.% <>7.^'b:ii> IMAGE EVALUATION TEST TARGET (MT-3) LO I.I 1.25 '-IIIM IIIIIM la^ — ^ '^ iU |||||22 IIM 1.6 1.4 ^^ <^ /2 ^m 'W V / o^. M # # iV --<\ ^R) V <'\ <*> o ;\ CIHM/ICMH Microfiche Series. CIHM/ICMH Collection de microfiches. Canadian Institute for Historical Microreproductions Institut canadien de microreproductions historiques 1980 Technical and Bibliographic Notes/Notes techniques et bibliographiques The Institute has attempted to obtain the best original copy available for filming. Features of this copy which may be bibliographicaS'y unique, which may alter any of the images in the reproduction, or which may significantly change the usual method of filming, are checked below. Coloured covers/ Couverture de couleur D D D D D D Covers damaged/ Couverture endommag^e Covers restored and/or laminated/ Couverture restaur^e et/ou pellicul6e □ Cover title missing/ Le titre de couverture manque □ Coloured maps/ Cartes gdographiques en couleur □ Coloured ink (i.e. other than blue or black)/ Encre de couleur (i.e. autre que bleue ou noire) D Coloured plates and/or illustrations/ Planches et/ou illustrations en couleur Bound with other material/ Reli6 avec d'autres documents Tight binding may cause shadows or distortion along interior margin/ La reliure serr^e peut causer de I'ombre ou de la distortion le long de la marge intdrieure Blank leaves added during restoration may appear within the text. Whenever possible, these have been omitted from filming/ II se peut que certaines pages blanches ajout^es lors d'une restauration apparaissent dans le texte, mais, lorsque cela §tait possible, ces pages n'ont pas dtd film6es. Additional comments:/ Commentaires suppldmentaires: L'Institut a microfilm^ le meilleur exemplaire qu'il lui a 6t6 possible de se procurer. Les details de cet exemplaire qui sont peut-dtre uniques du point de vue bibliographique, qui peuvent modifier une image reproduite, ou qui peuvent exiger une modification dans la mdthode normale de filmage sont indiquds ci-dessous. I I Coloured pages/ D D Pages de couleur Pages damaged/ Pages endommagdes Pages restored and/oi Pages restaur^es et/ou pelliculdes Pages discoloured, stained or foxei Pages ddcolordes, tachetdes ou piqudes Pages detached/ Pages d6tach6es Showthrough/ Transparence Quality of prir Quality indgale de I'impression I I Pages damaged/ I I Pages restored and/or laminated/ I I Pages discoloured, stained or foxed/ I I Pages detached/ I I Showthrough/ I I Quality of print varies/ |~~| Includes supplementary material/ Comprend du materiel supplementaire Only edition available/ Seule 6dition disponible Pages wholly or partially obscured by errata slips, tissues, etc., have been refilmed to ensure the best possible image/ Les pages totalement ou partiellement obscurcies par un feuillet d'errata, une pelure, etc., ont 6t6 filmdes d nouveau de fagon d obtenir la meilleure image possible. y This item is filmed at the reduction ratio checked below/ Ce document est filmd au taux de reduction tndiqu6 ci-dessous. 10X 14X 18X 22X 26X 30X 12X 16X 20X 24X 28X 32X The copy filmed here has been reproduced thanks to the generosity of: Ralph Pickard Bell Library Mount Allison University L'exemplaire filmd fut reproduit grdce d la gdndrositd de: Ralph Pickard Bell Library Mount Allison University The images appearing here are the best quality possible considering the condition and legibility of the original copy and in keeping with the filming contract specifications. Original copies in printed paper covers are filmed beginning with the front cover and ending on the last page with a printed or illustrated impres- sion, or the back cover when appropriate. All other original copies are filmed beginning on the first page with a printed or illustrated impres- sion, and ending on the last page with a printed or illustrated impression. The last recorded frame on each microfiche shall contain the symbol — ^> (meaning "CON- TINUED"), or the symbol V (meaning "END"), whichever applies. Les images suivantes ont 6t6 reproduites avec le plus grand soin, compte tenu de la condition et de la nettetd de l'exemplaire filmd, et en conformity aver las conditions du contrat de filmage. Les exemplaires originaux dont la couverture en papier est imprimde sont filmds en commen^ant par le premier plat et en terminant soit par la dernidre paga qui comporte une empreinte d'impression ou d'iliustration, soit par le second plat, selon le cas. Tous les autres exemplaires originaux sont film6s en commengant par la premidre page qui comporte une empreinte d'impression ou d'iliustration et en terminant par la dernidre page qui comporte une telle empreinte. Un des symboles suivants apparaitra sur la dernidre image de chaque microfiche, selon le cas: le symbole — ♦- signifie "A SUIVRE", le symbole V signifie "FIN". Maps, plates, charts, etc., may be filmed at different reduction ratios. Those too large to be entirely included in one exposure are filmed beginning in the upper left hand corner, left to right and top to bottom, as many frames as required. The following diagrams illustrate the method: Les cartes, planches, tableaux, etc., peuvent dtre filmds d des taux de reduction diffdrents. Lorsque le document est trop grand pour dtre reproduit en un seul cliche, il est filmd d partir de Tangle supdrieur gauche, de gauche d droite, et de haut en bas, en prenant le nombre d'images n^cessaire. Les diagrammes suivants illustrent la mdthode. 1 2 3 32X 1 2 3 4 S 6 v^'. y ^rom Distant Shores I 0-AK\/% \ r V A Tk.JL-.i i-- * V I-- i ^ V,- 1-. NOT TO BE TAKEN FR< lis KOOM .> ^' . Vv- i jytiovnt OifdsorL ^Igdie^ ^/fegie^ a fvnd cstab/is/i&S in fOOSbti ^^i OUc moi'(j q£Ji is Olio i (\ cz»;/^ ifS ^Jl^ % i^m ne.achcv. 1869 -Jl. %J\ C'fiief (precept pess. 1^71-T'*>.L f^rl^J cPt'incipal 1fiH5-(Janoar(j loom w wii i »i " iiiii i "m il I gg .11 i. ' >\ .^ a '^4 >^ jH^f ^H.dyUJ ?)LUli^ £^l.<:^iLi^~rtMC' FROM "DISTANT SHORES . poems SMARY ELECTA cADAMS I .A^ .^r- •tffltiiiii ArdUltM /•; ', Tantraniar Mars)ii;.i .1 ^By the cMarshes of Tantramar. RKCOLLPXTIOX. ,1^ VENING is falling with a star : r^ I wander lonely and afar Down by the marshes of Tantraniar. The broad, red west like a fnrnace glows, And the wind like a Titan's bellows blows, 'Till one conld not tell if it bnrned or froze. Wide reaches the strand of Fnndy's bay, A-gleani with the sinking light of day, As the tide-wave — spent — it rolls away. A timbered bridge with shadows black, And spans awry, an ancient wrack, I cross it over the tnrbid track. '•i'^ The gnrgling growl of the mnddy tide Creeps up by the bridge's leaning side. And a sound, like the voice of one who cried, Tuiiis the spectral bridge to a haunted tower, Where the bravest heart would be like to cower, If he chanced that way at a darker hour. i: A^imj Tlie fi^rasses are inovinj^ to and fro, Where the wild geese cackled lonj^ ag-o, And the Frenchman bnilded his aboiteanx. From up where the rivers nished so brave, 'Twixt the red-lipped shores, the tidal wave Comes crawlincr back to its ocean grave. RrvFLKCTlON. 1 muse on the life that has no stay ; With the steadfast look it is here and away. And whither it goes I cannot say. The years and the sea and the star are the same, And the broad, red west hath been often aflame, But it standeth still in the mighty frame. O Eye that can see through the teons dim, Through the realms of space to the farthest rim, Where the universe stretches filled to the brim ; Ear that can hear the trurgliiio; tide, And the music of stars in the spaces wide, Ahnighty! Behold, doth aught abide? 1 listen, I fear, I fall on my face; The darkness is coming with silence apace — O, who can the shadows and mystery chase ? RECALL. Bow lowly, O spirit, bow low in the dust. Shall the coming of changes invade with distrust ? Bow lowly, what folly to think that it must. What folly ! It shames me to round in with sense The limitless work of omnipotence. Or fear for the changes that bear us hence. What wouldst thou, through earth and the heavens to plod ? The universe changeless would bebutaclod, And change is the name of the working of Cxod . Atone ? |HE sunlight throug-h the open door Conies in, and streams along the floor, The slant rays of a falling August sun Well-nigh throughout its sultry circuit run ; And hushed is every sound of breeze or leaf or bird, Save the low trill of insects, past the lattice heard , In the dry grass As the hours pass. I sit alone, unless those forms. Familiar through the calms and storms Of many a year of summer bloom and winter rude , To all this loveliness and solitude. Command a presence here and, gliding in, Keep company with silence for a hymn. I think they do As falls the dew. But be it that they dwell afar, Beyond the ran^re of sun or star, And visit never more this pleasant spot We walked together, it is not forgot : Their image starts from every niche ; 'tis there, Daguerreotyped upon the golden air. From flower and tree They look at me. Low falls the sun, and paler grows The air, dark-thickened as he goes, 'Till earth is blotted out beneath my gaze. And not an object past my vision strays ; And sense of losing, unsougV.t visitant, Hov'ring around each vacant space and haunt. Would break some spell, Yet is it well. lf'-,^< Sweet mocking visions ! Ye would leave, As yonder sun the world at eve, No light upon the midnight of my thought. Deep wrapped in gloom or into frenzy wrought, Unless a deeper recollection on me poured, A we?lth of knowledge in remembrance stored , Which giveth light On my heart's night. I love you, O ye shades, but not With full and final love ; I wot Ye are but pictures of an absent face — Not that the darksome grave doth so abase Beneath the damp and mouldering sod, Hut that which ever-living, ever looks on (iod. O vision blest ! O blessed rest ! ./ Fade, then, thou sunlight; fade, ye blooms; Thou solid earth, fade out ; the glooms Of nothingness are naught, this mortal sense — That blind — each grandeur of the sphere immense — How grand — is welcome to depart ; They cannot leave to vacancy the heart, Which sees afar. Past sun or star, Past day and night, The Infinite light. i V t '•«ii.,.. I V Launch of the Hia«" "f the Roman Church, who, holding to perisliTn "rf'd ^"treaties and torture, was left finally The storm beats dark on the Lollard's lower, And its massive tnrrets shake ; The trembling steps of the passer cower, The watchman's mail-clad heart doth quake . Jesus Amor Mens. O, dread the footsteps approaching now. As yon black-robed forms appear : There's a little paleness on the brow. But a lofty spirit, calm and clear. Jesus Amor Meus. What wait they for by that calm, pale man, 'Neath the daylight's open glare, With cross and wafer and priestly ban ? Nor cross nor priest are needed there. Jesus A mor Meus. With demon scowl are the portals closed To the paths of living men ; But on loving Arm that head reposed On which no day might dawn again, Jesus Amor Meus. TIic death-damp creeps from the mouldy wall On the stiffened limbs to seize, And the leaden shadows slowly fall, Like coffin-lid, the heart to freeze. JesHs Amor Mcus. () spectral tortures, graunt and grim With the gleam of martyr fires — () death in life, ye cannot dim The goal to which that heart aspires. Jesus Amor Mens. The lichen grows on the dungeon floor In the moisture dank and chill. And the deep-driven bolt is drawn no more, But graven there one readeth still— ''Jesus Amor Meus^ ... ft'j^.!.-^™ Bow Kiver, Morley Among the Foot-Hills of the Rockies* fOMK, let us walk. 'Tis of the summer day — The long, long summer day — the lingering afternoon, And Nature here has phases all her own I would not miss. Swift swings the river down From yonder towering two-leaved mountain gates, O'erhung with drapery of rose and pearl, Past winding slopes, along the valley's length, In deep concealment now, now flashing by, Contemptuous of delay, flinging a kiss In passing ; lost at length in hazy light. What hands have levelled all those terrac.es That look upon his course ? Now see aloft Where swaths of shadow fall and slide Among the gold upon the dimpled hills, Cadenced in their vast and rhythmic sweep, '^ I '^ By hollows and by seams that once were filled With nishincr torrents. See ! see how they lie Fold uj^on fold, in cycles of the past, Or wind or wave-swept into glorious shapes. And piled against the azure of the heavens. These undulating lines, like silenced 'Waves Taken in mid-course of their unrivalled leap, To fix forever their unresting course, Seem to my eyes, in the calm evenings, still To palpitate away into the moving sky. ^ * t?r^ Remenyi's Violin. PRETTY jewelled thing ! It seemed To flash upon ns, then to turn and wait In sympathy upon his downcast face, Speak back again, and laugh and weep and rave With him, as if it had an answering soul. And as the heart, deep-stirred. Turned tremulous to rest when silence came, Awe seized me, and I marvelled how The hand that fashioned it with curious care In old Cremona, nigh two hundred years ago, Reached deftly past the gulf of space and time. And with the artist wrought to make this tunmlt in my soul. ^ ^ 1 1 ^4 ^ Refreshment, AST thou had hours when life seemed empty all, And waste the garden thou wert set to till, Like tide-swept sands that onlv white and still Unanswering lay beneath the heaven's gray pall ? No ripening fruit to offer at His call, Discourao-enient hath waited on the will ; And did some human voice, that bro't a thrill Out of the silence, on thy hearing fall: " I could not rest till I had come to see And tell you how your life hath blessed mine own ' ' ? Burst a cool spring; the heart, refreshed and free, Went on its way under a smiling sun. If ever this had happened unto thee, Thou knowest a joy that's next to God's "Well done!" 1