. Wordsworth; 18. Hemans; 19. Crabbe; 20. Chaucer; 21. Collins; 22. Beattie; 23. Gray; 24. Campbell; 25. Bloomfield; 26. Rogers; 27. Goldsmith; 28. Burns; 29. Bloomfield; 30. Byron; 31. Falconer; 32. Thomson; 33. Joanna Baillie; 34. Byron; 35. Shelley; 36. Euripides; 37. Beattie; 38 Hemans; 39. Shakespeare; 40. Horace Smith.

We conclude the Centones or Mosaics with the following, gathered from some of the most popular poets:

"The curfew tolls the knell of parting day, In every clime from Lapland to Japan; To fix one spark of beauty's heavenly rayproper study of mankind is man.

The

Tell, for you can, what is it to be wise,

Sweet Auburn, loveliest village of the plain; 'The Man of Ross !' each lisping babe replies,

And drags, at each remove, a lengthening chain.

Ah! who can tell how hard it is to climb,
Far as the solar walk or milky way?
Procrastination is the thief of time,

Let Hercules himself do what he may.

'Tis education forms the common mind, The feast of reason and the flow of soul; I must be cruel only to be kind,

And waft a sigh from Indus to the pole.

Syphax! I joy to meet you thus alone,
Where'er I roam, whatever lands I see;
A youth to fortune and to fame unknown,
In maiden meditation fancy free.

Farewell! and wheresoe'er thy voice be tried,
Why to yon mountain turns the gazing eye,
With spectacles on nose, and pouch on side,
That teach the rustic moralist how to die.

Pity the sorrows of a poor old man,

Whose beard descending swept his aged breast; Laugh where we must, be candid where we can, Man never is, but always to be blest."

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ANAGRAMS.

IN Anagram is formed by the transposition of the component letters of a word or phrase so as to give a new word or sentence, and though anagrams may be of small value in a literary point of view, yet they are not altogether devoid of a certain degree of interest. Originally anagrams signified simply a reversal of the order of the letters in a word, as in live, which when reversed becomes evil, but they have long borne the sense in which they are now used. Their interest is greatly enhanced when the transposition is such as to give an appropriate signification or association of ideas relative to or consistent with the original or primary word from which the anagram has been formed, and there are words of this description which exhibit coincidences that are truly astonishing and almost incredible until proved by examination. This literary frivolity has at least the merit of antiquity, for we find that

among the ancient Jewish cabalists the art of themuru, or transposition of the letters of words, was used by them for the purpose of discovering hidden meanings, and they also thought that the qualities of a man's mind and his future destiny could be guessed at by anagrammatising the letters of his name. The art prevailed, too, among the Greeks and Romans, and has continued through the Middle Ages down to comparatively modern times, chiefly, however, as a pastime.

The French literati have always shown a predilection for anagrams, and the results of their labours in this way would fill volumes. Indeed, such was the estimation in which this "art" was held by them at one period, that it is said their kings were provided with a salaried anagrammatist in the same way that royalty in Britain is provided with a poet-laureate. The popularity of anagrams in France was so great two or three centuries ago, that a man sometimes made his fortune by framing a single happy transposition of the name of a king or other great person. Thus all France was delighted with the anagram on François de Valoys, which was converted into De façon suis royal, indicating him to be of regal appearance. One French writer, Gabriel Antoine Joseph Hécart,

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