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pate the body as certainly as a dew-drop is dried up 

 in the fire of a midsummer day. The process of de- 

 composition is no forced, artificial work; it is as 

 much a matter of chemical routine as the withering 

 of a leaf or flower. This singular property called 

 vitality which we cannot see, cannot weigh, cannot 

 handle, cannot govern this viewless something alone 

 stands between man and downright decomposition. 



A grand series of changes and fluctuations are con- 

 stantly in progress among the materials of the human 

 frame. This living principle has not only to keep 

 down the conflicting affinities which may ever be on 

 the watch for the mastery, but it has to preside over 

 the incessant alternations which are occurring in the 

 entire structure. These changes are twofold : first, 

 those of growth; and, secondly, those of repair or re- 

 newal. If we consider the body as a digestive and 

 reconstructive apparatus merely, there is nothing in 

 the whole compass of art which can be compared for 

 a moment with this massive mystery. We shall in 

 vain attempt to imagine any machine, the work of 

 human hands, which can in any degree compete with 

 this living prodigy. The ordinary duties of sustain- 

 ing the frame, particle by particle, provision must 

 likewise be made for peculiar emergencies. Sup- 

 pose a bone to be fractured, the attention of the vital 

 agent appears to be instantly called to the spot of 

 danger ; materials are hurried to the scene of the ca- 

 tastrophy ; and if the damage be not excessive, very 

 healing operations are straightway commenced for 

 the restoration of the part. 



