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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

which is

MAGNETISM.

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

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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.
SITTING.
II. The poet magnetised; he wrote verses on magnetism

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

lix
Our Sittings now called Sessions.
SESSION.
VII. Enquiry. To explain a dream that had occupied the Poet for

three successive nights.
The boding whereof is given in verse, with some cyphers for
future explanation

Ixiv
VIII. Enquiry. A head engraved. Who was it done for ? Answer
in ottava verse, Tito

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,
and describes her in verse. Ottava Celeste.

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
XVI. 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 characterístical traits of her life
and love towards him, her transport to heaven, and her
apparition to him in Acri

xcvii

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CV

CXX

XVIIĮ. Enquiry. A remedy for pains in the loins, and other malter.
Obtained effectually

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
disturbances

cxvi XXIII. Enquiry. For the remainder of the same yet imperfect Octave.

Obtained at length, and further scenery opened
XXIV. As we see new inaiter disclosing, we go resigned for what

may be in order. This Session speaks of the temple of
Bellona, and of precious things buried 212 years since the
epocha of Christ. New advertisements. More verses of
the long commenced Capitolo

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
XXVII. For any thing in order. The Genius of Agnese attends to

transport the Poet, now called Oracle, to the Cabinet of
Zephyrs, in order to hear the hymn intended for the birth
day of Baldwin, but only now going to be sung by a celestial
Coro; he hears it but could not write it

cxxxiv XXVIII. To obtain a description of the hymn sung in the last Session by

the Eliseo Coro, but not wrote down. Obtained it,
i dolci rai,” &e. with new matter

cxxxvi XXIX. The revolving or wheeling Diva, or Fortune returned upon

the scene, accompanied by four auxiliary deities, to proiect
her from the molestations of the malignant Dive, and to
propose the only means of disarming Envy, and of obtaining
quiet

cx] 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

cxliy

CXXX

- Fra

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 indig-
nation, dictating two hollow Octaves for our mortification,
left him

cxlviii

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

cliii

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 borrid convulsions

clx

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
a principal concern: he is warned by Agnese not to pro-
ceed three paces further in the same career, upon peril of being
struck by a shaft from Cupid. Agnese expostulates with
Baldvino, that he cannoi yet shake off the chains of
Mercury, “ Se di Maia il figlio."

clxix 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

clxxiv

The catastrophe of this Operetta explained. The Poet dis

appointed. Offended. Tears himself abruptly away,
Reflections on his absence. Destined to return. Did
return, and resume our work

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 emble-
matical figures ; afterwards explained. Further counsels
to the Solitario lido in Octaya 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
on the column, “Flamminius pater omnibus,” &c. &c.
Giahaan in triumph, .Who this Giahaan is, in an Octave,
Al pari di te.”

cxcvi XXXIX. Allegorical scenery in which Baldvino is represented indolent

and irresolute as to the counsels of Agnese : he is threatened
however, should he hesitate much longer, with finding his
Solitario lido in the tomb. “Mentre sull' lembo."

ccii XL. The first scene of a dramatic opera: the argument taken

from events as they arise. This Session contains a tract as
far as the air « Quel zeffir tranquillo.”

ccjx
XLI. This Session, to disappoint our too great avidity, is in the
dark-a chaos, but not entirely insignificant

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-
tinuation 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 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
the 50 Sessions and one more, to complete the first year, are
given in number LI. to commemorate his present age of 51

years
LI. Allegory of the ruby. Minerva in great splendor, presents

certain symbols of peace and felicity to Cesare and to
Baldvino. Regulations for the new year. Completion of
the Capitolo, or lamentations of Artimisia at the tomb of
Magsolo

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