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Les diagrammes suivants illustrent la mAthoda. 1 2 3 ■I t wn III aiii^^H^^^— ^iw ^^^^^^^■^^-' -^ 1 2 3 4 5 6 MICROCOPY RESOLUTION TEST CHART (ANSI and ISO TEST CHART No. 2) 1.0 1 4.5 156 14 , BiUu 2.8 3.2 3.6 14.0 2.5 2.2 2.0 1.8 ^ /APPLIED IIVMGE li nc 1653 Eost Main Street Rochester, New York U609 USA (716) 482 - 0300 - Phone (716) 288-5989 -Fox 3 a. •S -d a •3 b s 1 I ROYAL CANADIAN SI:RII:S. ADVANCED READER, s -i % s g -3 s 1 I TORONTO: CANADA PUBLISHING COMPANY, (limited.) AAlhiA. Entered according to Act of the Parliament of Canada in the year 1882 by the Canada Publishing Company (Limited), in the office of the Minister of Agriculture. PREFACE. In the compilation and construction df the Advanckd Reader the following objects have been kept in view : — I. To continue the course of instruction in Reading and Com- position carried on in the other books of the Series of Royal Canadian Readers. To this end, Elocutionary footnotes have been introduced, and suitable Composition Exercises appended to each set of selections. These exercises have been supplemented by a Literary Analysis, one object of which is to apply the laws of Criticism and Composition, by directing attention to the means used by each author to secure the various excellen- cies of his style. In both the Elocutionary footnotes and the Literary Analysis, frequent reference is made to the Intro- duction, the first part of which contains a brief statement of the leading principles of Elocution, and the second, a descrip- tion of Literature and its Departments, with a concise exposi- tion of the laws of Style. II. To develop a taste for Literature, by supplying the student with a series of interesting studies jrom the works of the best English, American, and Canadian authors. The accomplishment of this purpose has necessitated the insertion of longer select' 3ns than is Ui.aal in books of this class; but, as care has been taken to secure variety of sub- jects and of hterary methods, the innovation will be found to harmonize with the general scheme of the Series. The chief object of the Literary Analysis is to suggest the proper mode of study, by developing the peculiarities of each author's style, and pointing out the beauties, defects, and difficulties of IV PRE 1' ACE the text. As, however, the study of an author word by word and sentence by sentence has a temlency to contract the rancje of mental vision, general questions luive been appended to each set of selections, and most of the Composition exer- cises nre of such a nature ap to enable the studeni to obtaiki a connected view of the different parts of the subject. The Explanatory Notes afford such necessary information as is not easily obtainable, and supplement the Literary Analysis in the elucidation of the text. They include also lists of the best works of reference in connection with each author and subject. III. To illustrate the chamctcristicz of the later periods of English Literature, and to supply an account of the lives and works of their chief representatives. In the compilation of the volume, special prominence has been given to the literature of the eighteenta and nineteenth centuries, as affording selections of the greatest interest and least difficulty. For the same reasons, the usual chrono- logical arrangement has been inverted, and the later authors are here placed first. The selections represent generally some phase of style, of thought, or of literary method ; and, with due regard for the main objects of this member of the Series, those selections have been preferred which supply useful information or contain noble thoughts. The design of the work, however, has rendered it incom- plete as an exposition of our literary history. It should, therefore, be studied in connection with the Primer of Eng- lish Literature, which, with its appendix on Canadian and American authors, now in preparation, will supply the unavoidable defects of the Advanced Reader as a Manual of Literature for Canadian Schools. Toronto, November, 1882. 1 CON TK NTS, i PREFACE .... ... INTRODUCTION-rART I. -ELOCUTIONARY " PART II.— LITERARY . PaOK. V. - vi. xi iii. -xxi. xxii. -xli. CANADIAN. I. DANIEL WILSON. Bioj^raphical, Works, Critical (^KNKKAL WOI.FIC AND Ol.D yillCllKC II. CHARLES SANGliTlCR. niojrniphical. Works, Critiail . 1. OuK Norland .... 2. The VOLTUlKtJKS of ClIAll-AUlitlAY III. fH'.ORCiE MUNRO grant. Biographical, Works, Critical. The Discoverer of Canada . IV. CHARLES G. D. ROBERTS. Biographical, Works, Critical 1. Brother Cu thhert . * . 2. The Mai'LE . . . . V. GOLDWIN SMITH. Biographical, Works, Critical . 1. The Battle of Lutzen 2. Character of Cromwell . VI. JOHN READK. Biographical, Works, Critical 1. Madeleine de VERCiifeRES . 2. Agricola 1-3 3-12 1J-I4 15-18 l8- 21 22-23 24-32 32-33 33-37 37-38 39-41 41 -4« 49-53 5' 54 - 58 59 - 'Jo vin. CONTENTS. VII. THOS. DARCY McGEE. ''^°''- Biographical, Works, Critical . . . Ci-64 The Union OF THE Provinces . . .64-76 VIII. THOMAS CHANDLER HALIBURTON. Biographical, Works, Critical . . . . 77-79 Metaphysics ^„ u, . yg — oo IX. CHARLES HEAVYSEGE. Biographical, Works, Critical . . . . 86-87 1. The Dark Huntsman 88-04 2. Saul and Malzah ... n^ «« • . • 94-99 X. JOHN W. DAWSON. Biographical, Works, Critical . . . .100-102 The Laurentian Rocks . , . . 103-114 •it f AMERICAN. I 4 XL H. V^. LONGFELLOW. Biographical, Works, Critical. 1. The Fasting 2. King Robert of Sicily . XII. FRANCIS PARKMAN. Biographical, Works, Critical . The Discovery of Lake Champlain XIII. JOHN GREENLEAF WHITTIER. Biographical, Works, Critical . 1. Skipper Ireson's Ride . 2. The Bay of Seven Islands XIV. NATHANIEL HAWTHORNE. Biographical, Works, Critical. Daniel Swan— A Fantasy XV. WILLIAM CULLEN BRYANT. Biographical, Works, Critical. 1. To a Waterfowl. 2. Thanatopsis • 115 -116 117 -127 T27 -135 136- -138 138- -150 151- -152 152- ■ 156 156- ■162 163- 164 165- 172 173- 174 175- 176 176- iSu CONTENTS. »x XVI. WASHINGTON IRVING. Biographical, Works, Critical Westminster Abbey . PAGE 181-183 183-195 ENGLISH. XVII. TENNYSON. Biographical , Works^ Critical .... 1. The Passing of Arthur .... 2. Sir G.vlahad 3. "Break, Break, Break" 4. The Eagle— a Fragment .... XVIII: HUXLEY. Biographical, Works, Critical. The Scientific Spirit in Modern Thought. XIX. BROWNING. Biographical, Works, Critical. 1. My Last Duchess 2. Hervi5 Riel XX. CARLYLE. Biographical, Works, Critical . . . . 1. Friedrich Then an» Now 2. The Taking of the Bastille . XXI. GEORGE ELIOT. Biographical, Works, Critical. "The Key to Human Happiness" . XXII. DICKENS. Biographical, Works, Critical. , . , A Christmas Carol — Marley's Ghost . The Last of the Spirits .... XXIII. THACKERAY. Biographical, Works, Critical . . . . Charity and Humor 196- 198 I99-2I.J 215-219 219- 220 220 221 -223 223-233 234-236 237 - 239 240-245 24^) - 249 249 - 256 25G - 262 263 - 265 2G5 - 276 277 - 280 280 - 290 290 - 308 309-312 312-322 XXIV. MACAULAY. Biographical, Works, Critical . The Impeachment of Waruen Hastings 323-325 326 - 332 CONTENTS. PAGE XXV. WORDSWORTH. Biographical, Works, Critical .... 1. Ode on the Intimations of Immortality 2. Yarrow Unvisited 3. Sonnets— On Westminster Bridge, The World's Ravages, and On the Beach at C^^^^^ 349-350 333 - 336 337 - 346 346-348 XXVI. COLERIDGE. Biographical, Works, Critical . . . The Rime of the Ancient Mariner . XXVII. LAMB. Biographical, Works, Critical . Dissertation on Roast Pig XXVIII. SCOTT. Biographical, Works, Critical .... 1. Tournament of Ashby-de-la-Zouche 2. Rosabelle .... 11 XXIX. BYRON. Biographical, Works, Critical. The Prisoner of Chillon 351-353 353 - 375 376 - 378 378-386 387 - 390 390 - 401 402 - 404 405 - 407 407 - 420 XXX. BURNS. Biographical, Works, Critical. 1. The Cotter's Saturday Night. 2. To a Mountain Daisy . . . . 3. Robert Bruce's Address to His Army 421-424 424-431 431-433 433 XXXI. COWPER. Biographical, Works, Critical 1. On the Receipt of My Mother's Picture. 2. To Mary Unwin 434-437 437-441 441 XXXII. BURKE. Biographical, Work:,, Critical .... 442-445 :. Spirit OF Liberty IN THE American Colonies 445-452 8. "The Age of Chivalry IS Gone" . , 452-455 CONTENTS. XXXIII. GOLDSMITH. Biographical, Works, Critical. The Deserted Village . XI MOB 456 - 459 459 - 4^7 XXXIV. POPE. Biographical, Works, Critical. Epistle to Dr. Arbuthnot XXXV. ADDISON. Biographical, Works, Critical. 1. Sir Roger at Church 2. Sir Roger at the Assizes 468-471 472-481 482 - 485 485 - 488 488 - 492 XXXVI. MILTON. Biographical, Works, Critical . . . . 493 - 496 1. Lycidas 497-503 2. Sonnet— On His Blindness ... 503 XXXVII. SHAKESPEARE. Biographical, Works. Critical. . . • 504 - 5o8 The Trial Scene— Merchant of Venice . 508 - 520 EXPLANATORY NOTES 521 to end. INTRODUCTION. PART I. ELOCUTION. The Art of Reading consists in the appropriate utterance of the thoughts and feelings presented in written language. The written or printed words are only the signs or symbols of thought and feeling ; and the best reader is the one who best uses these symbols to convey to the listener the thoughts and feelings which the words represent. Some thoughts are bold, vigorous, and energetic, and show that the mind is roused. Others indicate that cool, calm, and collected state of the mind in which it is ready to deal with every-day matters. Again, the mind may be weighed down by sorrow, animated by joy, or softened by pity. Each of these states may be expressed by tones of the voice. Now, it is impossible for a reader to give correct vocal expression to what he does not clearly understand and appreciate. Hence, he must first make a thorough study of the ideas and feelings to be expressed. He must determine — (i) The general spirit of the selection; that he may know the force of voice, etc., with which it should be read. (2) The important indhidnal ideas; that he may know which words need special force or emphasis. (3) The relative importance of the different ideas ; that he may be able to express clearly the exact and full meaning of the author. The primary requisites of a good reader are : — I. CLEAR ARTICULATION. n. CORRECT PRONUNCIATION. III. CORRECT VOCAL EXPRESSION. I. CLEAR ARTICULATION. Many persons acquire, through carelessness, habits of slow and indistinct articulation, such as mumbling, joining words together, and making unac- cented syllables almost inaudible. For effective reading, distinct utterance is, therefore, the first and most important requisite. XIV INTRODUCTION— ELOCUTION. Articulation is effected by the action of the lips, tongue, palate, and jaws. If these organs do not act promptly and easily, the articulation will be indistinct and imperfect. The following exercises will aid in disciplining the muscles used in articulation, and in accustoming them to energetic action : 1. Pronounce the sound cc, extending the lips as much as possible side- wise, and showing the tips of the teeth. 2. Pronounce ah, opening the mouth wide. 3. Pronounce 00 (as in cool), contracting the lips. Having uttered the sounds in this order, Ee—ah — 00, three or four times, rearrange them t\ms,Ee—oo—ah,Ah—ce—oo,Ah-~oo--cc, Oo—ah~ce, Oo~cc— ah, and utter them as described above. 4. Pronounce the words stand, strike, halt, hold, forcibly expelling with each utterance all the air from the lungs. After having continued this exercise for a short time, take a sentence and pronounce each word separately, with the utmost precision, exaggerat- ing, at first, the movement of the lips and jaws. Next, pronounce phrases in the same way, and finally whole sentences, taking care in every case to open the mouth and move the lips. EXAMPLES. (i) Articulation of single words : — The— hours— pass— slowly— by,— nine— ten— eleven— how — solemnly— the —last — strike —of— the— clock — floats —out — upon —the— still— air . That— lasts— till— night. Neither— sect— nor— schism— shall— divid6—us. Ignorance— is— not— bliss. The— torrent— rushed —down —the — rocks— pouring— and— roaring— grumbling— and— rumbling. (2) Articulation of phrases : Self-denial and discipline— are the foundation— of all good character,— the source— of all true enjoyment,— the means— of all just distinction. ' A correct articulation— is attained chiefly— through the free— and elastic movement— of the jaw,— tongue, and lips. To gain his ends— he lends— his utmost strength. This act— more— than all other acts— laid the axe— at the root — of the evil. II. CORRECT PRONUNCIATION. By Pronunciation in its restricted sense is meant the exact employment in utterance, of the vowel and consonant sounds, and accents, which custom has established. Authorities differ as to the mode of expressing these sounds. Care should, therefore, be taken to follow those models which the best usage has sanctioned. INTRODUCTION— ELOCUTION. XV III. VOCAL EXPRESSION. The chief elements of Vocal Expression are : -Qnality. Force. Pitch, Time, Stress, Inflection, Emphasis, and Pause. I. Quality. By Quality is meant the tone of voice used in expressing thought and feeling. Certain tones are always associated with certain emotions. There are five qualities of voice used in reading : -Whisper, Pure Tone, Semi-Tone, Orotund, Basilar. (a) The Whisper is used to express caution, fear, and secrecy. Horror, awe, and intense reverence are also expressed by a whisper, but one more strongly aspirated. Example — "Whispering with white lips— "The foe I They come! They comet'" {b) Pure Tone is that used in common conversation, simple narrative, description or argument, and in the expression of agreeable ideas, and tranquil or cheerful feelings. It is the natural tone of tenderness and compassion. Example — " Hail to thee, blithe spirit. Bird thou never wert. That from heaven, or near if, Pourest thy full heart In profuse strains of unpremeditated art." In such a cry as "Boat! ahoy!" we ise what is sometimes called Mechanical Pure Tone, which consi ts of purest tone, loudest force, highest pitch, and sustained movement, to carry the voice the greatest distance with the greatest ease. (c) The Semi-Tone expresses physical or mental weakness. Example — " I fear it is too late, and I shall die." (d) The Orotund is the pure tone deepened and intensified, sonorous, round and full, rich and thrilling. It is thus the natural tone for awe, grandeur, vastness, reverence, deep pathos, and powerful appeals. Example — " Suddenly the notes of the deep-laboring organ burst upon the car, falling with doubled and redoubled intensity, and rolling, as it were, great billows of sound. How well do their volume and grandeur accord with this mighty building I With what pomp do they swell through its vast vaults, and breathe their awful liariuony through these caves ol death, and make the silent sepulchre -ocai ! " XVI INTRODUCTION— ELOCUTION. i\ (e) The Basilar or Guttural Tone indicates the meannesses of human nature— malice, rage, intense hatred, revenge, and loatliing. Example — " On what compulsion nnist I ? Tell me that 1 ' " My deeds upon my head ! I crave the law ; The penalty and forfeit of my bond." "Is that the law?" Few selections can be read throughout with the same quality of voice. Hence the necessity for the reader to make an analysis of the thoughts and sentiments, so that he may know when to change the quality of his voice. He must notice, too, that every quality of voice has its peculiar possibilities of Force, Pitch, and Time. 2. Force. Force is the volume or degree of loudness used in reading. Although the volume of sound may vary from a soft whisper to a shout, it will be sufficient to make only three degrees of Force— Soft, Moderate, and Loud. Soft or Gentle Force is generally used in the expression of pathetic and subdued feelings— caution, secrecy, awe, pity, and tenderness. Example — " My mother ! when I learned that thou wast dead, Say, wast f hou conscious of the tears I shed ? Hover'd thy spirit o'er thy sorrowing son. Wretch even then, life's journey just begun ? " When the mind is unexcited, it expresses itself with Moderate Force. This, then, will be the prevailing force in unimpassioned discourse, and in reading narrative, descriptive, or didactic selections. Example — " A man he was to all the country dear. And passing rich with forty pounds a year ; Remote from towns he ran his godly race. Nor e'er had changed or wished to change his place." Loud Force is used in powerful appeals, and in the expression of all violent passions and vehement emotions, such as anger, command, exul- tation, scorn, and defiance. Example — " Fiercely he shouted : ' Bear away. East-by-north, for Seven Isles Bay.' ' 3. Pitch. Pitch of voice has reference to the degree of elevation in tone. There are three varieties of pitch— High, Middle, and Low. INTRODUCTION— ELOCUTION. xvfi Hlgfh Pitch is that which rises above the ordinary spoaking tone. It is the projKir key for stirring description and animated narration, and for representing elevated feelings and impetuous, impulsive passion, such as joy, exultation, rage, invective, and eagerness. Selections expressing tliese admit of the greatest range or compass of voice, and variety in change of tone. Example — " On, " Hampden cried, "for the day is ours.- Middle Pitch is the key-note in common conversation and in unim- passioned thought. Language of little or no emotion admits of but a moderate range of voice. Example — " I'ull many a (^um of puiost ray serene, The dark, unfathomed cave;i of ocean bear , Full many a flower i.s born to blush unseen, And waste its sweetness on the desert air." Low Pitch is that which falls below the ordinary speaking tone, and is the key-note for the expression of sublimity, awe and reverence. Stich l.inguage admits of less range of voice than the preceding, approaching in some cases almost to monotone, or entire sameness of tone. Example — " So live, that when thy summons comes to join The innumerable caravan that moves To the pale realms of shade, where each shall take His chamber in the silent halls of deatli, Thou go not, like tlie quarry-slave at niKht, Scourged to his dungeon, but, sustained and sooUied By an unfaltering trust, approach thy grave Like one who wraps the drapery of his couch About him, and lies down to pleasant dreams.' Appropriate variety of pitch on successive viord?. and syllables is one of the essentials of good reading. We have unconsciously a tendency to imitate the pitch of sounds that we describe. In nature, high sounds are usually produced by small objects or by rapid motions ; low, by large objects or by slow motions. 4. Tim::, or Movement. The Time that should be given to Pause, to the pronunciation of syl- lables, and consequently to the entire reading of a piece, must depend upon the character of the selection. If the selection be animated or joyous, witty or humorous, it will re- quire Fast time. Excitement of all kinds, as in joy, impatience, rage, • --ror, surprise, quickens the pulse and the utterance, -ixample — " And there was mounting in hot haste ; The steed, the mustering squadron, and the cl.ittcring car Went pouring forward with impetuous speed. And swiftly forming in the ranks of v.'ar." xvHi INTRODUCTION— !■ LOCUTION. M H An equable condition of the mind naturally requires a moderate quick- ness of utterance. Hence, narrative or descriptive selections should be read with Moderate time. Example — " I.ut not ambition mock their usofitl toil, Thuir homely joys, ai\(l di'stiny obscure ; Nor Krandeur hear with a disdainful smile, The short and simple annals of the poor." Ilence, grave or (lentle emotions naturally recjuire slow utterance pathetic selections will recjuire Slow time. Example- - "The curfew tolls the knell of parliiit; day. The lowing herd winds slowly o'er the lea. Homeward the ])lout!lunau plods his weary way, And h,av(!s the world to darkness and to me." 5. Stress. ff we examine a vowel sound when it is prolonf:;ed, we find the force 01" degree of loudness varying on different parts. Sometimes, the first part ol the sound may be loudest, as in the following : — " It is ! It is the cannon's opening roar 1 Theyi);' .' they tY'Wt'.' they icwi' .' " Almost unconsciously, in uttering the words camion's, foe, come, we give greater stress to the initial part of the vowel sound. This is called Initial Stress. Some sounds begin gently, increase, and then diminish. " Tlie curfew M/s the A-nM of partin;,' day, The iojving herd ivindsslo:^ca " " Near yonder copse, where once the Midcn smiled, And still where many a K'ardcn flower Krows wilTt, There, where a few torn shrubs the place disclose, The village preacher's modest mansion rose." " Will you ride in the carriaKC, or on horseback ? ' " I prefer to wal\." " Do you study German or French ? " " Do you study ('.('rman or I'reiicu t " When are you (^oing to the country r " The quality of mercy is not strained ; It droppeth as the gentle rain from heaven Upon the place benJiith. It is twice blessed : It blesseth him that gives and him that takes." " What should I .^ly to you ? Should I not say, Hath a dog money ? Is it possible A cur can lend three thousand ducats ? " 7. Emphasis. Emphasis is that forrr of voice by which certain words in a sentence ar- distinguished above the riiit . Just as we accent ce ...: ^v 1. s of a w - \ .so we emphasize the im- portant words of a sentenco. If equal emphasis is placed on every word, the reading becomes monotonous. RULES FOR EMPHASIS. (a) Peculiarly significant or important words and phrases are em- phatic. fb) Antithetical words and phrases are emphatic. W) Words and phrases expressing new ideas take the highest degree of emphasis, but those referring to ideas already suggested or expressed are relatively unemphatic. EXAMPLES. " At church, with meek and unaffected grace. His looks adorned the venerable place ; Truth from his lips prevailed with doiiilc sway. And /00/s who came to sco# remained to /jni^." " The quality of mercy is not strained; It droppeth as, the gentle rain from heaven Upon the place beneath. It is twice blessed : It blesseth him that gives, and him that takes. 'Tis mightiest in the mightiest." INTRODUCTION ELOCUTION . xu in a sentence tiasize the im- jn every word, rases are em- highest degree id or expressed with ind 8. Pause. " A pause is often more eloquent than words." Pauses arc of two kinds : Grammitical and Rhetorical. Grammatical. —This pause is founded upon the grani^ ilical "scture of the sentence, and is indicated by the punctuation mai K It is . idiessf'd to the eye, and may or may not r quire to be used as a rest for the voice Rhetorical.— This is wholly dey-ndent upon the sense ; and. w ' '' "est- ing the voice of the reader, is addi -ssnd to the car of the 'istener. The frequency, as well as t'u! dui ition, of rhetoric.il parses, vai the character of the subject, and nust be determined by the i. feeling of the reader. A few rules, 1 owever, are subjoined : A Pause is required — (a) Between the subject and the predicate : " The quality of mercy— is \v< strained." (b) After an inverted part of a sentence : " Wherein dotii sit— the dread iid fear of kings." (c) Before and after every parentheti and every qualifying clause : " Even at the base of Pompey'- statue -- (Which all the while ran bloassions varied, ng and V tone, INTRODUCTION. >s and PART II. LITERATURE. LITERATURE AND ITS DEPARTMENTS. 1. By Literature we mean the thoughts and feelings of intelligent men and women expressed in writing in such a way as to give pleasure to the reader, no*: merely by the things said, but by the artistic way in which they are said. When a writer describes what is outside of his mind and is the object of his attention, the mode of treatment is objective ; when he deals with the thoughts and feelings suggested to his mind by outward objects, it is subjective. When Goldsmith describes the appearance of the village of Auburn, his writing is objective; when he gives his thoughts and feelings caused by what he sees it is subjective. 2. As regards Form, Literature is divided into two classes — Prose, and Verse or Poetry. Poetry possesses a measured structure called Metre (9, III.) ; Prose includes all literature not in metre. 3. As regards Matter, Literature is divided into five classes— Descrip- tion, Narration, Exposition, Oratory, and Poetry. The same composition, however, may exemplify two or more of these modes of expression. i. Description is the delineation of the characteristics of any object by means of words. II. Narration is the statement of the particulars of any event or of any scries of events. III. Exposition includes all means of explaining or representing general propositions. The four leading methods of expounding a general principle or proposition axe— Iteration, or repeating the statement of the principle in the same or in different words; Obverse Iteration, or the denial of the contrary; Examples, or Par- ticular Instances ; and Illustrations, or Comparison. IV. Oratory is composition which influences men's conduct or belief. It may be intended simply to persuade; but this object may be combined with others. In criticising oratory, the chief points to consider are the orator's knowledge of, and power of adapting him- self to, the persons he addresses, his happy turns of expression, his XXIV INTRODUCTION-LITERATURE. [3, IV. mi stitutcs the^'ifferencel form • H •i;'"^' ''''''''''' ^^^'^^^ -"" of the language^nSry - "°""^' ''^" "" ''^^^'"^' Peculiarities I. It is archaic and non-colloqiiial. Th. ase of olrl nnri ^f words raises its language above the level of prose "'"'' place ones; and prefers vvnrd« fhof i, '"^'f^a ot long, common- that are les's euphontus. (See Abbo'rand tT"^' ^f ^° ^hose for English People.) ^ ^"'^ Seeleys£„^;/,A Lessons D^c^cr^n^lnf "^'^^^ ^^"^'^^ °^ poetry-Epic. Lyric. Dramatic. of Epic Poetry are— scenery, etc. The leading varieties toconT''?;'nt^1^t7o'"? ^T"^^""' '^'"^^ are introduced ^ ^""'' ^/^«^- -^ii!., pp. 159-160.) [3, IV. aying upon by means n a special vhich con- assessing a and more es applied iguage are culiarities )f unusual ges to the 3 epithets ry avoids ibstitutes common- l to those k Lessons 'ramatic, its com- varieties reduced iction — • 03-105.) 1 intro- beings, le of its 4,1.] INTRODUCTIOl^—I-rTRRA TURE. XXV i—e g- dity in merely Scott's ic pur- tvith a —e.g., ) 7. The Pastoral, Idyll, etc. This division includes all other poems which have enough traces of narrative to bring them under the Epic class, and are distinguished by the predominance of poetic descriptions of manners or of external nature. § II. Lyric or Subjective Toetry is the expression of some intense fooling, passion, emotion, or sentiment. The leading varieties of lyric poetry arc as follows : — 1. The Song, which is usually short, simple in measure, and broken up into stanzas, each complete in moaning, yet occupying a proper place in the development of the whole. There are many varieties of the song— e.g., The Love Song, The Drinking Song, etc. 2. The Ode, which is the loftiest utterance of intense feeling, and is remarkable for its elaborate versification— eg-., Wordsworth's Ode on the Intimations of Immortality. 3. The Elegy, now connected chiefly with the impassioned ex- pression of regret for the departed— ^.^., Gray's Elegy and Milton's Lycidas 4. The Sonnet, which is sometimes descriptive, but is generally a concentrated expression of a single phase of feeling — e.g., Words- worth's Sonnet on Westminster Bridge. 5. The Dramatic Lyric, in which a person i represented as ex- pressing his thoughts and feelings in such a way as to develop his own characteristics and occasionally even the characteristics of some one else, and to indicate with dramatic effect (4, III.) his own or another's actions and surroundings — e.g., Roberts' Brother Cnthbert. For further explanations, see p. 236, 11. 76-S5. 6. The Simple Lyric, which comprehends all other kinds of sub- jective poetry. III. Dramatic Poetry is a picture of life adapted to representation on the stage, and consists of an impersonal representation by the author of an animated conversation of various individuals, from whose speech the movement of the story is to be gathered. Its two chief varieties are Tragedy and Comedy. 1. Tragedy is defined by Aristotle as "the representation of a completed action, commanding or illustrious in its character; the language being poetically pleasing; and with the moral effect of purifying the passions, generally by means of the two special pas- sions — pity and fear, " — e.g., Heavysege's Saul. But this definition applies only to the highest form of tragedy. The more moderate form, w^hile retaining tragic elements, permits happy conclusions. 2. Comedy is the adaptation of the dramatic form to yield the pleasures of the ludicrous (13, II., 3) in conjunction with as many other pleasing effects as will harmonize with this quality. Comedv endeavors to produce amusement mainly — e.g., Shakespeare's Mtr- chant of Venice. XXVI INT ROD UCTIQN—L TTERA TURE. [4, IV. IV. Didactic Poetry seeks to teach some moral, philosophical, or literary truth. It aims to instruct rather than to please-.-.^., Goldsmith's Deserted Village. V. Satiric Poetry holds up to ridicule, or rebukes with severity, the weaknesses, follies, or wickedness of men— ^.g-., Pope's Ephtle to Arbuthnot. 1! VERSIFICATION. 5. Verse is that species of composition in which the words are arranged in Imes, each of which contains a defmite number and succession of accented and unaccented syllables. In its restricted sense it signifies a single line of poetry. A stanza consists of a number of lines forming a division of a poem Sometimes, especially in the case of sacred music, the word verse is used for stanza. Verse is of two kinds— Rhymed and Blank Verse. I. Rhyme is a similarity of sound at the end of words The rhyming syllables should be accented. The three essentials of a perfect rhyme are: (i) That the vowels be alike in sound; (2) the consonants before the vowels, unlike in sound ; and {3) the conso- nants after the vowels, alike in sound. When, however, the vowel sounds merely resemble one another, the rhyme is Admissible, if the other conditions of a perfect rhyme are satisfied. If the vowel sounds only are alike, we have Assonance. When the rhyme occurs at the end of two successive lines, they are called a Couplet' •. 'hen at the end of three, a Triplet. ' II. Blank Verse consists of unrhymed lines, and is generally Iambic Pentameter (9, HI., i and 2). It is the most elevated of all measures, and is the only form in which Epic poetry should appear. 6. Rhythm is the recurrence, at regular intervals of duration, of the stress thrown on the pronunciation of a syllable. This stress is called Accent. The Greeks and Romans used Quantity, or the length or shortness of a vowel, as the basis of their verse. All other European nations have based theirs on accent. Quantity is used in English verse chiefly to produce Imitative Harmony. (12, IV., 4, and 13, III., 2.) 7. Alliteration is similarity of sound at or near the beginning of con- secutive or clo.sely connected words-..^-,, "Up the high /all he heaved a huge round stone." It adds to the pleasurable effect of poetry but should be used with skill and in moderation. In prose it is admis- sible, if the language and thought are of a poetical character; otherwise Its occurrence is a blemish, and should be carefully avoided Allitera tion is often subtly concealed owing to the separation of the words in which It occurs, or to the use, not of the same letters, but of the same order of letters. It may also occur, not in the initial, but in the middle 7.] INT ROD UCTION—LITEKA TURE, xxvu The fol- syllables of words. This is known as Concealed Alliteration, lowing examples illustrate these methods; — (i) The /nil s/rcanis/eed onyZower of f'ushes, Kipe fi->-asses 'uit/ui/(el r I. Iambus. Accenton the second syllable— r. 5'., Begone, xa. r > II. Trochee. Accent on the first syllable— (.g-., Dungeon, ax. III. Spondee. Accent on both syllables— Sunbeam, aa. Trisyllabic. > > r IV. Anapaest. Accenton the third syllable— t-.g-.. Colonnade, xxa. V. Dactyl. Accent on the first syllable — e.g., Merrily, axx. VI. Amphibrach. Accent on the second syllable — e.g., Receivmg. xax. 9. I. A Line is a succession or combination of feet, generally contain- ing a fixed number of syllables, and having, as a rule, a regular recur- r ence of accents. II. A Hemistich is half a line. III. Metre, or Measure, is applied to the structure of the lines which form a poem or part of a poem, and their relation to one another as regards ihyme, length and arrangement. English metres are very numerous. The following classification includes the chief varieties; — I. FROM KIND OF FOOT, (a) Iambic; (/)) Trochaic; (<-) Spondaic; (■> pause must also be a Sense pause-..^. f ^^^ ^'''"'"^^ Can stoned urn || or animated bust Back to its mansion i| call the Meeting breath ? Can Honor s voice || provoke the silent dust Or flattery || soothe the dull, cold ear of Death ? A great many irregularities occur in English verse Thn=. • .u- volume, not referred to above are inr1,Vaf„^ ■ 1 ^°^° '" *hjs in which they occur. ^''"^ '" '^" "°'^^ '° ^^e selections STYLE AND ITS ANALYSIS. 11. Style is the peculiar mode in which -i writ^- IS the a-t of choosing words settinl .h? expresses himself; it tences in paragraph!. ^ ""^ '"^ ''"'^"^^^' ^"^ ^rvs..mg sen- Although every writer has his peculiarities therP r,r» distinctive features on which can bf based rcTa^sfficationVstX.'^^^^^^ I. On the Prevalence of Figurative Language The ?SMl'r''"5f '■'''''"■^ °'"""'"^"* °f «^-y kind. briltaSr^c,;:.""'""'" "°™™"' ''"• ""' "-= of an elevated or .oliufy'"^""' 3.y,ee,nploys judiciously every ornament .ha. conduces anS'^rTSlanr'' °' """""'' ^'>'= '' "^ *=' -<>*- ^ iuxuri- II. On the Structure of Sentences. The Simple s.yle bears no mnrks of nrt h„t ~- . , , everyone would naturally use. °' '° '' "" '^"Suage II: 11, XL] lyfTRODUCriO^-LITERATURE. XXIX The Labored style is the reverse of the Shnple. It shows effort on the part of the writer, and is characterized by affectation, a tonstrainud tone, and long, involved sentences. III. On the Number of Words. The Concise or Terse style rejects as unnecessary everything not material to the sense, and aims at the briefest possible mode of expression. The Diffuse or Verbose style employs amplification, endeavors by repetition to secure perspicuity, and attempts to make up by copiousness for lack of strength. IV. On Strength. The Nervous style is that which produces a strong impression on the reader. For other names for this species, see (13, II., i). The Feeble style is the reverse of the preceding, and produces but a slight impression upon the reader. V. On the Prevailing Figures of Speech. A composition which abounds in any one figure is often described by that figure; thus we soeak of a style as being Sarcastic, Antithetical, Ironical, etc. For classification based on character of sentence, see f 12, II., i). THE ELEMENTS AND QUALITIES OF STYLE. 12. The Elements of style are Vocabulary, Sentence, Paragraphs, and Figures of Speech. Associated with these is the consideration of the number and order of the words. The Elements of Style. I. Vocabulary.— The first requisite of an author is good command of language. In criticising style under this head, the following are the important considerations : — a. Extent.— Authors differ greatly in copiousness. Few can write freely and eloquently on all subjects. Most have one vein in which they excel. Frequent repetitions of the same words or phrases is an unmistakable indication of poverty of language. Variety being a source of pleasure, a good writer varies his language as far as is consistent with elegance, simplicity and clearness. h. Aptness. — Although many writers and speakers have a copious vocabulary, they do not always use the proper word to express* heir meaning. Fitness of language is one of the best proofs of an author's culture. Sec (13, I., i, c), and (12, V., i, a, i). c. Purity.— Stv (13, I., 1). IL Sentence. — A knowledge of the proper mode of constructing sen- tences is one of the most important of a writer's qualifications. A great many forms of sentences are possible; but there are certain chief types. XXX '^^^ODUCTION^LITEIUTUKI.. fl2. II. 1- Special Artifices of Construction- suspense till tl,e sentence is finished U . " " '^'""'"=* '" the end. the preceding part does nnt' f ''" ''"^ '"^^'^"^^ ^'^°'^ quently does not convey , comni . , "" f '""''^"^''" '-^"^^ ^°n«e- e«bct of the Periodic LLcTs to k "1 ""''^^ """"'"^'- '^'- uniform or increasing tension 'mil ^^ ^ "" ' '" ^ '^"^^^ °^ the rich and on thfw> '''"^ ''' reached-r./r . ..Qn looked down .°th con^XT " ■ "" ""'^^^ ^"^' ^^"^"^^^- ^'^ ^'""tan^ without destroying the sense Th^! ■ \u ^'''"'' "''''>' '^'-' ««Parated sentence in Englifh4 1 ■ The P '^ ''^ T'"'"^' ^'^"-'"^- "f the tempt on the rich and titeeloauenf T ^^ '"''' '^°'"" ^^''^ con- Very freauenflv a T '"°'l"''"t, on nobles and priests " structure""'" ' ^^"'^"^^^ -'"^"-- the loose Ld the periodic length^:?rhrsentnt° i^^^^ °^ ^^°^-^'- ^^i-t-ent of the but no definite h^l can be asSr^A^'^''"'^"'/'" ^ ^^^^^^ ^^^^^ lo"g or short sentences Sou d be ^ ."7*""^'^^' ^'^"^^ ^^ ^''her much variety as possible See (x' ult) ' '°°' ""'^^ "^^^ ^^ Clauses, and .oving^on . Srel! ::tTl-;^^^^ ^^^ °^ wH?n^ab1Sres::e;-L- .^^^^^^^^ ^s often used writers, as Macaulay.VstZa'ic.lK h"\" *° ^' ''"'^^^*^^- Some into their constituen parts and ^^ ^T "^ ^°"^' ^°°^« ^^ntences tences. This artifice ghes an^mat^ "^"1'' ^'^"^ ^' ^^P^^ate sen- - The Balanced s'entenc ^ C ^^^^^^ ^- (^3. I. x). compound sentence are made simihr^- I ^^^f'"' '^^^"^^^ of a Balanced-.^... .-Homer hurr e^us^^^th * *''" ^^^ ^^'^ *° ^« in conjunction with AmTther^n?" °' ''f ""^^^""^ ^-^ence. 33 and 38). constitutes the P^iedS^ '"' ^''"^^ (-■ ^V.. S.' dera^^rXSLX^^^^^^^^^^^^ to the prepon- and Pointed structures a^often us d ^^ ,^"' *'« ^^^"^^ic, Abrupt. d- The Condensed sentenr,-. u '^""^ P<^ragraph. unusual construction- ".• Brutus" 'r"''?'' ^>' ^ ^^^^ and -'•ship.- This was a favontetpe ^Z Te "''' ^'"^^'^^ ^"^ ^^e con IS now generally t.s.d to prcdurro "''^ '"'*'' ^'^bon, but it If i 12. II.J INTROD UCTIOI^—LirERA TURE. XXX 2. General considerations — a. Emphatic places in a Sentence.— When a writer desires to },'lve special prominence to a word, he places it at the beginning or the end of his sentence. The former position excites the attention, and on the latter it rests. ' h. Unity of a Sentence.— The effect of the main statement in a sentence should not be lessened by the introduction of particulars not immediately relevant. All parts of the sentence should be kept in connection with, and logically subordinate to, the principal thought. Hence the necessity to change the subject as little as possible, to avoid crowding a sentence with too much matter, and to eschew the use of parenthetic clauses, III. The Paragraph is a connected series of sentences relating to the same subject and forming a constituent part of a composition. Between paragraphs there are greater breaks than between sentences. The follow- ing are the principles which govern the construction of paragraphs: — 1. Explicit reference.— The bearing of each sentence on what precedes should be explicit and unmistakable. 2. Parallel constructions. — When several consecutive sentences repeat or illustrate the same idea or make a contrast in reference to the same subject, they should, as far as possible, be formed alike. 3. The opening sentence, unless so constructed as to be obviously preparatory, should indicate with prominence the subject of the paragraph. 4. Continuity. — The sentences in a paragraph should be so ar- ranged as to carry the line of thought naturally and suggestively from one to another. 5. Unity. — A paragraph should possess unity, which implies that the sentences composing it should relate to one definite division of the subject which they illustrate or explain. Unity forbids digres- sions or the introduction of irrelevant matter. 6. Proportion. — It is a maxim in Style that every thought or idea should have prominence and expansion according to its im- portance : hence in a paragraph a due proportion should be main- tained between the main subject and the subordinate parts. 7. Transition. — One of the most important arts in composition is the art of transition, that is, passing from one paragraph to another. The modes used by different writers are various. The thoughts in one paragraph should grow naturally out of those in the preceding one. The association of ideas should be as perfect as possible. IV. Figures of Speech. — These are intentional deviations from the ordinary spelling, form, construction, or application of woi Is. The last class, which are known as Figures of Rhetoric, are the most impor- tant. They dignify style, enrich it by increasing its facilities of expres- !f »>"■" "iTRODUCTlON-UTI-KATURi;. /jg ly I. Metonymy puts one word for another; as the ciuse for th. effect or the effect for the cause; the couta ner f .th thinrcon ta.ned;^the s.gn for the thin, signified; or the abstra^; ;o^^;;:; (hay hain for old aire; bo J!: for inloxicatinfr ,irhk ■ urNre for roynity: beauty and ehivalry fo. ,eaufi/ul wo.neLn.l ta^^t^l 2. Metaphor. -A comparison implied in the laneuaee used u a transference of .he relat.or. between one set ofXr o an other, for the purpose of brief explanation. ^ " He bridles his anger." " He res-rains his anger, as a rider bridles his horsj." J\ yv!^'?*""^ description in strong and lively colors so that the past, the distant, and the future are represented as present. " Even now, metiiinks, as .,ondering here I sta,.d. / see the rural virtues leave the land." phras?T'o3'of ", ^™J*"*"' Harmony.-The use of a word or signified corresponds with, or resembles, the thing " Soft is the strain when zephyr gently blows And the smooth stream in smoother nmnbers flows ■ nut when loud surges lash the sounding shore, ' The hoarse rough verse should lilm is permissible for rhetorical emphasis, for the clearer expression of meaning, and in the language of poetry and passion— e.g., "We have secmcith our eyes; we have hc^ird 7i'itlioiir fcirs." The heavens above, the earth beneath, and the waters under the earth." 3. Verbosity, or Circumlocution, consists in a diffuse mode of ex- pression, r.j?-., "On receiving this information, he arose, went out, saddled his horse, and went to town." There is no Tautology or Redundancy here; but, unless for some special purpose, the details are uninteresting and unimportant. Condensed, the sentence would read, "On receiving this information, he rode to town." Circumlocution is, however, allowable for poetic or rhetorical effect, or to avoid the disagreeable repetition of a word or phrase. But unnecessary substitutions savor of affectation and confuse the sense. The writer's first consideration should be the perspicuity of his sentence, and to ensure this, the repetition of a word or phrase may be necessary. 2. Diffuseness.— Sometimes a writer produces by diffuseness the de- sired effect of style. To the examples of allowable diffuseness given under (12, v., I, h, I, 2, and 3,) the following may be added:— a. An example or illustration used by a writer must be suited in length to the state of mind of the person addressed. If what the writer says is well known, a brief reference is all that is necessary; but if it is unknown, or if he desires to work up the feelings of his readers, he must emphasize by expansion. b. To produce harmony of sound and sense, a long word or clause may be necessary to suit the dignity of the thought or the intensity of the emotion— f./^., To express great amazement, "stupendous" is better than "vast" or "great." In poetic embellishment, "The glorious orb of day " is more suitable than "The sun." VI. Order of Words— I. As the Grammatical order of words is not always the best for effect, this order is departed from frequently in poetry and sometimes in prose. As a general rule we should endeavor to arrange the parts of a proposi- tion in the order in which the ideas they express naturally present them- selves to the mind. The arrangement of the words in a sentence should resemble the arrangement of the figures in a picture— the most important should occupy the chief places. In English, the natural order of the parts of a sentence is — Subject, predicate, object. But this order may be varied: — a. When the subject is less important than the predicate or the object, either may precede it. Any special emphasis may justify inversion — e.g., "Great is Diana of the Ephesians," — emphasizes the predicate ; " Look upon it, I dare not," — emphasizes the object. b. The emphatic places in a sentence are the beginning and the end. Hence emphasis will be secured by placing u wyid ia eilhei' xxxvm INTRODUCTION— LITERATURE. [12, VI. I, Si '{■ i ' III i ' of these places, if this be not its natural position— f.g-., "Silver and Kokl have I uonc." See also {12, II., 2. a.) It follows then as a general rule that — c. A sentence should not end with a weak or an insignificant word, as a pronoun, adverb, or preposition. The exceptions to this state- ment are — (i) When the otherwise weak word is made strong by emphasis-— e.g., "In their prosperity my friends shall never hear of mc; in their adversity, always." (2) When a particle is attached to the verb so as practically to form a compound with ii— e.g., " It is this I wish to chay tip." {3) When we wish to avoid a broken construction, or what is called "splitting particles," as when we write— "Though virtue bor- rows no assistance from the advantages of fortune, yet it may often be accompanied by them," instead of the broken construction in "Though virtue borrows no assistance from, yet it may often be accompanied by, the advantages of fortune." 2. In complex statements, the qualifying words should precede the object qualified; but words and expressions most nearly related in thought should be placed closest together. That arrangement should be preferred which entails the fewest and shortest suspensiors of the meaning. QUALITIES OF STYLE. 13. The Qualities of Style are Intellectual Qualities, Emotional Qual- ities, and Elegancies— I. Intellectual Qualities. — The qualities of style, considered as an object of the understanding, are Accuracy and Clearness. To ensure Accuracy and Clearness, that is, the faithful presentation of thought, style requires Purity and Perspicuity. I. Purity prescribes— a. Correct Forms and Concords.— Every sentence of a composi- tion must be constructed in accordance with the laws of grammar. The common errors consist in the use of wrong single words or forms, and of false concords— that is, wrong cases, genders, num- bers, and tenses. b. Good English Words.— To be good, a word must be reput- able (used by good writers or speakers), recent (used at present), and national (used by a whole people). Violations of these princi- ples constitute Barbarisms, the chief causes of which are : (i) The unnecessary use of obsolete words. (2) The use of provincial or slang expressions. (3) The general and unnecessary use of technical terms. (4) An affected use of foreign words. (5) Coining words unnecessarily. c. Proper Words— that is, words fit for the occasion. In a com- position, every word nr phrase should bear the me.aning which established usage has assigned to it. The violation of this principle l3, 1.] INTRODUCTION-LITERATURE. xxxix constitutes an Impropriety. The chief causes of impropriety in the use of lingHsh words are : , ■ i (i) Neglect to observe the proper sequence of particles--CA'., "lie had no other intention but to deceive me," ia which "but improperly folio ws " other . " (2) Neglect to distinguish between synonyms. (3) Carelessness as to the real meaning of words— f.g-., " Monarchy stood prostrate at the foot of the church." 2 Perspicuity, or Clearness.-" Care should be taken, not that the reader may understand if he will, but that he must understand whether he will or not." Perspicuity prescribes— , . , a a. Simplicity.— This term covers not merely the choice of worcls, but the arrangement of clauses, sentences, and paragraphs. The violations of this principle are badly-arranged sentences, and pedan- tic, roundabout, and inflated words and phrases. b. Brevity.— Sfc (12, V., i, a and b). c Precision, or Definiteness of Meaning.— The violation of this produces Ambiguity or Obscurity, which may occur in words an.l in sentences. . ^ - (i) In words. The Ambiguity may be one of meaning or ot ret- erence. The greatest source of ambiguity of reference is the care- less use of pronouns, especially of the relative. (2) In sentences. This arises from a disregard of the rules for the arrangement of the parts of a sentence. Sec (12, VI., i and 2). II. Emotional Qualities. -The Emotional Qualities of style, or those that affect the emotions or feelings, are— I. Strength, which consists in such a use and arrangement of words as convey the author's meaning most impressively. Under the general name of Strength are included such varieties as sub- limity, loftiness, magnificence, grandeur, dignity, stateliness, and splendor ; fervor, energy, force, vigor, and nerve; brilliancy, rapidity, liveliness, vivacity, and animation. In this list, those qualities that resemble one an- other are grouped together. In literary criticism, the terms are often used loosely, but several of them have specific meanings. There is, for instance, a wide difference between ^he extremes; sublimity being secured by the description of great and noble objects, which produce a sort of elevation and expansion of our feelings; animation being the presentation of ideas in rapid succession. The following are the principal modes of securing Strength: — (i) Important words should occupy the most prominent places. See (12, VI., I,) and (12, II., 2, a). (2) The Periodic structure, by exciting and concentrating atten- tion, often adds to the force of a sentence. See (12, II., i, b). (3) When the members of a sentence differ in length, the shorter should precede the longer; and, when they are of unequal force. the weaker should precede the stronger. In all cases, however, the order of time should be observed, Ill if Xl INTRODUCTION-LITERATURE. [13, II. (4) When in different members of a sentence two objects are con (7) An accumulation of small words should be avoided. (8) T.ie language and the subject should harmonize with -ind support each other. Different themes demand d,fferen t el^mLt al/narTs of ''' °' '"^.^^^'^-^^'°" °f ^^-ts, should bo maintain" 1 in all parts of composition, viz.: variety in sound (13. in j) "d" subjects and in the length and structure of sentences. The occur rence of any unpleasmg similarity of sound, the improper repetition of a word or a long series of sentences of the same tyoe enfeeble style an. should be avoided. See (z3, II.. ,. ,), and (Zlile) (10 All superfluous words should be rejected. See (12 V 1) (II) As far as is consistent with perspicuityand good gr^imar jvhatever may be readily supplied should L omitted.' s::"?!; .f ^I '^ wl"'" °f,^.^J^^tives and adverbs in close succession enfeebles style. When judiciously applied, these parts of speech have a powerful influence in animating, and heightening the effect of an rXraddi^r^^tX^ ^--— - -- ^-en atentLS o^sp.riteimag.^ the conjunction is often omitted'with .TSeT, [12. IV. II). When, however, an enumeration is made in which it IS important that the transition from one object to another should not be too rapid, but that each should attract attention for a moment, the conjunction may be repeated (12 IV 10) 14) Indirect or prefaced modes of expression should be avoided unk^ss to introduce important ideas-.^., -it was I that dTd il ■' and -There was no one present." Better - 1 did it." and -No one was present. "^ (15) Reduce, as far as possible, the number of auxiliaries excent when they are emphatic. S.v also (13, II.. i. 7). This " nc pTet • more applicable to poetry than to prose, and occurs chfefly fn the subjunctive mood. --"icuy m mc (16) The Specific and the Concrete are more effective than the General and the Abstract. A statement is stronger when made about an individual object than about a class r J' rl^'Tf ^u '' °/''" promoted by the use of Figures of Speech (12 IV,); but they should be u.sed only when they convey the S m a^orter space and with greator vividness tf^n orl^ £ ' [13, II. 13, XL] INTRODUCTION— LITERATURE. xli (i8) Originality and boldness in combinations should be aimed at, especially in the use of Figures of Speech. Frequent repetition palls, even \vhen what we repeat is itself of the highest merit. Novelty and agreeable surprises conduce to strength. (19) Every means should bo taken to ensure Perspicuity. Sec (13, I., 2). We should write naturally, use definite, plain words, with a preference for those of Anglo-Saxon origin, and avoid affectation ; roundabout expressions (12, V., i, b, 3), remote allusions, frequent quotations^especially those that are hackneyed — exaggerated lan- guage, harsh-sounding words, and whatever interrupts the easy flow of our sentences. (20) The Periodic, the Abrupt, and the Balanced and Pointed styles (12, II., I, b and c,) increase greatly the strength of a compo- sition, if the principle of Variety is duly rdcognized (13, II., i, 9). The first keeps up the attention, and favors the Unity of the sen- tences (13, II., I, 2); the second increases the rapidity of the movement; and the last gives agreeable surprises and assists the memory. 2. Pathos, or Tender Feeling, which touches the tender chord in our nature. It is a sympathetic pain combined-with pleasure. The following are the chief means of stimulating the emotion : — (i) Allusions to the strong affections of our nature — to love of family, friends, or country. (2) Accounts of acts of compassion, kindness, or humanity. {3) The expression of kind and humane thoughts and feelings. (4) Descriptions of any of the misfortunes to which human beings are subject, as death, sorrow, pain, misery. (5) Many gentle pleasures, and even some intense ones, stimulate the emotion of tenderness. 3. The Ludicrous, which excites laughter, and is caused by the degra- dation of any subject without the production of any other strong emotion, such as anger or fear. Of this quality there are several varieties : — In Satire the Ludicrous is associated with malice without arousing sympathy for the object— r.^.. Pope's Epistle to Arbuthnot. Akin to this quality is Ridicule, the object of which is to influence opinion. Humor is the laughable degradation of an object, without malice, in a genial, kindly, good-natured way— t-./i'., many of Addison's papers in the Spectator. The subject of Humor is character — not its graver faults, but its foibles, vanities, and weaknesses generally. Humor and Pathos often relieve each other. (13, II., i, 9.) This combination constitutes one of the greatest charms of Dickens's works. Wit is an ingenious and unexpected play upon words. Sec(i2, IV., 26). When we call a writer witty, we have reference merely to the clever- ness of his mode uf expression; he may be also satiric or sarcastic, like Swift: or humorous, like Addison or Lamb, III. Elegancies of Style.— The Elegancies of Style are:— I. Melody, which is agreeable sound or modulation. Under melody xlii 'INTRODUCTION- LITERATURE. fl3, III. ml '^ ■' •I i'' we should conp.idor-first, whether the autlior conforms t.i the general requisites; and secondly, what is his prevaiiinj; rhythm. The following are the general requisites of Melody :— (i) The avoiding of harsh effects. The abrupt consonants, as/, t, k,f, th, h, etc., are the hardest to pronounce; the vowels are the easiest. " Barber," for instance, is easier to pronounce than " Prau- matic." * (2) The alternation of long and short, emphatic and uncmiihatic syllables. (3) The alternations of consonants among themselves, and of vowels among themselves. (4) The avoiding of unpleasant alliterations. Sec p. 4 of " Wolfe and Old Quebec,' ', iG, 17. (5) The due observance, throughout a composition, of the prin- ciple of variety. S^r (13, II., i, g). (6) The cadence at the close. The closing syllable of a sentence should allow the voice to fall. Avoid closing a sentence with a short, unemphatic, abrapt syllable or word. See (13, II., i, 5). When we aim at dignity or elevation, the sound should swell to the last Sec(i2, II., I, 3). Many good writers have a characteristic and indescribable swing to their language— a peculiar rhythmical movement by which the trained ear may soon detect the authorship of a piece of com- position. 2. Harmony is melody, so ordered as to be expressive of the sense This is desirable in prose, but occurs most markedly in poetry. See (12, IV., 4). Sound, movement, and vast bulk may be easily represented. 3. Taste has two meanings: — (i) The power of receiving pleasure from the beauties of Nature and Art. In this sense it is almost synonymous with Ele-^ance Polish, and Refinement. Persons devoid of this power are said to have no taste. (2 That kind of artistic excellence that gives the greatest amount of pleasure to cultured minds. In this sense it is generally used in literary cntici-sm. The rules of Taste are those which govern correct literary compo- sition; but variable elements al.so exist, for there are marked differ- ences in the literary tastes of men, countries, and periods. tl» DANIEL V^ILSON, LL.D., F.R.S.E., President of University College, Toronto. Biographical. — Dr. Wilson is a native of Scotland, having been born in 1816 at Edinburgh, where he received his education. After attend- ing the University, he went to London, and there supported himself by literary labor. On his return to the Scottish capital, he contributed to various newspapers and journals, laying, meanwhile, the foundations 5 of that archsological knowledge on which rests his chief claim to dis- tinction. For many years before coming to Canada, he was the Secre- tary, as veil as a Fellow, of the Society of Antiquaries of Scotland. Art studies, also, secured a share of his attention, and most of the illustra- tions that adorn his works are from drawings by the author. In 1853, ,0 chiefly, it is said, owing to the favorable verdict of Mr. Hallam, on ADVANCED READER. the Aniurulogy ami Pnhistoric Annals of Scotland, Dr. Wilson received the appointment of I'rofessor of History and English Literature in University College, Toronto, a position in which he has done much for the advancement 15 of Canadian culture. His lectures on History, English Literature, and Eth- nology are the matured productions of a scholarly and philosophic mind, and are remarkable no less for their liberality than for their breadth of view. By his energy and shrewdness, as well as by his effective eloquence when it needed a defender, he has played an important part in the history 20 of the University, and has contributed in no small degree to its present prosperity. He has also taken a leading part in the literary and scientific work of Ontario, and for four years edited, -vith much acceptability, the Canadian Journal, the organ of the Canadian Institute, of which he was for some time I'resident. But Dr. Wilson has additional claims on our 25 respect. He is an excellent citizen. There have been few philanthropic or social movements in Toronto in which he has not manifested an active interest, and some of its charitable institutions owe their existence to his benevolent efforts. He has also been intimately connected with Secondary Education, having been President of the Teachers' Association of Ontario, 3'^ and Representative of the High School Masters on the late Council of Public Instruction. Dr. Wilson stands high in the estimation of the general public as well as of literary circles; and when, on Dr. McCaul's retirement in 1881, he was appointed to the 1 residency of University Col- lege, it was universally felt that his promotion was only the fitting reward 35 of faithful services, and of untiring zeal in the cause of Education. tisi 1 'I m; 1 H ' 9 '' si f' ! i^ ' V^ORKS.— Memorials of Edinburgh in the Olden Time (1847) ; A work illus- trated from drawings by the author, and consisting of descriptions of local and historical events, and of laboriously collected matter of anti- quarian interest. Oliver Cromwell (1848): Chiefly a compilation from 40 various sources. The Archeology and Prehistoric Annals of Scotland (1851); also illustrated by the author: A large and elaborate classification of the antiquities of Scotland, pronounced by Hallam to be " the most scientific treatment of the Archaeological evidences of Primitive History which had ever been written." Prehistoric Man ; or, Researches into the 45 Origin of Civilization in the Old and New Worlds (1862) : Besides other matter, this work contains the results of Dr. Wilson's investigations into the Ethnology and Antiquities of America, and discusses the origin of civilization, the unity of the human race, and the length of time that has elapsed since the creation of man. Chatterton ; a Biographical Study 50 (1869) : A work of high merit, in which Dr. Wilwn's purely literary qualities are seen at their best. Caliban ; or, The Missing Link (1873) : A remarkable production, in which the author brings his knowledge of an apparently literary subject to bear on one which properly belongs to the domain of Science. It is at once an argument against the Darwinian 55 theory of Evolution, and a criticism on Shakespeare's "Tempest," and Browning's "Caliban on Setebos." The author shows that Caliban, Shakespeare's poetical creation altered in Browning's conception, is the WILSON. Ison received the ire in University the advancement Esrciture, and Eth- hilosophic mind, their breadth of t'ective eloquence irt in the history ee to its present iry and scientific .cceptability, the of which he was al claims on our 3w philanthropic lifested an active ■ existence to his 1 with Secondary iation of Ontario, ; late Council of stimation of the on Dr. McCaul's f University Col- ;he fitting reward ducation. f7) ; A work illus- f descriptions of 1 matter of anti- ;ompilation from nals of Scotland rate classification to be " the most Primitive History jsearches into the ;) : Besides other nvestigations into ses the origin of of time that has ographical Study s purely literary sing Link (1873) : his knowledge of aperly belongs to ist the Darwinian "Tempest," and ws that Caliban, conception, is the "missing link" between man and the brute. Spriiio M'ild Floiiu'rs (1873) ; A reprint, with additions, of an earlier volunu; of poems bearing the same title. RcmiiiiscciiLcs of Old Edinbiirjrh (1873), profusely illustrated from 60 drawings by the author. Dr. Wilson has also written several of the articles in the recent edition of the Kncyclopirdin liritunnica, and his contri- butions to the Canadian yonrnal and Canadian Monthly have been frequent and important. Critical. — Dr. Wilson is a man of versatile powers— an able speaker, (^^ an energetic and industrious worker, and a writer who has won distinc- tion in both Literature and Science. The special characteristics of his style are ease and fluency. His treatment of scientific subjects is clear and exact ; his views, even when they may he combated, are original, well based and well argued ; and his language is choice and expressive. 70 On literary topics he is equally at home, his style being eloquent and graceful, sometimes full of tender feeling, and often glowing with the charms of a fervent imagination. GExNERAL WOLFE AND OLD QUEBEC. A PERIOD of imbecility, gloom, and disaster, marked Eng- land's share in the war which followed soon after the truce of Aix-la-Chapelle, till the Great Commoner was called to the coimcils of the nation. Forthwith vigor took the place of despondency and defeat. Men were entrusted with the con- duct of the war because of approved fitness, and not from family connections or parliamentary interest ; and, among the rest, young Wolfe was selected by Pitt, and sent with General Literary. — Give an account of the course of the war before the events narrated in the selection. (See Pri- mer of Canadian History, pp. 29-30; and Thompson's English History, pp. 282-284.) I. imbecility, gloom, and disas- ter. Explain clearly the meaning, and show to whom each refers. Is the sentence to which they belong loose or periodic? (12, H., i, a.) 4-5 Forthwith— defeat. Why a short sentence ? See also 1. 10. (12, H., I, b.) Note the order of the words. (12, n., 2, a.) Elocutionary.— A narrative and descriptive selection. The prevailing quality is therefore pure ; force, moderate ; pitch, middle ; and time, moderate. (HL, 1-5.) 4-5- vigor, despondency. For the reading of contrasted words, see (HL, 6, e), and (HL, 8, a and d). Note.— The figures within brackets refer to the sections of the Introductions ; those under the heading "Literary," to Introduction, Part II.; and those under the heading Elocutionary, to Introduction, Part I. II 4 . ADVANCED READER. Amherst to this continent, wliere Lord Loudon liad been con- lo ducting matters to most unsatisfactory results. Forthwith all was changed. At Louisbourg, Cape Breton, Brigadier Wolfe effected a landing under the eye of the General and Admiral Boscawen, in the face of powerful batteries, and with a sea so violent that many boats foundered ; and pushed on the '5 siege till Louisbourg fell, and Cape Breton with it. The fleet to which the Court of Versailles had confided the defence of French America was destroyed ; the captured standards were borne in triumph from Kensington Palace to the City, and there suspended in St. Paul's, amid the roar of cannon and ^o the shouts of the people. As Walpole expressed it : " Our bells are worn threadbare with ringing for victories ! " The energy of the great Minister seemed to extend its in- fluence everywhere. The year 1759 opened with the conquest of Goree ; next Guadaloupe fell , then Ticonderoga and 25 Niagara, bringing that old war, in fancy, to our own doors. And as on land, so was it at sea. The Toulon squadron was completely defeated by Admiral Boscawen off Cape Lagos, while Wolfe— now General of the forces of the St. Lawrence,' —was preparing for the achievement which was to crown the 30 triumplis of the year with sadness and with glory. Tae sea- son was already far advanced. He had tried in vain to effect a landing below the Montmorency, and do battle with Mont- calm where he lay entrenched at Beauport. All fears or hopeb of aid from the French fleet were at an end. But 35 Montcalm had other resources ; had already— though in vain— tried, by fire-ships and rafts, to annihilate the English fleet. His best hope now lay in the equinox, and the early 11-15. What are the emphatic places in a sentence ? (12, II., 2, a.) 15. fleet. Explain the Metonvmv (12, IV., I.) ^ 16-17. Is Alliteration allowable in prose ? (7.) 21. worn threadbare. Explain. (12, IV., 2.) 1-21. What class nf sentence nre- vails in this paragraph ? (12, 11.^ i.) 25. in fancy, to our own doors. Explain. 29. crown. Show from derivation the exact force. 30. with. Why repeated? (12, . 33-34- All— end. Show that this IS a condensed sentence. ('12, II 28 35. Read the parenthetic clauses in a lower tone. (III., 8, c.) U7L.SOA'. lad been con- Forthwith all gadier Wolfe and Admiral d with a sea shed on the ;t. The fleet le defence of indards were he City, and cannon and ed it : " Our es!" Jitend iis in- the conquest deroga and own doors, luadron was ^ape Lagos, . Lawrence, crown the '. Tae sea- ain to effect with Mont- VU fears or end. But -though in the English d the early r own doors. Dm derivation )eated ? (12, ow that this :e. (12, II., 8, c.) winter beyond, with their gales, to drive General and Admiral both out of the St. Lawrence; and he already flattered him- self that Quebec and French America were as good as safe for 40 another year. The English General's fears corresponded only too closely thereto. Fatigue and anxiety preyed on his delicate frame. A violent fever prostrated him for a time; but, undaunted, he J returned to his work, and at length the night of September « 1 2th, 1759, had come, and the d-\wn of his fortunate day. His troops, 5,000 men in all, had been already transported above Quebec. These he embarked in boats, dropt down the broad river in silence, under the stars ; and, as he glides swiftly towards victory and death, a little incident illuminates so for us the stealthy machinations of that night with a tender spiritual ray. John Robison, a young midshipman — long after well known as Professor of Natural Philosophy in the University of Edinburgh, — was in the same boat with the General, and loved in after years to recall the incident. As 55 they moved down the river with muffled oars, Wolfe repeated in a low voice some stanzas from Gray's " Elegy," — then in the first blush of its fame, — ending with the prophetic lines : — " The boast of heraldry, the pomp of power, And all that beauty, all that wealth e'er gave. 60 Await alike th' inevitable hour ; The paths of glory lead but to the grave ; " and as he closed, he added that he would rather be author of that poem than victor in the impending battle. On the triumph which followed we need not here dwell. 65 39. both. Parse, and account for Its position. (12, VI., i.) 22-41. Note that the rapid move- ment of the abrupt style which pre- vails in this paragraph, brings out forcibly the thought in the leading sentence. (12, II., i, b.) 43. thereto. To what ? 45-46. dawn. Explain use. 48. dropt. Parse. Examine the construction of this sentence. (13, I., 2, c, 2.) 49. glides. Note the effect of the changed tense. (12, IV., 3.) 50. illuminates. Meaning here ? 58. blush. Explain the Metaphor. (12. IV., 2.) 65. Account for the order of the words. (12, II., 2, a.) 39. The boast, etc. words. (III., 7.) Slow and solemn tone. Pause after emphatic ii 11 i i hi P ' ■}- ■f 1 :L APFAA'CFP NEADRR. "itl, al »!„■ 1 historic intinnnes, arc inddiMv iinnrinted on every C.ii.ulia,, ,„ii„l. W„|, „,„ ,„„„„. ,.^ • ^^"« °" I^MKlan, fl„„te,l „v.r the lu.„.|„s „f giid,ec'inark i, „ .A ° 'l/erT: -^ Y"''- •'•'-""'"-^ "--forth, in;, X eve form of ^'overnn.ent, was to be English, not FrJnc .« ff.rT, ;""%''":"'• '""' ''^^ •■>"■' """O^"''" lay tee" pedcefiil III the lirotherluiod of iltalh. For Wolfe, it was the close of a life tint mi.d,t ,.,.ll i, "envied. Tcn,ler and true as Nc Ji 1, ,',",, H nobler moral .self.co„,mand. he hud fall r'tl',rn''' J^ on«,ns eyes for her you„R soldiers return. She was ,' id oTirrde":: ^ •"; °b^ r"; "^^ '■•'" -->•"-•«" .h could desire, and she had nrged his stay with all the e , quenee of love. But diit.^ called him, and, howeve rel ,e tan.iy, he , heyed. The verses have been pr«ervld whic he T,>V T "^ "'" "°' '=°'"l"'^« ^""' Grays " EIckv " but they have an interest of their own, as where he urgesf- " Two passions vainly pleading, My beating heart divide : Lo ! there my country bleeding, And here my weeping bride." 95 65-7.^ Contrast the abrupt stvle here u ith the longer l„ose sentences 01 he prrceding paragraphs. (12 II r, 6.) r V . •, 70-71 ThJs-Freuch. Give fully the grounds of this statement, 1Z. peaceful — death. beauty of this touch. Note the 78 Black Prince. Show the pecu- liar aptness of this reference. 91 as where. Expand. 92^ Two passions, etc. Gentle force. Pause aft er "passions," "there, ''~''''"»'''^™»»,'i.i.yjiBI|)IIW','.'Ha'MJ'*l: WILSON. of Abraham, imprinted on in the fla/j; of lain fully. structure of ., 2 and 3.) discuss fully. at is meant ? he ascribe ■aldry." is ately intro- Paraphrase. II i WILSON. 9 young Marquis de Montcalm, whose name generous hands have since graven on the same column with that of Wolfe on the ramparts of Quebec, appears to have been a leader of exceptional worth among those whom the worthless Louis 155 XV. delighted to honor. A letter of his, written to a cousin in France, only three weeks before the fall of Quebec, shows a statesmanlike prevision very suggestive to us now. Antici- pating possible results, with the EngUsh masters of the river and the French fleet annihilated, he says, " If Wolfe beat me 160 here, France has lost America utterly." But, as he tells his friend, there lies for comfort in the future what even Chatham failed to foresee : — with all occasion for defence against French neighbors removed, " our only consolation is that, in ten years, America will be in revolt against England ! " 165 So shrewdly reasoned Montcalm, as he looked from that old vantage-ground into the future of this continent ; and though there is no longer the jealousy of rival European powers to act as a counterpoise to American assumption, the foresight of the young Frenchman has still a lesson for ourselves. The 170 generous emulation of Canada and the United States can only prove healthful to both. The habits of self-government learned from the same parent, may help, in honorable rivalry, to correct failures of each, while adapting to this New W^orld free institutions mherited by both from England. But the 1-75 dream of absorbing this whole continent into one unwieldy Republic is only suited to Young America in the stage of boastful inexperience. Should it ever be realized, the teach- ings of the past point to it as the mere transitional step to greater disunion. The bounds of our Dominion are, on the 180 153. with. Criticise use. 155. Point out the contrast. IV., 8.) (12. 158 suggestive to us now. Cf. 11. 169, 170, and what follows. 165. America— England ! Why should the absence of the French bring this about ? 161-165. But — England ! Express the thoughts in this sentence without using a direct quotation. 161. has lost. Account for tense. 167. vantage-ground. Why so? 168. jealousy— powers. What is referred to? How could their "jeal- ousy " act as a " counterpoise " ? 172. only. Criticise position. (13, I., 2, c, 2.) 174. each. Why "both" in 1 175? 177. only. Criticise position. j 178-180. teachings— disunion. 11- I lustrate from history. N ■I lO ADVANCED READER. whole, well defined ; and our historical individuality is deter- mined by antecedents which it would puzzle the chroniclings of a Monroe doctrinaire to fit into his ideal Republic of the future. 185 The French-Canadian who calmly reviews what the France of his fathers of the Louis XV. era was ; what the France of subsequent Revolution eras has been ; what share has mean- while been frankly accorded to him in working out free insti- tutions on a wiser and surer basis ; and what his own NouveUe igo France, and the ampler Canada of the united races have become: has no reason to dissociate old Quebec from his cherished memories. But transferred to a political ■ ^'on which imposed on us the celebration of Fourth of Jul, isni- versaries, the memories of Quebec and those of Queenston 195 Heights would prove equally irreconcilable with loyaUy to the State on which they had been engrafted. There need be no antagonism between Canada and the United States: sprung like ourselves from the loins of Old England ; and not un- worthy of her parentage. Nor need we shrink from acknow- 200 ledging that the independence of the older Colonies v/as a victory in the cause of freedom, in which England herself has been a gainer ; for the triumph of Lord North and of King George would have impeded later hard-won rights which have made it impossible that an English minister shall ever 205 again dare to do what Lord North then did. But Canada has no inheritance in the memories of New England griev-. ances; unless it be those recollections which she loves to cherish of Loyalist forefathers, whose fidelity to the Empire overbore all consciousness of personal wrongs. The geographi- 210 cal and political characteristics of Canada alike shape out for it an autonomy of its own ; and it were well that the statesmen 181-184. our- Cf. 11. 192-190. -future. Paraphrase. 185-190. Show why the Lower Can- adian can still cherish the memory of Old Quebec, and explain clearly the contrast brought out in 11. 192- 196, "But — engrafted." 185-196. Paraphrase this passage in simpler language. 201-202. England— gainer. Illus- trate from history. 203. later hsu-d-won rights. What are referred to ? — future. 209-213. The- these statements Criticise WILSON. II is deter- oniclings ic of the e France "ranee of IS mean- ree insti- Nouvelle :es have from his al -i 'mi III;. ..:i- uefcnston »yahy to need be : sprung not un- acknow- 3S was a Tself has of King s which lall ever Canada id griev-. loves to Empire ographi- e out for atesmen s passage ,er. Illus- its. What Criticise of this continent should lay to heart all that is involved in the wise foresight with which Montcalm forecast its future. France unquestionably had her revenge for the defeat at Quebec, in the Revolution of 1783 ; and reaped revenge's tit- 2,5 ting harvest in her own Reign of Terror, and all the revolu- tions that have followed, ere she could acquire some capacity for self-government. For whether America forget it or not, England had trained her children to deal even with revolution as free men, and not as slaves broke loose. A grand experi- 220 ment in the science of self-government has been entrusted to us ; and the American Republic, with its Washington bureau- cracy, and the quadrennial throes of its Presidential elections, has not so solved the problem that we must need cast in our lot with the United States, as though that were the sole 225 avenue to a political millennium. A problem of singular interest is being solved here. Two races, the foremost in the ranks of humanity, long rivals in arts and arms :— the stolid, slow, but long-enduring Saxon; the lively, impressible, gallant Frank — are here invited to 230 share a common destiny, and work out a future of their own. The Norman and Saxon of elder centuries have united with the Celt to make England what she is. Saxon, Norman, and Celt meet here anew, under other fortunes, to make of our common Dominion what future generations will know ho%v to 235 prize. Men of the old French monarchy before the era of revolutions, have been succeeded by those who here, under the segis of England, have been admitted and traijied to all the rights and privileges of a free people. It is a privilege not to be lightly thrown away, that we 240 share the destinies of an Empire where the Rajah of a British 215-216. reaped — harvest. Ex- plain the Metaphor. (12, IV., 2.) 218-220. For — loose. Illustrate this statement by a contrast between the Americans and the French during their Revolutions. 222-223. Explain clearly the objec- tions here urged against the American Republic. Criticise "need," 1. 224. 228-229. long — arms. Illustrate from history. 229-230. the stolid — Frank. Point out the Imitative Harmony. (12, IV., 4.) 232. elder. Why not "older?" 240-246, Express the thought in this sentence without the author's amplification. (12, V., 2.) Show the aptness of each word or phrase in the expansion in the text. 12 ■i . % ADVANCED READER. we innent, as a member of that "-re^f Rrifici. r- r j ...rB.'ir.s.'*;.-;:,',:.:;™"'"^''*"- " Far on in summers that we shall not see " ..^^l-'^'.w^y^^P'*" Games. Bring out -.^7 2<;t w»„, », ,j , the full force of this designation.^ rie;'L ^JeclTus^o us ' '''''' ""'''"'^- men^'o?thetr?pe'names.' '"'"^" ^^^^ "«' "^^^^ - the subject ? bord5^^^:;:;P[^;^-^i-^d^sl.. that in some places U sophiftrh^i^y^o^ht^^-?^^^^^^^^^^^ 2) ; and tender feeling (13; h , 2) • ^ ' °'^^ vocabulary (13, I,, Composition. sei?crnt^Li"thrf:i,o;i';;gTeadT'rVh ^ '""""^rf °^ ^^^ P^-^ing ■policy. II. Wolfe and MonSm~Trr P^^"'''^-' '^^^^^ "^ ^'"'^ ^Pi^ted Quebec. IV. The victory V Wollv i?'"P^''^f°"« ^^^ the attack on ment in England of his death VII H^dV r'^^'lf- ^^- The announce- the destinies of the world.''' VHl' Montcaim's'^'s't: ^.'S^^' ^^^ <=hanged Generous rivalry of Canada anH fhl °V -f j c? •^'''*^wd reasoning." IX. Canada intende'd for\'n"tuoTomf ^ftr^^' X^ll!''"' 1° ^'^'^- ^• bemg^olved^^^ that is Vther expressions than those which occTiVin ;7 '•"-""S"i=in:.s synouym, ur by substitutinff ment of facts with the ornate one many'lhiLZr: ""'^^' ''^ <^°""-=»^"n/a bald 'S St footprint gift to the i prize-cup ce brought ries whicli 3nfederacy 1 Canada ; e Antilles ; ghtly cast the conti- n; it will then look her of the id aspires lese memo- ubject ? ■ places it ind philo- iry (13. I., preceding 's spirited attack on innounce- i changed ig." IX. 3oth. X. m that is «ses should Jbstituting bald state- CHARLES SANGSTER. Biographical.— Charles Sangster, who years ago established his claim to a place in the foremost ranks of Canadian poets, was born on the i6th of July, 1822, at the Navy Yard, Point Frederick, Kingston. His father, who held the position of shipwright at one of the naval stations on the Upper Lakes, died before his son was two years of age; and, although 5 sent regularly to school, the attainments of the future poet were for a time of a modest character. When grown to manhood, however, he gradually sup- plied by zealous application the defects of his early training. At the age of fifteen, he was obliged to leave school to assist in supporting his mother, and during the Rebellion of 1838 found employment in the Laboratory at 10 Fort Henry. Having afterwards occupied for ten years a humble position in the Ordnance Office, Kingston, and seeing no prospect of promotion, he resigned in 1849, and went to Amherstburg. Here he edited the Conner till the death of its publisher in the following year. He then returned to Kingston and entered the office of the Whig, his duties being nominally ,j those of sub-editor. This situation he gave up in 1861, and in 1864 became a reporter on the staff of the Daily Nctcs, resigning in 18G7 to enter the Civil Service at Ottawa. From domestic causes Mr. Sangster has not of f I m •'* SI H ADVANCED READER. late years cultivated hir, favorite pursuit ; but .vhat he has already accom- 20 plished has established his reputation beyond the bounds of his native land. Works.— TAi' St. Lmi>nncc and the Sagiwnav, and oflr-i' Poems (1856) • The leading poem celebrates in the Spenserian stanza the beauties and sublimities of our two noblest rivers. It wants, however, the artistic finish which longer practice enabled the author to give his later productions 25 Many of the other poems are remarkable for their fire and lyrical excel- lence, and the whole volume shows his patriotism and his fondness for nature. Hesperus, and other Poems (i860) : This volume is almost entirely lyrical. In Hesperus, a Legend 0/ the Stars, the poet essays a lofty flight occasionally, however, rising into the clouds. Amongst the remaining 30 pieces, probably the best are The Happy Harvesters, which supplies some excelk^nt rustic songs and ballads ; The Falls of Chaudiire, a now well- know 1 Canadian chant; and the touching series of poems under the title Into the Silent Land. To use the words of Bayard Taylor, this volume is "a decided improvement on the first, showing both more freshness and 35 more art, which is the highest requisite of poetry." Critical.— Mr. Sangster's inspiration seldom comes from foreign sources • he IS emphatically a Canadian poet. His fine descriptive power i- lavishlv expended on Canadian scenery ; he is never more successful than when he treats of Canadian themes; and his verses glow with manly patriotism 40 when he deals with events in the history of our country. Love and the domestic affections often prompt his utterances; but the beauties of nature provoke his passionate admiration : it is in descriptions of rural life and rural scenery that his poetic powers are niost conspicuous In the language of Dr. O. W. Holmes, "his verse adds a new interest to the 4.? woods and streams which he sings, and embellishes the charms of the maidens he celebrates." Mr. Sangster possesses wid. human sympathies • his imagination is lively; and a religious tone pervades his works On suitable themes his diction rises to stateliness, and his vocabulary is peculiarly rich. Mr. Sangster well deserves the praise of having held a 50 conspicuous place amongst those who laid the foundation-stone of Can- adian literature. ! SANGSTER. 15 Iready accom- is native land. Poems (1856) : beauties and artistic finish productions, lyrical excel- fondness for imost entirely a lofty flight, !ie remaining luppHes some a now well- nder the title his volume is reshness and ■eign sources : 'er i" lavishly han when he ly patriotism Love and the beauties of 3 of rural life lous. In the terest to the larms of the sympathies ; works. On icabulary is iving held a one of Can- OUR NORLAND. We have no Dryads iti our woods. No Fairies in the hills, No Nereids in the crystal floods, Nor Undines in the rills ; No jolly Satyrs such as he. The gentle Spenser, found In that rare Dream of Chivalry With which his muse is crowned : No sacred Fawns, no Druid oaks. No Sylvan deities, No Ouphs to hold along the brooks Their midnight revelries ; No Ogres, guarding castle-keeps, No Witches wild and lean, No crafty Sirens from the deeps, No Genii from the green : No mellow-throated nightingales Rousing the wilds with song. While Echo waits through all the vales The sweet notes to prolong ; No larks, at heaven's coral gate, To celebrate the day In fiery strains, and passionate Outljursts of lyric lay. IS 90 Literary.— Name the metres of 7. Dream of Chivalry. Explain the first two lines. Scan 11. 1-4. fully. i 8. muse is crowned. Show force of " crowned." Note that this poem is the develop- ment of one main thought by the use of Contrast and an emphatic enu- meration of particulars (12, IV., 5), with the poet's reflections thereon. 21. heaven's coral gate. Is this description true to nature ? 23-24. fiery strains lyric lay. Criticise appropriateness. Elocution.'vry.— What is the prevailing quality, time, force, etc., re- quired in reading this lesson ? (III., 1-5.) 1. Pause after " Dryads," and all other emphatic words. (III., 7 and 8.) 6. Connect " found " with the line following. 23-24. Connect "passionate " with "outbursts." f ' I ■ f ^ 1 I. 1 1 3° 35 40 ^^ ADVANCED READER. But we have birds of plumage bright, And wrrblers in our woods, Whose hearts are well-springs of delight, Whose haunts, the solitudes— The dim, untrodden wilderness, Where wildness reigns supreme- God's solemn temple none the less Than some romantic dream ; Vast ev'n beyond the thought of man, Magnificently grand ; Coeval with the first great plan From Nature's artist-hand : Deep within deep, and wild on wild. In savage roughness rolled. Grandeur on grandeur heaped and piled Through lusty days of old : The stern-browed cape, the lofty peak Round which the mists are curled. Whence Fancy not in vain might seek The circle of the world : Broad inland seas and lovely lakes Their tribul-s seaward pour O'er cataracts, whose thunder shakes The granite-belted shore : The rugged oak, the regal pine, Our woodland monarchs, these. Whose strong arms nursed the circling vine Through countless centuries ; 28. haunts. Parse. .-, ^, t-^^ . 43-44- Paraphrase. 31-36. Paraphrase, and parse "tem- \ 40-48. Point out the Imitative Har- ple and "none." | mony. (12, IV., 4.) Zl. Vast. Parse. I 48- graaite-belted. Is this to be i taken literally ? emp'tfal.''?z;\v.',6.)" ^""^^ " ^.f"' '^^''^' Note position. (:2, IV., 27. Pause after "hearts," also after "haunts," in 28 (II?: i^Tan^rfV^"'^ ''°''^^' ^'"^ ^"'^ '""'' '""^"'"^ '"*° °'°'""'^- 45 50 CHARLES SANGSTER. 17 Their reign was from the days of eld, Their hosts were mif^hty peers, Who fought and fell as time compelled The battle of the years. We have no feudal castles old. Like eyries perched on high, Whence issue knights or barons bold, To ravage and destroy; But we've the remnant of a race As bold and brave as they, Whether in battle or the chase — The Red Man of to day. How brave — how great — in days of yore, Their scanty legends tell ; The soul a-hungered craves for more. But lo! beneath the swell Of Time's resistless, onward roll, The unwritten secrets lie. No voice from out the distant goal, No answer but a sigh. For Time, like some old miser, keeps The record of the Tribes, And will not yield it from the deeps For promises or bribes. What mighty Chiefs ! what Sachems gray I What multitudes of Braves ! But what remains of those to-day ? A continent of graves ! And in their stead the Old World pours Its streams of living men — 55 60 6s 70 75 80 56. battle. Parse. 57-64. Examine the rhyme. What are here contrasted ? Is the Anti- thesis a good one ? (12, IV., 8.) 67-76. Trace the Metaphor (12. IV., 2), and point out the simile. (12, IV.. 9.) 71. goal. Criticise the aptness of this word. (13, I., 2, c.) 79. those. Criticise use. o orotund. 65. How brave. (III., 8, c.) 68. Prolong the sound of " swell, u ! ! I i I ■ ifi 85 90 9S ADVANCED READER. Its he'^rts of oak — alonjf our shores To peoj)le hill and glen ; To battle through a nation's youth Until, by heaven's grace, We rise, in freedom and in truth. Another British race. Stand up, then, in thy youthful pride, O nation yet to be, And wed this great land to its bride, The broad Atlantic Sea ; Fling out Britannia's flag above Our heaven-born endeavor. Our chain of waves — one chain of love- Uniting us forever. THE VOLTIGEUKS OF CHATEAUGUAY. fnrmir°"?'"'J~^"""^ ^^^ ^^^ °f ^812 the United States Government r™r iS''" ?"" the conquest of Lower Canada. Two armies under MnmrS {^"""Pri? ''"'' Wilkinson were to move simultaneously against Montreal from different quarters, and, after taking this city, the united forces were to descend the St. Lawrence, and capture guebec^ wflk^Json however, having been defeated at the battle of Chrysler's Farm solm th^ rlnr^" ^° *^^ American side; and Hampton, as he was descending r.f ,X? V l!''"''^' '"'*'' 7.c?oo men, encountered Colonel de Salaberry's force Ind1^« H^'''"'''' '^'' ''f^ht-armed infantry, and a few Highlanclers and «fr„.. 1 ^'''"'"« selected a favorable position, the Canadian leader con- structed some defensive works. Here, shortly afterwards, (October 22nd, lll^'}^^^/'^^^^^^^^i^y'ti^rupton,^,■hobad divided his troops into two corps. The poem is descriptive of some of the incidents in the battle. Our coimtry was as a stripling then, Young in years, but of mettle true ; Now, how proudly our bearded men Look back and smile at what youth can do. 91-92. Explain. 94- For meaning, cf. 11. 86-88. i-io. Scan and name the metres. 2-4. Is this thought an appropriate contrast to what precedes ? 89-96. Read this stanza with orotund quality and loud force. , I. Pure tone, moderate time and force. Pause after " country " "Then" IS strongly emphatic and contrasted with "now,- in the th?rd line 3. Pause after " proudly." Connect closely "bearded men look back " can do!"" '''''"'''"'''"''"'' "'"'^"•" ^^^^d ^^ °"« ^o^d "vvhat youth CHARLES SANOSrilK 19 ites Government armies under meously against city, the united Dec. Wilkinson, ;r's Farm, soon was descending ialaberry's force lighlanders and lian leader con- (October 22nd, troops into two 1 the battle. do. t an appropriate ;edes ? rce. itry." "Then" rd line. 3n look back." 1 " what youth Hampton mif,Oit threaten with odds thrice told ; The youiif,^ blood leaped to attack the foe, Winning the fields as in days of old, With a few stout hearts that braver grow Though ten to one the invaders be : Like the Voltigeurs of Chateauguay. The sun rose fair that October morn, Kindling the blaze in the autumn hues ; Pride in each eye ; every lip breathed scorn ; Stay life— coine death—not an inch we'll lose- Not a square inch of the sacred soil ; Hopeful, and firm, and reliant all. To souls like these there is no recoil: If spared— they live ; if they fall— they fall. No braver battled on land or sea Than the Voltigeurs of Chateauguay. No threatening ramparts barred the way, No bristling bastions' fiery glare ; Yet scarce three hundred scorned the fray, Impatient, in the abattis there. "On ! " Hampton cried, " for the day is ours;" Three thousand men at his boastful heels ; "On!" as they passed through the leaden showers. Many a scoflfer to judgment reels. True hearts — true shots — like their ancestry, Were the Voltigeurs of Chateauguay. «s 2S 30 7. Winning— days of old. trate from hi;.tory. Illus- 10. Like — Chateauguay. What is the grammatical relation of this phrase ? Observe the refrain at the end of each stanza. 12. Kindling. Show aptness and full force. 14. Rewrite in ordinary prose form. 16. What figure? what effect ? (12, IV., 7 and 10.) 23. scorned the fray. Force of " scorned" ? 16. Pause after " reliant ; " make " all " emphatic. 18. Risinf inflection on "scared." and falling on " live" 20. Make a slight pause alter " Voltigeurs." 25. On I— for the day is ours. High pitch, loud force. " On," (III., 5.) 26. Read in a lower pitch, and more slowly than the preceding. 20 M M *i 1 . I|h 1 : 1 : J I , ^ If 1 i .( . 3S 40 45 50 55 ADVANCED READER. From bush and swamp sped the rattling hail, As the fusilade grew sharp and keen ; Tirailleur— chasseur— loud the wail Where their deadly bullets whi/zed unseen. Here, Schiller stands like a wolf at bay ; De vSalaberry— Macdonell, there ; And wherr Hampton's masses barred the way, Press Ixi Chesnay, Daly, and Bruyere : And their bold commander — who but he Led the Voltigeurs of Chateauguay ? No bi ief disaster can daunt the brave ; The soil is theirs— shall they own defeat ? Perish the wretch, without grace or grave. Who would not death ere dishonor greet ! In every breast of that scornful band. Such was the answer, engraven deep ; At every point, on either hand, "Thrice armed," on the jeering foe they leap ; Who rolJii.g back like the ebbing sea, Met the Voltigeurs of Chateauguay. "See to the ford!— not a man shall pass!" Gallantly done ! how the foe disperse ! Routed, and broken like brittle glass, Nothing'is left them but flight and curse. "They are five to one! " baffled Hampton cried ; "Better retreat until fairer days." WW 3 J. Tirailleur. Parse. 35-36. What are the emphatic places in a sentence ? (12, II., 2, a.) 39 commander. Cf. 1. 33. ob- serve that for poetic effect the sen- tence which is begun as a declarative one, is turned into the interrogative form. (12, IV., r8 and 12.) 49- Who— sea. Explain the simi- le. (12, IV.. 9.) 33- See (III., 8, c,/.) 34. Prolong the sound of " whizzed." 43- Perish. (III., 5.) 51. Loud force, high pitch. tle^iasl''"^^ "■^'"" " ''""^'''^ ' " ^°""''''' ''^"^''^^' ^^"^ '''°'''^'' " ^"^^^^^^ ^'^^ ^"- 55. They are five to one I High pitch. Read "baffled Hampton cried " in a lower tone, and return to the pitch of " oi;e," on " better." hail, seen. way, e t? ' leap ; CHARLES SANOSTER. 21 cried ; as a declarative le interrogative id 12.) jcplain the simi- Thc three thv:)usancl ily, hunibkul in pride, And the brave three hundred ^dve God the praise. Honor and fame to the humlreds three; To the Voltif^eurs (it Chateaiif^iiuy ! nd..ss .. . rature\shich had characterized him at the Un.versUy, but the en o^^^^^^^^^ of his ministerial office prevented hin. fronj engagmg to any "' ! " vtent in literary pursuits. The amount of work he did m connec- fCn . ^ cllh ::hi;s and benevolent and education^d ^"terpnses^was . n K- L^reat • and though some of them were undertaken m the fate ot .0 :: ; fficulUes', h z al and nobility of character secured for him friends gt all denominations and a personal popularity that has seldom be^^^ rrnassed As President of Queen's College. Dr. C.rant has been con pic- "iTs ccessful. His undoubted ability, independence, and liberality of pit-ha"e obtained for him in Ontario an influence th.at is remarka 1 . .5 ronsclerina the shortness of his tenure of office; whilst his fervent man- r ^ "nthi^iasm as a teacher, combined with great e-«^-Umsmess shrewdness, have been mainly instrumental in securing for Queen s Us present prosperity. WoRKs-CRiTiCAL.-In the summer of 1872, Dr. Grant accompanied as 30 secrtar" Mr Sandford Fleming, C.K.. on his tour of i-pect.on o the nropose 1 route of the Canadian Pacihc l^ailway. During the three months spen in the overland passage he kept a diary of "the ^l-f things they saw or heard, and of the impressions they formed respecting the country as hey journeyed from day lo day and converged with each "jher o,. th 3S suliecl '' This, •' transcribed almost verbally." was '-^^terwards published "Ir the title of Oc.an to Ocean. In his "^^ductory cha^j^^er h^^ disclaims any intention of sacrificing to mere literary effect the nUhfulness o whThe -felt and saw ; " but the vividness and freshness of the descnp- io so travi ami scenery, that form the main feature of the book more .0 1 compensate for faults of construction which were ""^voidable unde the circumstances of its production. The volume was well received, and ht done much to excite lo interest of Canadians in the ^oundle^ re^urces of their Western possessions. His magazine and newspaper artic es, and ll work fn connection with Pictures,,. Cuuia, of which he is editor-in- .s chief also display much literary skill, an easy flexible style, and a pmver of graplc description that often rises into brilliancy. These pnuluctions are "ilently but'the first fruits of a career of literary industry from which much may yet be expected. tmummammmtmrnm 24 ADVANCED READER. mi f'l i ' i- ! s<., 1 i 1 • i i 1, : ( i ') '1 ^ r THE DISCOVERER OF CANADA. From " Picturesque Canada." Canada has not much of a past, but all that it has from Jacques Cartier's day clusters round the cannon-girt promon- tory of Quebec ; not much of a present, but in taking stock of national outfit, Quebec should count for something ; indeed, 5 would count with any people. We have a future, and with it that great red rock, and the red cross flag that floats over it, are inseparably bound up. The glowing pages of Parkman reveal how much can be made of our past. A son of the soil like Le Moine, who has an hereditary right to be animated by 10 the ffcui us loci, whose BoswelMike conscientiousness in chroni- cling everything connected with the sacred spot deserves all honorable mention, may exaggerate the importance of the city and the country, its past and its present. But truer far his extreme— if extreme it be- -than Voltaire's or La Pompa- 15 dour's, and their successors' in our own day. The former thought France well rid of " fifteen thousand acres of snow," with an appreciation of the subject like unto his estimate of those " yiii/s mismibles," about whose literature the world was not likely to trouble itself much longer when it could get aothe writings of the French Philosophes instead. The latter heartily agreed with him, for — with Montcalm dead — " at last Literary —1-5. Canada— people. Account for the Metaphor in the latter part of this sentence. What effect on style have figures from such sources ? 6. that— it. Note the Imitative Harmony in the Alliteration and monosyllabic structure. (12, IV., 4.) 5, 8. Note the position of " future " and "past." (12, II., 2, a.) 15 successors'— day. Who are meant? former. Who? Criticise use. i8-2o. about— instead. Point out the Irony. (12, IV., 13.) 18-20. Is the introduction of foreign words allowable ? (13, I., i, b.) 21-22. Contrast the attitude of France towards Montcalm with that of Flngland towards Wolfe. Account for the difference. Elocutionarv.— For prevailing tone, force, etc., see note on "Wolfe and Old Quebec." ,. ^'.^'S- Emphatic pause after "past," "present," "future." What is the inflection on each ? i\\\ V '\ '"^^^^^ ^^^ ^°"^" ^^'K^'^'y '" reading the pareulheli-j clauses. 15. 20. The former ; the latter. What inflection is there on each ? GEORGE MONRO GRANT. 25 tlic King will have a chance of sleeping in peace." To us it seems that the port v.hich for a century and a half was the head-quarter^ of France in the New World, the door by which she entered and which could be closed agauist all .5 others, the centre from which she aimed at the conquest ot a vir-in continent of altogether imknown extent, and from which her'' adventurous children set forth-long-robed missionaries leading the ^ay, trappers and soldiers foUowing-unti they had established themselves at every strategic point on the ^.t. 30 Lawrence, the Great Lakes, the Ohio, and the Mississippi from the Falls of St. Anthony to New Orleans, must always have historical and poetic significance. The city and the Province which for the next hundred and twenty years have remained French in appearance and French to the core, yet 35 have fought repeatedly and are ready to fight again side by side with the red-coats of Great Britain,-the best proof sure y that men can give of loyal allegiance ;-which preserve o < Norman and Breton customs and traits and moties of thought and faith that the Revolution has submerged in the France ot 40 their forefathers, fondly nursing the seventeenth centmy in the lap of the nineteenth, must, perhaps beyond any other spot in North America, have an interest for the artist and the states- man. . T J In the sixteenth century the gallant Francis L made seven 45 attempts to give France a share in that wonderful New W orld which Columbus had disclosed to an unbelieving generation; but, like his attempts in other directions, they came to nothing. In 1535 he out three little vessels under the orders of Jacques Cartier, a kilful navigator, a pious and brave man, we 1 50 worthy of the patent of nobility which he afterwards received, instructing him to proceed up the broad wat--way he had dis- .) Turn them into loose sentences. 33. poetic significance. Why so? J4-J5. next anil have remained. 48. like- referretl to ? llxpliiin the re- directions. What are I ! I 26 ADVANCED READER. I covered the year before, until he reached the Indies. His duties were to win new reahns for Mother Church, as a com- 55 pensation for those slie was losinj; throuf,di Lutheran and Cal- vmistic heresies, and to l)ring hack his schooners full of yellow gold and rosy pearls. Thus would his labors redound to the glory of God and the good of France. Jacques Cartier crossed the ocean and sailed up the magni- 60 ficent water-way, piously giving to it the name of the Saint on whose fete-day he had first entered its wide-extended por- tals. For hundreds of miles the river kept its great breadth, more like a sea than a river, till the huge bluff of Quebec, seen from afar, appeared to close it abruptly against farther 65 advance. By means of this bluff thrust into the stream and the opposite point of Levis stretching out to meet it, the view is actually narrowed to three-quarters of a mile. Coasting up between the north shore and a large beautiful island, he came, on the 14th of September, to the mouth of a 70 little tributary, which he called the Ste. Croix, from the fete celebrated on that day. Here he cast anchor, for now the tmie had come to land and make inquiries. It needed no prophet to tell that the power which held that dark red bluff would hold the key to the country beyond. The natives, with 75 their chief, Donnacona, paddled out in their birch-bark canoes to gaze upon the strange visitants who had in great white- winged castles surely swooped down upon them from another world. Cartier treated them kindly. They willingly guided him through the primeval forest to their town on the banks of 80 the little river, and to the summit of the rock under the shadow of which they had built their wigwams. What a landscape for an explorer to gaze upon ! Shore and forest bathed in the mellow light of the September sun for forty miles up and down both sides of the glorious stream ! Wealth enough there to 8i satisfy even a king's pilot and captain-general. Between the summit and the river far below he may have seen amid the 72-74. It— beyond. Why did it need no prophet to do this ? 77. surely. Acconnt for imc. 77. swooped. Does this word suit the context ? (ij, I., 2, c.) 68-152. Note the author's powers of graphic description. (13, II., i.) 81 04. What -stream! Classify these sentences. (12, IV., 15.) 84. Wealth. Explain. GEORGE MONRO GRANT 27 (>) 1)5 ,„,e the «,ittcr of .ho .uavt. "y-]^^ f™:;::';;;Ven:,;nl ^ afterwards received .t. nam. o C.^^ J^^ • ' - ^ , ,,.„„,. on his next voyaKC he gathered H^""^" ■ ^f_ ,,„,,. But the great attraction mu:>t have l.cen the . l%c g ;ast with the tribute of a„ ""'<;«'-> -"';'^'- ^: "ad vaters swept rotn.l the feet of - '"f ^]^ f ;,„,, ,i,h, up cast a stone into the <=>'"™:; f"';' '"«' , ,< lan.l that ..ow ,0 the base of the roek. The nariou s p c ^^ extends between rock -^ nver, cr„wde.|^u tl tl, ^ ^^^^ ^^^^^ Champlain Street, was not here then ^ ^^^ won from the waters and the ■-; ' ;^^' ^'^orld cannot land even the botmdless spaces o the Nev^ ^^ satisfy. Tire ground tlrat sloped down '"= ^^^ ^„^,^^^^, the nronth of which his vessels '"y " ""^'l";,;™ „,,,, and with the finest hardwood '-"--(^'"^^.V.^^'^f'^D 'nnacona's n>aple-and among Urese -^^-^^^ ™ Stadacona. To tribe could be seen. Thc> callul tne Om,bec. ,Ws day no name is more P"!™'""^;^;;' ^ tan a skating \nv new enterprise that may be projecteu, " dnk to a bank or steamship company, prefers St,>dacona any other name. Tourmente and round the horizon All the way down to Cap Tourmente, a , , , f 1 K.r tli*> fir.clc'' 'd summits ot tlie i^aureiuui^; formed by the hr cu -o ,„,,..,„„ ^n unbroken forest enclosed the w,de-extended '■^"'J ,<=^''; |^ '„„ cape Dutmond ranged. The picture, seen ^^ ''>" ^;'»' el The sun shines to-day, is as fair as f;7«Xcnd the continuous vista ot on the gl.ttenng roofs of Quebec imi clean white hou s extendn,g n, le '^''^^ ^ J^J ,„„ ,.,„ of Montmoreno and on culfvate , '^^^l^J^^^^^,,^ r^'Hrrt^tst"ntvS;;.:;:'^>car,:;. soul swelled with the e.t.otions of a d.scoverer, w,.h exulta.on 105 1 10 t20 01. tribute—continent. Explain. | 108-111. All -ranged. Classify j this sentence. (12, li., 1, '■ ; j 114. white riband. What part of | the Montmorency is referred to ? 115. Why is there no comma after "Still"? J J- Hades. Is this word ayn ' 120. Why is there no conjnncUon before the second "with"? m i ;i '' > ' (12, VI., 3.) 135-145. Note the brilliai d- painting of this passage. (i_^ i.) li^'-iiV- immense — air. Explain. 143-145- Classify this sentence. (12, IV.. 15.) 144-145. pictures. Explain. Note "listeners." 151 golden shield. Explain i.u Allusion. (12, IV., 14.) 121-122. What inflection is here required ? (III., 6, a.) GEORGE MONRO GRA\'T. 29 To Canadians, winter is simply one of tlu> four seasons. The summer and autumn suns ripen all the crops that ^'row i„ England or the north of France, and in no temperate climate is more than one crop a year expected. 1 he Iros ,55 and snow of winter are hailed in their turn, not only as useful friends, but as ministers to almost all the anuisements of the vear-the sleighing, skating, snow-shoeing, ice-boatmg, tobog- Lning-that both sexes and all classes delight m. 1 he frost does much of our subsoil ploughing. Snow is not only .r« the best possible mulch, shading and protecting the soil at no cost but its manurial value gives it the name of "the poor man's manure." The ice bridges our lakes and nvers. A good snow-fall means roads without the trouble o. road- making, not only to kirk and market, but throtigh thick .6. woods, over cradle-hills, and away into the lumber regions. An insufticient supply of snow and ice is a national calr.uiity ; and excess can never be so bad as the pall that covers Eng- land and Scotland hali the year, and makes the people take ^^^ their pleasures sadly." . '^° But we are prepared for winter. Jacques Cartier was not, and very heavily its hand fell upon him, as it did subsequently on Champlain when he first wintered at Quebec. " Trom the middle of November to the 18th of April, the ice and snow shut us in " wrote the brave and pious captain. Ice increased ,75 upon ice. Snow fell upon snow. The great river that no power known to man could fetter, was bound fast. Every- thing froze. The breath that came from their mouths, he verv blood in their veins seemed to freeze. Night and day their limbs were benumbed. Thick ice formed on the sides of .80 their ships, on decks, masts, cordage, on everything to which moisture attached itself. Snow wreathed and curled in at every crevice. Every tree had its load. A walk in the woods was an impossibility, and there was nowhere else to walk Confined within their narrow domain, and living on salted X85 153. summer and autumn suns Where ? 170-188. Observe the abrupt style , : (12, II., I, b) and the vivid character '^^ . , .„ of the description. (13, II., i ) 158. What effect on the style has "^ " I J this enumeration ? (12, IV., 16.) and 17G-177. no-fetter. Dotsthib (13, II., i) convey the meaning intended f 168. pall. Explain fully. ' 30 ADVANCED READER. food, scurvy seized upon the lielpless prisoners. What was to be done ? Cartier had recourse to lieaven, receiving, how- ever, the same minimum of practical answer that was given l)y Hercules to /Esop's waggoner. A modern writer of scru- lyo pulous accuracy describes naively the appeal and its boot- lessness: "When eight were dead and more than fifty in a helpless state, Cartier ordered a solemn religious act, which v/as, as it were, the first public exercise of the Catholic religion in Canada, and the origin of those processions and pilgrimages ,95 which have since been made in honor of Mary, to claim her intercession with God in great calamities. Seeing that the disease had made such frightful ravages, he set his crew to prayer, and made them carry an image or statue of the Virgin Mary over the snow and ice, and caused it to be placed 200 against a tree about an arrow's flight away from the fort. He also commanded that on the following Sunday mass should be sung in that place and before that image, and that all those who were able to walk, whether well or ill, should go in the procession— singin, ihe seven penitential psalms of 20s David, with the Litany, praying the Virgin to entreat her dear Son to have pity upon us." On that day mass was celebrated before the image of Mary, even chanted, Cartier tells us ; apparently the first occasion of a high mass in Canada. At the same time Cartier gave another special 210 proof of his vivid and tender trust in Mary, promising to make a pilgrimage in her honor to Roquemadour, should he be spared to return to France. " Nevertheless, that very day, Philip Rougemont, a native of Amboise, twenty years old, died ; and the disease became so general that of all who were 215 in the three ships there were not three imtouched, and in one of the ships there was not one man who could go into the holU to draw water for himself or the others." Despair fell upon the poor wretches. They gave up hope of ever seeing France again. Cartier alone did not despair, and the dawn followed 189. Show that the description | tence may this word be placed . quoted is a naive one. Note particu larly 11. 212-214. 208. occasion. Parse. 210. vivid and tender. Explain. 214. died. Where else in the sen- style of 11. 170-188. Criticise. (12, VI.. i.) 219-220. dawn — hour. What pro- verb expresses this ? 216-250. Compare w'th this the GEOKCE MONRO ORAXT. 31 the (Inrkcst hour. One o f the Indians told hun of "the most > ex( luisite remedy that ever was a decoction composed of tin leaves an( I bark of the white spruce lie achninistereil the I iu eiL'ht days the sick were re- The icy fetters mechcine without stint, ant ^' r'.'^wthe lon« crud .hUcr wore aw.y. The icy .eUers .. relaxed Uk-I, kh,. of land and river. Under w»™ ^ ', ^ ,1, ...n rose thrillinL' the dead trees nlto life. Anud tnc nic : ir^-rgra-s and damty s.ard.ke flowers sprang « ^Vldy'asin atot-honse. Cartier P-.;- ,, '; t' 1 'e' 1 .. Latm . yj^^^'^J"'' , , French " Then treacherously •rrnre ot God, Kuit^ ot tlic ircncM. X .nn^ Donnacona on hoard ship, t., l.e --^' ^^^^^^ - Kn'^'of Stadacona to the Kin, of France, he set sad for St. "^N^ihin, came of this, the second voyage "^ ^arti.- -ul little wonder. What advantages did Canada offer o nuU ct n o eave home? What tales could the travellers td, .o v of black forests, deep snow, thick ice, Btarvmg Iml - , and all-devouring scurvy ? But Cart.er was -otd.^r^ ind six vears afterwards F-n-cs resolved to try a am. Role alC commissioned . i.und a permanent settle- me . He sent Cartier ahead, and Cartier tned a Cap .s Rote above Quebec, the Indians of Stadacona naturay noS; not making him welcome. But tl- expernnen d d not Succeed. The time had not come, ^-.r Y a c-tu^^ was to pass away before the true father of New 1 ranee ^^ the founder of Quebec— would appear. 239-242. Note the Erotesis. (12, IV., 18.) Substitute declarative sen- tences for those in the text. 246-247. naturally enough. Why so? 24 T, Falling inflection on " forests," " snow," etc. Why ' d^^ , 6, «, d.) I. CI : .ify this extract. ^3.) 2 Point out evamples of Dr. Grant's simplicity nd accuracy ot lan- guag'^ '- T., 2, and c) ; and ability to combine into .nM sentc" :e a lar^.^ numoe; - paiticulars, ! i 32 ADVANCED READER. n 3. WhatclasHof sentenco prevails? (i^, II.) Refer to passages illus- trativ" ' ! t!.. ;. iodic, Loose, and Balanced structure of sentence. 4. Show that the rules for the construction of paragraphs are well observed. (12, III.) 5. Give a list, with examples, of the different means by which Dr. Grant has secured the strength and brilliancy of his style, (i .^ III., r.) 6. What elegancies of style occur ? (ij, III.) Give examples. Composition. Reproduce, in one or more exercises, the substance of the preceding ex- tract under the following heads:— I. Relation of Ouebec »o our past and future. II. Different estimates of its importance. III. Quebec of interest to the historian, poet, artist and statesm xn. IV. Jacques Cartier's voyage up the St. Lawrence — Ste. Croix, Donnacona, Stadacona. V. View from ynebec ihen and now. VI. Autumn at Mount Royal. VII. ( rtier's fii >t winter in Canada. VIII Failu of this expedition. CHARLES G. D. ROBERTS, M.A. BioGRAPHiCAi.,— Chas. G, D. Roberts, the youngest poet , Dominion, was born in 1851J at Sackville, N. L He was educated m Fred( icton, where his father was Rector, and in 1879 graduated with honors 1 the Univors'ty of Nev. Brunswick. Mr. Roberts is now Principal of the I'ork 5 Street School at Fredericton, N. B. Works. — Orion and other Poems, The leading poem in this volume is founded on a touching incident in the old mythical story of Orion. Diana's favorite deems himself worthy of "maiden-lipped, snow-breasted Merope," whose fatiier (Enopiun consents to the marriage on condition that the 10 mighty hunter should free his '.and /rem wild beasts. Aided by " kindly rninistrap'' )rion performs his t.\sK anu returns victorious as CEnopion is sar "licing 10 Apollo. The king, though he promises the reward, has him d; . d .-•' (i blinded. Then follow some of the finest passages— the chorus of N ds, the lamentation of Orion, the gaining of the uplands where «5 th^ .osy bc.ims of morning are to restore his lost sight, the break of day and the coming forth of Eo and the journey to Di 'os of the goddess and the hero. Of the other poems, it is not too much to say that all have merit, "Ariadne," "Memnon," "Sappho," "Ode to Dro ■ sihood," and "An Ode to Night," being of unusual excellence. 20 Critical.— Although, to use the author's words, these poems are but " first fruits, Rathered by distant ways, In brief, sweet moments of toilsome days," Mr. Roberts' verse is remarkable no less for its arti;;tic finish than for its intensity and sweetness. His language is well chosen, his taste delicatCi as and his numbers harmonious, many of his productions showing, in both spirit and form, a diligent and appreciative study of Greek models. Imag- ROBERTS. 33 ages illus- ce. . nre well Dr. ( irant 30 illative power he possesses in no small deRree, anfl his poetic fervor is a steady glow which frequently bursts forth into brilliant flashes, I-or so young a man Mr. Roberts has been eminently successful. He has, indeed. "felt the spell that lifts asunder Soul from body, when lips faint and thounht is strong." Vlthough somewhat under the influence of the English lyrical poets, he .lisnlays marked originality, and in the near future will, no doubt, realize , liigh hopes which these "first-fruits ' justify his countrymen in enter- taining. BROTHER CUTHRERT. CuTHHERT, open ; let me in ! Cease your praying for a minute ! Here the darkness seems to grin, Hold a thousand horrors in it ; Down the stony corridor Footsteps pace the stony floor. Here they foot it, pacing slow. Monk-like, one behind another : Don't you hear me ? Don't you know I'm a Httle nervous, Brother ? Won't you speak ? Then, by your leave. Here's a gu' l lut Christmas Eve. Shrive me, but I got a fright ! Monks of centuries ago 10 Literary.— Explain clearly what is meant by a Dramatic Lyric. (4, II., 5.) Throughout the poem note, and bring < t the causes of, the changes that succeed one another in the monk's mood and attitude. Where is the monk when he begins to speak ? x-6. Scan and name the metres. 3 grin. Show the exact force. 4 Hold. Parse. II. Won't. Contrast with " wont " as to etymology and pronunciation. 11-13. What does the monk do at this point? Describe his attitude and state of feeling as represented in 1. 13 ELoruTioNARY.— Begin in a loud, high-pitched tone, such as one would use in demanding admittan* e, pausing after each command. Read lines ^-6 in a slightly lower conversational tone. 9, 10. High pitch, rising inflection. II. Read "Then by your leave," etc., in a lower tone. 13 Read this as if almost breathless from fright. (III., i, a.) c 34 ADVANCED READER IS ( si • 1 ;i II ao as 30 35 Wander back to see to-night How the old place looks : — Holloa ! This the kind of watch you keep — Come to pray — antl go to sleep ! Shame, man ! Keep your vigil ! Wake ! Double penance else your bones Soon will pay with wrench and ache For your tempting couch of stones. Hard and cold your couch and cell. Brother, yet you slumber well ! All, this mortal flesh is weak ! Who is saintly there's no saying. Here are tears upon his cheek ; And he sleeps, that should be praying,- Sleeps and dreams, and murmurs : Nay, I'll not wake you ; sleep away ! Holy Saints, the night is keen ! How the nipping wind does drive Through yon tree-tops bare and lean, Till their shadow seems alive, Patters through the bars, and falls Shivering on the floor and walls ! 16. Holloa ! What causes the ex- clamation ? Note the change of feel- ing here and in 1. 19. 18. Come — go. Parse; complete the ellipsis. (12, IV., 6.) 20. penance. Parse. Why "dou- ble ' ' ? else. Turn into a subordinate sentence. 27. What are now the monk's mood and attitude ? 29. Nay. What change of position now takes place ? 31-42. What is the monk's attitude while speaking thus ? How does he act in saying" Holy" — "keen," I.31 ? Note the vividness of the description. For meaning of 11. 32-38, cf. 11. 92-95. 34-35 seems alive, patters, falls shivering. Show the expressiveness of these predicates. 18. Pause after "come" and "pray;" contrast "pray" and " ;,o to sleep," and not "come" and "go." 20. Pause after "penance" and "else." 24. Pause after " Broth'-''" What inflectioi i« there on this word ? 25-30. This stanza requires gentle force. (III., 2.) 31. Holy Saints. (III., 5.) 35-36. Connect clos' 'v "falls shivering." K()lii:RTS. 35 How yon patch of freezing' sky Echoes back their bell-rniginf,'s ! Down in the gray city, nigh Severn, every steeple swings ; All the Inisy streets are bright,— Many folks are out to-night. - What's that. Brother ? Did you speak ? 40 Christ save them that talk in sleep ! Smile they howsoever meek, Somewhat in their hearts they keep. We, good souls, what shifts we make To keep talking while awake ! Christ be praised, that fetched me in Early, yet a youngling, while All unlearned in life and sin. Love and travail, grief and guile i For your world of two-score years, Cuthbert, all you have is tears. Dreaming, still he hears the bells As he heard them years ago. Ere he sought our quiet cells Iron-mouthed, and wrenched with woe. Out of what dread storms who knows— Faithfulest of friends and foes. Faithful was he aye, I ween, Pitiful, and kind, and wise ; 45 SO $i 60 37 patch. Why was it a patch ? | 43- What change in attitude and ^8. Scan and criticise the effect, feeling now takes place ? 47. We. Account for the repeti- tion. (12, v., I, b.) 55. Dreaming. Parse. (12, IV., 4.) 40. swings. Explain. 41. Note the transferred epithet. (12, IV., 17.) 58. Iron-mouthed. Explain. 60. What poetical ornament ? (7.) 4}. Rpverenti.i! pure-tone. 53. Make "your world" emphatic. 54. Pause after "Cuthbert." " Tears," emphatic. 61. Lower the voice slightly in reading " I ween. II 65 70 75 36 ADVANCED READER. But in mindful moods I've seen Flame enough in those sunk eyes :— Praised be Christ, whose timely Hand Plucked from out the fire this brand ! Now in dreams he's many miles Hence ; he's back in Ireland. Ah, how tenderly he smiles, Stretching a caressing hand ! Backward now his memory glides To old happy Christmas-tides : Now once more a loving wife Holds him ; now he sees his boys ; Smiles at all their playful strife, All their childish mirth and noise ;— Softly now she strokes his hair— Ah, their world is very fair ! Waking, all your loss shall be Unforgotten evermore. Sleep alone holds these for tliee ; Sleep then, Brother. To restore All your heaven that has died Heaven and Hell may be too wide. Sleep, and dream, and be awhile Happy Cuthbert once again. 63. mindful moods. What was the , III i and 2.) How are they pro- character of his thoughts? duced? ■ , ,.u^ ; 7g. Waking. Parse; point out the 69-96. What emotional quality of .^^^^.^^^ ^^ ^j,^g ^^^.^i style pervades this remarkably fine ^^ ^^^^^^^ _ ^.^^ p,^. passage? {13, n.) [ ^^^.^ ^^j^ clearly. 71. now. Explain this use of the j g,^.. heaven — Heaven. Why word. Observe that it is repeated. j^^^^ differently ? Give the mean- le ? (13, I ing of the former. 80 85 78. What elegancies of styU 67-68. Connect close- "many miles hence." Make a long pause after 'hence." 69-70. Gentle pure-tone. 81. Pause after " Sleep" and 'alone; " both words are emphatic. ROBERTS. 37 90 9S Soon you'll wake, and cease to smile, And your heart will sink with pain ; You will hear the merry town. And a weight will press you down. Hungry-hearted, you will see Only the thin shadows fall From yon bleak-topped poplar-tree— Icy fingers on the wall ; You will watch them come and go, TeUing o'er your count of woe. Nay, now, hear me ! how I prate ! I, a foolish monk and old, Maundering o'er a life and fate To me unknown, by you untold : Yet 1 know you're like to weep Soon ; so. Brother, this night sleep. THE MAPLE. Oh, tenderly deepen the woodland glooms, And merrily sway the beeches ; Breathe delicately the willow blooms. And the pines rehearse new speeches ; The elms toss high till they brush the sky. Pale catkins the yellow birch launches. But the tree 1 love all the greenwood above. Is the maple of sunny branches. chosen epithets. 102. Soon-bleep. What does the monk do after speaking thus . Show the ..8. scan and name the metres. | ^^4.^pines - spe^-he. Sh.-.v the appropriateness ot ya- .^^^^^ Rhymes. rious epithets used throughout the 4 -^ ^^ Not^_^^ ^^^ ^^^^^ ^^ ^^.^ poem. o. auuiijr- I. tenderly. Explain. | epithet. loi. Emphasis on the contrasted word, weep" a^^^^ "sleep." " weep soon." 102. Pause after " soon " and night. (III., 8. t.) Connect veep G. catkins. 38 ADVANCED READER. 10 IS Let who will sing of the hawthorn in spring, Or the late-leaved linden in summer ; There's a word may be for the locust tree, That delicate, strange new-comer ; But the maple it glows with the tint of the rose When pale are the spring-time regions. And its towers of flame from afar proclaim The advance of Winter's legions. And a greener shade there never was made Than its summer canopy sifted ; And many a day, as beneath it I lay, Has my memory backward drifted To a pleasant lane I may walk not again, Leading over a fresh, green hill, Where a maple stood just clear of the wood— And oh, to be near it still ! lo What poetic ornament ? 13. maple. I'arse. Note in this line a common emphatic redundan- cy. (12, v., I, b.) 13-14. But— regions. Show that this description is true to nature. 15-16. Mark the originality and beauty of the Metaphor. 18 sifted. Show that this ex- presses the appearance of the shade. 19-24. Observe the heightening of I the poetic effect by the personal i reference. 9. Patise after "will." 24. Change the tone of voice so as to express the mournfui longing. 1. Classify the preceding poems. (4, II.) 2. What passages in " Brother Cuthbert " illustrate the monk . '" spending some time in London ,0 journalistic literature of the day Aut.r ^P«" J' ,f ^^, historical I returned to Oxford, w.th \ -"-"^ ;^/ /^'^'l on the Political research, and, it is saul, to the P'^^^P'^'^f '°" .^.^ „f ^ Koyal Commis- History of England. The /-^PP^"^'"^'' ' ^ " , .'^ i.^nt- ecretaryship sion to inquire into Univers.ty -^-j-^j^^: ^'J^'j^^,*:; f,, a time he' was .5 of which he accepted, interfered wUh th >j cl-.M a _ ^^^^ .^^^ ,UU- occupied with the ^^^^ ^^'^^^ZlvV^^ oi a second Com- valued by the Government that, on mt api ',11 1 40 ADVANCED READER. mission, he became secretary, and by his ability and intimate acquaint- ance with the subjects of investigation, contributed materially to the ao reforms that resulted from its labors. The Report, in 1861, of the Popular Education (?ommittee, of which he was an active member, also greatlv influenced subsecjuent legislation. In 1S57 he was chosen to the Regius Professorship of Modern History at the University of Oxford, which, owing to his father's illness, he resigned after eight years' ten!ire of office, 25 During all this time he had become conspicuous amongst the writers on the Liberal side of politics, and, as is to be expected in the case of a man of strong opinions and uncompromising independence, had incurred the ill-will of the leaders of the opposite party. On the breaking out of the American War he sided with the North, rendering it good service by his 30 letters to the London Times and Daily Ni'7i's : and on his first visit to America in 1S64, was received with general enthusiasm. In the Jamaica controversy in 1865, he took an active part, siding with the accusers of Governor Lyre, and contributing the proceeds of his lectures on "Three English Statesmen" to the fund for the prosecution. In 18O8, having is accepted the offer of the chair of English and Constitutional History in Cornell University, Ithaca, N.Y., he left England to assume its duties ; and, as the Professorship is a non-resident one, removed to Toronto, where he has since resided. He has in various ways taken a lively interest in educa- tional matters, and for a time was a member of the Senate of the Univer- 40 sity of Toronto, and the representative of the Public School Masters in the late Council of Public Instruction. In Canada, as in England, Professor Smith has been distinguished by activity in literary and political que.stions, his opinions on the latter having provoked from those with whom he differs, a good deal of hostile criticism, which, however, is only another tribute 45 to the importance of his utterances. On some subjects of national interest he holds views that do not recommend themselves to most of the inhabi- tants of the Dominion, but there are few who will deny the honesty of his motives or the surpassing excellence of his style. If 11 m ill 1 if: I III If Works. — Lectures on the Study of History (r86i) : A volume containing 50 the four most remarkable of his Oxford Lectures. Here, amongst other things, he ridicules the contention of Buckle and his followers, that History may be reduced to an Exact Science. Irish History and Irish Chnractir (1862) : An expansion of a lecture delivered before the Oxford Architec- tural and Historical Society at their annual meeting in 1861. In this 55 sketch the author "pays more attention to general causes than previous writers on Irish History; cultivates the charities of history; and, in the case both of the rulers and of the people, takes fair account of misfortunes as well as of crimes." The Empire ; a collection of letters published in the Daily News (i86j) : This series treats chiefly of England's relations to her 60 colonies and dependencies — Canada, New Zealand, Gibraltar, and the Ionian Islands coming in for a large share of attention. Three Eiij^Ush Statesmen : A course of lectures on the Political History of England (1865), the statesmen selected being Pym, Cromwell, and i'itt. The Political '5'««»n^; GOLinVIN SMITH. 41 r /' V. MS-7SV An essay in which ho maintains that "the Canada, England, and the United States. rHiT.CAL-Gokhvin Smiths intellect is keen, highly cultivated, and C KiTicAL. <^xOKiM ^ ■ independent, outspokon-p<^ssd)ly thoroughly equ.pped^nc^^^^^^^^ ^ .^^^^^^ ^,^ „,^,^_^j too much -•-- ^J ""i^,*^ ;;,,d, ,he main source of both his weakness ,, Td hilstrengh W In he writes, he has something to say, and he says --: an e^n^tn^^and an energy - - ^^^ ^ ^^^ "" : '7of nmria il and ,hecUim«<.t hereditary rank. His works are shall not willingly let d>e. THE BATTLE OP LUTZEN. Froiu "The Great Duel ol the Seventeenth Century." Aff^r th,- Reformation Europe became - ,'h up into two Introductory.— After th'. Keiormauu t ■ , ,.,,.iuuallv took paries the Protestants and the IV^l"'-^"!^':;, ^'^ S I'ni heCalholic Kiie shape in the formation "^' ^ ^h ty Velr^' War , - .S-.648) was League. The immediate cause th- u ,v\ .ch ^hese confederacies took the contest for the crovvn of l^"»^f X se hm ^ver the original cause was opposite sides. Long before ^»^^f^'^,^^\; j^" 'i;euveen the Uaion and the f.VrWten, and the war became trug^kb^^^^^^^ League, the central ponitciv Incl^^ as tic^^^^^^ ^^ Christian i>f lenstein, the Imperial general, o ''^;^ ^""^^^f^^^^ but was Denmark, the leader of the 1 "^"^ ^^ e r'dinind his place being taken by afterwards dismissed I'y /^^'^J-^l^l'VV'^ ',^!'^^* ' J," ,\us Idolp^ of Sweden. Tillv, the general of the C ^'h"!'^ ^^^''^J ^j^.^f Vh Lt^uestan! arnnes. After •;r3i:a''vrJi:;r\t,Tl.r^'aL\,^^':";r,!;.'"c.rove ',,,,. ...e sa..,,s, 42 ADVANCED READER. ■II 111 ' •Hi Gustavus's allies. Then uniting his forces with those of the Elector Maximilian, he marched ajjainst Clustavus, who, thus checked in his career, shut himself up in Nuremburg. Here both armies lay encamped for eleven weeks, Ciustavus finally making an attack on Wallenstein. Being signally worsted, he broke up, and advanced into Bavaria. Wallenstein, however, marched on Saxony, joining there another Imperial army under Pappenheim. At this junciure in the Great Duel, the following extract opens. To save Saxony, Gustavus left Bavaria half conquered. As he hurried to the rescue, the people on his line of march knelt to kiss the hem of his garment, the sheath of his delivering sword, and could scarcely be prevented from adoring him as 5 a god. His reli-ious spirit was filled with a presentiment that the idol in which they trusted would be soon laid low. On the 14th of November he was leaving a strongly entrenched camp, at Nuremberg, where, the Imperialists fancied, the sea- son being so far advanced, he intended to remain, when news 10 reached his ear like the sight which struck Wellington's eye as it ranged over Marmont's army on the morning of Sala- manca. The impetuous Pappenheim, ever anxious for separ- ate command, had persuaded an Imperial coimcil of war to detach him with a large force against Halle. The rest of the 15 Imperialists, luider Wallenstein, were quartered in the villages around Liitzen, close within the king's reach, and unaware of his approach. " The Lord," cried Gustavus, " has delivered him into my hand," and at once he swooped upon his prey. " Break up and march with every man and gun. The 20 enemy is advancing hither. He is already at the pass by the hollow road." So wrote Wallenstehi to Pappenheim. The letter is still preserved, stained with Pappenheims life-blood. But, in that mortal race, Pappenheim stood no chance. Halle was a long day's march off, and the troopers, whom Pappen- LiTER.\RV. — I. By what artifice ; 5. What caused this presenti- does the author indicate Gustavus's ment ? rapid movement ? (12, II., i, h.) | jg. why not "reached him?" 3. Note the omission of the con- | 18. swooped. Cf. with Dr. Grant's junction, which adds to the nervous 1 use of the word, p. 26, 1. 77. energv of the style, (12, IV., 11.)' ^g.^^ ^Vhat kind of sentence? This figure is noticeable throughout How does this affect the style ? (13, the selection. 4. scarcely. "hardly." Distinguish from II.. I.) 21 22. The —life-blood. graphic touch. Note the ^^S*tH. fcK^nrw; GOI.nWIN SMITH. 43 heim couUl lead Kalhmtly, but coukl not control afl.r takn.K n rtown, ha.1 d,sperse.i to plunder. Ye. the Swede s «re opportnn ty was lost. Lut.en, though n, s^-ht. prove, not Tnl as flattering guides and eager eyes had u,.j,k t The deep.banked Rippaeh, its bridge all too narrow fo he multtus coUnnns, tte roads heavy fron, ran,. .Wav-' "i - a ch. A skirmish with son.e lu.perial cavalry under ls<^a.u va ted minutes when minutes were years ; and the short N^lmber day was at an end when the Swede reached the '''no°1 "advantage n,arks the spot where .he storm . overLk the Dnke of Friedland. He was caught hke a ° aJeUer in a tempest on a shelterless plain, and had no.lnng for i but to bide the brunt. What could be ,lone w h d, cl es, two windn.ills. a u„ul wall, a su,all canal, he du mov n- from point to point during the long n.ght ; and before „ mo™ug all his troops, except Pappenheuu's dms.on. had rnmp in and were in line. , When the m,.rning broke a heavy fog lay on the ground. Hhtcu-lans have no. Failed to remark that there ,s a syn.pathy " ng and that the day was loath to dawn winch was < « h. the h t day of Gustavns. Bu. if Nature syn,pa.lu«s a s rong 5» le ■•-." Marse,lla,se of ,he milUan. KeformaUou. I hen G^avus mounted h,s horse, and addressed the .hfferen divisions adjuring then, by their victorious name, b> the ,~of the Breitenfeld, by the great cause whose issue , mg upon their sworels, to fight well for that cause for he. . country, and their God. His^hc.ar. was uplifted at Lu.zcn, ,„-,. The- m«ch. Shovr.ha.| 5.. Marseilles.. W..a.P»r. "t ,h. lords ,n th,. «.u™« are adimr- i speech J ^^^ ^e Jrliiion' fonu .>bU adap.ed,a the sense. C^' '^ ■ ™«*^„™3rasl impl.ed m llie 4,|and(l3. HI, 2) (.nitlict .;:;^1^s^::^;^?-'"°^Y^..3. Note he. .^^a^;.ho;u 44.47. Note that a word may be the -^act he empha uc rcpct.t.on repeated for perspicuity or vividness. | of words, (12. l\ - ^o,) 44 ADVANCED READER. , li%^ ■I if '■ with that Hebrew fervor which uphfted the heart of Cromwell at Dunbar. Old woinuls inaiie it irksome to iiim to wear a cuirass. " God," he said, " shall be my armor this day." 60 Wallenstein has been much belied if he thought of anything that morning more religious than the order of battle, which has been preserved, drawn up by his own hand, and in which his troo})S are seen stil formed in heavy masses, in contrast to the lighter formation.-, of Gustavus. He was carried down 65 his lines in a litter, being crippled by gout, which the surgeons of that day had tried to cure by cutting into the flesh. But when the action began, he placed his mangled foot in a stir- rup lined with silk, and mounted the small charger, the skin of which is still shown in the deserted palace of his pride. 70 We may be sure that confidence sat undisturbed upon his brow ; but in his heart he must have felt that, though he had brave men around him, the Swedes, fighting for their cause under their king, were more than men ; and that in the balance of battle, then held out, his scale had kicked the 75 beam. There can hardly be a harder trial for human forti- tude than to command in a great action on the weaker side. Villeneuve was a brave man, tliough an unfortunate admiral ; but he owned that his heart sank within him at Trafalgar when he saw Nelson bearing down. 80 " God with us," was the Swedish battle-cry. On the other side the words *' Jesu-Maria " passed round, as twenty-five thousand of the most godless and lawless ruffians the world ever saw, stood to the arms which they had imbrued in the blood not of soldiers only, but of women and children of cap- 85 tured towns. Doubtless many a wild Walloon and savage Show clearly 57. Hebrew fervor. what is meant 50-59. Marseillaise, Cromwell, Dunbar. Observe that the author fires the imagination of his readers by reference to suggestive historical events. (13, II., i.) 61. order of battle 70. What figure ? 71. in his heart. phrase placed thus ? and (12, IV., 8 ) Explain. (12, IV., 21.) Why is this (i^'ll. 2, «,) 74-75. his — beam. Explain the Metaphor. 75-79- There — down. What is the relation between these sentences ? Note the graphic effect. 77. Villeneuve — admiral. Figure? (12, IV., 8.) Note the balanced structure. {12, II., i, c.) 85-86. Show that the epithets used here are well selected. Why are the parts of the subject of the sentence thus arranged .' ti:; GOLDWIN SMITH. 45 95 c o Qivini'ircl atul cruel Italian, who hac\ Croat, many a fierce fP-^" "^^ ^J ,^ ,^ ,,,, i,,,e con.e to hue butchered and tortured at ^ ^^^^^^^^^^ ,,,^ tin- battk- ,Uedust. T;.esemenwere^^h^^^^ ,^^^, .^^.^ acid, ion, ^^-^^^'^^^ZZ^^eu^^^^^y-^^^^'^^^^'^'' - known what a day Nsas noxv nuc ^^^^^ ^^.^,^^^ HUe a recruit on the -T^^^j'^^^^.^c, before the .fterwards broken or l-^ -;<^';; J^. ,,^„,, ,ia, like n.en of lust and revel in every kunl °* "^';":"^; ^i; , ,Uots told that M nine the ^^>;^b|;^" ^,^^:rea U ::;l;er^nd a red .lare the armies were catchmg sij,nt «^ ^. ^^^ L^jt;,,.,! broke the m.s.. ^v1,«e *e ght "he I."Pe- - «" f,;;^„,,, Wallenstein was carrying v.ctory v ,th "m «° ^ ,^,^„,3 ,,„rried to restored .1 ; day upon the r ,lu '^^ ^^^^ „,y, „,, .„ that part of the field. ^8?^'" " . J^,^, g„i for his victory. :-. -™ii"™xrr s:d .... .» -« loo .01. the telescope-sword B> a pr.raplirase show how adm.rab'y condensed is this sentence. X0.I07 Yet -clay. Point out the contrasted phrases m this sentence. 104-107. What is here referred to? 108-118. Note abrupt style. {12, II., I, t) Why used here ? 114. right. Whose? tma msm 46 ADyANCEl) READER. I :( IH P ^IH i V it:: I20 next advancc'il, they found the stripped and nianj^led body of their kiiifjf. Acxor(hnf< to the most credil)le witness, Onstavus, who had f,'alloped forward to see how his advantaj^'e ini},dit be best followed up, got too near the enemy, was shot first in the arm, then in the back, and fell from his horse. A party of las Imperial cuirassiers came up, and learniiif,' from the wounded man himself who he was, finished the work of death. They then stripped the body for proofs of their great enemy's fate and relics of the mighty slain. Dark reports of treason were spread abroad, and one of these reports followed tiie Duke of 130 Saxe-Lauenburg, who was with Gustavus that day, through his questionable life to his unhappy end. In those times a great man could scarcely die without suspicion of foul play, and in all times men are unwilling to believe that a life on which the destiny of a cause or a nation hangs can be swept 135 away by the blind indiscriminate hand of common tleath. Gustavus dead, the first thought of his ofilicers was retreat ; and that thought was his best eulogy. Their second thought was revenge. Yet so great was the discouragement, that one Swedish colonel refused to advance, and Bernard of Saxe- Mo Weimar cut him down with his own hand. Again the strug- gle began, and with all the morning's fury. Wallenstein had used his respite well. He knew that his great antagonist was dead, and that he was now the master spirit on the field. And with friendly night near, and victory within his grasp, he 145 directed in person the most desperate combats, prodigal of the life on which, according to his enemies, his treasonable projects hung. Yet the day was again going against him, when the remainder of Pappenheim's corps arrived, and the road v/as once more opened to victory by a charge which cost ISO Pappenheim his own life. At four o'clock the battle was at its last gasp. The carnage had been fearful on both sides, and as fearful was the exhaustion. For six hours almost every man 127-128. lixplain clearly "proofs" and " relics." Note that both words refer to the same objects. 131-135. Illustrate from history. 136. Note thechangeof stylewhich follows, to harmonise with the sub- sentence, ject. (12, II., I, b.) Ex- 137. his best eulogy. Why ? 145-147 prodigal — hung. plain. 151. last gasp. Show that the Metaphor is carried on in the next OOLDWIS SMITH. 47 . l,.„l l,nrnv tlic t.-rriWf fxriloin.-iil of moilal i„ Loth armies ha.l l>onK ti c ..xeiun,.i,l combat with p.ke a..>l «"°;^;, •",.':;' us h.uhos. pitch. ,„ !-• been stranH-, by «; «;; , .^ " :,,' c„,,f,,s.... ..«! .lu- ■''^'"r: y ^slamci only by that con„na,«bn« '^■":".::; rrkn': ^ PO.; tbrheh., .he shatter., masses o, lt^::,.^"o "'«-"' Posttton; but they ha. not «one r "re" ti^ey feh .nto the -';-;«--;:'2: .i f "prea.U,,. it •"''i'"''«'""'''ft:Xh"'w th si hi or hear,n« of T^;. IToVnit" wl . hattottle was over, iit.t it is not ,„ the field ot Lut/Lii \\u^i x^rovidence does not visd>lv ahoKether irrationa a,,, bhn.,. 1 -u^ ^,,^,, ^„,,„,, ,,;, interpose m favor of the riK.t. i le -i. -vT,t'^ltr';oT:t,r;:Vts;:^^^^^^^^^^^ a^'ainst it. l^ut tn^ f," o.^.-drs bv leliLnous enthusiasm, tlie .„ ^"r';;",;«l'vrs"s;mgtt'vienna and Ma.hi.f, an.l with good .^ FoTviem a an.l Madrid the death of C.nstavns was lir Orrn t"ory. For ran.ty, ,f the nUerests of ifio-i6i. the-make. Forexplana- | tion, cf. 11. i74-i7'J- 165. Slowly and sullenly. Note the eltect of the repetition. U- - No for a more marked effec 1. i68. (12, IIl.,7)aml(i2, IV., 22.) 166. guns of position. Explain. ,70-171. But-blind. Illustrate. 172-173 The stars-cause. Ex- plain the Allusion. (12, 1\., 14) 173.174. At Lutzen -it. Ilxplain. 171 ster. Distinguish from " stars" i„'(.^,'7. ,,., IV.. 2.) But-star. How shown in this case ^ ! 180-igo. Note here again the fre- i quent Epizenxis. (12. IV, 20.) i 181-1S2 For Vienna — victory. 1 Why ? MICROCOPY RESOLUTION TEST CHART (ANSI and ISO TEST CHART No. 2) I.I 1^ 12.8 |50 ™^ IIIIM uitii, IIIIM 16] ^ I4£ 2.0 1.8 ^ APPLIED IIV HGE Inc 1653 East Main Street Rochester, New York U609 USA (716) 482 - OJOO - Phone (716) 288-5989 -Fax 48 ADVANCED READER. humanity were not those of Vienna and Madrid, it was worse than any defeat. But for Gustavus himself, was it good to '85 die glorious and stainless, but before his hour ? Triumph and empire, it is said, might have corrupted the soul which up to that time had been so pure and true. It was, perhaps, well for him that he was saved from temptation. A deeper morality replies, that what was bad for Gustavus' cause and '90 for his kind, could not be good for Gustavus ; and that whether he were to stand or fall in the hour of temptation, he had better have lived his time and done his work. We, with our small philosophy, can make allowance for the greater dangers of the higher sphere ; and shall we arrogate to our- •95 selves a larger judgment and ampler sympathies than we allow to God ? Yet Gustavus was happy. Among soldiers and statesmen, if there is a greater, there is hardly a purer name. He had won i.ot only honor, but love, and the friend and comrade was as much bewailed as the deliverer and the 200 king. In him his Sweden appeared for the first and last time with true glory on the scene of universal history. In him the spirit of the famous house of Vasa rose to the first heroic height. It was soon to mount to madness in Christina and Charles XII. 188-18Q. deeper morality. Ex-! 200-201. Note the emphatic repeti- plain fully. Note the criticism of tion of "in him." (12, IV., 23.) Tr,A u^^^.. \\7u .. ■ .L-. 202. first. Explain. 196. nappy. What is meant? ' ^ life. 199 was— bewailed. Criticise the form. Why is " the" inserted before "king" and omitted before "com- rade ' ' ? What is meant by "The Great Duel " of the Seventeenth Century ? ?if it GOLDWIN SMITH. 49 CHARACTER OF CROMWELL iMoni "Thiue Knulish statesmen," are still open , ana u y mention of hour, and whose ho.r pe, >aps -^ ""-=--■ ^X., , „„„ „ take for Rrante.l the «oo,lness of h.s cai.se, „,,ether he sefved it '-''''f^V ^^'l -'^; ,^„ ,„„„„r Of his Lfenins there is little quesuun. 11 fl..> ohst-icles of fu vv and ot class. U w as lon^ ;::i::;;^:^:,co,,.for.veo..wh.s.™ea.^^^ foot on law; hut there "■"•''■, '^P^-;,,^,, ,,,, aid not feel xt,:it;r::^ron.t^i^:::^on.nan,. .e... , ^ . ,,c thp thou'^ht returns, not that we ma\ L1TERARY.-5. divine order. Ex- plain the Allusion, (i-i, l\ ■. 1 4-) 6-8. Expand the Metaphor. 15-17. Necessity-brow. E-xpress this without using a figure ol speech lo-n Yet— class. What charac- teristic of the author is here dis- played ? 21-30. It was — arms. Discuss these statements. . ^. ' , A _i„„ /III 8. (T and /j). 0, « t, and.:), also (I! 50 ADVANCED READER. I : ir^i In 40 race which produced Cromwell may, at its need, produce his peer, and that the spirit of the Great Usurper may once more 30 stand forth in arms. Of Cromwell's honesty there is more doubt. And who can hope, in so complex a character, to distinguish accurately the impulses of ambition from those of devotion to a cause ? Who can hope, across two centuries, to pierce the secret of 35 so deep a heart ? We must not trust the envious suggestions of such observers as Ludlow or even Whitelocke. Suspicions of selfish ambition attend every rise, however honest, however inevitable, from obscurity to power. Through " a cloud not of war only, but detraction rude," the " chief of men " had " ploughed his glorious way to peace and truth ! " These wit- nesses against him are not agreed among themselves. Ludlow is sure that Cromwell played the part of an arch-hypocrite in pressing Fairfax to command the army in Scotland ; but Mrs. Hutchinson is sure that though he was an arch-hypocrite on 45 other occasions, on ^his he was sincere. After the death of the king, after the quest of Ireland, when the summit of his ambition was lUa in his view, he married his eldest son Richard to the daughter of a private gentleman, bargaining anxiously, though not covetously, about the settlement ; and 50 caring, it seems, for nothing so much as that the family with which the connection was formed should be religious. Can Richard have been then, in his father's mind, heir to a crown ? Cromwell was a fanatic, and all fanatics are morally the worse for their fanaticism ; they set dogma above virtue, they 55 take their own ends for God's ends, and their own enemies for His. But that this man's religion was sincere, who can doubt? It not only fills his most private letters, as well as his speeches and despatches, but it is the only clue to his life. For it, when past forty, happy in his family, well to do in the 60 world, he turned out with his children and exposed his hfe to sword and bullet in obscure skirmishes as well as in glorious fields. On his death-bed his thoughts wandered, not Hke those of Napoleon among the eddies of battle, or in the mazes 31. Of— doubt, (12, III., 3 ) Cf. 1. 12, and note the structure through- out. 37-38. It— life. Why does this sentence not begin "Not only does it fill," etc.? GOLDWIN SMITH. 51 70 75 of Statecraft, but among the religious questions of his youth. Constant hypocrisy would have been fatal to h.s decsmn. 65 The double-minded man is unstable ni all his ways. 1 ms man was not unstable in any of his ways : his course is as straight as that of a great force of nature. There is some- thing not only more than animal, but more than natural m his courage. If fanatics so often beat men of the world in coun- cil it is partly because they throw the die of earthly destiny with as steady a hand as those whose great treasure is not '^Walking amidst such perils, not of sword and bullet only, but of envious factions and intriguing enemies on every side, it was impossible that Cromwell should not contract a wan- ness and perhaps more than a wariness, of step. t was impossible that his character should not, in some degree, reflect the darkness of his time. In establishing his govern- ment he had to feel his way, to sound men's dispositions, 80 to conciliate different interests ; and these are processes not favorable to simplicity of mind, still less favorable to the appearance of it, yet compatible with general honesty of pur- pose As to what is called his hypocritical use of Scriptural I'lncruage, Scriptural language was his native tongue, in it he spoke to his wife and children, as well as to his armies and his Parliaments ; it burst from his Ups when he saw victory at Dunbar; it hovered on them in death, when policy, and almost consciousness, was gone. He said that he would gladly have gone back to private 90 life It is incredible that he should have formed the design, perhaps not incredible that he should have felt the desire. Nature, no doubt, with high powers g ■ cs the wish to use 85 67-C)8. his— nature. Illustrate this statement from his history. 70-73. What two classes of enthu- siasts are here contrasted ? 71. partly. Assign other reasons. ; 74-75. Illustrate from his history, j 74-89. With what charge against ; rromweU'R ch.aracter does the writer ; deal in this paragraph ? i 76. impossible. How is this em- phasized ? Observe the structure of the next sentence. 84-85. Note figure. (12, IV., 22,) 85-89. Note Anaphora. (12, IV,, 23) 89. was gone. Account for the number of the verb. 91-92. It— desire. Note the pointed style. (12, III., 2) and (12, II., i, c.) Ili .1,1 :! in II ifl w.. 52 ADVANCED READER. them ; and it must be bitter for one who knows that he can 95 do great things to pass away before great things have been done. But wl:en great things have been done for a great end, on an illustrious scene, the victor of Naseby, Dunbar, and Worcester, the saviour of a nation's cause, may be ready to welcome the evening hour of memory and repose, especially 100 if, like Cromwell, he has a heart full of affection and a happy home. Of the religion of hero-worship I am no devotee. Great men are most precious gifts of Heaven, and unhappy is the nation which cannot produce them at its need. But their los importance in history becomes less as civilization goes on. A Timour or an Attila towers unapproachably above his horde ; but in the last great struggle which the world has seen the Cromwell was not a hero, but an intelligent and united nation. And to whatever age they may belong, the greatest, the most 1.0 god-like of men, are men, not gods. They are the offspring, though the highest offspring, of their age. They would be nothing without their fellow-men. Did Cromwell escape the intoxication of power which has turned the brain of other favorites of fortune, and bear himself always as one who held 115 the government as a trust from God ? It was because he was one of a religious people. Did he, amidst the temptations of arbitrary rule, preserve his reverence for law, and his desire to reign under it ? It was because he was one of a law-loving people. Did he, in spite of fearful provocation, show on the 120 whole remarkable humanity ? It was because he was one of a brave and humane people. A somewhat large share of the common qualities— this, and this alone, it was which, circum- 97-98. the victor— cause. Para- phrase. What figure? (12, IV., 19.) 100. Why not thus:— "A happy home and a heart full of affection ' ' ? (12, II., 2, a.) 107. the last great struggle. What great struggle ? When was this lec- ture delivered ? Illustrate from more recent events the statement in the text. 108. Cromwell. Is this a proper or a common noun ? (12, IV., 19.) no. men, not gods. What proof of this statement does the author offer ? 110-121. Discuss the thoughts expressed in this passage in connec- tion with those in " The Gieat Duel," p. 48, 11. 184-196. 112-121. Did— people. Re-write this without the Erotesis, and thus show the effect of the figure. GOLDWIN SMITH. 53 stances calling him to a high trust, had raised Inni above his fellows. The impulse which lent vigor and splendor to his crovernment came from a great movement, not from a smgle ,,5 man The Protectorate, with all its glories, was not the con- ception of a lowly intellect, but the revolutionary energy ot a mighty nation concentrated in a single chief. 124-126. Show from English his- tory that this is true. 126-128 The Protectorate— chief. What proofs of this statement does the author offer ? I. Classify the preceding extracts. . Discuss the merits of Prof. Smiths style under the follmvmg heads re err^go marS Samples, and pointing out in detail the means b> ;:S h'e has secured its various ^1- -es^-L Voca^^^^^^^^ ^ (x2. I.) II. VI Elegancies of style. {13, III.) 3 Refer to passages in which Prof. Smith shows himself to be a cntic of life." Composition. I Reproduce the substance of " The Great D-L. "-J-.J,^ 'f^^^l heads :il. The movements ^^^^^-^-^ r^'^en td'n'b^fo^^^^^ morning of the battle. III. Gustavas ana y^"'="^'^ . ^ f ^^e Tv The Swedes and the Imperialists ^o^'-^^^.^^' J^; JJ,^ ^L^^.en Vm. battle VI ThedeathofGustavus. \ II The sequel at Lutzen. h"w we should regard his death. IX. His character. n. Reproduce, under the ^o.^^^,^^^^ -Umate^^: Cromwell and the arguments by which he e^^-bh ^es^U^^.^.^^ ^ ^^^ cause. IL His geni"^„/Il;.f™jSi,.e importance of great men at Se\f peS'ShiItorr%TeW^^^^^ the revolutionary energy of the nation concentrated in Cromwell. :■ ! I 54 ADVANCED READER JOHN READE. Biographical. — John Reade was born at Ballyshannon, in the county of Donegal, Ireland, and, after a brilliant course of study, came to Canada in 1856. Soon after his arrival, aided by some friends, he began, when only eighteen years of age, the publication of the Montreal Literary Maga s zinc, which, however, met with the fate that has overtaken many similar ventures in Canada. Mr. Reade then became a contributor to various periodicals, and has been for many years one of the editors of the Montreal Gazette, with especial charge of the literary department. This position he still holds. ,0 Works. — The Prophecy of Merlin, and other Poems (1870): A volume consisting mainly of selections from what Mr. Reade had written up to the date of its publication. The leading poem. The Prophecy of Merlin, though modelled on Tennyson's Idylls, is more than a mere imitation, and there is ample evidence in the rest of the work that the author is capable of select- is ing a subject, and of treating it effectively. Vashti, Jubal, Balaam, In Memoriam — T. D. McGee, and Dominion Day, alone afford sufficient proof of his originality. Mr. Reade has also written tales, critical articles, and fugitive poetry for the numerous literary periodicals that have appeared in Canada from time to time. 20 Critical. — Owing, no doubt, in part to his classical training and scho- larly tastes, Mr. Reade's language is chaste and expressive, and free from extravagant conceits and fantastic tricks with words. This characteristic the late William Cullen Bryant brought out in a criticism on The Prophecy of Merlin, and other Poems, addressed to the author: — "It is no small 25 merit in my eyes that you have avoided that misty phraseology in which many poets are accustomed to wrap up their reflections and that you clothe yours in transparent and luminous diction." Mr. Reade's compo- sitions unite, in many instances, much power with pleasing sweetness, and show delicate feeling and a subdued refinement of thought and expression. 30 Dominion Day is notably a fine outburst of patriotic song. His translations from the Ancient Classics and the French of Beranger and Lamartine are admirably done, many of them reproducing most faithfully the spirit of the originals with an artistic finish that is highly creditable to Canadian scholarship. MADELEINE DE VERCHERES. Introductory. — During the war between the English and the French colonists in America, towards the close of the seventeenth century, the Iroquois allied themselves with the former to avenge the injuries inflicted on thuiii by Deiiunville ; and so persevering were they in their schemes, that the country about Montreal, being easily accessible to the Indians, was never free from their prowling bands. On the 22nd of October, 1692, READE. 55 - Oh ! my country, bowed in anguish 'neath a weiglit of bitter woe, . r , Who shall save thee from the vengeance of a desolating toe . They have sworn a heathen oath that every Christian soul must die — ... God of Heaven, in nlercy shield us ! Father, hear thy chil- dren's cry." Thus prayed Madeleine, the daughter of an old, heroine line- 5 Grecian poet, had he seen her, would have deemed her race divine ; r 1 u • v.^. 4. But as the golden sun transcends the beauty of the brightest star, . , , Than all the charms ul face or form, her maiden heart was lovelier far. We can see her now in fancy, through the dim years gazing To those stormy days of old, the days of valiant Frontenac, „ When the thinly-settled land was sadly vvasted lar and near, And before the savage foe the people fled like stricken deer. LiTERARY.-Name the metre and : y as-star. Explain this figure? scan 11. 1-4. I 8. Note the order of the words. 1-4 When was this prayer uttered? | {12, IV., 9.) Cf. 1. 28. I 9- gazing. Parse. 6. Why "Grecian"? Elocutionary.-i. Begin "Oh! my country," etc., mournfu lly bu with a voke expressing deep emotion. Medium stress required. (III. 5) 4. Change the voice to express passionate entreaty and prayer. 5. Change the voice to narrative pure tone. 9. Pause after " years." I I ■ir- 56 ADVANCED READER. 'Tis the season when the forest wears its many-colored dress, And a strange foreboding whisper answers back the wind's caress, 15 As tlie swaying pines repeat the murmurs of the distant waves. While the children of the Summer flutter softly to their graves. But — was that another whisper, warning Iut of ill to come, As she stands beside the river, near her father's fortress-home? Hark ! the sound of stealthy footsteps creeps upon the throb- bing ear — 20 Maiden, fly ! the foe approaches, and no hum:..i aid is near. Surely He who decked with beauty this fair earth jn which we dwell, Never meant that men should change it by their madness into hell : He who gave the trees their glory, gave the birds their gift of song, Cannot smile from out yon heavens at the sight of human wrong. 25 But those savage hearts no beauty wins to thoughts of tender ruth- Mother fond, or gentle maid, or smiling innocence of youth. See ! with fierce exulting yells the flying maiden they pursue— Hear her prayer, O God, and save her from that wild, vin- dictive crew. 16. children — Summer. What ? 13-16. Re-write this stanza with- out using figurative language. 17. Why is "her" italicised? 19. Note the Imitative Harmony. (12. IV., 4.) 20. Maiden— near. Who utters these words ? 23. He. Parse. 26. Mother. Parse. 14. Prolong the sound of " foreboding ; " " whisper," pronounce softly. 15-16. Use pure tone, with soft force. (III., 2.) 17. was that another, etc. Aspirated whisper, fast time, expressing fear. (III., 1, a.) 20. Maiden, fly! Loud tone. 23. Rising inflection on " song." 2y. See I— pursue. Faster time, loud force, and in a tone expressing mtense excitement. 28. Change to the tone of passionate entreaty. '.MdHMMi^aMi READE. 57 won; . K,,ii-,tc ,rr-»/e her floating hair — Fifty foes are on her ^^^^^^^'^^^^^ ^bove has heard But worse tlian vain is all their ra^t, her prayer. Madeleine has reached the For. • .he ga.e. are closea a,a,n,. U„. '::J°:'.error-..ricke„ .hron« sends „„ .o Heaven a wai. FeeWe mTand fain.,n« women. wUhou. hear., or hope, or „ T„e,fu ws .ha. God gave courage to a maid .o act the „,an. nJ^Z days to come ^j-J^t.^.C.::! =>■ . lie it said a Christian maiden by a heathen ., He is but a craven wretch would bid me yield n> such an Neve'r°;ermy country's sons in perTs face were known to No, mrPople ! God is with „s ; '.is our homes .hat we Le. thts"atge do his worst, we will oppose him to the end. .. women. I am httt a girl, btt. heroes blood is in n,y_^velns, ^ .s And I will shed it drop by d"P. ^^ °« I J^^ ^ ^^^ ,„ „,, „,„d. Let them .ear me hmb ^om ""b or s.rew my a ^^_^^^ Ere 1 disgrace .he name 1 bear, or leave a behmd. IH, „„„„., whv not "shall .0-30, Ne«r. Note the repetU I ^^4J-U oppose. Why "°; woU th^'taln. .-.P.a-.. i . «• Criticise .he la.n.uaga ot .hi, 34-36. What poetic ornamenUjTOin^^ .0-31 Fast time, (HI.. 4I ^T^^^^^e time. 38-56. Orotund, high pitch, loud force. 46, Pronounce "drop by drop "slowly. }l it li m 11 58 ADVANCED READER. •• Brothers mine, thou^^h young in years, yea are old enough to know ° 5" That^to shed your blood is noble, fighting with your country's Be the ler-son unforgotten that our noble father gave W hether glory be its guerdon, or it win us but a grave. -Come, my people, take your places, every one as duty calls. Death to every foe who ventures to approach these fortress walls ! 55 Let no point be unprotected, leave the rest to God on hi-h Then we shall have done our dutv, even if we have to die."' Thus she raised their drooping courage, matchless maiden. Madeleme, And the cry "To arms" re-echoed, till the roof-tree rang agam, ° Cannons thundered, muskets rattled, and the clank of steel was heard, 60 Till the baffled foe retreated, like a wolf untimely scared. ^'"^TrelT ^""^ '^^^" "'^^^'' '^'^"^ ^^e^Pless eye and bated They held the Fort against the foe that lurked around them plottmg death ! At last a joyous challenge came, it was the brave La Monnerie And up to heaven arose a shout, •' The foe has fled, and we are free ! 50. fighting. Parse. 59-6o. Criticise the rhyme. 57-00. Note the Imitative Har- j mony. 57- Change to the pure tone of narrative. 58. To arms. Very loud and full toned. IN: KEADE 59 AOUICOLA If for the righteous vest renw.ns. f °s the w.se have th.-UKht, Ktea. souls survive Tk Locmy frame, such vest. C, 'nem . he >une . A,Kl us, Ihy househoUl >— "«/° J f^ f,^' l.-rnn, weak reeret and womanish tears rtca i TO . o i^is of that which eyeu love's own law Korbids'us to deplore-th; ''-^•^^1^^.^^, Of virtue, in our lives, not words, best praised. Betousanensan,rle-thus,i..sooth, w! yield thee real honor NVc . -o o^^ Thv presence, making ours thy deeas an Ma'y have thee still h. --^^-"-rSue Even thy soul's true self. Marble or bronze, Or"aa^as may preserve the cherished ace (And w'-ll it is to have it thus preserved), Us likeness is transmitted. O, our fnend, lO t5 30 LiTERARV.-Name the metre, and scan 11. 3. i3. and 17. 5, recall. Parse. 6 love's own lav,. Why should this forbid them ? 7. deathless life. What is pecu- liar in this expression? (12, iv., 8) Parse "life." 7-8. thy-praised. Note the beauty of the thought. 0. ensample. Why is the use of in relation of its different parts. I 12 May-memory. Explam. Cf. also 11. 7, 8. and 19-23- ' IV20. Marble-transmitted. Point out the contrast. :.how that To bring this out, the order of the thoughts in one sentence is mverted in the other. K.oc„™...v.-,. Hea. »i.h ^^T^^^]!!:::-::: "-" II. 1 ause att-r ,, „ j^^t outward form. 16. Retmn to the puch of face on „ , (. ^ ) 18-19 What inflection on " marble, thoughts ^ 6o 25 ADVANCED READER. Whatever in thee we admired or loved Remains and will remain in good men's minds For ever and for ever. And, although Good men have lived and labored, and their names Have been forgotten, like the inglorious herd, 'Twill not be so with thee, Agricola. Thy name and fame shall live from age to age In this, love's record of thy noble deeds. 27. Agricola. Note that there is j tion of Tacitus for his friend cul- here a reason for the use of this word, | minates in the mention of the name and that the expression of the affec j ,g. i^^^,^ ^^^^^^ ^j^^ .. j^^^,^ „ , 1. Classify these poems. (4, I. and II.) 2. What elegancies of style pervade the compositions ? li^ III ) Give examples. \ j' ■/ ^ 3. Show by examples that Mr. Reade's style is noticeable for clearness and chasteness of language. (13, I., i and 2.) liv'^' 5^^^^' lessons may we learn from " Agricola " for the guidance of our 5. Memorize "Agricola." Composition. 1. Write the story of " Madeleine " as told by Mr. Reade. 2. Paraphrase "Agricola." THE HON. THOS. D'ARCY McGEE, B.C.L., M.R.I.A. of Canadian Parliarnentary o-to- -. bo on the 3^^ ^^ ^P.^.^^ . ^ ^^^ Carlingford, Ireland, where ^ ^athe^' J^^ ^^^^^^^^^ ^^. ^^.^ ,^^^^j^^.. Coast Guard servnce. «-f>°^^,^f,' he "promotion to Wexford in 1833, s in reading and vvntnig, and on ^^ ^^ he': ' P ^^^,^^1 education he ever attended a day-school, obtarn.ng ^^^ the o"^^>^^^^^^ ^^,,^„,, ,, „,,,Wed received. Even as a youth he sho^e ^^^^ ^^^ ^.^^^^^^^^ ^^ ability, being especia Uy fond of poetry and J ^^^ any love for Ireland. From family causes neither -^^ J ^^^^^ ,,hich long ,0 English rule, and the son g-- J -^/ '^^^ ^^ ,,,,,ally ambitious, and exercised an evil mfluence on his hte. i3e g ^^ ^^^ United seeing no opportunity for distinction -^ ^^ne, ^^\^. J employment on the States when seventeen years of ag ^ He he ob^^^ ^^^_J^ .^ ^^.^^ staff of the Boston P Era newspaper, in which from the first he advocated the union of the British North American Provinces. At the next general election he was returned to the Canadian Parliament as one of the three members for Montreal. He then dis- continued the publication of his paper, and devoted himself to politics. 40 From May, 1862, to May, 1863, he held office as President of the Executive Council, and on the formation of the Tache-Macdonald Government in March, 1864, became Minister of Agriculture — a position which he held until the Union of the Provinces in 1867. While in England in 1865, as a member of the Executive Council to confer with the Imperial Government 45 on the question of Confederation, he paid a visit to Wexford, and there delivered an eloquent address on the condition of the Irish race in America. On this occasion he publicly deplored the course he had adopted in 1848 ; pointed out how much more advantageous was the position of Irishmen in Canada than that held by their countrymen in the United States; and 50 declared that, in his opinion, any insurrectionary efforts to redress their grievances would be destructive of the best interests of the human family, These statements gave great offence to the Irishmen of the United States, who now regarded him as a traitor to their cause, an opinion which was strengthened by his uncompromising, opposition to Fenianism in 1866. At 55 the general election of 1867 he secured his old seat, but only after a severe struggle, which showed him how much influence he had lost and how much he had to fear from those whose enmity he had provoked. His forebodings were justified by the event ; for he was assassinated by a Fenian on the evening of the 6th of April, 1868, when returning from the t'o House of Commons at Ottawa, after the delivery of a masterly speech on the Confederation of the Provinces. Works. — O'Connell and His Friends (1844)— Boston. Lives of the Irish Writers of the Seventeenth Century (1847). Life of Art. McMurrough (1848) : A memoir of a half- forgotten Irish king of the fourteenth century, contri- 65 buted to the "Library of Ireland," a series of stirring volumes for the people published by the " Young Ireland Party." Memoir of Duffy (1849) — Dublin. History of the Irish Settlers in America (1851) ; History of the McGEE. 63 .. J., i^ r.tnhlUh the Protestant Reformation in Ireland (1853) ; Catholic ; Ige or brilliant i.. s.yle as some ot his oratorical effort. ""^C." ' »-' l„'cc..fc.tcra,l.„ (.864) . Three letters .0 the «<>^_XeJ»tJu, ,„.st^ ^^'^^T Love for note, a brilliant parliamentary orator a P- ;;7/^;^; f^vhich he was country was his ruling passion ; but the .^^^^^^ '"^^^^^^^^^ ..^rped his ,.0 subjected, acting on an imaginative and ^"^P/^^^^^^f '^^^^^^^^'d' ,„y^uy to misguided attachment tu hia natue lanu, wu M 64 ADVANCED READER. wreck of his youth. Amid the cares of parliamentary and other duties, 115 McGee laboured with some success to found a British- American literature, and might himself have made his mark as a writer; what he has done, however, only shows what might have been. Although he did not possess a collegiate education, his prose is in good literary form, and full of the charms that distinguish his oratory ; while his ballads have thrilled the 120 hearts of thousands. "They are intensely, thoroughly Irish, in the sense of genius, of national idiosyncrasy — Irish in thought, in feeling, in expres- sion." Pyrin's green isle and "the oppressors' wrongs" are the favorite themes of his pen ; but of all he has written, the historical and religious poems are his best. To Canadians, however, he is best known as an orator 125 and statesman. As an orator he stood in the first rank, whether we regard command of language, wide range of illustration, graceful delivery, or force and vigor of expression. The beginning of his parliamentary career, it is true, did not hold out hopes of the qualities which he afterwards showed himself to possess. At first his native wit was too often displayed, 130 his satire and irony were too severe, and he seemed to seize every oppor- tunity of scorching an opponent. Fresh from the turbulent sea of Repub- lican politics, he did not realize the importance of his position ; but as he gained e.xperience, he developed many of the practical qualities of a states- man, and his untimely death may well be regarded as a loss to all classes '35 of Canadians. THE UNION OF THE PROVINCES. Intkoductokv. — After the Quebec Conference and before the submission of the Confederation Scheme to the Parliament at Ottawa, members of the Government, including Mr. McGee, explained its main provisions at a series of public meetings in different parts of the Provinces. The following speech was delivered at Cookshire, county of Compton, December 22nd, 1864. Mr. Ch.xirman and Gentlemen : Under the mild sway of a Sovereign, whose reign is coincident with responsible govern- ment in these colonies — a Sovereign whose personal virtues have rendered monarchical principles respectable even to those who prefer abstractly the republican system — with peace and prosperity at present within our own borders — we are Literary. — Give an account of the events that led to Confederation. (See Primer of Canadian History, pp. 90-93.) 1-8. Classify this sentence. 1-42. This constitutes the Exor- dium. 2-3. whose — colonies. Explain what is meant by "responsible gov- ernment." Elocutionary. — This speech must be read with pure quality, swelling into orotund for the expression of the nobler thought?. The prevailing force is loud (III., 2) ; the pitch, middle (III., 5) ; and the time, moderate. McGEE. 65 called on to consider what further constitutional safe^'nards we need to carry us on for the future in the same path of peaceable progression. And never, surely, gentlemen, did the wide field of American public life present so busy and so 10 instructive a prospect to the thoughtful observer as m this same good year of grace, 1.S64. Overlooking all minor details wliat do we find the one prevailing and all but universal characteristic of American politics in these days? Is it not that "Union" is at this moment tinoughout the entire New .5 World the mot d'ordrc of States and statesmen ? If we look to the far south, we perceive a congress of Central American States endeavoring to recover their lost unity ; if we draw down to Mexico, we perceive lier new Emperor endeavoring to establish his throne upon the basis of Union; if we come =0 farther north, we find eleven States battling for a new Union, and twenty-five on the other side battling to restore the old Union. in.. The New World has evidently had new lights, and all its States and statesmen have at last discovered that liberty with- -5 out unity is like rain in the desert, or rain upon granite— it pro- duces nothing, it sustains nothing, it profiteth nothing. From the bitter experience of the past, the Confederate States have seen the wisdom, among other things, of giving their ministers seats in Congress, and extending the tenure of executive oftice 30 fifty per cent, beyond the old United States period ; from bitter experience, also, the most enlightened, and what we may consider the most patriotic, among the Mexicans, desiring to establish the inviolability of their executive as the founda- tion of all stable government, have not hesitated to import, 35 not "a little British Prince," butjm Austrian Archduke, a 12-16 Note the interrogato7yform7r"^ What is the irregularuyi^^ xvhich excites the attention more than line ? Account for it. Note also (12. a mere statement. (12, IV., 18 & 29.) IV., 23 and 25.) _ 27-38. From— constitution. Tomt 14-23. Is it— old Union. Observe the balance of the sentences. (12,111., 2) and (12, II., I, f.) How is the idea of union emphasized ? (12, IV., 25.) 18-19. draw down. Criticise. out'the Anaphora, (12, IV., 23.) 32. what. Criticise this use of the relative. 34. inviolability— executive. Ex- plain. 14-iu. (III., 6.) . „ 26-27. Emphasis and pause on " produces," " sustains, " prohteth. ■1 66 ADVANCED READER. descendant of their ancient Kings, as a tonic to their shattered constitution. Now, gentlemen, all this American experience. Northern, Southern, and Central, is as accessible to us as to 40 the electors of Mr. Lincoln or Mr. Davis, or the subjects of the Emperor Maximilian : it lies before us, an open vohmie, and invites us to well read, mark, and digest its contents. . . You will probably like me to define, gentlemen, that particu- lar adaptation of the federal system which has lately found such 45 high favor in the eyes of our leading colonial politicians. It is, perhaps, sufficient for my purpose to give you, both by contrast and comparison, a broad, general view of what is, and what is not, included in this constitutional charter. In the first place, I may say, gentlemen, to take the most familiar 50 comparison, that we proceeded in almost an inverse ratio to the course taken in the United States at the formation of their constitiition. We began by dutifully acknowledging the sovereignty of the Crown, as they did by boldly declaring their total separation from their former Sovereign. Unlike our 55 neighbors, we have had no questions of sovereignty to raise. We have been saved from all embarrassment on the subject of sovereignty, by simply recognising it as it already exists in the Queen of Great Britain and Ireland. There, for us, the sovereign power of peace and war, life and death, receiv- 60 ing and sending ambassadors, still resides, so long as Her Majesty and her descend" ts retain the allegiance of the people of these Provinces. No doubt, some inconvenience may arise from the habitual personal absence of the Sovereign ; but even this difficulty, now that the Atlantic is an eight-day 37-38. tonic— constitution. Note the play on words. (12, IV., 26,) 42. well. Criticise position. 50. an inverse ratio. Criticise this phrase. Substitute a better one. 53. as they did. Does this convey the meaning intended ? 54-55. Unlike our neighbors. Ex- plain. 58-60. There— resides. Is this a complete statement of the Royal Pre- rogative ? 63. habitual. Distinguish from "continual," "continuous," "perpet- ual," and "incessant." 47. Notice emphasis on " is," and on " is not," in next line. ■iTj-'^Q, Read " \v> \?i.\<,e-. the most familiar comparison " in a lower pitch. Return to the prevailing pitch on " that we proceeded," etc. 58. There. Emphatic. t McGEE. 67 ferry, is not insuperable. Next, we made the j^eneral the 65 supreme Government and the local derivative; while the Americans did just the reverse. As to the ..lerits and the consequences of this fundamental difference, I shall say only this, that merely to differ from another and a sometime established system, is, of course, no 70 merit in itself; but yei, if we are to be a distinct people from our republican neighbors, we can be so and remain so, only by the assertion of distinct principles of frovernment,--a far better boundary than the River St. Lawrence, or the Ash- burton line. " But suppose their fundamental politics to be right, would we then, for the sake of distinction, erect a falsehood at the North, to enable us to contend against a truth at the South ? Would we establish monarchy merely out of a spirit of antag- onism ? No! gentlemen, God forbid ! I, of course, hold, not 80 only that our plan of government is politic in itself, but also, that it is better than the American. I am prepared to main- tain this at all times and against all comers : for if I had not myself faith in our work, 1 should scorn to inculcate its obliga- tions on the public. , r ^^ We build on the old foundations, though the result of our deliberations is popularly called "the new Constitution." i deny that the principles on which we proceeded are novel or untried principles. These principles all exist, and for ages have existed, in the British Constitution. Some of the con- 90 trivances and adaptations of principles are new ; but the Royal authority, ministerial responsibility, a nominative Upper 65-67. we— reverse. Explain. 72-73. we— government. Explain the philosophy of this statement. 76-77. would we. What is the force of "would?" What princi- ples govern the use of "shah" and "should," and "will" and "would," in principal and subordinate propo- sitions ? 80. No 1 — forbid! Note the pas- sionate exclamation. (12, IV., 15.) 81. politic. Explain the meaning here. 87-90. How does the speaker em- phasize his statement ? (12, IV., 20.) 90-95. Some— making. Show from history that this statement is cor- rect. 65-66. Pause after " general " and " local." 77-78. Falling inflection— a positive idea is expressed. 88-89. Emphasize " novel " and " untried." (III., 6.) 68 ADVANCED READER. House, the full and free representation of the Commons, and the independence of the Judj^^es, are not inventions of our 95 making. We ofler you no political patent medicine warranted to cure everything, nor do we pretend that our work is a per- fect work; but if we cannot make it perfect, we have at least left it capable of revision, by the concurrence of the parties to the present settlement, and consent of the same supreme .00 authority from which we seek the original sanction of our plan. Still it is to be hoped that the necessity for any revision will seldom occur, for I am quite sure the people of these Provinces will never wish to have it said of their Constitu- tion, what the French bookseller of the last century said so :o5 wittily, on being asked for the French Constitution— that he did not deal in periodical publications ! We build on the old foundations, and I trust I may say, in the spirit of the ancient founders, as well. The groundwork of the monarchical form of Government is humility, self-denial, ,.0 obedience, and holy fear. I know these are not nineteenth century virtues— neither are they plants indigenous to the soil of the New World. Because it is a new world, as yet undisciplined, pride and self-assertion, and pretension, are more conmion than the great family of humble virtues whose „5 names I have named. Pure democracy is very like pride— it is the "good-as-you" feehng carried into politics. It asserts an unreal equality between youth and age, subject and magis- trate, the weak and the strong, the vicious and the virtuous. But the same virtues which feed and nourish filial affection ,20 and conjugal peace in private life, are essential to uphold civil authority ; and these alone are the virtues on which the mon- archical form of Government can be maintained. There was a time when such a doctrine as this which I am now inculcating could hardly get a patient hearing in any part ,25 of North America ; but that time is fortunately passed away : it is possible in our days, even for republican writers to admit 98. parties. Name them. 98-99. concurrence, consent. Dis- tinguish. 105-106. he— publications ! What quality of style ? {13, II., 3. ^•) 109-110. humility— fear. Criticise this statement. 113. pride— pretension. Give Mc- Gee's Antonyms. 1 19-122. But— maintained. Bring out clearly the truth of this statement. McGEE. r,9 the merits of the monarchical system, without bein^,' hooted into silence, as the elder Adams was when \\v iniMished ni Philadelphia, towards the end of the last century, his chxiueut " Discourses on Davila." ... 'Jo We have not conceived our system in a spirit of antaf,'onism to our next nei^dibors ; we shall still have enouf,di in connnon with them constitutionally to obviate any very zealous propa- <,'andism on either part ; i)ut we shall also have enouf^h lett of our ancestral system to distin-^niish permanently our people 135 from their people, our institutions from their institutions, and our history (when we shall have a history) from tiieir history. I have referred to the assertion of somewhat similar prin- ciples to our own now being made in Mexico. It would be strange if Canada should reach, by deliberation and fore- 140 thought, the same results which Mexico has grasped at out of the miserable depths of her long anarchy. We are not yet informed whether the new Emperor designs to consolidate his provinces, or to leave them their local organizations; but this I know, that, notwithstanding all the immense natural .45 advantages of Mexico, I should, for my part, rather take my chance for the permanent establishment of a free monarchy in the North than in Mexico. We have already solved for ourselves one great problem — the legal relation of Church and State — which is still before the rulers of Mexico. If we .50 have but half the population, we have three times the number of men of pure European race that Mexico has; and while I own that I wish every success to the Mexican Empire, under the auspices of France, I have, I confess, still stronger hopes 131-137. We — history. What similarities exist between our Con- stitution and the American ? What are the differences ? 133. obviate. Distinguish from " prevent." 135-137. See (12, IV., S,) and (12, II., I, c.) What does the speaker :ean by " history ? " 139. being mad-:: Parse, would. See question on 11. Jb-jj. 141. grasped. Show the aptness of this verb, explaining fully the Met- aphor in the sentence, dive an ac- count of the condition of Mexico in 1864. What led to the interfer- ence of the French, and their failure to establish a Mexican empire ? I 148-150. We— State. RefertoCan- \ adian history. What is our solu- 1 tion ? 145-146. The clause " notwithstanding— Mexico " is parenthetic. 70 ADVANCED READER. .55 for the successful establishment of the free kiuKaoui of Canada, under the auspices of Great Britain. " i'or bright, and fierce, and tickle is the South ; But (lark, and true, and tender is the North." We have also solved, so far as the late Conferences could .60 do so for these Provinces, the relation of the Crown to the people, the po.-ers of the prerogative, and the sphere of the suffra^'e. We Have preserved every British prniciple now ni use among us, and we have recovered one or two that were well-nigh lost; we have been especia'ly careful not to trench xfison the prerogative of the Crown, as to the powers, raiik, or income of its future representative on this continent ; as to the di'mity of the office, or the style and title of the future kingdom or viceroyalty, or by whatever other name it may be Her Majesty's pleasure to designate hereafter her dominions x;oOn this continent. Next to the United States, we have the most extended suffrage in the New World ; some think quite too far extended ; but in our state of society, I do not see how that is to be avoided, in the selection, at least, of the tax- imposing House of Parliament. We have, besides, restored „5 to the Crown one of its essential attributes when, as the foun- tain of honor, we leave to the Sovereign the confirmation of the second, the smaller and more conservative Chamber ; and we preserve for the Crown its other great attribute, as the fountain of justice, by retaining its right to appoint the Judges, ,80 of course upon the advice of the Constitutional Councillors of the Queen in this country, who are in turn responsible to Par- liament and the people for their advice and appointments. We have provided also, in our new arrangements, that the condition of tenure of all offices shall be good l^ehavior, in ,85 contradistinction to the "spoils principle" of our next neigh- bors. In all these respects we have built on the old founda- tions, in the spirit of the old wisdoir and we have faith, therefore, that our work will stand. 1C2-1G4. We— lost. Explain. Cf. , 180. Constitutional Councillors. jj -„ Give another name. T- -.it,-' 18^-iSf^ Wf — neierhbors. Point To What char- • i«j i--- «» - ^. y- s 172. our — society. acteristics does the speaker refer? Note the force of " tax-imposing" in 11. 173-174- out clearly the difference. 187-188. we— stand. State in de- tail the grounds of this faith. McGEE. 71 Naturally, gentlemen, we cannot expect that our course ^vlll be all plain sailin-. We nu.st have our .liliuultu-s. as all ..^ States, new and old. have had; and this brink's ine to refer to the apprehensions excited as to the Local Legislatures. I Ije d.fterence of languaKo between the niajortty ot Lower Canada -uul the majoritv of the whole Union is a difficuUy ; but it .s a difficulty which almost every other nation has had. and has ..» solved In Helf,Mun- they have at least two lan-ua-es; i„ Switzerlai.d the> have three chief lan-uaKcs-(,eru,an, I'rench, and Italian. The Federal form of government the compromise between great States and small, seems peculiarly •uiapted to conciliate difficulties of this description, and to .00 keep politically together men of different origins and languages. I confess I have less anxiety on this score than 1 hayr on another— the proper protection of the minorities as to religion in Uprei and Lower Canada respectively. • • • _ • I am as you are, interested m the due protection of the .05 rights of the minority, not only as an English-speaking mem- ber in Lower Canada, but as interested naturally and reason- ably for my co-religionists, who form the minority in Uppci Canada. I am persuaded, as regards both minorities, that they can have abundant guarantees, sacred beyond the reach ..o of sectarian or sectional domination, for all their rights, civil and religious. K we had failed to secure every possible con- stitutional guarantee for our minorities, east and west, i am sure the gentleman who may be considered your special repre- sentative at .he Co'-iference, and i am equally sure that I ..5 myself, could have been no party to the conclusions ot the late Conference. Bm we both beheved-and all our Canadian colleagues went with us in this belief-that in securing the power'of disallowance, under circumstances which mignt war- rant it to the General Government, in giving the appointment ..o of Judges and Local Governor^o the General Government, 180 Here follows the Rh^rical tinguish between a Federal and a Prolepsis, or anticipation of objec- Legislative Union, tions UJ9. compromise — small, biiow that it is a " compromise." Explain the ^„ ggctarian, sectional. Distin- guish. 198. Federal-government. Dis- 216. no party. Criticise form. 190. plain sailing. Metaphor. mmmmmmtmmM 72 AnVANCF.n READ UN. and in (.xprcsslv providnif,' in the Constitution tor tlic educa- tional rights of the minority, we had taken every GfuirMntec, Icf^'ishitive, judicial and educational, against t',- oppre-.L,.v)n of 225 a sectional minority by the sectional majority .... The Protestant minority in I-owc Can. j'/i and tl\e Catholic minority in Upper Canada may depeiio upon it the Cieneral Government will never see them oppressed-- -even if there were any disposition to oppress them, which I hope there is 330 not in Upper Canada ; wiiich I am quite sure there is not in Lower Canada. No General Government could stand for a sinj^de session under the new arranf^^ements without Catholic as well as Protestant support ; in fact, one f,aeat {. t. gross value of 137,000.000 of dollars and by ,ea-,nu.. .0 ,nd lake tonnage of i ..ooo.kh, of tons I X\ e off. to ea- 1 „ther special advantages u, det.ul. The Mar.tmie i .0 n, -s ,Mve ns a ri^ht of way a.nl free outports for Ine m.>n cf every year ; we ^ave then what they need direct c. with the great producing regions of the Notth-wes vear round. This connection, if they do noi get .1 Canada, they must ultin.atel ■ get through the I nUed ^ rates and one reason why 1, in season and perhaps out oi n, luive continued an advocate for an Intercolonial Kailv. is, that the first and closest and most lasting connection .- n.se .70 Lower Provinces with the co. linental trade system, u i>e established by, and through, and in union ^^th, Canau I do not pretend that mere railw .y connection will m.ke na= f 255-261. OL ve the Anaphora. 258-261. Contrast with this state- ment the present condition of our commerce. if 1 lit I 74 ADVANCED READER. i- we may protect each oilier, that the Union is to he valued ; it is hecause it will give, as it only can give, a distinct historical existence to British America. If it should he, »9o fortunately, safely established and wisely upheld, mankind will find here, standing side by side, on this half-cleared continent, the British and American forms of free government. Here we shall have the means of comparison and contrast in the greatest affairs ; here we shall have principles tested to their 295 last results, and maxims inspected and systems gauged, and schools of thought, as well as rules of state, reformed and revised, foimded and refounded. y\ll that wholesome stimulus of variety which was wanting to the intellect of Rome under the first emperors, will be abundantly supplied out of our own 300 circumstances and those of our neighbors, so that no Cicero need ever, by personal considerations, enter into indefensible inconsistencies, and no Tacitus be forced to disguise his virtuous indignation at public corruption, under the thin veil of an outlandish allegory. 305 I may be sanguine for the future of this country ; but if it be an error of judgment to expect great things of young coun- tries, as of young people who are richly endowed by nature, and generously nurtured, then it is an error I hope never to amend. And here let me say, that it is for the young men of 3«o all the Provinces we who labor to bring about the Confedera- tion are especially working : it is to give them a country wide enough and diversified enough to content them all, that we labor ; it is to erect a standard worthy to engage their affec- tions and ambition ; it is to frame a system which shall blend 287. that. 288. only. Parse. Parse. Give reasons for preferrin.t^ " atone." 2S9. historical existence. What is meant ? 290. fortunately, safely. Parse the former, and criticise the effect pro- duced b_- its conjunction with the latter. Where should "fortunately" be placed ? 297-299. All— emperors. I^xplain fully. 300. Cicero. Is this noun proper or common? (12, IV., 19.) 30.>3i9. Note the structure of this sentence. (12, IV., 15, 16, and 23,) and (12, II., I, c) 312. that. Cf. 1. 287. 314. shall blend. Give the force of " shall." 309. young men. Emphatic. 310. we. Km.phatic here, but not in 1. 312, because in the latter case it is not a new idea. (III., 7.) McGKE. 75 ,he best prmoples with the best --nerswhid. shall iniuse 3. the spirit of honor into the pursiut of politics, that xvt h.uc striven-and who can be more interested ,n our success than Jheyoun, men of the Provinces, who are to carry on the country into another century ?. ... ,,„,pieted 3-0 And now, I'entlemen, that the arcnuecih iiav i the] plan, i is for you to say sl,aU the buikl,n« Ik- pu up. I for you, and for your representatives in Parha.ner.t fo, the oeonle of the Maritime Provhtces and the.r represeuta Uves '^o' a whether this great work ,s to be earned wtth all due di i°enee, to its completion. It the design should seem to you ,.5 ; e and fit as it seems to us, then fling all misgivings far behind you and go ahead! Let no loeal prejud.ee imp de, let no personal ambition obstruct, the great work. \\ 1 . t ver aborigines of the laud might H-eins.nu.ed the sceptics among ourselves that union is streng h. J'"'.;^^," it gave at one time the balance of power on this soil to th Six Nations,"-so that Ivnglaud. France, and HoU.and a sought the alliance of the red-skinned statesmen of Onondaga . W La was it made the names of Brant, and Pont.ac, and Teeumseth so formidable in their day ? Because they, too, ,3, had Iceived the idea-an immense stride for the savage intellect to make^.hat union is strength. Let the peisonah. ties and partizanship of our times stand abaslied ,n the pre- sence of those forest-born Federalists, who rose superior to all mere tribal prejudices in endeavoring to save a whole peo,,le «» I am, 1 do assure you, persuaded in my inmost mmd that these are the days of destiny for British America; that our opportunity to determine our own future, under the favor of Diline Providence, is upon us ; that there is a tide in the 3.s.3..carr,--centur^^^:T^^;S'^,„.'^'SS.f^ 320M5I. We have hsre the Perora- tion of the speech. 3J7-340. Wh.it poetic ornament 325-340. Classify these sentences i^-ji^^.re here ? 'tX'bal^nce of power. Explain. ,,,-,,6. there-Ude Explain and 337. is. Account for the tense. account^for the Metaphor. ,3S. Read to the end wi;;:^;;^"'^uality, and with louder force and higher pitch. 76 ADVANCED READER. 345 affairs of nations, as well as of men, and that we are now at the flood of that tide. Whether the men who have this great duty in charge may be found equal to the task, remains to be proved by their votes ; but for my part, I am hopeful for the early and mutually advantageous union of all the Provmces ; 350 for the early and firm establishment of our monarchical Con- federation on this continent. 1. Classify the preceding composition. Is it mainly argumentative or expository? (3. IV.) , nr \ r-- o 2. Show that McGee uses the leading arts cS position. (3, Hi) ^-^^ e examples. . , , Point out marked instances of command of language, wide range ot illustration, vigor of expression, and apt use of hgures of speech. 4 What proofs does the speaker give of his attachment to the British constitution, and of his statesmanlike wisdom, prescience, and breadth of view ? 1 i f 5. To what extent does McGee show that he possesses the arts ot an orator ? (3, IV.) Composition. I. Reproduce the substance of McGee's speech under the following heads -I. The time, a favorable one for discussing Confederation. 11. tSn the watchword in America. III. The peculiar features of British American Confederation. IV. Contrast with the American. V. Mexico an^l Canada. VI. British American federation ^-^^'^^'^''^^''^^''^'^^1 VII. Difhculties in the way. VIII. Rights of minorities. IX. The advan- tages of the scheme as a whole. z. Reproduce under the following heads the substance of the notes on the Dominion and Provincial Constitutions ;-I. The terms-Cons itution Federal Ckwernment, Ministry, and Executive. I . C°'-P--°" i^^^J^^^, the Canadian form of government and that of England. HI. The powers of the Crow"a in Canada. IV. The powers of the lieutenant-governors. V. The Dominion ministry-the appointment of its members, its organiza- tion, its theoretical and practical powers, and Us relations to farliament^ VI The powers of the Parliament of Canada. VII. The relations of the Dominion Government to the Imperial and Provincial Governments^ VIII. The position of the judges in Canada. IX. The constitution and powers of each of the Local Parliaments. 3. Give a sketch of Canadian constitutional history. t.' m THOS CHANDLER HALIBURTON, M.A., D.C.L. Legislative Assembly of his native Provmce as membci lui the count) I V. H < i\i mm li 11 i i i ; ' t I 1 M ADVANCED READER. Annapolis. Here he took an active part, and by his debating powers and intellectual qualities soon attained a leading position. As an orator, he is .5 said to have been earnest, impressive, and dignified, though he often showed a strong propensity for wit and humor. In i82cS, when only thirty- twc, years of age, he received the appointment of Chief Justice of the Court of Common Pleas, discharging the duties of the position with much ability, till US40 when, owing to the abolition of the Court, he was transferred to .0 the Supreme Court. In February, 1S56, he resigned his office, and soon afterwards removed to Mngland, where he spent the rest of his life. At the l- nglish (ieneral Elections of 1859, through the influence of his friends, he was induced to enter the Imperial Parliament as member for Launces- ton Parliamentary life, however, was somewhat irksome to him; and, .s though he joined in some of the debates, he seems to have taken greater pleasure in advancing the interests of the Village of Isleworth, where he lived by contributing to its local institutions and aiding in various ways the charitable projects of its inhabitants. Here he died August 27th, 1865. Works— ^« Historical ^^•> j' ' right. Who hold What is the real E.ocuTtoN.KV.-This selection may be r^'^-^^^^^::^::!':;^- cise, if the dialogue be properly '^^'•^^:^^^^^y«;^ }\^e Doctor should be character of each of the speakers, ihe tone ot the i ,„atter-of-fact, potnpous, in contrast to that of Uncle Tim ^^ ° f ' '^ s.^he same .piality tut Afterwards loses his temper. Aunt Judy ^hmilj^;^ ^,f J^ one required in of voice as Malachi, or the Schoolmaster The change ott^^^^^ l^ ^^^^^^ the reading of the narrative connecting tii^ \vOrfis oi lu- will give additional variety. * I 1 1 it- i Is MM 8o ADVANCED READER. \ A. ■' \- ■ '\ 6 \ ■ •: '; ■i \ /'■ r 11 ' M '1 inli begin to study metaphysics, than we find how egregiously we 5 have been mistaken in supposing that " Master Parson is really Master Parson." I, for my part, have a high opinion of metaphysical studies, and think tlie science a very useful one, because it teaches people what sheer nobodies they are. The only objection is, 10 that they are not disposed to lay this truth sufficiently to heart, but continue to give themselves airs, just as if some folks were really some folks. Old Doctor Sobersides, the minister of Pumpkinville, where I lived in my youth, was one of tlie metaphysical divines of 15 the old school, and could cavil upon the ninth part of a hair about entities and quiddities, nominalism and realism, free-will and necessitv, with which sort of learning he u:.ed to stuff his sermons and astound his learned hearers, the bumpkins. They never doubted that it was all true, but were apt to say with 2othe old woman in Moliere : " He speaks so well that I don't understand him a bit." I remember a conversation that happened at my grand- father's, in which the Doctor had some difficulty in making his metaphysics all "as clear as preaching." There was my 25 grandfather. Uncle Tim, who was the greatest hand at raising onions in our part of the country, but " not knowing meta- phys-cs, had no notion of the true reason of his not being sad ;" my Aunt Judy Keturah Titterwell, who could knit stockings "like all possest," but could not syllogise; Malachi Muggs, 30 our hired man that drove the oxen, and Isaac Thrasher, the district schoolmaster, who had dropped in to warm his fingers and get a drink of cider. Something was under discussion, and my grandfather could make nothmg of it ; but the Doctor said it was " metaphysically true." 35 " Pray, Doctor," said Uncle Tim, " tell me something about 5-6. Master— Parson. What view I 13. Note the appropriateness of the are metaphysicians represented as j names given to the characters in the holding ? g. what— are. Point out the play on "nobodies." (12, IV,, 26.) Cf. 1. 12. selection. 35. Observe that, to increase the humor of the dialogue, the re.narkR of each individual are in l> But in metaphysics," said the Doctor, "the case is dd erent. -s -Now all this is hocus-pocus to me," said Aunt Judy, sus- pending her knittin^r-work, and scratchin^^ her lorehead with one of the needles, " I don't understand a bit more of the business than I did at first." , r ^^r " ^',u\ no >'ril be bound there is many a learned professor, said '- Uncle Tim, " could say the same after spinning a Ion- yarn ot '" 11i?Doct'or did not admire this gibe at his favorite science. - That is as the case may be," said he ; " this thing or tliat tlung may be dubious, but what then ? Doubt is the begin- -s 'MUtr of wisdom." . . ''No doubt of that." said my grandfather, beginning to poke the fire, " and when a man has got through his doubtmg, what does he begin to build up in the metaphysical way . " Why, he begins by taking something tor granted, said the Doctor. " But is that a sure way of going to work .-' •' 'Tis the only thing he can do," replied the Doct.or. after a pause, and rubbing his forehead as if he was not altogether satisfied that his foundation was a solid one. My grandfa her .^s might have posed him with another question, but he poked the fire and let him go on. " Metaphysics, to speak exactly ' " Ah," interrupted the Schoolmaster, " bring it down to vul- rrar fractions, and then we shall understand it. ' '^o '^ " -Tis the consideration of immateriality, or the mere spirit and essence of things." I02. the — non-existence. Who j hold this doctrine ? , 105. But — different. What does | the Doctor mean ? 1 115-116. Doubt— wisdom. Explain. 118. How does the writer bring out Uncle Tim's impatience here and in what follows ? 1 18-128 Observe that Uncle Tim now poses the Doctor, but, through respect for him, does not press liis advantage. The Doctor afterwards tries to redeem his credit by words of learned length and thundermg sound." i m r »4 ADVANCED READER. lilt 1 ) Iri 140 "Come, come," said Aunt Judy, taking' a pinch of snuff, " now 1 sec into it." ,35 " Thus, man is considered, not in his rorporeahty, but ui his essence or capabihty of beinj; ; for a man metaphysically, or to metaphysical purposes, hath two natures, that of spirit- uality and that of corporeality, which may be considered sepa- rate." " What man ?" asked Unck; Tim. " Why, any man ; Malachi 'here, for example ; I may con- sider him as Malachi spiritual or Malachi corporeal." "That is true," said Malachi, "for when I was in the mili- tia, they made me a sixteenth corporal, and I carried grog to ,45 the drummer." " That is another affair," said the Doctor in continuation ; " we speak of n.-.n in his essence ; we speak, also, ol the essence of locality, the essence of duration—" " And essence of peppermint," said Aunt J'ldy. ,50 " Pooh !" said the Doctor, ' the essence I mean is cjuite a different essence." " Something too fine to be dribbled through the worm ot a still," said my grandfather. " Then I am all in the dark again," rejoined Aunt Judy. ,55 " By the spirit and essence of things I mean things in the • " And what becomes of a thing when it goes into the ab- stract ?" asked Uncle Tim. " Wliy, it becomes an abstraction." ,60 "There we are again," said Uncle Tim; "but what on earth is an abstraction ? " " It is a thing that has no matter : that is, it cannot be telt, seen, heard, smelt, or tasted ; it has no substance or solidity ; it is neither large nor small, hot nor cold, long nor short." 143-145. Point out Malg-chi's mis- take. (12, IV., 26.) 146, etc. Note that the Doctor seems to understand this part of his subject. T47. man— essence. Express this in another form. 152-153. Something— still. What feeling prompts this remark ? 161. abstraction. Explain clearly what the Doctor means. Illustrate hv a reference to the grammatical te'rms " common or concrete and ab- stract." i6o. There— again. Explain. t HAUnURTON. 85 uThen what is the U>nK a.ul short of it ?- askr.l the- School- .f-. ms.ster. ' Abstraction," repHed the Doctor. .. Suppose, for instance," said Malachi. - that I had a pUch- ""-Z" said the Doctor, "consider a pitchfork in -rneral ; >:- that is.'neither this one nor that one. nor any particuhu one, but a pitchfork or pitchforks divested of then- niatenahty- these are thinj^s in the abstract." " They are thinj^s in the hay-mow," said Mahichi. .'Fray," said Uncle Tim. "have there been many such .73 things discovered?" - Discovered!" returned the Doctor, "why, ; 11 tlnn-s, whether in heaven or upon the earth, or in the waters under the earth, whether small or great, visible or invisible, annnate or main- mate ; whatever the eye can see or the ear can hear, or the .eo nose can smell, or the fin-ers touch; finally whatever exists or "is imaginable in the nature of things, past, present, or to come, all may be abstractions." - Indeed !" said Uncle Tim, " pray, what do you make 0} the abstraction of a red cow ?" , • „ "'^ " \ red cow," said the Doctor, " considered metaphysically or as an abstraction, is an animal possessing neither hide nor horns, bones nor flesh, but is the mere type, eidolon and fantastical semblance of these parts of a quadruped. It has a shape without any substance, and no color at all, for its redness ..o is the mere counterfeit or imagination of such. As it lacKS the positive, so is it also deficient in the accidental properties of all the animals in its tribe, for it has no locomotion, stability- or endurance, neither goes to pasture, gives milk, chews llie cud nor performs any other function of the horned beast but > is a mere creation of the brain, begotten by a freak of the fancy and nourished by a conceit of the imagination. 16^ What does the Schoolmaster : the explanation, (12 IV if..) The meSbr thelonKandshortofif? Doctor is now at uU gallop on h.s 175.176. Pray-discovered. What hobby. Cf. 11. 13-1^. feeling prompts this question? (12, j ^^^^ poojtive, accidental. Explain. Parse " positive," ')5 IV., 13) 187-199. Observe that the emphatic enumeration of these particulars heightens the ludicrous effect of 197. fancy, imagination. Distin- guish. I?" I H ' f ; Ml 1 J 86 APr.lXCED h'/: IDEA'. iOQ "A '.loj?'s foot!" exclaimed Aunt Judy. "All the meta- physics under the sun wouldn't make a pound of butter!' " That's u fact, " said Uncle Tim. I. Classify the precedinK selection. 2 Show that the humor of the selection consists mainly in Doctor Sobersides' own imperfect knowled^'e of the meaning of the phrases he uses; the i^jnorance and simplicity of his audience, who evidence their desire to understand tlie subjci t ; the ridiculous concomitants of serious statements; and unintentional puns on the part of the Doctor's hearers. Composition. Rewrite in the indirect form of narration from 1. 35 to 1. <}<). t ! if fill CHARLES HEAVYSEGE. Biographical.— Charles Heavysege, the gifted author of Saul, was born in Liverpool, r:ngland, May 2nd, il-'if). On his arrival in Canada in uS^j. he took up his residence in Montreal, where for a time he worked as a machinist, earning by hard labor a modest subsistence for himself and his 5 family. Afterwards he became a local reporter on the staff of the Montreal Daily Witiuss ; but, as has been the case with many another son of genius, his life was one 'nng struggle with poverty. Through all his earlier years of toil and harassing cares, he de.-oted himself to study and poetical compo- sition, but published nothing till he was nearly forty years of age. A poem ,0 in blank verse saw the light in 1S54. This production, crude, no doubt, and immature, met with a chilling reception even from his friends. Some time afterwards appeared a collection of fifty sonnets, many of them vigor- ous and even lofty in tone, but almost all of them defective in execu- tion, owing to the author's want of early culture, Saul, his greatest 15 work, was published in 1857, and fortunately fell into the hands of Haw- thorne, then a resident of Liverpool, who had it favorably noticed in the North British Review. Longfellow and Emerson, too, spoke highly of its excellence, the former pronouncing it to be "the best tragedy written since the days of Shakespeare." Canadians then discovered that Heavy sege 20 was a genius, and made partial atonement for their neglect; but even to the end the poet's struggle with fortune was a bitter one. His death took place in August, 1876. HEAVVSEGI-: 87 Works -S<."/ (1H57); A Scriptural Tranf.ly. Count rilitt<>: "f-'I'.l^^ rnemnTMarriaK . a Dra.na i. t.ve acts , .S(,o). This pro.l.K tion ,s .nf.-nor :""mu^ on because it .Ices uot possess the epic sul.i.unty ot th.. sacre.l .. ^ I U because iu it tl,cre is tc, much stra.niu^ after eftect, «»"• chara^^ J; iation is defective, and the criticisu. ..f life c'.splaved .s not u tie iX quality. y,tl>tl,airs Dau.UUr (...,3); A D.an.a uh.ch f..l lo.s lo el te Scriptural uarratue. and. so far as concerns art.st.c execut.on, t^^^r U.L:,. The lines ^o. .ith greater s •""-- :^; -;;- '" Vwer commo.ipl.'uo expressions, an.l the author has gamed a hrnur ,uas e V Over the hetnric'l aids of figures of speech, ll.s uund, ho.ev how no increase in strengt,., and we miss ,he ru,..d grandeur and "r^.le .lelineations of his earliest dran.a. '/'/,.■ A,lrou,t, : A Novel , ,N< .)■ les these works, lleavysege produced many shorter p.eces, one o e 3. 'melt of which. The Dark Ilunis.nan, was sent to the La.uulun, M.uU.ly just before his death. Cr.t.ca,.-To Art Heavysege owed little. Kven his most elaborate prt^'lions are s mmd. ma be attributed the pathetic sadness that pervades h,s woiks. <>' ca- "ona 1 .. is true, there is a faint gleam of humor : but tt is .nm humo ;;^\;ever glows with gen.alitv or concentrates .nto ^^ ^^^Ij^^' nuaint sarcasm, too. display tlu.nselves ,n some of the Sp ri. ..c -,cs n S / But for sublimity of conception and power of evok.ng una, . o h or and dread. Heavvsoge i.. unsurpassed except by the masters of our iteraturo He possesses, also, an irti.aate knowle.lge of the workings of r^uman hea:^ ; his delineations of character are l^-^^' -' ,; -•:;;^^ ^° and his pictures of impassioned emot.on are wonder!,., m then cp c Grandeur Every page of his dramas betrays an ardent study of the Bile Milton and Shakespeare, both in the reproduction of images and Ih:^^; Ind in the prevailing accent of his style. Hut 1^ has ^or.^r^ of his own ; for many of his sentences are remarkable for their genuine now . ■ and keen and concentrated energy. Here and there, too, we meet wTth exqu site pieces of description, and some of the lyrics m Saul are rof Shtncv and musical cadence. Without early culture, and am 1 toilsome and uncongenial labors of his ^aily Hfe^Heavysege ha.es 1 - lished his right to a foremost place in the ('anadian Temple of l.ime . what intght hi not have done for himself and his adopted country, had he been favored by circumstances as he was by Nature ? pg) jH r» 5n i B B f i k% t , i -^ w =>i MH i Jitm--mW Sif)mki-^^ — tt,---'v '^^^ W^ - i ' SS ^. , nip^ f i Jl 88 Ain'ANCED READER. THE DARK HUNTSMAN. A Die;ini. 'TwAS eve, and I dreamed that across the dim plain One swept o'er tlie stubble, — one ploughed through the grain His aspect was eager, his courser was fleet, He drove through the gloom as through air drives the sleet ; 5 And dark was his visage, and darker it grew, As o'er the dim landscape yet faster he flew. I dreamed still my dream, and beheld him career — Fly on like the wind after ghosts of the deer — Fly on like the wind, or the shaft from the bow, »o Or avalanche urging from regions of snow ; Or star that is shot by the Gods from its s})here : He bore a Winged Fate on the point of his spear; His eyes were as coals that in frost fiercely glow, Or diamonds of darkness — " Dark huntsman, what, ho ! " «s " What, ho ! "' and my challenge went wild through the vale, Literary. — Note that the Imitative Harmony, of the use of which this poem is a remarkable example, is secured mauiiy by the metrical move- ment, the frequent Alliteration, and the varying character of the vowel sounds. (13, III., I.) Name the metre. What is the metrical movement intended to re- present ? Scan 11. 1-4. 3. Note the vowel .\lliteration. \ 4. He — sleat. What is peculiar in the arrangement of these sentences ? (12, IV., 27.) j 8-9. Observe the Anaphora. (12, ' IV., 23.) I 12. Winged Fate. Meaning? 14. diamonds of darkness. K.\- plain. 14-15. what, ho! Note the mode of transition from one paragraph to another. (12, III., 7.) 15-32. How many rhymes are there in this stanza ? Note that the unity (12, III., 5,) is preserved by the char- acter of the rhymes and the continu- ous scansion of 11. 21-32, and that the key to the Imitative Harmony is the word " bellowed," the sound of which is echoed throughout the remainder of the stanza, even after the dark huntsman has ceased. Elocutionary.— This selection is to be read in the same tone as a per- son would use if describing to another a dream, that is, in narrative pure tone. The time and force will vary to express the different thoughts and feelings the words indicate. 1. I'ause after "eve." 2. One swept, one ploughed, are not antithetic. Notice the time re- quired. (III. 4.) 14. Dark huntsman, what, ho 1 Mechanical pure tone. (III., i, h.) HEAVYSEGE. 89 as \n(i long was my hollo, and loud was my hail : ^> Dark huntsman, dark huntsman, what ! whithrr away? Dark huntsman," I shouted, " I charge thee to stay ; And backwards he bellowed. " I cannot obey— A thousand ere midnight my task is to slay ; But ere comes the morrow. With sickness and sorrow, Shall I be swift riding again on this way." And the huntsman laughed hollow, As my fancy did follow Him on his black courser that, knowmg, did neigli ; My fancy did follow A down the dim hollow, And heard in the distance his hunger-hoimds bay ; The vanishing spectre Me left to conjecture. As on the dark huntsman dim hurried away. As one all astonished, or stunned by a blow. Stands staggered or speechless with womlerment, so \while I dwelt silent ; around all was still. While wonder on wonder dumb wondered its fill ; From fancy to fancy my spirit was tossed, And reason at length was in reverie lost ; And lost was all note and all measure of time Until I awoke. As one at the stroke 10 backwards-bellowed. Show ^ 34. Point out the aptness cf the the%pro™ness of these words, language. (12. IV., 4.) 28. Adown. Note the form. (12, 33 35 40 IV., 28.) 21-22. Observe here and through- out the poem the Onomatopoetic character of the short lines, the object generally being to indicate a quick- ened or abrupt movement ^6 wonder— wondered. Explain. (12, IV., 21 and jo.) its fill l>oes^ this phrase suit the general tone of the selection ? (2, II.) 39. note, measure. Explain. listener their full force. . r „ - ...ui, - i,im " 20 Pause after "thousand." 25-26. Connect " follow ^^^^\^ \^^v^^^ 20. tausL.mci ,„,^nt " "^o " ".awhile" "around,' and both 34.-36. Pause alter •• wonderment, so, .i\.iuit:, before and after "dumb." :f i h'" ildi 90 . / /) VANCED RE A DER. •. \ 1 It j \ \ !l i ! ' j M ( Of the ivy-f^rown steeple's deep, solemn-toned chime. I awoke, — yet I dreamed ;— it was nif^ht, and there fell On my ear a sound sadder than numbers can tell ; 45 I listened; — it loudened, it ever did swell, As when the choir-singers. Or steeple-stood ringers, Give voice, or stout pull at each iron-mouthed hell ; Through night floated dreary '50 A sad miserere: I lay there and labored beneath the sound's spell, Through night vainly gazing ; The music amazing. Appeared now of Earth, now of Hades, now Hell. 55 I gazed once again, and athrough the gray gloom. Beheld the dark stranger. All reckless of danger. Sweep back like the tempest or fiercer L,imoom ; Returning, I heard him slow wind a weird horn ; 60 Far o'er the wide dimness its echoes were borne, Wound dirge-like and dismal Through skyey abysmal. Wherein hung the moon to a crescent down shorn ; The blasts of his bugle grew wilder, more eerie, 65 While gaily he galloped, as one never weary, Adown the dim valley, so doleful and dreary. And woke the tired twilight with echoes forlorn. Forlorn were the sounds, and their burden was drear As the sighing of winds in the wane of the year — 42. deep — chime. Cf. 1. 34. | of Heavysege's genius is his ability 33-54, Compare the structure of to form suitable poetic compounds. 4O-48. As— bell. Show that this sentence is condensed. (12, II., i, d.) 55. athrough. Cf. 1. 28. Ci. Wound. F'arse. 66-69. See (12, III., 7.) this stanza with thnt of 15-32. Note that here the key to the* Harmony is in the phrase "a sound — tell." 44. numbers. What ? 46. Observe that one of the marks 43. See note on 1. 16. Connect " fell" with "on my ear," 1. 44. 45. Pause after " listened." See also note on 1. 16. 49-50. Read slowly ; prolong the sound of " floated." 54. Pause after each " now." HEAVYSECiE. ^ As the si.duuK of winds 'neath the s>.^eep of the gale, Or howUng of spirits in regions of bale ; The Goblin of Ruin Black mischief was brewing ; And, wringing her hands at her sudden undoing, The woe-stncken landscape uplifted her wail. As might the grim lion, of forests the ^^^^ Come bounding, or eagle sweep by on the ^Mng, The eakde with scream and the lion with roai. So swept the dark huntsman ; and, clnllec t<. the core, I heard him still winding his slow, sullen horn, Returning with dolefulest breathings of scorn : Sr mo^.ings like those of the ^^^-^^^Z-^ ^^.,,,, , Sore swelled till with moanings was file the n ht And changed to wild wailmgs that wilde, ye grc.v . And fiercely at length the dread trumpeter bleu , Ml o-er the black welkin the howling ulast t les 'Vnd chases the stars from the tempest-strucK skies , \midst cloudy darkness strange not arose, V ifillecl seemed the heavens with fighting of foes , f"! neath heaven's margent came fear-breedmg yells- Came long lamentations with laughter in spells, Vnd sounds wherewith madmen give vent to their woes . Such noise as infuriate winds in tlieir flight Give forth to the ear of the horrified night, ^ As through the looped Ruin the hurricane blows , Till ghastly the uproar, unearthly the blare. The on-coming rider sure rode the nightmare ; The winds seemed to moan, The woods seemed to groan, 70 75 3o 85 90 95 72-73. Criticise the rhyme. ~1^^^^^^ the poet brings out in a 72-73. v.iiii>-.=v, .. J —- \ ^^.j^,-jcierfully sustained ettort the long, 74 her Note the anticipatory use ; ^j^ostly gallop of the huntsman, of the pronoun. What is the objec- ; ^ Criticise and com- tion to this construction? ipa'rewithl. 56. 74.75. Explain the meanmg. (12. : ^^^ __ ^.^^^^^^^ ^^..^ ' 76.H . Note that by the length i and compare .Uh ,1. ..-nd ... and Onomatopoetic character of this^ 68-69. Slow time. (III.. 7) See also note on 1. lO. 98-99. See note on 1. 16. J. "I \ « ,1,1 1 ? ' 1 #•' . u •til il IH i J ! ■■■ 1 h ! ■ rj ^ ■ ! ■ . Hj . 1 92 ADVANCED READER. loo And wildly were tossing their heads in the air — A moment were dormant, Then, lashed into torment. Were franticly swinging their branches, leaf-bare ; Till sighed I for silence : but, though came a lull — I05 Though hearing was empty, the fancy was full : As storm-stranded vessel That lately did wrestle With wind and with wave, but where nought now can nestle — A grave, a golgotha, a place of a skull, xio WHierein, full of dole, Each mariner's soul Still haunts his dead body that floats in the hull — So lay I and dreamed, till, as forth from its rock, Sea-beaten forever, the home of the flock, 115 Is heard the hoarse cry of the sweeping sea-gull. Rewound the weird horn, and, oppressed with dumb awe. Lights feeble and few in the distance I saw, Even such as appear in the mist-covered skies At breaking of morn, I20 W'hen stars, lustre-lorn. Are closing their heavy but fiery eyes ; Huge hounds now loomed speeding, each fierce as a dragon ; Like embers their eyes, their jaws foaming like flagon ; Seemed Cerberus manifold hunting the stag on I2S Hell's hills, flecked with shadows by distance shape-shorn ; Deep toning these scoured o'er the dark, dewy grounds ; The Ghosts of Gehenna seemed breaking their bounds ; 104-105. Cf. with 11. 72-73. 106- 1 13. As— dreamed. What in the dreamer corresponds to the "ves- sel " and the "mariner's soul"? saw? 109. grave. Parse. 113. till. Parse. 117. What were the "lights" he Show the appropriatehjss of the comparison. (12, IV., 9.) 124. Cerberus manifold. Explain. Parse "Cerberus." loi. Pause at "dormant," to indicate the idea expressed. 110-T13, Kead in a solemn, slow, deep tone. 124-125. Pause after "stag." Connect "on " with " Hell's hills." HEAVYSEGE. 93 130 •35 140 145 And oft, as from Scylla's Vexed kennel of billows, . , , 1 Sprang upwards the horror-tongned Hadean hounds , M^ore Toud than tornado outswelled the huge roar ; The horrible hubbub could gather no more ; The nack ,Mr.irdin- me, sat with his long, levelled spear, ourcmd, " Thou didst call me, and, lo ! 1 am here. Tr.m, hoary and hollow-eyed, horsed in the gloom, Appearing half-angel, half-demon of doom, i knew-and the knowledge possessed me with fear- He hunted for souls lieu of hunting for deer ; He waved his pale hand, and hal -jeering did ci> .- .^ Behold ! thou didst call me, and, lo ! here am I . 'Tis nigh unto midnight, and did 1 not say, A thousand ere midnight my task was to slay . Mount quickly behind me,— Ha, ha ! thou shalt ftnd me The hardest of riders, and rugged the way ; Thy fate is to follow \'Tp down von dim hollow , 1 . Where! pleased at thy coming, my hun^-er-hounds l,ay , Thy terror dissemble, For why should'st thou tremble To go where the Ghosts of thy Fathers glide gray ? With bit and with bridle We may not be idle ; — To the Land of the Shadmvs^om^th me away ! Q Tor. rf 11 72 and 7 V and 104! 139- hoary. I'arse. X32. gather. Explain . I iSjf cSaJacter ofWth. 136. Parse ••tall" and note the dissemble. Is this word a leculiar Elhpsis. ^=> 150 peculi 131. outswelled. See note on 1. 16. 150. Pause aiier -is," and connect line. ,pt; 'follow" with "me" in the next •II V !i| ^1 : i 1 i 94 ADVANCED READER. The soul-hunting ranger ,60 Cried :— " Come with me, stranger ! " And I the grim GobUn was bound to obey ; An agony shook me, All manhood forsook me, I woke— "twas a dream at the dying of day. t ; ;« i I SAUL \ND MALZAH. From " Saul." ,„.„„„cTo„v.-.. s,u,, • Which i» '^^^^^^::r^ ':Sn:! by the sweet sounds "f.^av id s music mt ^^^ ^,^.^_ atElah, Saul's growmg jealousy and indiaiveimi-^^^^^^ ^^^ breadth escapes and hnal ^''^^"^^1°/ ' of the wi ch of Endor. whose the poem he i» indebted » the clemoo|og^°^;l'«^ ^^^^^^^ .. ^^_^ ^^?r»7^ir;il\r£ Jd.^ VTaph^'theSf of .he ^vil spirit,, and Zepho his servant. ^ Part II., Act I, Scene 2. A sylvan country-y^^^^ seated, and Zepho standing near him. ZEPHO. What says my master to his servant ? ZAPH. Zepho, The Jewish king now walks at large and sound ; Yet of our emissary Malzah hear we nothmg : 160. stranger I Criticise use here. Cf. also 11. 36. 9i.''nd97- Name the metre of "Saul," and scan 11. 4. 15. 20, 27, 33. and 39. 3. at large. Parse. TfiT Pause after ■■ I." 164. Notice the change of voice required ; Zep^o Zapi: and MalJah use pure quality, and moderate time and force. HEAVYSEGE. 95 Go now, sweet spirit, and, if need be, seek This world all over for him : -hnd him out, Be he within tlie bounds of earth arid hell. He is a most erratic spirit, so May give thee trouble (as 1 give thee time) To find him, for he may be now diminished. And at the bottom of some silken flower, Wherein, I know, he loves, when evening comes. To creep, and lie all night, encanopied Beneath the manifold and scented petals ; Fancying, he says, he bids the world adieu, And is again a slumberer in heaven : Or, in some other vein, perchance thou'h f^nd hnn Within the halls or dens of some famed city. Give thou a general search, in open day, r the town and country's ample field ; and next Seek him in dusky cave, and in dim grot ; And in the shadow of the precipice. Prone or supine extended motionless ; Or, in the twilight of o erhanging leaves, Swung at the nodding arm of some vast beech. By moonlight seek him on the mountain, and At noon in the translucent waters salt or fresh ; Or near the dank-marged fountain, or clear well, W' atching the tadpole thrive on suck of venom ; Or where the brook runs o'er the stones, and smooths Their green locks with its current's crystal comb. Seek him in rising vapors, and in clouds Crimson or dun, and often on the edge Of the gray morning and of tawny eve. Search in the rocky alcove and woody bower ; And in the crow's nest look, and every • 5 so as 3° 35 15. bids. Account for the tense. 16. again. Explain the reference. 21. dusky, dim. Distinguish. 23. Prone, supine. Distinguish. ^o-3T, Note the Imitative Har- mony and the beauty of the Meta- phor. 33-34. edge— eve. Explain. Criti- cise " tawny." 36-38. What trait of Malzah's character is shown here ? 8. Read the words in parenthesis in a lower pitch. S i 1 ■D i MiW} l i ii . i« , » W»J l »» i < W »» •; s 96 A I) WINCED READER. Pilfi;rim-crow(l-clra\vin{^' Idol, wherein he Is wont to sit in darkness and be worsliipped. If thou should'st lind liini not in these, search for him 40 By the lone, melancholy tarns of bitterns ; And in the embosomed dells, whereunto maidens Resort to bathe within the tepid pool. Look specially there, and, if thou see'st peeping Satyr or fawn, give chase and call out " Malzah," 45 For he shall know thy voice and his own name. ZEPHO. Good ; if I catch 't not, no more call me swift. 4 ' 1 II. Part II., Act 3, Scene 3. Saul's bedchamber. Saul asleep upon a bed. Enter Malzah. MALZAH. He is now sleeping ; but his fervent brow Is all meandered o'er by swollen veins. Across his temple one appears nigh bursting. He breathes, too, heavily, and a feeble moan I hear within him ; showing that his soul (Like to a child that's wept itself to sleep,) Even in slumber doth retain its trouble. I am loth again to rack him ; but I will. For I am desperate to escape from slavery. I will breathe hotly on his countenance, And when he awakes, and doth cry out for water, — Which I will make his servants slow in bringing, — I'll enter him 'midst his vociferations. And goad him back to madness 41. embosomed. Explain. 5. Is there any prosaic effect here ? I. .Vcount for the spondaic struc- I 6, What object had the poet in ture 01 the first hemistich. Scan 11. selecting a figure which awakens 14, 19, 21, 22, 31, 37, and 59. the pathetic feeling ? I. Read in such a tone as a person would naturally use in soliloquy. 4. Pause after " too." H RAWS I'd E- 97 SAIL. Oh to hv iH-ut in 1r>11 ! 1 suftocale. Ve;^vnuls that fn,n, tluM-c-a .juator scorch :>u.. Ana k-l the north blow on nu- nil I snn-cr. Ah, for an avalanche of snow Wai^akcs Vncl blind me: cover me up, dnfts; free/c trec/x. Seize on me, blast, and hurl me mto wnUer. 15 20 MAL/AH. Again I'll breathe on him. [Bn'iitlu's upon him. SAT I.. as 3^ 1 1 f.m f>nrh with a iavehn, Full threescore hends and ten, cacn \vun c j H If.molten, and .luust through n,e from Kel.nul. Chased me all up the burnu.K lane fron, hell. S"h;r^:^"^r:^>"^p--^---'--^^ Now all of them back hissmg. ^Wnkiug. Water! water! What ho bring hither water ! Is there none Toltch me p'' Jonathan, M.chael Merab ; where s Ahinoam ? Gone ! Oh, ye are all FnrLretful of me, and my children take Thel ease and pastrme whUst the. father s dytng. Some water, water !-Oh, to breathe upon Carmel or Ararat ! Clouds, burst upon My bosom, as upon their heads ye burst . Pour on my head, ye waterspouts^ cataracts, ; of. ilUoersed. I'oint out the pe- .3, Oh-in hell. Express as --\^^^^^^n.e oi il.is .or± exclamatory sentence. CI. l. ^4- 15-41. Observe the frequent ex- | 3^. to breathe. Parse. clamations. (12, IV., 15) .5. Saul speaks in a tone expressrng ^--,^,S^;S '""'' shrill, and high. Guttural quahtv (^^J •;• ai. Change to pure tone, .ith '""ff'^^^^^^^^^'^^^^j^^ •• Ah, here again!," ,3. Very loud .and high^ Change ^^^^ ^^ ,3 " C.nne, .ater." a. these words are not addressed to the same pc eic . 35 II ■: HI! 'I i SSIIiSSSSSBttKSWWSfB^^^ wmauBKSku i I 0': jIfP Mi! 40 45 98 Ani'AA'CED READER. Dasli down \\\\ tlnoal and turn me to an ocean. — Ah, will there be no rain af,'ain, no dew ? To the dank vineyard ! let nie fj;o and wallow, Suck out, and trample out the freshness. Chained ! [W'ritlivs furiously to hnak the chu'nt. MALZAH. I'll enter him now — but not to do him evil — But, out of ruth, to help him snap his chain SAUL. Creature, begone, nor harrow me with horror ! Thine eyes are stars ; oh, cover them, oh, wrap Them up within thy cloudy brows : stand off. Contend not with me, but say who thou art. iMethinks 1 know thee, — yes, thou art my demon ; Thou art the demon that torment 'st me. I charge thee say, mysterious vis'tant, At whose behest thou coniest, and for what Offences deep of mine : nay, nay, stand ofif : Confess, malicious goblin, or else leave me, Leave me, oh goblin, till my hour is come : ril meet thee after death ; appoint the place ; On Gilead, or beside the flowing Jordan ; Or, if parts gloomier suit thee, I'll repair Down into Hinnom, or up to the top Of Horeb in th' wilderness, or to the cloud- go Concealed height of Sinai ascend, Or dwell with thee 'midst darkness in the grave. so 55 !i ;:! hi u !-■ . n III. Part III., Act 6, Scene 7. zaph's song. Zepho, the sun's descended beam Hath laid his rod on th' Ocean stream, 42-43. What is objectionable in the use of " but " ? 43. What metrical effect have we here? Name the metre of Zaph's Song, and scan 11. i and z. 1-2. the— stream. Explain fully. To what does "his" refer? iii-.AVYsr.oi:. Ami this oerhanj^iiif^ wood-top nods Like f,'olden helms of drowsy Kcnls. Mfthinks that now 111 stretch for rest. With eyelids sloping' towards the west; That, tiu-ou-h their half transparencu^s, The rosy radiance passed and stranied. Of mote and vapor duly drained, 1 may believe, in hollow bliss, 1^1 y rest in the empyrean is. Watch thou ; and, %vhen upcomes the moon. Atowards her turn me ; an i then, boon, Thyself compose, 'neath wavermg leaves That hanf,' these branched, majestic eaves : That so with self-imposed deceit, Both, in this halcyon retreat. By trance possessed, imagine may We couch in Heaven's ni^dit-argent ray. 99 lo „ ,-.f InnLniaL'e h.is this thought been 4. Show the appropriateness of l;';;W';,^J,,,,,a , the Sinule. ^^ ^j^^^^^, ^,^^, .,j,t,u'ss of "trance." J5 '«oafli — eaves. In what 'neath — eaves. iw. We ray. 1-xpl^i" fully. X. Classify " Saul " and " The Dark Huntsman " 2. What peculiarity of Heavysege's temperan.ent pervades i'tonsf , , . r,,ii„,..inff heads- — I. Command 3. Discuss Heavysegex «y - ;'"<^„f 'TZ''^^^"' ' "«""««■ ••'"'' of metre for the p,tr,»»es "' 1>» 7"\,„4'„ „( ,le»cril>ti».>. IV. l^.vver S'L';4SS/Tra;erer3"'r'td''c!rea't,. »n.. of ,«.ray,„„ imf— ' of'his study of Milton and Shakespe..re . ^^^^^ „ „, .. The 6. Which shows the greater degree of onr,inaiUN Dark Huntsman " ? r*- = of tV,f> -luthor's style ? Refer 7. What are the chief emotional qualities of the author > to marked examples. COMrOSITlON. T Reproduce " The Dark Huntsman " in prose^ 2. Paraphrase from 1. 5 to 1. 45. extract I., of Saul. i I ■ !i ill t ii ilhh JOHN W. DAWSON, LT..D., F.R.S., F.G.S., C.M.G. Principal and Vice-Chanccllor, McGill University, Montreal. Biographical.— Dr. Dawson was born on the ijth of October, 1820, at Pictou, Nova Scotia. Here he received his early education, subseqnently spending a year at the University of Edinburgh, whence he graduated. His fondness for Natural History showed itself when he was quite a boy, 5 and ■Ao enthusiastic and successful has been his pursuit of this branch of s( ii-nc'^, that he is now considered the best authority on the. fossil plants and animals of the oldest Rock Formations of North America. In 1842, and again in 1852, he accompanied Sir Charles Lyell in his explora- tions in Nova Scotia, aiding him materially in his investigations. In com- 10 pany with this eminent geologist, he found the remains of the largest reptile of the coal measures in the New World, and to himself alone is due the discovery of the oldest fossil representatives of several classes of plants and animals. But in 1865 he achieved his crowning distinction as a micro- scopist an;: original i^ve^ilig:^lur, by naming and describing the " Cana- 15 dian Dawn Animal." Its organic nature was for a time a matter of grave discussion, but most naturalists are now satisfied that it is a fossil of the Laurentian Rocks, and the oldest recognized form of animal life. i. I DAWSOS. lOI ,n ,S,Anr Dawson .na.lo a professional vi.i. lo th. o.p,vr muu.s of -"•■'- •TV-:;:,:,:^'v:;,:;;:'rr;;;:;::i:>::;;":;;'--'v-- ;" ho r, S„, . i..u.,,,U.m „f l-:.luca,i,.„ in Nova Sunia an.l on. "I l" " piaunK ^ .„^.,, iiistorv he has done nuich for the cause of Scicnic in 1870 to resiK.i I llniversitv in which capacity he a;;; I'li iafl\,ence ha, .«e„ ..ore widely teU, or ot , we have greater reason to be proud. , ,. r^ 1 ^,sc=^• \ comnlete account of the RcoloKy 50 edition of the whoh> Nvork^ I'lls son displays a thorough knowledge 55 t^::^^,»».^4>!" C...a /'...■„,, , ,S03, : ... <.e,cripuve aecoun. itp:::t;;;;=J^,=^!:-iSf7i^ tlfic Agriculture for Schools and Private Instruction (1604). A Hand book m 102 ADVANCED READER. \ 'A< of Canadian Zoology (1870). The Story of Earth and Man (1873) : A re- '65 production of Papers contributed to the Lihure Hour, and presenting in a popular form the more important results of geological research. Science and the Bible : Also a reproduction of a series of lectures delivered at New York in the winter of 1874-1S75. The Dawn of Life (1S75) : A history of the oldest known fossil remains— especially of the " Cana- 70 dian Dawn Animal "—and their relations to geological time and the de- velopment of the animal kingdom. The ()rirv ancient rocks when ,u"vs be, uncertain ; but we do »<' "^^^^^^ *:!''" .^he hrst chapter of I.he of the following selection. 1 n -f nf nil the rocks we are acquainted witl DEEPEST at.d oldest of all the^^^^ ^^^^^^,^ ^^^^^^^ ,,, in the crust of the ^arth a^e ce ^^ ^^^^^^ ^^^^^^ ,^^,^^^^,^ metamorphosed, baked - ^^^ ^^ contauu.^^ no traces of „.oisture--rocksot^ec.tU.d A.OU. ^^^ ^ ^^^^ ,^^^„^, ^ hfe, bnt for which 1 ^^;^^^. 'j'^'^.^s of the earliest known . Eozotc," or those that ^f '^^^i^^, f Lamenttan Series of Sir ,,,., betngs. These -cks^ a e^^ L^- .^^^ ^ ^^^^^^ ,^^^,^ ,, XVUhatn Logan, so named fn.m t h. ^^ ^^^^^^ ^^^^^^^^^ iii L.TEKARV.-Namethechief classes of rocks, and explain how they have been formed. N»me the chief rock tormalionj. »;;?SS^ul"iS;h^^o^». or " deepest. Occasionally, throughout the sdec- tion. the thoughts may be oxF^s -' in still simpler language, and tnt, plr^pLity Increased by aU.s o.m^ ,l..v form of sentenced btrutinize i:!ih sen^nce with this.poss.biluy in ' "2. crust. Give the full force. ..4 altered-moisture. Note that herc^Dv. Dawson expresses the same Jain three different forms, and that he L'eneral expression precedes the lISJ^'theoluLtoftherc^umancy (I. V. I,) being t(J render clean r tie meaning of the scientific terms. Note , "tliat, throughout tin. se^^^^^^^^^ thescientihc terms are Renerall) to - ' owed by an explanatory wo d or phrase. See 11.0-7. ■'l''^'^'>'^"-''^"'"«.^- (iive reasons for beginning this sentence with the predicate I 0.10. ancient. Distinguish from l"oUl." Cf. 1. i4_and 11. 27-2h. i plain •• exposed." Kx- II u 1 i i I04 ADVANCED READER. ' Other region. It may seem at first sight strange that any of these ancient rocks should be found at the surface of the earth ; but this is a necessary result of the mode of formation of the continents. The oldest rocks, thrown up in places into .5 high ridges, have either not been again brought under the waters, or have lost by denudation the sediments once resting on them ; and being of a hard and resisting nature, still re- main, and often rise into hills of considerable elevation, show- ing, as it were, portions of the skeleton of the ear'.h protruding 20 through its superficial covering. Such rocks stretch along the north side of the St. Lawrence River from Labrador to Lake Superior, and thence northwardly to an unknown distance, constituting a wild and rugged district often rising in* '• Hs 4,000 feet high, and, in the deep gorge of the Saguenay, !■. : .:.;g 25 cliffs 1,500 feet in sheer height from the water's edge. South of this great ridge, the isolated mass of the Adirondack Moun- tains rises to the height of 6,000 feet, rivalling the newer, though still very ancient, chain of the White Mountains. Along the eastern coast of North America, a lower ridge of 30 Laurentian rock, only appearing here and there from under the overlying sediments, is seen in Newfoundland, in New- Brunswick, possibly in Nova Scotia, and perhaps farther south in Massachusetts, and as far as Maryland. In the Old World, rocks of this age do not, so far as known, appear so exten- 35 sively. They have been recognized in Norway and Sweden, in the Hebrides, and in Bavaria, and may, no doubt, be }'et discerned in other localities. Still, the grandest and most in- structive development of these rocks is in North America ; and it is there that we may best investigate their nature, and en- 40 deavor to restore the conditions in which they were deposited. 15. either. Criticise position. 20. superficial covering. What is meant ? 20-60. Consult the map of North America in connection with that on p. 105. 30. only. Criticise position. 3J-35- I^ — extensively. Pi>int out and account for the Ellipsis. Ill,, I.) (13. 37. Give the force of "discerned." Still. Express, by a subordinate sen- tence, the thought in this word. 39. Why is this not expressed thus: — "and we may best investi- gate their nature there"? (12, II., 2,«.) 40. restore. Explain the scientific meaning. DAWSON. 105 The oldest .rinUles of the c^- oU^^^^^ f ^ l^ ^^ ,on of great cycles o t^- -v^h Un,u o t^^^^ ^^^^^^ ^^^^^^^^_ formin, north-east and ^^-^-^^ \^ of Lauren- east hnes. To such n.es ate tl^^ M^^t ^^^^ ^^^^^^^ ^^ Han rock conformed as ma> ^- -^" ^^^^ ^^,^^^ .adit.ons. of North America taken Irom Dana, , .r T aurentian bek is evidently the nucleus of The ,^reat angular Lau ^nt - ^^^^^^^ ^^^^^^^^ ^^ ^.^^^^^^ the contment, and .^°"^f ^ "\ .^^ i^^^es. The remahnng exposures ate pat allel tot elevation. U is ordinate coast-hne of co"iP'^i^a^i^ > constitute the oldest known that these ^^'-;^^^'::XXZ^ any of the '-rl^the'IharW^n : of t.,e n,ap were ..eposite,, h, the I'Suta-e ocean "in thi^^d_P"Jt.o" hein« co.npo.e.l of „ "i ,-7 iS The — continent. Kxplaiu vnrifv this statement by 47-4»- _* ""^ "-_. 41-44. \entv tms ^^ , ^^e fully. Lf. H. 5--.-)> ^-^^--'^P'-^t^'inr^l^^^i'- ? 4;,,!. The-elevation.^ See " s- geugrapmc.l term, for N V., i,, above .nap. Ct. U. .y33. 44. exposures. See 11. 19 ^i"" 1 ! io6 ADVANCED READER. [% ii. "I yliii' rocks of various geological ages resting on the older Laurentian. It is further to be observed that the beds occurring in the Laurentian bands are crumpled and folded in a most remark- able manner, and that these folds were impressed upon them 6., before the deposition of the rocks next in geological age. What, then, are these oldest rocks deposited by the sea— the first-born of the reign of the waters ? They are very different in their external aspect from the silt and mud, the sand and gravel, and the shell and corul rocks of the modern sea, or of 65 the more recent geological formations. Yet the difference is one in condition rather than composition. The members of this ancient aristocracy of the rocks are made of the same clay with their fellows, but have been subjected to a refining and crystallizing process which has greatly changed their condition. 70 They have been, as geologists say, metamorphosed ; and are to ordinary rocks what a china vase is to the lump of clay from which it has been made In North America these Laurentian rocks attain to an enormous thickness. This has been estimated by Sir William 75 Logan at 30,000 feet, so that the beds would, if piled on each other horizontally, be as high as the highest mountains on earth. They appear to consist of two great series, the Lower and Upper Laurentian. Even if we suppose that in the earlier stages of the world's history erosion and deposition 80 were somewhat more rapid than at present, the formation of such deposits, probably more widely spread than any that succeeded them, nnist have required an enormous length of time. Geologists long looked in vain for evidences of life in the 8s Laurentian period ; but, just as astronomers have suspected the existence of unknown planets from the perturbations due to their attraction, geologists have guessed that there must 58. crumpled and folded. Why both terms ? 59-60. these — age. How has this been ascertained ? 63-64. from — sea. Account for this arrangement of these pairs of words. 67-68. this — fellows. Explain the Metaphor. 67-68. same— with. Criticise this expression. 71. How is "china" manufac- tured ? 75-76. would — be. Is this the best possible order of the words ? 85-86. just — attraction. Illustrate. DAWSON. 1(17 ()0 95 „„,e „een son,e «v,„. t^in^s on ear h . .1^ '^^^ DanaanclS.evp'Hun.,especua.> V CO ^^^^^^^ ^^^^^ ^^ stated thus: (i.) '" >-"f] .,, „„„„„lation of slieUs, corals, orRanic rock, produced b> the '>«'"' , t,,„,. „c an';, similar calcareons °;«--'. ^ ^^ .^^strtutin^ regular enormous limestones n, tire Laa.cntu .^ heds. (2.) m later f»"-"°" , f^^jX ^ arc large qnan- substance derived Iron, vegetabl . -:^ '^^^ ,,„,,, ^ (3, ,„ ,i„es of Laurentran c" »n . the Jo " ,^^ ^^^^^ ^^^^^ later formations, deposits "f'™ ""„f „„a„ic matters as an „ected w,th the deoxui./..nR '"« -^™^'^ ^ ,<;^ Lanrentian con- ,» efficient cause of thetr »<="'""''•''';:•'""„„'. i„ layers in the Xh:r^smr^:=^>^::— -,. t iu which they a-,^"-",': !;:;S';'=„..ever, one vvell- '" -""""" rr' Tl ht'rH t 1 r f^^und in the L n „,arked am.nal foss.l has at !•;";'' Canadian Dawn Anin.al, ,ian of Canada, '--';" ^;-'^; "of, ,e "west fornrs of animal a pgantic «P'^<^=«"»' ",° ,"' ' "„; „( nauring and describing ,..> Ufe, whrch the wrtter ^^^^°^^ ^ „, ^,,1, auti-ptity ami i„ ,865-.ts name ha unR rd ue c ^^^^^^^ ^^_^ ^^^^^^^^ possible connection with tie ' , ,„^„ f„,„^ of life he modern seas, among ">« "" " ^ '\°\,| ,ich the animal -"> which «l«y swarm occ 1 omc^^^ ^^^^^^^ ^^ ^^^,^^^,^ ,_, matter is a mere jelly, almost w ^^^^^ character, vet uuqnestionahly endowed ^V' ' * "f^^ ,,ave the power of Some of these creatures, the ' °-" ™ ^ ^^ ^^,,„,„U shell, secretiu.t at the snrlace °f "^ °"f,„,„„„,„ieatin,! with often divided into numerous '^■^"^^ ^ „,. „,;,-,,,,« ,., each other, and with the waje w, .,J ^^^^,^^^^ S^rr;:';:.:;:::! ^b:;^^.., w^n stretcbed out 1 „n, tiA Is the epithet "animal' ^ ^^ ,5. Explain how coal has been ^i 4-^1, cf. ll ny-i^i- formed. I . ^i. iot.-io7. inferential eviderce. t x- ; ^^ ^,^ ^-^^^ each other, plain. What kind of evidence is the , ^^^ ., ^^.j^j^ ^^^^^ another ? "fossil"? Whv it i ] ; io8 . / 1) 1 'AXCED READER. 1 % % into the water, serve for arms and legs. In modern times these creatures, though extremely abundant in the ocean, are :.5 usually small, often microscopic ; but in a fossil state there are others of somewhat larger size, though few ecjualhng the Eozoon, which seems to have been a sessUe creature, restmg on the bottom of the sea, and covering 'its gelatinous body with a thin crust of carbonate of lime or limestone, adding to ,30 this, as it grew in size, crust after crust, attached to each other by numerous partitions, and perforated with pores for the emission of gelatinous filaments. This continued growth of gel'itinous animal matter and carbonate of lime went on from age to age, accumulating great beds of limestone, in some .5- of which the entire form and most minute structures of the "' creatine are preserved, wliile in other cases the organisms have been broken up, and the limestones are a mere congeries of their fragments, It is a remarkable instance of the perma- nance of fossils, that in these ancient organisms the minutest „o pores through which the semi-fluid matter of these humble animals passed, have been preserved in the most delicate per- fection. The existence of such creatures supposes that of other organisms, probably microscopic plants, on which they could feed. No traces of these have been observed, though ,45 the great quantity of carbon in the beds probably implies the ' existence of larger seaweeds. No other form of animal has yet been distinctly recognized in the Laurentian limestones, but there are fragments of calcareous matter which may have belonged to organisms distinct from Eozoon. Of life on the .50 Laurentian land we know nothing, unless the great beds of iron ore already referred to may be taken as a proof of land vegetation. To an observer in the Laurentian period, the earth would have presented an alnwst boundless ocean, its waters, per- ,-5 haps, still warmed with the internal heat, and sending up ' copious exhalations to be condensed in thick clouds and preci- 123-132. Break up this sentence into short, simple ones. 145-146. quantity—seaweeds. Ex- plain. 150-152. the great— vegetation. Explain. . See 11. y7-io2. 153-157. To— rain. Express as a subordinate clause the conditional part of this sentence. DistinKUish "with" and "by," as used in con- nection with the' passive voice. DAWSON. 109 •7^ IT .n,l there mi"ht he seen chains of rocky pitated n. ram. Here and thcK ^^ . ^^^^.^^^ ,^i,i,, ^„,. Islands, n.any o^'"" :::;S^ U;^ o -f which are unknown U,ps clothed w.h ve^^etat otitic to ^^^^^^ ^^^^^^^ ^^^^^, _ to us. In the bottom of the ^^^ ^^^ ^ j, sonu. .ravel were ben.g ^^^^^^^^^^^"^^^"^.^'Veat reefs of Eozoon portions of the ocean floor, ^" "^'^^^^j; .^^j^ ^f ,,,« ean Ure growin, up u. the --;;;;^; ;^^^,^ i^,slands and reefs .,,a,nne the n.odern P^^^;^'; ^^; ; trms of lUe. we should .. of coral, to be deprived ^^ ^ ^^^^^^^^ ^,^, i.,,oic time as it Uave a somewhat ^^^f .^^'^^ ; ^.^ to us now ; for we do appears to us now. 1 sas , as U ^^^^^^^^ ^^^^^.^ not know what new discoveries ^^^ .,^ ^,^^, especially the immense deposits of ^-^ ^ ^ '^^^ ^^ i^^„, i,le Jnrentian, -uld ^--o ^^;;^-^^^ of\io other in the sea or on the land, o'^^J^ theLaeat coal formati.m. period that —'^-^.^:^;^i: 'citation exists retain- Perhaps no remnant of this F'"^; ; ^ ^^^^ter thin^^s. ,,, us form or ^^-^^-j^^^^^r f^^^nate discovery may :;;;; :^:f;:trSr;r Vegetation of the I^ winch Iniilt up tlw: Ldurenti.ui u , (-.^ps ; uiul .a. exist unchanged, save 'n<''"™^'°"';; f 'r"°ts we find he.b here and there throughout '^e B- og.ca .c cs ^^^ of Foratniniferous hnrestone -" ■'' • '^''7' ^J Laurentian. It Foraminifera compostng < «- °, ' ^ ,t oral au.mals nrore •75 160-161. What idea, subsequentb expressed, is emphasized b> the repetition of the conjunctions . 160-163. In -coral. Point out the redundaLy(-.V..x, ^)an^^^^^^^ ward repetitions in this sentence. v» le tViU roi •ard repetitions in this sentence. ^^.'^^s to avoid it. .63-X67. If~now. ,ls this condi- ^. ^, lyorbespeak. Give the ordinary meaning. 171. both. Explain and criticise. I -.1-17^ Point out the awkward repetition in these lines, and re-write 16^-107. II — nuw. *- ,-, .;.S sentence oroperly constructed^ Vs' ""should '• a" principal veru or an auxiliary ? (1,-1 *.v V- ■ — 174-175. Distinguish "hope" and expectation." •^ttmKaim.'amt''* no ADVANCED READER. this respect, and the dre(l i case in tlie H../.oic creatnies. Tlie same may have >c n -e c ^ ^_^_ _^_^ sea, uliere, Ju.lKin, '«"" ''-^ ^"•' " "^ ,° ,, „„„er, either ,|,ere must have heen »'>;''"''^'::;' X ,He surface ■, an,l ,row,n« a. the bottom or '""'; ' .' ^^ „„ „„.,, ,na.er,al, ,. as the Eozoon h.nestones a.e usual! ec ^^^^^^ ^^^ «e may assume that the -«- "\ ,'„.., ,,an.l, as .le- consume the veKelaWei«lmlum Ot ^ ^^ ^^^^^^^^^^^^^^^ tached speeimens of ^--^""^'^ ,'' -,,,,, ,„at,er was in „e suppose that in some cases the vcfeU ^ ^ excess if the annual, and th,s "^y -^ a e - lo.ally too Us too great exubeianee, or ^-^-"^J^X^^,,,,, t„ „<,urish. shallow to permit the Lozoon a ml s,m , ■ ^^^ , ^ ,,„ These .letails we must for the l"""" ''' ',,„./|i„|„ .^s to the the progress of discovery "-'>\«'^'^,,"1 ' te'' real and wide .... nreciseconditionsof thebegmnmgofhfemhc „ : a wherein are moving 'h.ngs nmumer U a,^ ^^ ^^^^ „meh a wonder now as m the day t e ^^^^ ^^_ ^^^ ■■ Hymn of Creation," m regaid to '1'^ '^ " ^ .( „„,, ,is US breadth and ^'<=P tie direc- accumulations probably arranged ,n lies paMHe U ^^^^ Uons of disturbance »>-« ^l^^^^ i-^cbment to come .. surface and caused 8^ J^^^^f^^ i„;„ior nucleus. Thus, within the influence °' 'hV^end at length, the tension extensive n^tainorphism^ook plac and atju^^^ ^^ ^^^^^^^, becoming too great to be ^"^ '°' " , -,■ . j,),,,, the crust, great collapse occurred cnimp nig and d^^^^^^^ ,^^^^^^ ^^^,,^ ^^^ and throwing up vast masses ol '»'- "^ . . „, ^on- »•>' ■"- >t ^. r-Zl re7h eteli ^d ected to erosion lirgtout^fuhe'S of ^ubseauent geological time. ^":r=:d":^r criticise .., ; v- ,s--- - '»-"'=^- expression. g j^^g.^!^ ^,p this sentence 247- Why is there no comma be- 5^^^d^^_ ^.^^^^ ^^^^ tween " still " and " thm :• . 1,1 112 .-IDl'.LVCJi/) REAPER. HUM 1': The l!:ozoic a',^e, '-.nose history we have thus shortly 2f,o sketched, is fertile i.i material of thoti«,dit for the ^'e()lo<,Mst and the naturalist. Until the !;d)ors of Murchison, SeiUnvick, Hall, and r.arra-ule. had developed the vast thickness and organic richness of the Silurian and Cambrian rocks, no geologist had any idea of the extent to which life had reached backward in .r,5 time. Hut when this new and primitive world of Siluria was unveiled, men felt assured that they had now at last reached to the beginnings of life. . . . The dawn of life seems to have been a very slow and pro- tracted process, and it may have required as long a time 270 between the first appearance of Eozoon and the first of the primordial Trilobites as between these and the advent of Adam. Perhaps no lesson is more instructive than this as to the length "of the working days of the Almighty. Another lesson lies ready for us in these .^ame facts. Theoretically, 27, plants should have preceded animals, and this also is the assertion of the first chapter of Genesis ; but the oldest fossil certainly known to us is an animal. What if there were still earlier plants, whose remains are still to be discovered ? For my own part, I can see no reason to despair of the discovery 283 of an Eophytic period preceding the Eozoic; perhaps preceding it through ages of duration to us almost inmieas arable, though still within the possible time of the existence of the crust ot the earth. It is even possible that in a warm and humid con- dition of the atmosphere, before it had been caused " to rain 285 upon the earth," and when dense " mists ascended from the earth and watered the whole surface of the ground," vegeta- tion may have attained to a profusion and grandeur un- equalled in the periods whose flora is known to us. But while Eozoon thus preaches of progress and of develop- 250 ment, it has a tale to tell of unity and sameness. Just as Eozoon lived in the Laurentian sea, and was preserved for us S M'' 259. shortly. Distinguish from : 285. and when. Show that "and "briefly." Which is the better word does not here connect co-ordinate to use here ? \ expressions. 275. Why, theoretically, should 289. preaches. Give full force, plants have preceded animals ? 275. also. Criticise position. 290. unity and sameness. tinguish. Dis- '^•k /).4jrvS0.v, 113 bv the infiltration of its canals wUh s.hcrous nnne.al nau.. s ^ ,ts successors au.l representatives have ...ue on ihu.u,) ai the a-es accumulating limestone ni the sea bottom 1 o- ZyL; are as active as they were then, anc are h.n, .. t^ilized in the same .ay. The E n^hsh eha k a.u the chalky modern mud of the Atlant.c sea-bed are pr. us K similar in origin to the Eozoic limestones. here .s . s.> a s r n^^ paralkhsn, in the fact that n. the n.odern sea. -oia- ::;;;;S;a^can Uve under conditions of '^^nvatun, .^h.h and .- vital air, and of enormous pressure, under which te n or^an sm o. eater complexity could exist, and that m like .n.in. Z i:ozoon could live in seas which were perhaps as yi unfit for most other forms of life. i,..t iiifrirtihe n this conntiCtiDii. I'l Eozoon proves somowluit intrac ahlL ,1„. first nlace, tl.e creature is the grainiest ol h,s class, rfon atd ;truc..,re; a,>d if, on .he hypo.hests of .env - in, it has requircl the whole lapse ol «eol,)«.cal l.nic to ° „. IrteEo oo„ tnto the co.npara.tvely s„„ple F..va,BM,,. e of"the ntodern seas, ,t ,nay have take,, as lo„K, p.o la W : cl, lo„K.-r, .0 develop Eozoo,Oro,n -ch -m,>^e fo„ .. antecedent P^r.ods. Tune fa^ for^.,d . __V.;;J--^^ A; ,„• tt'ii: ^h^s": tt;'h:ve co„t„„.ed to .,« ..t,,.,, isr-;hrtnti^:::.rra:ii^:^:i:;;-^^^ 296. in the same way. How 305. h-Foraminifers Express this without the impersonal form. 306. evolution. Explain. See note on " Darwinism," U. 54-55> V- -■ 309. in this connection. I'ara phrase. H 311-312. hypothesis of derivation. What is the other name for this doc- trine ? cf. 11. 315-317- 313. disintegrate. In what words has the same idea been expressed in the preceding context f f t Mr ^ i 114 APVANCKD READER. ,.5 between Eo/.oon an.l any of the animals <.f the succeecluiK Prnnoiaial, which are nearly all essentially new types, vastly more different from l<:ozoon than it is from many modern creatures. Any snch connection is alto^'ether ima-,Mnary and misupported Uv proof. Tin- laws of creation actually illus- s3otrated bv this prnncval animal are only these: First, thai there has been a prot,'ress in creation from few, low. and .ameralized types oflife to more numerous, hi^dier, and more specialized types; and secondly, that every type, low or hi^di. was introilnccd at first in its best and hif^hest form, and was. 33s as a type, subject to def,a-neracy, -ctives 33S-339." that -work. ^I'A. these laws. Why not "those i laws " ? What laws are referred to ? *.;.« 1, Classify the preceding selection. 2. Indicate the means used by Dr. Dawson to simplify his l'-^ng"age. Criticise the structure of his sentences and paragraphs. (12, 11. and ill.) 3 Criticise the intellectual qualities of the style. (13, I ) 4' To what extent has Dr. Dawson here used the leading arts of expo- sition ? (3, in.) Composition. I. Write out the leading thought of each paragraph in " The Laurentian II Reproduce the substance of the selection under the following heads :— I The Laurentian Rocks— their character, mode of formation, and dis- tribution II. The condition of the Earth during the Eozoic Period. Ill Inferential and positive evidence as to the existence of life during this Period IV. The Canadian Dawn Animal : its nature ; its means ot sub- sistence ; a proof of unity and sameness in creation ; and tt^ relation to the doctrine of Evolution. V, The Laws of Creation, illustrated by Eozoon. S 5 LONGFELLOW. the greatest, of V,-rican poets. --.»'-•; /'.^^f;^' ' ,, Hauthorno, at iLwdoin College, vvhere, after three y^usuadm^ J .^^ ^^^. .icath took place on the 24th of March, i8h2. r., N'- (./ f rSir>\ ' \ voluine which included 10 A Psahn of Life, The Reaper and the / J;-;;;/;;^, ,,,,,,,,„ ,-, .4..„„,.. B,lla,i. and oUur Pocns (1842): Among them ;- ^^'^^ .^ ,,,: r/.- Ka»0' /^«.. and Tke Village ^^^:;;;^'^^J^J^::\^, least valuable lished in the same year, are now gen ra 1 re.ar ^^^^^. ^^ ^^^^^ ^^^^^^^^^ ^^ of his works. The Span.sh Stnde,U {^^,^).J ^^ ^ ^,^^. ^^^,^,,,, aid not of humor, a quality of j'^^^';^'^": Z^^ poeu.s and transla- afterwa.ls -t-pt- J^'^; ^j/^^/ fj fj ..i:^^^^^ Efforts to introduce tions. Evangeline (1847) • *Jne 01 u ^ ^^^.j,,^ „f the dactylic hexameter into Enghsh ^^'^^^ ^d treatment than .0 productions that showed greater ongmaht) of subject ii6 ADVA,\CED READER. I . » ■ . i U:'!' ^:,. I any of his previous works. Tlir Si-asiJi aini tin- Eiirsiil,' and Tin' (iuhku Lciitiid (1831). Hiauuitlux (1855): One of Longfellow's most remarkabl.- productions. Tlu- Courtship of Miles Standisli (1858) : A half-humorous poem of the early colonial days. The Talis of a Waysidi' Iiiu : .\ series of 25 poetical narratives, the first of which appeared in i8()j, and the other two at later dates. Tin- Ncu< England Tra^fdics (18G8) : Two stern and some- what repellent dramas, having for their subject the New England religions per.secutions, and forming the last of the author's poems on distinctively American subjects. Between 1S67 and 1870 appeared the translation of 30 The Diriuc Comedy of Dante, on which Longfellow is said to have spent no less than thirty years. It is remarkable for its fidelity to the original, but it does not possess the ease and grace that characterize his other works. The Divine Tragedy (1871) : A dramatic rendering of the Crucifi.xion. Most of his other poems were contributed to various periodicals, the chief being 35 The Hanging of the Crane, a domestic idyll ; Moritnri Salutannis, a noble and solemn-toned production; Floicer de Luce; Aftermath: Pandora: Keramos ; and In the Harbor. Besides his poems, Longfellow was the author of the following prose \vor\is:—Outre-Mer; or, Beyond Sea (1835) : A collection of notes of travel, showing that refinement and taste which 4P afterwards became his leading characteristics. Hyperion (1839): .\n in- teresting romance, glowing with quaint poetic thoui;ht and language. Kavanagh (1849) : A short novel written in the idyllic style. Critical. — Longfellow holds a high place amongst American poetn, and " best deserves the name of artist." He is widely read by all classes of 45 English-speaking people ; some of his shorter pieces, such as Excelsior, The Psalm of Life, The Village Black.unith, and The Ladder of St. Augustine, being exceedingly popular. He was a man of high literary attainments, well versed in the languages of modern Europe, and possessed of that broad and genial sympathy with mankind that commends his writings to 5° the hearts of all. Partly owing, no dor.bt, to his practice in poetical . -anslation, his language is copious, simple, and refined, and his versifica- tion graceful, various, and melodious. Longfellow is a poet of " still life." There is little or no evidence in his verse of glowing emotion, but his ten- der pensiveness and wise and tasteful use of his materials lend a charm to 55 every page of his works ; and so wide are his sympathies that few human emotions fail to find an echo therein. Although several of his subjects are American, he cannot be said to possess an .\merican genius. He has produced no work which might not have been written by an Englishman. Of humor he shows few traces, but he is a master of simple pathos. The 60 characteristics of the age are reflected in his finished execution ; in his selection of subjects connected with the past ; in the meditative character of some of his later prod^ictions; and in nis love for picturesque nature, of which he avails himself with fine effect as a setting for his thoughts. His poems often embody or illustrate some moral truth, and their tone is 6s always pure and noble. LOS01'ELI'(^^^'- 117 THK lASTlNti. riom"Thi; Soiiu ot Hi. ,,ulin. ,„,onK the North ■■^"^^;'-'^-=^" ' ";\^,;:, ^ ri ers, forests, and t.sh.n,' Kroun.ls who was sent amon^' ''''='"/"' Lice The author has also nUroaucea ana to teach them '...e arts of l eace^ „ .^,j^^_ l^astin^ ■ is based , ther curious Inaiano^enas. ^^";'"';,.'^i\ \,,,. „ai/.e Mou.Ui-ni.n or the for " the ()ajibwa-\\«on.luius, who ^-; ' / ;\,.,,i,,,, u.e stalk in full tassel Sirit's ^rain or berry, have a prettN stor> •" ^ ;\, -^^ „f ., handsome Kepr^i^uea as ^escenain, from the^sK> ^>n k the^^ ^^^^^ ..f virilitv, c,r vouth, in answer to the pra^- of . ou",^^^^^^^^ ^,^^, ^^^, , ,f ,, c h . s Conine to manhooa. i Ht. ^ouk u Suner or, gives an account amonl'theOjibwayson the south shoe of L^^ ' ^^^ ^,^^ Nations ot the life ana exploits "^ ^^X j ih -' Accor J h c ^^^^^^^ „ ^^^.^^ .^^ ^^^ ^,, ^ his object may be attained ^;>,^.^ "rj^./restling, Hiawatha succeeds in of agriculture. Wearied -^^.^^'.^^^^hl-r words", after much hard labor, putting Monda-min in the grave, he sows his corn. You shall hear lioxv Hiawatha Prayed and fasted in the forest, Not for greater skill in huntmg, Not for greater craft in fishing, Not for triumphs in the battle, And renown among the warriors. LiTERARV.-Describe the versifi- cation. Scan 11. 1-8. ,.. Observe here and throughout the 'poem the peculiar use of bpi- zeuxis(i.,lV..:=o),generaVlyat he beginning of consecutive lues com bined with .Xpanthmesis (12 IV. !(,). What effect on the st> Ic nas this artifice ? K.oct..,os.HV,_Thisselectionre.uir.spuj.;pia^ erate force. The time is faster than that cmplojca I. Begin in a cheerful, lively tone _ „ ^^^^_^^„ 3, ./. 9, and I j. Pause after "Not. Lut. II ii . I i . 11^ AlWANCED READER. But for profit of the people, For advantajT^c of tlie nations. First lie built a loilge for fasting, 1° Ijuilt a wigwam in the forest, By the shining Big-Sea-W'ater, In the blithe and pleasant Spring-time, In the Moon of Leaves he built it. And with dreams and visions many, '5 Seven whole days and nights he fasted. On the first clay of his fasting. Through the leafy woods he wandered ; Saw the deer start from the thicket, Saw the rabbit in his burrow, ao Heard the pheasant, Bena, drumming, Heard the squirrel, Adjidaumo, Rattling in his hoard of acorns, Saw the pigeon, the Omeme, Building nests among the pine-trees, as ■ And in flocks the wild-goose, W'awa, Flying to the fenlands northward. Whirring, wailing far above him. " Master of Life ! "' he cried, desponding, " Must our lives depend on these things ? ' 7-8. Observe here also another peculiarity of the poem — the em- phatic repetition of the thought in a somewhat different form. Cf. 11. cj- lo, 12-13, 4J--44. L'tc. What effect on the style has this artifice ? Distin- guish between " profit " and "advan- tage," and "people" and "nations." Does the author intend to differen- tiate these ? 13. Moon of Leaves. What char- acteristic of the Indian mode of thought do such names indicate ? Coleridge speaks of " the leafy month of June. ' Account for the difference. ; 1 5. Why is the first foot of a spon- daic character ? (u, IV., 4.) 20-25. Note here another marked peculiarity of the poem — the use of the English name in immediate con- nection with its Indian e(]ui\alent. What effect has this on the style !> Note also the author's lo\'e for Na- ture. 2O-27. What poetic ornament is there here? Note that this is of frequent occurrence in the poem. 2S-2<}. Master — things? What in the development of the human race may be symbolized by this question of Hiawatha's ? Scan 1. 28. 15. Read slowly. 17. (III., 8, 6.) 20. See (III., S, ^r.) 20. drumming, and 27. Whirring, wailing. See "The Dark Hunts- man," page Sij, 1. 16. 28-29, 40-41. Read in a tone expressive of despondency and sorrow. LOSGFliLI'O^^' 119 On tiie next day of his fasUng By the rivers brink he wandered, Through the Muskoday, the meadow, Saw the ,/ild-rice, Mahnonionee, Saw the bhieberry. Meenahga, And the strawberry. Odahniui. And the gooseberry, Sliahbonun, And the grape-vine, the Bemahgut, Traihng o'er the elder-branches, FiUing all the air with fragrance ! - Master of Life ! " he cried, despondu.g, - Must our lives depend on these tlungs . On the third day of his fastnig By the lake he sat and pondered, By the still, transparent water; Saw the sturgeon, Nahma. leapuig, Scattering drops hke beads of wan.pum ; Saw the yellow perch, the Sahwa, Like a sunbeam in the water. Saw the pike, the Maskenozha. And the herring. Okahahwis. And the Shawgashee, the craw-hsh " Master of Life ! " he cried, desponding. " Must our lives depend on these thnigs . On the fourth day of his fastuig. In his lodge he lay exhausted ; From his couch of leaves and branches Gazing with half-open eyelids. Full of shadowy dreams and visions, 30 35 40 45 30 55 3.,. cu.. 0.3. scan ,M.3. :;*;;-. -v--pp°-'''''» 4,. Cf. with this line U. i7..-vna.y.'- Wliv is he represented as be.n^ eacli | ^ Like -water. Observe t c dav'cUHerentlv employed ? , aptness and poetic beauty ot this 46. like -wampum. Note that ; figure, throughout the poein the huniles are ; ^^^^^^ ^^^^^ appropriately taken from ^jres 1 le I >-- .3-^ ^^^^^^^^ ^^ and other sources with wiucn uic , .t.v-^ ill!, 17 43. UUCT'pondeml slowly, j.,. 1 allbt alte. i. ) 1} 120 6o 6S 70 75 80 ADVANCED READER. On the dizzy, swimming landscape, On the gloaming of tlie water. On the splendor of the snnset. And he saw a _vouth approaching, Dressed in garments green and yellow, Coming through the purple twilight. Through the splendor of the sunset ; Plumes of green bent o'er his forehead, And his hair was soft and golden. Standing at the open doorway, Long he looketl at Hiawatha, Looked with pity and compassion On his wasted form and features, And, in accents like the sighing Ot the South-Wind in the tree-tops. Said he, " O my Hiawatha ! All 3our prayers are heard in heaven. For you pra\- not like the others. Not for greater skill in hunting, Not for greater craft in fishing, Not for triumph in the battle. Nor renown among the warriors, I>ut for profit of the people. For advantage of the nations. " From the Master of Life descending, L the friend of man, Mondamin, 5') dizzy. Note the Transferred Hpitlict. (ij.IV., 17.) SecaIso(i2, I\'., 4.) Hxplain " swininiing," <.j-()7. What is hen- represented ? What may be symbolized by Mon- damin's coining at sunset ? <'5. C'f. 11. Or, 9j, 100, I J4, and 22^- 2J(). Observe tliroiij,'hoiu the poem the fre(iuent complete or partial re- petition of phrases, sentences, and descriptions, which, however, does j not become monotonous, owing to the beauty of the language and figures, and the variety and freshness of the epithets. For effect produced cf remarks on 11. 7O-S2, 70. pity, compassion. Distin- guish. Cf. 11. 7-8. 7b-S2. Cf. 11. 3-8 and 65. The simplicity appropriate to the charac- ter of the poem is secured by such repetitions. 69. Pause after •' Long." 74. See 11. 7,-73, and read in a gentle tone. 70. I ause after " pray " and " not," and contrast " vou " and "others " 77-«2. Observe the contrasted groups of words. 83. Pause after "Life." 84. (III., s, ^r.) u)X(iri:LiA>^y. 121 90 95 100 Come to warn you aiul instruct you, ^s How by stnif^f^le ami by labor Vou shall f^ain what you have prayed for. Rise up from your bcii of l that the AlU>Kory throughout is only and ^4'-:44 ^^^^ •'^'^" " '""' ^• loosely applied. I 1,^-114. Note the Anaphora com- 95.y8. What may this symbolize ? ' bined w;th E pizeux.s. 94. Prolonged pause after " Catne. ' ^O-jS. Head in an animated ton. 105 no 115 122 AD VANCi: n HE A OER ftif- 130 «3o «35 140 «t5 Leaving hnn alone and f unting, With tiie misty lake Itelow him, And the n < Jing stars ai)ove him. On the mnrro^'>• and fhe next day. Whr!n the sun tlitvOUKh heaven desccmliiig, Like a red and ban uif^ cinder From the hearth of the Ore,' Spirit, Fell into the western waters, Came Mondamin for the trial. For the strife with Hiawatha ; Came as silent as the dew comes From the empty air a}>pearing. Into empty air retunn.ng. Taking shape when eanh it touches. But invisible to all men In its coming and its gon,g. Thrice they wrestled there together, In the glory of the sunsei, Till the darkness fell around them, Till the heron, the Shuh-shuh-gah, From h.er haunts among the fenlands, Uttered her loud cry of famine. And Mondamin paused to listen. Tall and beautiful he stood there, In his garments green and yellow : To and fro his ])lumes above him \\'aved atid nodded with his breathing. And the sweat of the encounter Stood like drops of dew upon him. And he cried, " O H atha ! Bravely have you wre with me. Thrice have wre^^-d ,utly with me. no reeling. Kxplain, am 1 to a similar expression in tli* ceding context. i-'7-ij2. Cf, 11. 113-114 .21-124. Cf- 1 46. 130. Pause after "earth." Wh.. ..Uer'if? M"-'45- Head in a tone expressing admiration. i4C'-i50. O Hiawatha I etc. Use loud force, and high pitch LOSG FELLOW 123 Ami the Master of Life, who sees us. He will K'ive to you the truunph ; Then he smiled, ami saul : " To.norrow Is the last day of your conllict, Is the last day of your fastuiii. You will conquer and oerconie nie ; Make a bed for me to lie in, \Vhere the rain may fall upon me, Where the sun nuxy come and warm me : Strip these garments, green and yellow. Strip this nodding plumage from me, Lav me in the earth, and make it Soft and loose and light above me i. Let no hand disturb my slumber. Let no weed nor worm molest me, Let not Kahgahgee, the raven. Come to haunt me and molest me. Only come yourself to watch me, Till I wake, and start, and quicken, Till I leap into the sunshine. And thus saying, he departed ; Peacefully slept Hiawatha, Hut he heard the Wawonaissa, Heard the whippoorwiU complammg, Perched upon his lonely wigwam ; Heard the rushing Sebowisha, Heard the rivulet rippling near him, Talking to the darksome fores^^ 150 «55 160 165 170 «75 i.i-iGi. What peculiarities of the ! poem already pointed out are here ■ exemplified ? 154. Distinguish between "con- quer" and "oercome." 163. nor. Criticise use. 16G. Only. Is this word properly placed ? ^ ^-. ntr Use gentler force and lower pitch. 151.161, To-morrow, etc. use genu , .^ ^ .. ..i,,„He, • -li^ht " :-;:^ rr^ris^r;^:; jr :^^.-^< -— precedfng. 1O9. Change to narrat.ve, pure tone. ,f,7-if.8. For form, cf. U. '.)7-y«- 170. Peacefully. Why so ^ i-^:;-iSi What poetic effects are the^e here' Note the 'Mn'ropnate beauty of the P^^f^^R'; * . ure Note the author's love for Nature. 124 ADVANCED READER. 1.- !i) ' i8o 185 ryo 195 205 2IO Heard the si<,'hinj,' of the branches, As they lifted and subsided At the passing,' of the ni;,dit-\vind, Heard tliem, as one hears in shnnber Far-off murmurs, dreamy whispers: Peacefully slept Hiawatha. On the morrow came Nokomis, On the seventh day of his fasting, Came with food for Hiawatha, Came imploring and bewailing. Lest his hunger should o'ercome him, Lest his fasting should be fatal. But he tasted not, and touched not, Only said to her, " Nokomis, Wait until the sun is setting. Till the darkness falls around us, Till the heron, the Shuh-shuh-gah, Crying from the desolate marshes, Tells us that the day is ended." ^ Homeward weeping weut Nokomis, Sorrowing for her Hiawatha, Fearing lest his strength should fail him. Lest his fasting shoidd be fatal. He meanwhile sat weary waiting For the coming of Mondamin, Till the shadows, pointing eastward, Lengthened over field and forest. Till the sun dropped from the heaven. Floating on the waters westward. As a red leaf in the Autumn Falls and floats upon the water. Falls and sinks into its bosom. And behold ! the young Mondamin, With his soft and shming tresses, 183-199. Note the heightened in- terest produced by Nokoinis's visit. 204-208. E.xplain the application of the Simile. Cf. 11. 121-124. 177-181. Sighing, lifted, subsided, murmurs, whispers. See note, 1 27 210. See note, 11. 140-145. 315 330 935 With his K'anneiUs u^^vci^ and yellc^.v, With his loii^' iuul ^'lossy pluinaj^'c. Stood and beckoned at the doorway. And as one in shnnber walUnig, Pale and haj^K^r^l' ^^"^ undaunted, From the wi^nvani Hiawatha Came and wrestled with Mondanun. Round about him spun the hmdscape, Sky and forest reeled t<.Kt-lli<-'r, And his stron- heart leaped with.n hnn. As the sturf^eon leaps and stru^'^'l^^^ In a net to break its meshes. Like a rin^' of hre around hnn Blazed antl tlared the red hori/.on. And a hundred suns seemed lookm- At the combat of the wresti.rs. Suddenly upon the greenswa-d AH alone stood Hi.iwatha, Panting' with his wild exertion, Palpitating' with the stru^^gle ; And before him, breathless, M^^^f-"^ Lay the youth, witli hair dishevelled Plumaf,'e torn, and f^arments tattered. Dead he lay there in the sunset. And victorious Hiawatha Made the grave as he <^^^''' "^"^^"^.^ Stripped the garments ""•" KoB.KT of Sicily, Inother of Pop- l-'lKU^-' And Valmond, Emperor of Allemaine, Apparelled in ma^niihcent attire, With retinue of manv a kni^dit and squire On St. lohn-s Hve, at vespers, proudly sat And lu.ird uie pr.. .s chant the Ma.n.hcat. And,ashelisinca,o-erandoeraf,'am Repeated, like a imrden or refrain He caught the words, " Dcpo.,nt potcnUs Dc sc. baiuiuet-room, lMazin