subject to imperfection, 30.-The perfection of his being, depending upon an order of things, 31.-To deviate from order is to run into disorder, and the tendency of disorder is to dissolution and death, 31.-Man naturally subject to death, that the human 'race may be prolonged in life, 31.-Death in the order of things, intended from the beginning, 32.-The wonder of thinking men, how life could be so long preserved. Death a necessary condition of human life: but death, a natural death, no more than an insensible decline of life: an easy extinction of desires: a releasement of the spirit, glad of eternal life; the good man's death, SS. Considerations on the Soul, or Spirit, or principle of life in Man. Sensibility is not in matter or form, but exclusively in life, 34, 35-The principle of life, which must have existed before its union with the human form; which has enlivened the human form for thousands of years: which may remain, if it so please God, with the sons of Adam for ever, must it not, in the very essence of terms, be everlasting? 36-Can life cease? 37-Can a particle of the universal principle of life cease? Can eternity cease? The form must cease to transform in our sons, 38-This particle of the universal principle of life, which is the life and soul of the world; which hath diffused, and is capable of further diffusing life to millions; which is itself the fountain of life; shall there be any question as to its immortality? 39-Then the spirit surviving, An Existence of Spirits, 39, 40. Apparition of spirits, 41, 42-Intercourse with Heaven, 42 to 44-Same subject, 44, 45-Same subject from the Rev. Dr. Law, 45, 46-Respecting power-natural, supernatural, physical or metaphysical, a distinction. Illus tration thereof, 46 to 49. As to the Faculty of the human Soul. 'As to the individuality of the human soul, 50, 51-As to the faculty of the human soul, 51-Same subject, 52, 53, 54, 55, 56. Spiritual Gifts, from St. Paul. Concerning which he says, " Brethren, I would not have ye ignorant." Among which is MAGNETISM. Advertisement of the Editor, i. to iii.-Contents of the Expository, iv.-Expository, or discourse on Magnetism. Considered by Paracelsus and his followers, "As the soul of the world. The informing spirit of the universe. The proper vehicle of the universal medicine." Known to Van Helmont, and the alchymists of the 17th century. Discovered in Europe by Mesiner. Its wonderful power and effects, attested by a cominittee of Doctors, (Sçavans) appointed by the King of France (1784) expressly to examine into its merits, and report upon the same. The application of this principle according to the elements laid down, with a 1 narrative of its results, during a series of three and thirty months in the city of Alexandria in Egypt, i. to xxxiv. Narrative of magnetic proceedings, xxxix.—Arrival of a Poet, xli.-Story of the Arab magnetised, xliv.-The poet magnetised. First time of writing in the magnetic sleep, xliv. xlv.- Reduced our speculations to a sort of order. Called them Sittings, afterwards Sessions. SITTING. II. The poet magnetised; he wrote verses on magnetism xlvii xlix IV. Subject of enquiry, A prophecy of Innocenzio XI. Interpretation in verse Hii V. Enquiry. Concerning Pompey's Pillar. Who raised it? Described by the Poet lvii VI. Enquiry. Why is history silent concerning the raising of Pompey's lix Our Sittings now called Sessions. SESSION. VII. Enquiry. To explain a dream that had occupied the Poet for The boding whereof is given in verse, with some cyphers for VIII. Enquiry. A head engraved. Who was it done for? Answer IX. Another head? Answer in ottava verse, Arsinoe X. A troubled scene. First appearance of the malignant Dive. XI. Continuation of the troubled scene XII. Restored to better order. Subject of our enquiry, a bust. XIII. An historical tract concerning the statue of Cleopatra Ixiv lxviii lxx lxxiii lxxv XVI. Another troubled scene; but in this we are promised protec- xcvi XVH. The Poet is again transported to the blissful abodes. Sees Agnese, and notes from her own dictate, an octave to her friend. Recalls to mind the characteristical traits of her life and love towards him, her transport to heaven, and her apparition to him in Acri xcvii XVIII. Enquiry. A remedy for pains in the loins, and other matter. XIX, Enquiry, A remedy for the deafness of the Poet, and other matter XX. Another disturbed scene; but the cause extraneous: connected however with the chain, importantly ci CV cix XXI. Anniversary of Baldwin's birth-day: disappointment of the proposed felicity cxii XXII. Enquiry. For the supplement of the imperfect Octava of the XXIII. Enquiry. For the remainder of the same yet imperfect Octave. XXIV. As we see new matter disclosing, we go resigned for what cxvi CXX CXXV XXV. Resigned to the same divine escort: further signs concerning XXVII. For any thing in order. The Genius of Agnese attends to XXVIII. To obtain a description of the hymn sung in the last Session by the Elisèo Coro, but not wrote down. Obtained it, "Fra i dolci rai," &e. with new matter XXIX. The revolving or wheeling Diva, or Fortune returned upon the scene, accompanied by four auxiliary deities, to protect her from the molestations of the malignant Dive, and to propose the only means of disarming Envy, and of obtaining quiet XXX. The Genius of the Tube, with the Genio Coperto, since some time upon the scene, are now the principal directors of our representations. The Oracle is conducted by the Genius of the Tube, into the presence of three other Genii, dis tinguished by their proper symbols. The one is declared to be the Genius of Baldvino. Another the Genius of Cesare. And the third, the Genius of Yella CXXX cxl cxliv XXXI. Agnese appeareth very much disturbed, but attended by the Diva of Concord. She conducts the Oracle about the temple of Eternity, pointing his notice particularly to a column, whereon were engraved the words, "Flamminius pater omnibus Baldvinus," &c.; then with signs of indignation, dictating two hollow Octaves for our mortification, left him XXXII. Agnese, placated by the Diva of Concord, after rebuking us very severely for the little regard we had to her counsels, dictated the repletion of the two hollow Octaves. One being a full measure of reproof, and the other of delightful repacification XXXIII. The scenery of the present Session is prefatory to an oracle about to be pronounced by Minerva in her own tripode, for Baldvino, but under such strange and fearful symptoms, as made him (Baldvino) quite afraid to hear it: he therefore interrupted the proceeding, and Cesare was thrown, by the interruption, into the most horrid convulsions XXXIV. To obtain the interrupted oracle, and the good issue of our prayer XXXV. The scenery of the present Session is prognosticative of some connubial destiny at home, wherein the Poet seems to have a principal concern: he is warned by Agnese not to proceed three paces further in the same career, upon peril of being struck by a shaft from Cupid. Agnese expostulates with Baldvino, that he cannot yet shake off the chains of Mercury, "Se di Maia il figlio." XXXVI. Enquiry. Cesare having observed with some jealousy, that, as Agnese could confer with Baldvino from the blissful abodes, why might not be with equal justice flatter himself, to have tidings also from-or of the long departed object of his affections and regrets. Which being readily proposed, the answer is in the form of a complete little Opera for the stage The catastrophe of this Operetta explained. The Poet dis- cxlviii cliii clx clxiv clxix clxxiv clxxxv XXXVII. Giahaan, subject of a dream upon a former occasion, but now appears upon the scene, to make himself known. A very beautiful allegorical scene. An infinite variety of emblematical figures; afterwards explained. Further counsels to the Solitario lido in Octava verse," Sgombra ben mio." cxci XXXVIII, Embryon, as it is conceived to be, of an Opera in prospect. The temple of Eternity. Explanation of the letters inscribed XXXIX. Allegorical scenery in which Baldvino is represented indolent cxcvi cciii XL. The first scene of a dramatic opera: the argument taken far as the air "Quel zeffir tranquillo." ссіх ccxvii XLII. Continuation of the Opera as far as the end of the first act. ccxxi XLIII. Continuation of the Opera as far as the end of the second act. "Ninfe, custodi, e Genj." ccxxxiv XLIV. Continuation of the Opera ccli ་ XLV. Continuation of the Opera cclviii XLVI. Enquiry, concerning certain visitors, at this time in the house, at their own request. An oracle for the Bohemian. Continuation of the Opera cclxxv XLVII. La Fortuna appears, explains the cyphers. The Opera is divided into acts. Continuation of the Opera ccxciv XLVIII. Continuation of the Opera ccci cccxii XLIX. Termination of the Opera, and its allegory L. The temple of Glory. Explanation of the 40 numbers CCCXX ccclxxiv |
