Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: BURNS AND HIS SCHOOL. [North British Review.') Four faces among the portraits of modern men, great or small, strike us as supremely beautiful; not merely in expression, but in the form and proportion and harmony of features: Shakspeare, Raffaelle, Goethe, Burns. One would expect it to be so; for the mind makes the body, not the body the mind; and the inward beauty seldom fails to express itself in the outward, as a visible sign of the invisible grace or disgrace of the wearer. Not that it is so always. A Paul, Apostle of the Gentiles, may be ordained to be " in presence weak, in speech contemptible," hampered by some thorn in the flesh—to interfere apparently with the success of his mission, perhaps for the same wise purpose of Providence which sent Socrates to the Athenians, the worshippers of physical beauty, in the ugliest of human bodies, that they, or rather those of them to whom eyes to see had been given, might learn that soul is after all independent of matter, and not its creature and its slave. But, in the generality of cases, physiognomy is a sound and faithful science, and tells us, if not, alas ! what the man might have been, still what he has become. Yet even this former problem, what he might have been, may often be solved for us by youthful portraits, before sin and sorrow and weakness have had their will upon the features; and, therefore, when we spoke of these four beautiful faces, we alluded, in each case, to the earliest portraits of each genius which we could recollect. Placing them side by side, we must be allowed to demand for that of Robert Burns an honourable station among them. Of Shakspeare's we do not speak, for it seems to us to combine in itself the elements of all the other three; but of the rest, we question whether Burns's be not, after all,...