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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, 33.
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. Paut. Concerning which he says, " Brethren, I would not have ye ignorant.” Among
Advertisement of the Editor, i. lo iii.-Contents of the Expository, iv.-Expo
sitory, 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 comunittee 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
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 Sessious.
xlvii III. Strictures of my own, and from the Poet, verses on the immortality of the soul
xlix IV. Subject of enquiry, A prophecy of Innocenzio XI. Interpretation in verse
hiii V. Enquiry. Concerning Pompey's Pillar. Who raised it ? Described by the Poet
Isii VI. Enquiry. Why is history silent concerning the raising of Pompey's Pillar? Answered by the Poet
three successive nights.
lxviii IX. Another head ? Answer in ottava verse, Arsinoe
lxx X. A troubled scene. First appearance of the malignant Dive.
Personification of the bad passions, Envy, Jealousy, &c. Ixxiii XI. Continuation of the troubled scene
lxxv XII. Restored to better order. Subject of our enquiry, a bust. Answer in verse, Cleopatra
lxxvii XIII. An historical traet concerning the statue of Cleopatra 1xxx XIV. Story and catastrophe of Agnese. Enquiry after Agnese.
The Poet is transported to the blissful abodes. Sees Agnese,
Ixxxiii XV. Another troubled scene
xciv XVI. Another troubled scene; but in this we are promised protec
tion for the morrow from the Genio di Marte
Agnese, and notes from her own dictate, an octave to her
XVIIĮ. Enquiry. A remedy for pains in the loins, and other malter.
ci 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
cix XXI. Anniversary of Baldwin's birth-day: disappointment of the proposed felicity
cxii XXII. Enquiry. Eor the supplement of the imperfect Octava of the
20th Session. Obtained only half, through subsisting
cxvi XXIII. Enquiry. For the remainder of the same yet imperfect Octave.
Obtained at length, and further scenery opened
may be in order. This Session speaks of the temple of
CXXV XXV. Resigned to the same divine escort: further signs concerning
the temple of Bellona. More admonitions from Agnese cxxviii XXVI. For the supplement of signs concerning the temple of Bellona.
Obtained in part, but not completed--from noise
transport the Poet, now called Oracle, to the Cabinet of
cxxxiv XXVIII. To obtain a description of the hymn sung in the last Session by
the Eliseo Coro, but not wrote down. Obtained it,
cxxxvi XXIX. The revolving or wheeling Diva, or Fortune returned upon
the scene, accompanied by four auxiliary deities, to proiect
cx] XXX. The Genius of the Tube, with the Genio Coperto, since some
time upon the scene, are now the principal directors of our
XXXI. Agnese appeareth very much disturbed, but attended by the
Diva of Concord. She conducts the Oracle about the
XXXII. Agnese, placated by the Diva of Concord, after rebuking us
very severely for the little regard we had to her counsels,
XXXIII. The scenery of the present Session is prefatory to an oracle
about to be pronounced by Minerva in her own tripode, for
XXXIV. To obtain the interrupted oracle, and the good issue of our prayer
clxiv XXXV. The scenery of the present Session is prognosticative of some
connubial destiny at home, wherein the Poet seems to have
clxix XXXVI. Enquiry. Cesare having observed with some jealousy, that, as
Agnese could confer with Baldvino from the blissful abodes,
The catastrophe of this Operetta explained. The Poet dis
appointed. Offended. Tears himself abruptly away,
XXXVII. Giahaan, subject of a dream upon a former occasion, but now
appears upon the scene, to make himself known. A very
XXXVIII. Embryon, as it is conceived to be, of an Opera in prospect.
The temple of Eternity. Explanation of the letters inscribed
cxcvi XXXIX. Allegorical scenery in which Baldvino is represented indolent
and irresolute as to the counsels of Agnese : he is threatened
ccii XL. The first scene of a dramatic opera: the argument taken
from events as they arise. This Session contains a tract as
ccxvii XLII. Continuation of the Opera as far as the end of the first act. “ Varia il nocchier sull' onde."
ccxxi XLIII. Continuation of the Opera as far as the end of the second act. “ Ninfe, custodi, e Genj.”
ccxxxiy XLIV. Contiņuation 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. Con-
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 XLIX. Termination of the Opera, and its allegory
cccxii L. The temple of Glory. Explanation of the 40 numbers
(Session XL.) Divers precepts. Intimates to Baldvino that
certain symbols of peace and felicity to Cesare and to