rocky headlands of our western coasts, will scarcely forget the strange sensations of awe and wonder excited by the towering cliffs splintered into innumerable shapes, the dark caverns, and the still, clear, deep water; then the half-human cries of the sea-fowl, shrieking and muttering overhead, now fluttering backwards and forwards in utter confusion, now wheeling about in regular circles, and now shouldering each other in long white-breasted ranks on the ledges of rock. Every sight and sound is strange and novel, and the whole effect is sublime in the extreme; yet it cannot be denied that the details of the picture, taken separately, the irregular contour of the rocks, the heavy awkward forms of the birds, and their hoarse and discordant cries, are rather ludicrous than otherwise. It is a trite saying that there is but one step from the sublime to the ridiculous; and we presume the proverb must be interpreted by the fact that the same object viewed by different persons, or by the same person at different times, or under different circumstances, appears in quite opposite lights, according to the temper or feeling with which it is regarded. The slightest change in the circumstances of an object will produce the greatest variation in the effect, and the change will be brought about by causes slight in proportion to the degree of sublimity in the original object. To adopt a mathematical expression, the sublime and the ridiculous are lines that converge but never meet. Every one must have observed how easily excited the sense of the ridiculous is upon the most solemn occasions. This is the secret of the great effect produced by parodies and travesties; and it is also the secret of the failure of many respectable tragedies. The most trifling accident is enough to set on, not the "barren spectators" only, but the most enlightened and intelligent audience, to laugh; and then the unhappy play is quite sure to be condemned. Much has been said, and with truth, of the high poetical power of Aristophanes; and passages have been quoted in support of it, which really display great beauties; for instance, the first Chorus in the Clouds. (vv. 275-290.) But we think it a matter of doubt whether such passages are the product of truly poetical feeling; they appear, to our judgment, to be merely artificial, although wrought up to a high degree of beauty. On the other hand the broad farce of other portions of his writings is certainly not to be quoted as an instance of his poetical power. We should rather select the parts which describe in glowing terms the simple manners and virtuous lives of the Athenians of the previous age. There is a great deal of still life about them, not unmingled with some broad humour, that reminds one, to a certain extent, of the scenes pourtrayed in Teniers' pictures. Such touches are to be found scattered through the plays of Aristophanes; as in the speech of the AIKAIO AOrož in the play above referred to; and in passages like the following : Πρεσβυταί τινες ̓Αχαρνικοί, στιπτοὶ γέροντες, πρίνινοι, Ατεράμονες, Μαραθωνομάχαι, σφενδάμνινοι . . . In like manner the poetry in Mr. Dickens's works (for there is poetry in them) is not to be found in his pathetic or sentimental passages. If we may be allowed to criticise a writer who has deservedly gained a great hold on the good opinion of the public, we should be disposed to characterise them as, in some cases, peculiarly weak and mawkish, and in others absurdly strained and over-wrought. They display rather the art of the writer (to which, doubtless, much praise is due) than the fresh feeling of the poet. But his descriptions of quiet, homely, English life, are full of genuine poetic feeling. Enough has been said to show that very strong feeling occasionally displays itself in a ludicrous form; and if poetry, including that which is the animating spirit of the Fine Arts, be the material expression of strong and overpowering feeling, it is not unreasonable to expect, that it will sometimes assume the form in which strong feelings are often indirectly expressed. Probably the true account of the matter is, that the mind perceives a real or imaginary disproportion subsisting between the passion and its object, which gives rise to the emotions of ridicule. There is an additional reason for the introduction of humorous passages into serious poetry, namely, that we are thereby brought as it were into close and familiar union with the persons and events represented, which produces an impression of reality, that would be destroyed by the contemplation of purely ideal characters. We fear that few of our readers will have had patience enough to accompany us through the whole discussion of the abstract theory; and we will therefore return to those whom we have left waiting in quiet rumination upon the practical question of the influence of ridicule upon the taste and feeling of the public at large. It will be recollected that the fact of poetry often assuming a ludicrous form, was urged as an answer to the objection of shallowness and unreality which we made against the writings that form the subject of the present Article. We admit the assertion that poetry often does take this form, but we contend that it is only where it is the outward expression of an excess of violent feeling, only in extreme cases of passion, that it does so: unless indeed it be for the sake of producing the effect of life and reality, which any other means would fall short of. But this in no sense applies to the works which we have undertaken to criticise. They are not, and do not profess to be poems, though they may occasionally contain a few poetical touches: they represent no strong feeling; they exhibit no great idea they are merely ludicrous, mere jeux d'esprit, often without point or meaning, or when they have any, it is such as might be as well or better effected, if they were clothed in a serious form. Ridicule may be, and sometimes has been serviceable in the cause of truth and goodness, but it is only when it has proceeded from a superabundance of good feeling. But we are by no means convinced that it is in these days invariably employed in the right cause, and even if it were so, we are doubtful whether it might not often produce most detrimental effects. It is a good weapon, but a bad implement; of the greatest efficacy in injuring others, but of questionable utility to ourselves; most powerful in the hands of evil, but useless, and often worse than useless, in good hands. It is easy to laugh a man into a bad action, or into a vicious course of life; but most difficult by means of ridicule to lead him to the performance of a single good deed, and all but impossible to restrain his conduct within the bounds of prudence and virtue. Further it is a serious evil when used in the conflict of religious and political parties. When such a conflict takes place, there will always be a kind of skirmishing between the antagonists, preparatory to, and during the intervals of, the more serious and important contest, which will generally assume the form of satire; and there is no doubt that contests of this kind give occasion to a great many sharp sayings and witty pamphlets. But after all, it is a low style of writing, and one which no person who thinks and feels seriously would willingly engage in. If it cannot be dispensed with, from the infirmity of our nature, the best that can be said of it is, that it is a necessary evil. But these are no days for trifling: the world is beginning to present an altered aspect; new and strange forces are coming into play, and those who would direct them to their proper ends must be serious, and sober, and earnest. It is true that we are surrounded by great temptations to levity and dilettanteism, at a period when there is the greatest need of seriousness and reality: but these must be uncompromisingly resisted, like every thing else that can lead us into evil, or draw us away from good. "The night is far spent, the day is at hand. . . Let us walk honestly as in the day." ORIENTAL LITURGIES. WE are about to attempt a brief account of the Liturgies of the Oriental Church. It is wonderful, when we consider the deep interest and venerable age of these compositions, their beauty, their testimony respecting the early Faith of the Church as concerns the Holy Eucharist, and the sanctity of their authors or compilers, that no popular and accessible account exists of them in English. We shall confine ourselves to the two Liturgies which are used at this day by the greater part of the Eastern Church:-that of S. Basil, employed on the Sundays of Lent, (except Palm Sunday,) on Maundy Thursday, Easter Eve, the Epiphany, and the Feast of S. Basil (June 14); and that of S. Chrysostom, used on every other day in the year. Into the question, how far any additions, and if so, what, have been made since the time of these two Fathers, in the compositions that bear their names, we do not intend to enter; we are neither vindicating, nor attacking, but simply describing the modern Oriental use. It is necessary to bear in mind the arrangement of an Oriental church. It has three eastern apses: the centre appropriated to the High Altar; the northern to the credence; and the southern as the sacristy. The bema, or altar-space, is divided from the choir by the iconostasis, or rood-screen: the entrance through which is by the "Holy Doors." The choir is separated from the nave by the "Beautiful Gates"; and that from the western porch or narthex by the "Silver Gates." The ambo, which answers the purpose of the western roodloft, stands in the middle of the nave: the women are in the north, the men in the south aisle. We will now proceed to describe the Liturgy of S. Chrysostom, with which that of S. Basil very closely accords, differing from it principally in its greater and inconvenient length. The Priest and Deacon, having vested themselves, go to the Table of Prothesis, where the Deacon arranges the Elements. The disk (paten) he places on the left; the chalice and other appurtenances, to the right. -Five loaves of leavened bread are laid on the credence, which are called the Oblations (poropa). Their shape is flat and circular, but in the middle rises a kind of square protuberance, on which the following monogram is cut:Ἰησοῦς Χριστὸς νικά. This excrescence is called the Seal. The preparation of the Elements thus begun, the Priest, taking the first oblation in his left hand, takes the holy lance,-a small knife made in the shape of a spear, in his right. Making the sign of the Cross above the Oblation, he says, "In memory of our LORD, and GOD, and SAVIOUR, JESUS CHRIST." IC XC NI KA He then, by a stroke on each of the four sides of the Seal, divides it from the Oblation, saying at the first,-" He was led as a lamb to the slaughter;" at the second,-"As a sheep before his shearers is dumb, so shall He not open His mouth;" at the third,-" In His humiliation His judgment was taken away;" at the fourth, "And who shall declare His generation?" The Seal now lies on the Oblation, but is completely severed from it. On this the Deacon, who has hitherto been reverently looking at the Mystery, says, "Raise, Sir." The Priest, thrusting the holy lance in obliquely, raises the Seal, now called the Lamb, and lays it in the disk, the letters being downwards, saying, as he does so,-"For His Life is taken away from the earth, now, and for ever, and to all generations." The Deacon proceeds,-"Sacrifice, Sir (Oooov, déanоTа). The Priest cuts the Lamb crosswise, and says,-"The LAMB of GOD, That taketh away the sins of the world, is sacrificed for the life and salvation of the world." He next turns the seal on the other side, and the Deacon saying, "Stab, Sir," says," One of the soldiers with a spear opened His side," &c. Then follows the mixture of the wine and water; after which, the Priest takes the second Oblation, saying,-"In honour and memory of the excellently laudable and glorious Lady, the Mother of GOD, and ever Virgin Mary: by whose intercession, O LORD, receive this Sacrifice on Thy Heavenly Altar." He cuts a small triangular piece from the Oblation, he lays it on the right side of the Lamb, and says,"On Thy right hand did stand the Queen in a vesture of gold, wrought about with divers colours." From the third Oblation he takes nine portions, which are laid on the left side of the Lamb. He commemorates, ACCORDING TO THE USE OF THE By the first,-"The honourable and By the second,-"The holy and glorious Prophets, Moses, Aaron, Elijah, Elisha, David, and Jesse; the Three Holy Children; and Daniel the Prophet and all the Holy Prophets"; ACCORDING TO THE USE OF THE By the first, the same. By the second, the same. By the third, "The holy, glorious, By the fifth," The holy Protomartyr By the sixth,-"The venerable and inspired Fathers, Antony, Euthymius, Sabas, Onyphrius, Athanasius of Mount Athos,-and all holy Fathers." By the seventh,-"The holy Wonderworkers and unmercenary Saints, Cosmas and Damian, Cyrus and John, Pantaleemon and Hermolaus, and all unmercenary Saints." By the eighth,-"The holy and just By the eighth, the same. Anna, (the Saint of the day,)— and all Saints." By the ninth,-"The holy Father, By the ninth,-the same. Constantinople (or S. Basil, if it be his day.) These nine particles are arranged in a square on the left side of the Lamb. By the fourth Oblation, the Priests, in the first particle commemorates all orders of the orthodox hierarchy; in the second, those of the living whom he chooses. The Russian Church adds the Emperor and the Royal Family. In the fifth oblation he commemorates the departed, and the Deacon takes a particle for himself, which he places with the rest. The Priest proceeds to press the asterisk (or star, which keeps the veil from pressing on the disk,)-the first veil (or that of the disk),— the second veil (or that of the chalice), and the third veil (or aer), which covers both. The Prayer of Oblation and the fifty-first Psalm conclude the Offertory. The Priest, having given the Benediction, the Deacon, standing before the Holy Doors, now shut, begins the great eκTevý, or Litany : "Let us pray to the LORD in peace." Choir-Kyrie Eleison, (which they repeat after each clause). "For the peace that is from above, and the salvation of our souls; |