There is beauty of a concert, as well as of a flute; strength of a host, as well as of a hero; and, in Swedenborg, those who are best acquainted with modern books will most admire the merit of mass. One of the missouriums and mastodons of literature, he is not to be measured by whole colleges of ordinary scholars. His stalwart presence would flutter the gowns of an university. Our books are false by being fragmentary; their sentences are bonmots, and not parts of natural discourse; childish expressions of surprise or pleasure in nature; or, worse, owing a brief notoriety to their petulance, or aversion from the order of nature; — being some curiosity or oddity, designedly not in harmony with nature and purposely framed to excite surprise, as jugglers do by concealing their means. But Swedenborg is systematic and respective of the world in every sentence; all the means are orderly given; his faculties work with astronomic punctuality, and this admirable writing is pure from all pertness or egotism.

Swedenborg was born into an atmosphere of great ideas. It is hard to say what was his own: yet his life was dignified by noblest pictures of the universe. The robust Aristotelian method, with its breadth and adequateness, shaming our sterile and linear logic by its genial radiation, conversant with series and degree, with effects and ends, skilful to discriminate power from form, essence from accident, and opening, by its terminology and definition, high roads into nature, had trained a race of athletic philosophers. Harvey had shown the circulation of the blood; Gilbert had shown that the earth was a magnet; Descartes, taught by Gilbert's magnet, with its vortex, spiral and polarity, had filled Europe with the leading thought of vortical motion, as the secret of nature. Newton, in the year in which Swedenborg was born, published the “Principia,” and established the universal gravity. Malpighi, following the high doctrines of Hippocrates, Leucippus and Lucretius, had given emphasis to the dogma that nature works in leasts, — “tota in minimis existit natura.” Unrivalled dissectors, Swammerdam, Leuwenhoek, Winslow, Eustachius, Heister, Vesalius, Boerhaave, had left nothing for scalpel or microscope to reveal in human or comparative anatomy: Linnæus, his contemporary, was affirming, in his beautiful science, that “Nature is always like herself:” and, lastly, the nobility of method, the largest application of principles, had been exhibited by Leibnitz and Christian Wolff, in cosmology; whilst Locke and Grotius had drawn the moral argument. What was left for a genius of the largest calibre but to go over their ground and verify and unite? It is easy to see, in these minds, the origin of Swedenborg's studies, and the suggestion of his problems. He had a capacity to entertain and vivify these volumes of thought. Yet the proximity of these geniuses, one or other of whom had introduced all his leading ideas, makes Swedenborg another example of the difficulty, even in a highly fertile genius, of proving originality, the first birth and annunciation of one of the laws of nature.

He named his favorite views the doctrine of Forms, the doctrine of Series and Degrees, the doctrine of Influx, the doctrine of Correspondence. His statement of these doctrines deserves to be studied in his books. Not every man can read them, but they will reward him who can. His theologic works are valuable to illustrate these. His writings would be a sufficient library to a lonely and athletic student; and the “Economy of the Animal Kingdom” is one of those books which, by the sustained dignity of thinking, is an honor to the human race. He had studied spars and metals to some purpose. His varied and solid knowledge makes his style lustrous with points and shooting spiculæ of thought, and resembling one of those winter mornings when the air sparkles with crystals. The grandeur of the topics makes the grandeur of the style. He was apt for cosmology, because of that native perception of identity which made mere size of no account to him. In the atom of magnetic iron he saw the quality which would generate the spiral motion of sun and planet.

The thoughts in which he lived were, the universality of each law in nature; the Platonic doctrine of the scale or degrees; the version or conversion of each into other, and so the correspondence of all the parts; the fine secret that little explains large, and large, little; the centrality of man in nature, and the connection that subsists throughout all things: he saw that the human body was strictly universal, or an instrument through which the soul feeds and is fed by the whole of matter; so that he held, in exact antagonism to the skeptics, that “the wiser a man is, the more will he be a worshipper of the Deity.” In short, he was a believer in the Identity-philosophy, which he held not idly, as the dreamers of Berlin or Boston, but which he experimented with and established through years of labor, with the heart and strength of the rudest Viking that his rough Sweden ever sent to battle.

This theory dates from the oldest philosophers, and derives perhaps its best illustration from the newest. It is this, that Nature iterates her means perpetually on successive planes. In the old aphorism, nature is always self-similar. In the plant, the eye or germinative point opens to a leaf, then to another leaf, with a power of transforming the leaf into radicle, stamen, pistil, petal, bract, sepal, or seed. The whole art of the plant is still to repeat leaf on leaf without end, the more or less of heat, light, moisture and food determining the form it shall assume. In the animal, nature makes a vertebra, or a spine of vertebræ, and helps herself still by a new spine, with a limited power of modifying its form, — spine on spine, to the end of the world. A poetic anatomist, in our own day, teaches that a snake, being a horizontal line, and man, being an erect line, constitute a right angle; and between the lines of this mystical quadrant all animated beings find their place: and he assumes the hair-worm, the span-worm, or the snake, as the type or prediction of the spine. Manifestly, at the end of the spine, Nature puts out smaller spines, as arms; at the end of the arms, new spines, as hands; at the other end, she repeats the process, as legs and feet. At the top of the column she puts out another spine, which doubles or loops itself over, as a spanworm, into a ball, and forms the skull, with extremities again: the hands being now the upper jaw, the feet the lower jaw, the fingers and toes being represented this time by upper and lower teeth. This new spine is destined to high uses.