THE AFFECTIONS.

IN a former number of the Orator, in speaking of the passions, we had occasion to give our signification of the affections, or propensities; but we will here give a more minute definition, before making any general remarks upon their connection with oratory.

By the term affection, we dsignate those inherent faculties, the development of which is termed phrenological organs, and conceded to be natural to the human construction. The delineation of these affections is what renders them of interest to the orator. They are made up of the emotions of the passions. Those which take the delineation of joy, when unswayed by other organs, are, Amativeness-the love of the opposite sex, (and we have only to observe our fellow-men, and we see it portayed;) it is alike the welcome guest to the palace and the hovel: Philoprogenitiveness the love of offspring - thus rearing each of his kind and race Adhesiveness - the love of country and of friends — making and holding society together: Self-esteem-that pride which values one's self above neighbors: Approbation - the love of the praise and good opinion of others: Veneration, Benevolence, and Conscientiousness, all have the emotions of joy for their language, when of themselves : Ideality may be classed under the same head, and, also, Sublimity, although its emotion is of a lofty character, and the scenes which arouse it often make it border on fear : Combativeness, which enables us to face obstacles, and Destructiveness, that crushes them, are most generally clothed with the delineation of hatred : Secretiveness, which hides treasures and, also, imperfections, and Cautiousness, ever wakeful for enemies, possess the delineation of fear; while Comparison and Causality often evince that of sorrow. We are speaking only oratorically, and not of the minute propensities which the phrenologist gives these faculties. There is a multiplicity of other organs, which have, for their language, only calmness, as they are perceptive or reflective, and evince no emotion.

At the first glance, the reader may condemn our classification of the affections; but, upon careful reflection, we are quite sure we will be found correct. Emotions of combinations of affections should never be mistaken for one only. Each affection is generally portrayed in connection with others; and, therefore, the delineation displayed is a combination of the emotions of passions. We might as well undertake to give a permutation of the phrenological organs as to endeavor to illustrate these representations. However there

is one point the student should constantly remember, and that is, the expression, gesture, and posture of all these combinations is invariably that of joy or sorrow, fear or hatred, individually or combined, and in degree to illustrate the affection evinced. Man's very machine precludes this variety of extorted expression, gesture, and posture which have been assigned to the affections, generally termed passions.

In the different selections which have already appeared in the Orator, can be found examples illustrative of a variety of affections and their combinations. We shall note, in the article entitled Old Lyrics, which commences in the present number, the selections representing many of these propensities, thus giving beautiful examples of a variety of the affections, which will be valuable for recitation.

THE WARRIOR'S RETURN.

THIS selection is intended to illustrate the four passions, joy, sorrow, fear, and hatred.

HOMEWARD came the rusty warrior,
England's bold, undaunted son;

Trophies were the scars which marked him,

Showing valor, and how won.

Stately rode he through the village,
Smiles of joy upon his brow,
And, as recognized each friend, his
Waving plume was seen to bow.

Clasped he hands in hearty welcome,
From his courser reaching down;
Yet, betrayed each welcome visage
What brought sorrow o'er his own.

"Tell me, friends, I do beseech ye,
Why these looks so sorrowful:
Who is dead, that each one mourneth?
Ye do make my spirits dull."

Scarcely had his sentence ended,

When out-pealed the old chime bells.

"T is no death; I am mistaken;
Bridal morn, that music tells."

And that heart, that would embrace him,
Drops upon his battered shield;
But the mighty blow it dealt there
Ne'er was felt on battle field.

"Thou 'rt mistaken, noble lady,

If thou think'st I want a tear."
And he tossed her from his shield

"True,

"Thou know'st this, (pointing to his brow,) but not what's here," (striking his breast.)

Twenty anxious friends support her;-

He that holy threshold passed,

Sought again the foreign warfare;

And the first fight was his last.

OLD LYRICS.

THE SCOTTISH BLUE BELLS.

THIS is a beautiful example of the joy of sublimity :
LET the proud Indian boast of his jessamine bowers,
His pastures of perfume, and rose-covered dells;
While humbly I speak of those wild little flowers,
The blue bells of Scotland, the Scottish blue bells.

Wave, wave your dark plumes, ye proud sons of the mountain,
For brave is the chieftain your prowess who quells,

And dreadful your wrath as the foam-flashing fountain,
That calms its wild waves 'mid the Scottish blue bells.

Then strike the loud harp to the land of the river,
The mountain, the valley, with all their wild spells,
And shout in the chorus for ever and ever,
The blue bells of Scotland, the Scottish blue bells.

Sublime are your hills when the young day is beaming,
And green are your groves with their cool crystal wells,
And bright are your broadswords, like morning dews gleaming
On blue bells of Scotland, on Scottish blue bells.

Awake! ye light fairies that trip o'er the heather,
Ye mermaids, arise from your coralline cells,
Come forth with your chorus all chanting together,
The blue bells of Scotland, the Scottish blue bells.

Then strike the loud harp to the land of the river,
The mountain, the valley, with all their wild spells,
And shout in the chorus for ever and ever,

The blue bells of Scotland, the Scottish blue bells.

CALLUM-A-GLEN.

THE following illustrates reflective sorrow:

WAS ever old warrior of suffering so weary?

Was ever the wild beast so bayed in his den?
The Southron blood-hounds lie in kennels so near me,
That death would be freedom to Callum-a-Glen.
My chief they have slain, and of stay have bereft me,
My sons are all slain, and my daughters have left me;
No child to protect me, where once there were ten;
And woe to the gray hairs of Callum-a-Glen.

The homes of my kindred are blazing to heaven,

The bright sun of morning has blushed at the view;
The moon has stood still on the verge of the even,
To wipe from her pale cheek the tint of the dew:
For the dew it lies red on the vales of Lochaber;
It sprinkles the cot and it flows from the pen.
The pride of my country is fallen for ever!

Death, hast thou no shaft for old Callum-a-Glen?

The sun in his glory has looked on our sorrow,
The stars have wept blood over hamlet and lea;
Oh, is there no day-spring for Scotland? no morrow
Of bright renovation for souls of the free?
Yes: One above all has beheld our devotion;
Our valor and faith are not hid from his ken;

The day is abiding of stern retribution

On all the proud foes of old Callum-a-Glen.

THE YELLOW-HAIRED LADDIE.

THIS is a fine example of joy of Adhesiveness, the hatred of Combativeness, and sorrow, which is here a pure passion.

THE maidens are smiling in rocky Glencoe,.
The clansmen are arming to rush on the foe,
Gay banners are streaming as forth pours the clan,
The yellow-haired laddie is first in the van.

The pibroch is kindling each heart to the war,
The Camerons' slogan is heard from afar;
They close for the struggle, where many shall fall,
But the yellow-haired laddie is foremost of all.

He towers like a wave in the fierce-rolling tide,
No kinsman of Evan's may stand by his side;
The Camerons gather around him alone,
He heeds not the danger, and fear is unknown.