objects that have been lovely excite so much pleasing regret; for the attractions of love arise entirely out of the appearances of virtue. Hence it is that we are moved at the sight of the small hillock which covers the ashes of an infant, from the recollection of its innocence; hence it is that we are melted into tenderness on contemplating the tomb in which is laid to repose a young female, the delight and the hope of her family by reason of her virtues. In order to give interest to such monuments, there is no need of bronzes, marbles, and gildings. The more simple they are, the more energy they communicate to the sentiment of melancholy. They produce a more powerful effect when poor rather than rich, antique rather than modern, with details of misfortune rather than titles of honor, with the attributes of virtue rather than with those of power. It is in the country principally that their impression makes itself felt in a very lively manner. A simple, unornamented grave there causes more tears to flow than the gaudy splendor of a cathedral interment. There it is that grief assumes sublimity; it ascends with the aged yews in the churchyard; it extends with the surrounding hills and plains; it allies itself with all the effects of Nature,—with the dawning of the morning, with the murmuring of wind, with the setting of the sun, and with the darkness of the night.Not long since I took occasion to visit the cemetery near this city. It is a beautiful location for a ‘city of the dead,’—a tract of some forty or fifty acres on the eastern bank of the Concord,
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