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Some years ago a German Artist was travelling in Norway, on foot, with his knapsack on his back and his stick in his hand. He lodged most of time in the cottages that he fell in with on his road. In one of them there was a seal, which the fisherman had found on the sand, after harpooning the mother of the poor animal. No sooner was it admitted into the cottage than the seal became the friend of the family and the playmate of the children. It played from morning till night with them, would lick their hands, and call them with a gentle little cry, which is not unlike the human voice, and it would look at them tenderly with its large blue eyes, shaded by long black lashes. It almost always followed its master to fish, swimming around the boat and taking a great many fish, which it delivered to the fisherman without even giving them a bite. A dog could not have been more devoted, faithful, teachable, or even more intelligent.

If all that Professor Max Muller means to say is, that no animal but man commands an articulate language, with verbs and nouns, or is ever likely to command one (and I question whether in reality he means much more than this), no one will differ from him. No dog or elephant has one word for bread, another for meat, and another for water. Yet, when we watch a cat or dog dreaming, as they often evidently do, can we doubt that the dream is accompanied by a mental image of the thing that is dreamed of, much like what we experience in dreams ourselves, and much doubtless like the mental images which must have passed through the mind of my deaf and dumb waiter? If they have mental images in sleep, can we doubt that waking, also, they picture things before their mind's eyes, and see them much as we do--too vaguely indeed to admit of our thinking that we actually see the objects themselves, but definitely enough for us to be able to recognise the idea or object of which we are thinking, and to connect it with any other idea, object, or sign that we may think appropriate?

Yet it shows no gay foliage, nor "shade above shade a woody theatre," such as is seen on a mountain declivity. It is a simple shadowy walk--shadowy to richness, cool, tranquil, redolent of freshness. There the soul feels "private, inactive, calm, contemplative," linked to things that were and are not. The mellow hue of time, not yet stricken by decay, clothes the buildings of this college, which, compared with other edifices more steeped in maturity of years, occupies, as it were, a middle term in existence.

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