Processions in China.

THE processions in China most worthy of remark are either designed for religious, hymeneal, or funeral occasions. Were it not for a few characteristic objects in one part of the train, it would be impossible for a stranger to determine whether it was designed to honour the gods, to feast the living, or to gratify the dead. The appearance of the attendants, the style of the music, the ornaments, and the eatables, are generally the same.

Some of their burials exhibit a great show of mourning; but as this is known to be the custom in China, and to be connected with other established usages, such as preserving the body of the deceased until the ordinary fountain of grief is staunched, and calling to their assistance "such as are skilful of lamentation," it fails to excite the sympathy due to genuine sorrow. The greatest ceremony is made at the funeral of a parent, when the nearest male relative walks immediately behind the body, and is obliged to be supported in the frensy of his professed grief. The death of a wife is considered a matter of much less importance. The husband, on that occa

sion, walks in an erect posture, and with an air of comparative indifference.

The mourning habit is something of a light brown, with a napkin of the same colour tied round the head. Sackcloth is often worn. The mourner, if not too poor, keeps himself in deep retirement for a hundred days; and the beard and hair are allowed to grow, and other acts of cleanliness and comfort are dispensed with all this being designed to show the absorption of his grief, and, consequently, his estimate of the loss he has sustained. Among the Chinese, the death of a father or mother disqualifies a son for office for three years. The Tartars mourn a hundred days.

The bridal palanquin and paraphernalia designate the marriage procession. The former is exceedingly gaudy, and, I believe, employed only on this occasion. The latter is said to be the only dower of the females. It consists of furniture, apparel, wines, eatables, and, at times, boxes of money. Of course the profusion and splendour vary according to the capacity of the father's purse and heart. The palanquin is generally attended by a few females, the "handmaids" of the enclosed; but so closely is it shut on every side, that it is impossible, by any contrivance, to catch a glimpse of the contents. The same ignorance is the misery of the bridegroom, when he beholds the vehicle approaching, and re

flects that it contains the unknown companion of his future life.

The largest procession I have yet seen was religious, and was used in commemoration of the birthday of one of the gods, probably a deified hero. To describe it, would be difficult; to imagine it the product of a rational mind, for any rational purpose, still more so; but to believe it the effort of an immortal spirit, to secure the favour of one who has the disposal of its eternal happiness, almost impossible.

Among the objects which principally attracted our attention were small temples, fantastically decorated, and furnished with gilded images; pageants resembling open palanquins, and filled with roasted pigs, ornamented fruits, cakes, and flowers; boys and girls, gaudily arrayed, on horseback, the first, children of wealthy parents, who represent official attendants upon the gods; the second, holding the sacred vessels of their altars, and acting as Priestesses;-groups of lads on foot, occupying different places in the procession, and each company wearing a distinct uniform; bands of musicians, both aged and young, with gongs, drums, tambourines, cymbals, stringed and wind instruments; besides a large number of coolies, in almost every colour and style of dress, each furnished with a religious tablet, or ornament of some kind. If the Chinese had been enraged at their deity, and intended this as a public

expression of their contempt, it would have been more in character. Such is the phrensy of the human mind, without the restraining and renewing power of the Holy Spirit.

ABEEL.

Stanzas,

Composed on reading T. W. MALKIN's " Lines on Spring."

["In me delight is spread, to mark th' approach

Of SPRING, when roses and all other flowers
Scatter with beauty the new-moistened ground

Of the then bright'ning year; to mark their show
Delightful to the eyes of infancy!" &c. &c.

The preceding Lines were written by T. W. MALKIN, when not much more than six years of age.

work, entitled "A Father's

They are to be found in an interesting Memoirs of his Child, by B. H. MALKIN, ESQ. M.A., F.A.S." This extraordinary Boy died before the age of seven years.]

ONCE more, delightful Spring,
Thy glory lights the earth!
The hills exult, the vallies sing,
Triumphant in their mirth ;

And mighty winds and waves unite
In solemn anthems of delight.

There is a sweeter voice

Arising unto thee;

Ten thousand human hearts rejoice,
In softer harmony;

Enraptur'd with thy smiling glance,
The careless, happy infants dance.

Alas! the wondrous child,
Who sang thy beauty fair,
A captive, from thy light exil'd,
Breathes not the perfum'd air;
Nor can thy shining light illume
His small, dim chamber in the tomb

Ah! wherefore waken up

The violet from death,

And lift the harebell's sapphire cup
From the low ground beneath ?—
His radiant eyes, of richer blue,
Thou openest not, thy charms to view!

Beneath the marble stone,

His cradle's canopy,

In darkness and in death-alone

No father, mother, nigh

He sleeps, while o'er his little bed Blithe bands of children lightly tread.

-No! in a higher land,

Where infants never die,