And the southerly wind,

As it were seven senses of reason
For my Father to impel me.
With the first I shall be animated,
With the second I shall touch,
With the third I shall cry out,
With the fourth I shall taste,
With the fifth I shall see,
With the sixth I shall hear,
With the seventh I shall smell;
And I will maintain,

That seven skies there are
Over the astrologer's head;
And three portions of the ocean.
The seas violently rage around,
Great and wondrous is the sea.
The world is not uniform.
Very high is God aloft
Above the planets.
Very high is Sola,
Very high is Luna,
Very high is Marca
The Marcarucia,
Very high is Venus,
Very high is Venerus,
Very high is Severus,

And seventhly Saturnus.

35

* Or in the likeness of, or in imitation of, Yn ghynnelw Elphin. It was no

mortal being to whom the bards gave that name.

Those who will study the Mysterium Magnum of Jacob Boehmen, will there see how the soul of man, or his "inward holy body," was compounded of the Seven Properties, under the influence of the Seven Planets; and on the Seven Days of the week of creation, ascribed to the seven planets respectively, according to the Mithriac or Hermetic week that is now in popular use.* "By the creating is understood the body, which is twofold-viz., a spiritual body and a corporeal. Moses further says, God breathed into man the breath of life, and he became a living soul. This signifies the living, speaking, understanding spirit, out of all the three principles-viz., out of the inward FireWorld.... and out of the holy Light-World, and out of the outward Aerial World. This is the Soul . . . . The body is a Limus of all Beings, and the soul is the expressed word-viz., the power and understanding of all Essences." But "all Essences consist in the Seven Properties." "All the properties of the inward holy body, together with the outward, were in the first man composed in an equal harmony. The light shone through all the properties, &c." You will remark, that in the Byd Mawr, ver. 22, there is a sudden and inexplicable transition, from the seven properties and planetary spheres, to the ocean or sea. And it strikes me as a singular coincidence that Boehmen, as it were in the same train of thought, makes a similar allusion:-" Saturn, or the seventh property of the seventh day, is the rest or mansion of the other six days' works, wherein they work as a spirit in the body. In the seventh property all things are brought into their end-viz., into the first day of the beginning of all essences. For the seventh day-viz., the seventh property of the eternal nature, is the transparent glassy seat before the throne of the Ancient in the Revelations." You will observe that in the above poem Mars is called Venerus, Jupiter is called Severus, and Mercury is called Marca; ‡ but the latter, being the planetary demon under whom the Hermetic Art is placed, is exclusively invested with an additional title of honour, the very quintessence of gibberish. I will postpone another remark till after the second poem.

SONG OF THE MICROCOSM.
Fairly have I sung the World
And will sing it one day more.
Much will I reason and consider.

I will address the Bards of the World,

Attention may be invited to the circumstance, that the planetary order which our poet observes is neither that of the days of the week, nor that of the Ptolemaic astronomy. But having placed the sun first, that is, nearest, it then follows, with that exception, the ancient distribution of the planets. By this method it preserves the two termini of the planetary week, viz., the Sun and Moon for the first and second day, and Saturn for the seventh, without regarding the intermediate days. But as this method quadrates with no scheme of astronomy, it must have been adopted with the intention of conciliating (as far as might be) the Mithriac week with the planetary system.

Myst. Magn. chap. xvi. sec. 27. Italics sic.

I observe that both Sola and Marca have feminine terminations; but whether in this there be any spice of Virgin Sophia, or merely a bold stroke for a rhyme, is more than I can say.

Seeing that they speak not to me.
What is the World's support,
Not, being destitute, to fall?
Or, if the World were to fail,
Upon what would it descend?
Who would give it any support?
What a mere pilgrim the World is!
When it falls incessantly
Verily it is passing away.
How wondrous is the World,
Not to fall uniformly !

How extraordinary is the World,

How great are its foundations!
Johannes, Mattheus,
Lucas, and Marcus,

Are supporters of the World
Through grace of the Spirit.

These lines profess to be a continuation of the preceding, and are composed with such deep dissimulation, that the reader does not apprehend Man to be the World spoken of until he comes to the four last of them. There may be some reason to suppose that in those the four evangelists* represent the quaternion, or one element elementated, in Man. But the phrase Bards of the World, of which the use is by no means confined to this instance, invites me to a few observations. In the Macrocosm the bard informs us that his order divided the earth into three portions, Asia, Africa, and Europa. Therefore, Bards of the World ought to be bards of all three. If you recall to mind the Awdyl Vraith, you will remember that it celebrates three proficiencies or occult arts, and forms them into a set triad by the triple repetition of the verb cavael, adipiscor. Ev gavas.... ev gavas....gevais. These three rituals of magic consist of the rods of Moses, the mysteries of Babylon found out by Solomon, and the Bard's own "mysteries of the Land of Europa." But Moses displayed the terrors of his wand in Africa; and Solomon reigned in Asia, of which Babylon was the chief city; so that the three evidently belong to the three parts of the world. But, thus far, it might seem as if the British adepts were only Adepts of Europa. The contrary may be shewn in various ways. Here, however, my object is to remark, that they actually were a body of men divided into three sets or courses, called+ y trillu-that is, the threefold host; and that one llu, or course, of bards out of the three was so arrayed as to represent natives or inhabitants of the country, brodorion. From this it may be inferred, that the other two courses of bards were somehow arrayed in the guise of people from the other parts of the globe. So the Trillu of Mundane Bards seems to comprehend and blend in one system the African kabbala of Moses and the Asiatic of Solomon with the European of the Druids.

The third poem, which is printed from a bad copy in p. 184, and is simply entitled Awdyl-that is to say, an Ode, resembles the first,

Remarkable mention of the name of Matthew occurs, p. 33, in that extraordinary poem, the Priv Gyvarch.

† Archaiology, i. p. 184.

VOL. XXI.-Jan. 1842.

F

and is manifestly upon the same subject. I believe its meaning may be tolerably represented as follows:

This production must have come to us imperfect; for it announces the seven creatures, of the nature of which the seven faculties were to partake, but it only recites five of them. Four lines, therefore, appear to have been dropped out of the middle of it; for those which now end it seem to be a conclusion. But there can be no possible doubt of what art, what philosophy, or what creed it is. In the verses 13 and 14 we read the praises of that ambrosial substance, the Adam's earth, so enounced, that we might imagine ourselves reading Boehmen, Fludd, or Vaughan. It is well worthy of remark that the solar hebdomad, or system of the seven planets (which the Song of the Macrocosm had detailed in series), is here collectively and in the singular, termed The Star; and in Boehmen and (if I mistake not) Paracelsus the same is collectively denominated The Astrum.

I have trespassed thus far upon your space, lest it should be thought that, in my quotation and interpretation of the titles, Byd Mawr and Byd Bychan, I had availed myself of an innocent and metaphorical heading to certain poems, in order to represent some good Christian, like Gregory or Augustine, in a false and unmerited point of view. Than which nothing could be further from the true state of this H.

case.

*It is printed irove.

†The words ar pur, of which I cannot discern the sense, should be corrected aur

pur.

The original is " yn ceissav ced onid." He probably means, that all mist and obscurity is dispelled by the lustre of his art when he performs the Great Work.

NEW CHURCH - HIEROGLYPHICS.

SIR,-In order to understand your correspondent's last letter upon the subject of hieroglyphics, it is requisite for me to premise a brief, though somewhat curious statement. In your Number for May last, your correspondent had made the following observation:-"The hieroglyphics of Egypt," says Swedenborg," and the fabulous stories of antiquity, were founded on the same science. For he followed the notions of Kircher, and all that school; and his angels had not read Young and Champollion,"-intimating, what he avowedly states in his last letter, that Swedenborg considered the hieroglyphics of Egypt to be mere allegorical writing, representing things indirectly, so as to mean one thing and say another. Your correspondent intimates that this was the view of the subject taken by Swedenborg's angels, but that, unfortunately, they had not read Young and Champollion, whose discoveries had exploded the theory. With regard to the nature of these discoveries, your correspondent observes, "It has since been ascertained by Dr. Young and Monsieur Champollion, that hieroglyphics are no more than a phonetic notation-a mode of writing;" consequently, that Swedenborg had fallen into the error of considering hieroglyphics as representative and allegorical instead of phonetic; hence, that the whole was mere imposition.

By a curious coincidence, about the very time that your correspondent was writing these remarks, the editor of the French periodical was also publishing in it some communications upon the same subject, each writer being unconscious at the time of what the other was inditing. The article in the French magazine was an elaborate one, illustrating Swedenborg's doctrine of correspondence on the very ground of Champollion's discoveries, adopting Champollion's own system of phonetics, and exhibiting such remarkable coincidences between the interpretation of certain hieroglyphics upon Champollion's principles, and the interpretation of some passages in Scripture, as given by Swedenborg, according to the doctrine of correspondences, that the French writer is constrained to say, "These approximations, this identity, so full of alarm to religious ignorance, so full of security to the faith of the New Jerusalem, Swedenborg affirmed more than sixty years before the discovery of hieroglyphics." Such was the actual state of things, when as each writer came to read the observations of the other, it is no wonder that your correspondent should feel his position rather uncomfortable, and the French editor rather amused; for there is no question that if hieroglyphics, interpreted upon any true principle, should afford a strong collateral evidence in support of Swedenborg's interpretation of the Bible, the argument upon this point must assume a very serious aspect. Accordingly, your correspondent labours to detach the writings of Swedenborg from this collateral evidence by insisting on his original proposition that the theory of Swedenborg, on the subject of hieroglyphics, was opposed to that of Champollion, for that it was only the mistaken one generally prevalent; and this he proves, not by any passage adduced from Swedenborg, but by an a priori argument peculiar to himself. The argument is