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EMBREB. irRAD MASTER OP WIIITBV COLLKOIATB INSTOimi. \ 'I r XI ■V Wu ^vclc ROSE PUBLISHING COMPANY. \. Entered acceding t. Act of the Parliament of Canada, in the year r housand eight hnndred a«d ninety-one. by the Rose Pcbushi COMPAHY (Limited), at the Department of Agriculture PRINTED AND BOUND BY HuNTKR, R08K & Company, TORONTO. 1 NWB ON THI: SELECTIONS. nada, in the year r he Rose Publishi "iculture. I I <1 e amho ■ m ^ ^'very .ns.anco ,o get his pu,.ils ,o und-rstan,! an.! ap .recut. PpS^o^^^^^^ a few general rules n.ay 1. stated, winch w.ll 'li fou.ul ippiicaWe to the study of all literary selections. ^ As a rule, each selection should bo read or exan.i.ed at least three fnics n IK ; thf ' ""l^' '•'"'" •" """^ ■"' •""-• ^'^-'" -^'-- "- ^'- - - •d^ • Id u'T";" r"""'."'' "' ''' "'-^"""^ ■^"'' '"" — '^y «f '- ''n- - ,ue o a„y „r m wr.tmg. the substance of each stanza, section, or paragraph K Ir : oTr ' ''' ""'^■'"' '''''"'' •^"""''' •- ''^ -^••"- '-^ l^"- '-i- of 't tL, ' 1 T"'^'"''""' """ "^ "•'-■ ^'•'••^''°'> --• i"'-cle,.nde„ce of these hich th. T " ""n"'"^' "' ^■°^''^' "^"■"'•'-■^' ""'^ -•"'—. -^ the ways ethetracmgandcompanngof the meanings of words, paraphrasing and e pbnafon of allusions and of figun^.ive language. The'lnest pas" gV > n rose and poetry, and even whole poen.s. should l. eonwnit.ed to me, ' , ar . companions might Ix. made betvNeen the different forms in . hich the thor unde, different crcnn.stances. In the examination of the structure of ■tage. a so. the student should inquire into the author's hfe a d t n.e so t )e used as an exercise in elocution "msnea, may groupmg, and naturalness in the develooment nf ,h.- i « " ''""""""y '" 'h« ..... .« »,. .„..,„„ ,„e,« i, , ,„is'::u ';t"x *:™r '• woU balanced; and whether th^v a- ....,ord-ri". t vnetner the parts are "vcle^...-nt of t::o main idea;'and ^o'T ^^ '"' "^' '^^""^ '"^•'^''^^- '"^ 450 THE men .^rrrnoL reader. ^', !JrI^;r i" ""•"'', ""^^■--' "-« "-^ -ain ....-posc or examining .„„! .t.-, merits, but, as has been stated above, to enable tlie student to eain a., acctjra e apprec.ation of the autho.-s language and sen.in.ents; and n3ve .^ a,d h„n „, cultivating and strengthening his own powers of obse vl^ nd ■ ^''-;m,nat,on, so that he may himself use language with correctnel fro dom and force. I o this end. he should be required to write frequent es ay uZ op.cs suggested in the selections; to make both oral and written para,7r ." o 6em,n passages, especially of such as are obscure or involved; and finX to UTi^e out an extended abstract or a paraphrase of the whole seleaio... ' ' Of cours^ no teacher should allow himself to follow formal rules or prescribed n,ethods of study so closely as to sink his own individuality, which must alwaj be regarded as an important factor in successful teaching. He may .'requently vary his methods, c -en fro„> lesson to lesson, but his teaching will produce te nla o/td V"'' T '^^""^ ^° ^•^'^'^ '''''' ^^-^^^ ^^''"^ -- '^'-W - ■ plan of study in his mind. In the following notes, several selections have been chosen to illustrate in i general way the rules stated above, and have received full a.inotation- on the remaining selections only a few suggestive auU explanatory n.tes have been gi ven wherever such seemed to be necessary. cc j,i\en. ; i \ lit. THE MERCHANT OF VENICE. As an hitroduction to this scene, which is one of Shakespeare's master-pieces the student should read Lambs tale (Lessons CII. aiwi CIV in theFoiKTu Rkade*) or. better still, the three preceding scenes of the play itself Without attempting to give the substance of each speech in order, which would not be profitable in a selection of this kind, an epitome of the scene might be made somewhat as follows :— The Duke's remark to .\ntonio. and Antonio's reply, prepare us for the further exhibition of malignant temper which Shylock reveals in his answer to the Duke's apiieal. Shylock has no regard for what "the world thinks.' and dis- dains to give any reason for his cruel course, except that it is his humor to fol- low "a losing suit " against An.onio. His keenness of retort is well shown in the discussion with Bassanio, in which he successfi 'y parries all the thrusts of his antagonist. This discussion is interrupted by Antonio's illustrations of the Jews hard-heartedness. To the Duke's second appeal for mercy, Shylock retorts by showing that in the Christians' treatment of their slaves he was taught a lesson in inhumanity, which he was not slow to learn, and. as he had said previou.?lv it wouUi go (lar^ .viin nim ouc nc would better the instruction. / I ■ THE MhKCItANT OP vKmcn. 4JI tl.. t she I.as no nnsg.ving as to the successful issue of the trial aa;.^:rir- h^^^^^^^^ ^-^.o .h. ,0,. ... of n.incl shown hv Antonio in 1 i .^ I to h - ' " '""" '" """ "'■'^"••'''" »'ing .he Jew himself brouglt. ,„ nj ^ r» " ^ni ' "°""' T" "'" "' tlu.,an(kare's time than they are now. This is true aI.so of the mfinitive; as in the use of " to sjjeak " p. 44. !■ 3 from bottom spearo. Cf. //„;;,/,./, ,v. 7, 1T4. But since- aad that.-. similar to hej-rench construction, in uhich q,,.- (that) IS us<-d to prevent the repetition VI '^T'-'u""''"' conjunction. 'fJie full t1.1i/:abethan construction would b- Hut smce thaf ; but Shakesncare often onnts " that " in the first clause and mserts it in the .sec(jnd without the accompanying conjunction, especially when the subjects of the clauses arf- diflL'rent. See//. S. Grammar, XI q Obdurate -In Elizabethan KngiisT. tne accent of many words of foreiun origin was nearer the end of the wor 1 than at present. See//. S. Crammur, 41. Envy's reach. -"Envy" in its V,,. ' • "f^ ■"<"«'. Cf. ^fa^k. fil ,.^ — . "•"• 01a sen Siuauiy.— .Auate, iiiodcrate— a com- xv 10 mon meaning of the word in Sha'.ce- 1 My patlenca . . fury. -Antonio'. 452 The nic.rr scirooL reader. •piict Slihniission cniitrasli'd with Sliy- I'li^k's uiKontrollalilc iKilifd. 'Ihis lliouRht is fiiitli.r ixpaiukd in the hues that follow. 'I'hi' tirst lifticn linos of thissccno fur- nish several cxaaipk-s of tiio pccuiiari- lics of Shakespearian JMiglish. TLatthou . . mailce - Voii aro keepinjr up nialiee in a fipeamnce on\y. Cf. "a])parent eriielty." Remorse. - I'ity, 'compa.ssion- the usualnieaninfj in Sh;on kingdoms and some- fmes became the actual rulers of ])rin- cipalities. It is doubtful, however, if Shakespeare had this fact in mind. Pluck. Show that the force or effort miplied in " j)luck " is peculiarly ap- I)lical)le here. Brassy-of flint.— Instances of what Earle calls \.\\e/ie.\ ion aland the phrasal adjective forms respectively. " Hrass" or "flint" used as an adjective, with- out change or addition, would be an in- stance of the//(7/ form of adjectivi - l''.arle's third division. From stubborn . . courtesy. - Tliis is the strongest point of the Duke's appeal. " Turk " was in Shake- speare's time a synonym of crueltv. , PosBftsssd -Informed— a eurjimon meaning in Sliakespeire. pu« KcX fcr.'clt. That is, the fgr. feit or penalty now due. Tliis i , art example of /7(7/,//,;,/|(, a figure of sMi- tax by which two nouns are used in- stead of one and an adjective. Deny.-- Distinguish from refuse. U'hiih meaning has it here? Danger. Loss, injury, rather than exposure to loss, etc., which is the usual meaning. In Portia's u.se of "danger," |i. 46, 1. 15, we have an older meaning of the woni, absolute power, full power to do harm, as in .Matthew V. 22. Your Charter. Shakespeare seems to have in mind the city of London, which held certain rights'by royrU char- ter, and was liable to have its' charter revoked by Ww. sovereign. It was re- voked by Charles II. in 1683 to [nmish the Londoners for their sympathy with the Whig conspiracies. The meaning appears to be that if the rights of strangers, guaranteed by the charter, were not respected, an infringement of the provisions oi the chartt r in this re- spect would open the way for its com- plete annulment. Antonio himself, in -Act III., Se. 3, refers to the ne.-essity <)f maintaining the law. .See also Por- tia's speech : " It nmst not be," p. 47. CaiTlon. — Derived from the Latin taro, flesh, with the addition of an aug- mentative suffix which gives the word a contemptuous force. Sec //. S. Grammar, V. 22. Shylock suggests the c|uestion and then answers it him- self for the purpose of taunting his op- [jonents. Ducats. — This coin, formerly com- mon in several continental states, was either of silver or of gold. The value of the silver ducat was about that of our dollar; the gold ducat was rather more than twice the value. It is suj)- poscd to have received its name from having been first coined in a duchy (Latin, (/wtz/z/j-. )Threethou.saiid ducats would mean in our day not less than 25,000 dollars. 42. Say. — Suppose I should say. In Act III., Sc. I, Shylock says of the pound of fle.sh, "If it will' feed nothing else, it will feed my reveiige." Ban'd. —Poisoned. N'ot now used as a verb. Some men . . pig.— Note the omission of the relative -common in Shakespeare. THE MERCHANT OF VENICE. 453 'A Raping pig" js frcnrrnllv mtLT- preted to moan a pig's hear! roasted for the table. In olden times, a boars head served up with an ap|)le m its mouth was a favorite Christinas dish. Knight thinks that Shyloek refers to the s<|iieaking (jf the livi'ng animal. Affection loathes, .\nother reading places a period after " affee- tion" and makes " ma.ster " jihiral. Knight defends the reading here given, and explains it at eonsiderable length' " Affei/ion is that state of the mind whether pleasant oi disagr.'cable, whieti is i)rodiieed by some extiTiial object or quality. Passion is something higher and stronger— the sn-^i^esflve state of the mind— going to a point by the force of Its own will. The distinction 1.S very happily i)r.'served in an old play, .\c-rA- /,),> Late —• Hh heart was fuller of />assi,»/s than his eyes of afiittons. 'I'he meaning then is, that a Jirtion, either for love or dislike- sympathy or antipathy - being the W(n/f/- of passion, -swavs // f passion J to the mood of what // Oif/ir/ionJ hkes or loathes. ' Antipathies for which pi'ople can give no reasf)n may inllu- ence them to act in a way that their judgment tells them to be unreasonable and absurd. \'ery strange stories are told of the antipathies of people, cats bluing an es|)eeial object of aversion." Whyhe.— Note the strong demon St mtive force of "he" in this and the lollowmg lines. "Woolen bagpipe— Bagpipes were commonly carrird in woolen cases OWvr readings have Ijeen conjectured of which •■ wauling" is the most plaus- il)le, as agreeing with what is said nbove, "when the bag-pipes sings i' the nose. Nor I will not — Obsery<< the use of the double negative for the .sake of em- i'hasis— an idiom quite common in early Knglish. Lodged. Settled deep-seated — an c.\|)ressive ei)ithet. That I folio V . . him. -Why I follow, etc.- an adjectiveclau.se. VVhv 'a losing suit "? Are you answered 7 — The bitter scorn which runs through tht; Jew's speech is es|)rrially notieeable in his repetition of this question. :>ote also the spirit in which he replies to Has- .sanio. Current. — Unimpeded course. Hates . , Wu. Shvlock's view accords with the teaching of Scripture. See I John Ml. 15. Would not such a statement as this in court reveal too clearly Shylock's intentions ? Or is ho so sure of his legal justification that he doc?s not care if his intentions arc known ? Offeace.— " Offence " means (i) the resentment of the injured party, and (2) the injury itself. Hassanio uses the word in thi! first sen.se; Shyloek replies as if the second meaning were intended. We can agree with both, for they are rea- soning from different premis'es. Has- .sanio has in mind that it was a. first of- fence; Shyloek is thinking of ihv. ir/rat- nt'Sf of the offence. Complete the ar- gument in each case. Think . Jew.— Consider that you are arguing with a /ew. Antonio u.ses the word " Jew ' in a general sense, intimating that hard-heartedne.ss IS characteristic of the Jewish race. Cf. " Jewish h('art," p. 43. Main flood. — '{'he ocean. " Main " formerly meant strom;-, mn^hty. Bate.— Abate, lessen. (Jive other instances of aplia'resis. See //. S, (Ira in mar, IV. 45. And to make no noise. -"The l'".lizabethan authors objected to .scirc.'ly any ellipsis, jirovided the deficiency could be easily supplied from ti.e con- text.' Su|>ply the i)roper ellipsis here. Fretted. Agitated. Trace the con- nection with its usual meaning. 43 With all . . convesiency — '■ With .such brevity and directness as befits the administration of justice." Let me have Judgment. Let sen- tenre be given against me. Note the difl. rent meanings of "judgment" in the selection. vu^^^' Judgment . . wrong. - Shyloek adroitly turns aside the point of the Dukes <|Uestion by asking ano- 1 mV ■ ,^ ""^'-''' '"'^t'l'ices of the Jew's skill in this respect. His rea.soning is • Noil buy your slaves; I have bought my i»und „f Hesh. Wl.v should I be mon; inliurnced by m.-rciful consideia- tioi.s m putting my.self in possession of Uvatment of your property? 154 riiE nrcH school keAder. PaxtB.- Til.' uso of this word in Jio : Ri'iiM- of cmploviiK-nts, offices, is ob- Ijiiiu'd from iii(> conip;irisoi) of life to ;\ (Iraiiia -11 i-ompaiisom miidc by An- tonio in Act I., Sc. ,. s,v al.;.) the celi'hrated compan'son in As You I ikr ft, n 7 _ Fie. A natural intcricction express In,!,' dis,i,'ust, ronteiniit. Upon my power Hy Mitue of my aathoritv. Brliig us the letters Those who set tluMHselvcs to niak.ng Shakespeare's linos conform icfjularlv to tlie rules of heroic nieire call this ■■ \\H-„mf,/,i/,iou^ r'\"!-""r' '"'^"'"'^''i' i"^ not onlv tlie first half of the line in which it stands, but It serves also to complete the piece'dinL' Jnic. '• 44' A tainted wether -"Tainted " as the context shows, means infectc'd with disease, \\ea|ss to eaiTvom his designs upon ' .XntomVs lile. I his eagerness is shown in seve- ral instances throughout the scene Sole -soul. On account of the e.\ net simikuity in tlie sound of these words the force of the ptin would be lost to a h>;tener if not brought out bv api'ropnate gestures aad iiiHections I tter "sole" in a light tone, with rising inflection and " soul " in a d.'cp prolonged tone, with falling inflection But DO metal . envy — The Iiitterness of your malice is far greater than the keenness of vour knife I langman" was a generai term f(»r an executioner of any kind. Note the eoiUeiii|>t in Slivlock's re- ply, which gives increased' force to tiiatiano s denunciation. Inexorable.- An appropriate epithet 1;' < enote the unyielding obstinacy of Niylock. Another tea ling is "in- ovecrable," that cannot be" e\<«crated enough. . *~w-*i°'" ,■ .accused, ■justice (leiselt should l)e impeached for allow nig thee to live." My faith, —The Christian faith, which would be opposcrl to the doc- trine of F'ythagoras. I le was an ancient Jireek philosopher, who was .said to have taught the doctrine of the trans- migration of souls Who hanged slaughter. An absolute clause, " who /him; hang- ed,' etc. What rlu>torical purpose (Iocs this clause serve? Starved. The wolf has at all times I a lean and hungry look. , To speak. In' speaking. .Sre note on "void -empty." ( )bserye the bit- , ter, contemptuous tone of Shvlock s retort. 45- In the Instant. - l"or Shake- sjieare's use of |)repositions, see note I on " void empty." I Which bettered . . stead - j V\ rite this Ml the modern Knglishidioui. Let his lack . . estimation. - Let Ins youthfulness be no hindrance to his receiving due respect. The irre- gnilar construction here is similar to that in " Vou ma v as well . .noise" in .Xntonio's speech, p. (2 Whose trial. I'ortheco onliuatinr nseoftlH relative (who.se --. and his .' see //. ,S. (iramniiir, \'\. 47 You hear . . writes.-' Vote the redundant object a common ir-ejru- kuity mShak.-speare. See//. S. (ham- M'lr, \[\\ ,6. d. I I take It For the relation of " it " j-see //. .S". Ci la III mar, \'\. 2(1. b The difference, ihe dispute winch ' '"^ iU.'" ^''"'^'' "'' •'"' l""''s=*W«>«Wi THE MERC I M NT OE VENICE. 455 trans- i Itdroppoth . beneath- Point out Ihcaiitncss of ihr ((jmiurison with jiartKular ii-fcrma- to tin- use of " use It hk<; a j;iant. ' And indeed that seene, m whieh Isabella j.leads for her hrolhers life, eonlains several pas- sages which breathe the same .senti- ments as I'ortias strain of "heavenly el()(|iience. " Shows.. Represents, is the emblem ol. ( ompare with the meaning of ■show, si.\ lines below. I^pl.iin "temporal," and gjvc • term. Point out 'the tween /<;■((• and power The attribute . . expressions "awo and "dread and fear " may be 'merely in- stances ol the use of duplicates for the -sake of emphasis; but there is iiiobablv a reference to th<' two-fold jniwer or dignity of king.ship -" awe" ivft-rring to the supernatural power whieh the king was supposed to possess as the vicegerent of the Deity- and " majesty " to the |x)\\cr Mliich he [Assesses as the chosen leader or chief of the nation. Ihese two characteristics of kingly power, .symboli/ed by the scejitre, |)ro- diice in ordinary men the eorresjjond- inff emotions of dread imd fear. In Shakespeare's time the doctrine of the divine right of kings was well iind.T- stood. and i! beeanie a subject wf con trovensy even U-Unv his death. The king in Hamlet, iv. 5, has faith in the protecting power of the " divinity that doth hedge a king." Thr phrase, "of kings," i.s used ob- jectively the dread and fear of men lor kings. Ihe use of a singular verb with a compound subject is conanon in Shakespe.ire, especially when the sub- ject follows the verb, as here. Seo //. .S'. (irammar, XIII, 20(2) But mercy . . himself. Note the climax in these three lines. Llkest. Coiiiparison by means of Ihe siifhxes er and rr/ was' more gene- ral with the Klizahethan writers than now. Src //. .S. drammar, \ll 24 Seasons, Tenipers. In the course . . salvation.— the correlative difference b(-- klngs.— The majesty "and (ompare Psalm t xi.iii. 2, and simi- lar passages in tile Hible. That same prayer. - It has been objectecl that It is out of |-rtace to ri'fer the jew to the Christian rloctrine of salvation; but although Shakesp.Mre probably had the Lords praver imme- diately in mind, the siniimeiit is old. 41. A Daniel theo Sliakfspcaii; iilhulcs ti) the story of Daniel lelated in the Histi'iy of Siisniirni one of the apoen phal hooks, which weie road in churciies in Shakespeare's time. Shy- lock is .so overjoyed wit!) I'ortia's de- cision that Ileuses the rhetorical "thee" in addressing her. 'I'hi.s use of the sin- gular jironoun is al.so observable in Shylock's intt-rruptinns, p. 48 , whereas in his more formal speech, " When it is paid." etc., lu' employs " vou." For the l^'/lizabethan distinction' between "thou" and "you," see Abbot's S/i(i{(spi'iiri(i>i (iiinnnior, par. 231. Thrice thy money. -Should not this be "twice," etc.? See Hassanio's speech aoove, and his speech on page 43 ; but see also Shylock's second speech on page 50. Shylock's daughter, Jessica, is represented as saving (.Act ni. Sc. 2) that she had heard her father swear " that he would rather have An- tonio's Hesh than twenty times the value of the .sum that lie did owe him." Forfeit. Forfeited. Scc/J.S. Gram- mar. \lll. 44. 48. For the intent bond.— It is the intention of the law that every penalty due upon every liond shall be paid, and the law is fully applicable in this case. More elder. —Sec // i". Grammar, VH. 28. 1 have them ready —A 'sense construction." .See//. A. Grammar, V. 13. The jilural form of "balance" was rarel\- used in Shakes|x>aie's day. Account for the jilural form of such weirds as balances, bellows, etc.. which lefer to a single article. 'Twere good . charity —Is the sc(|uence of tenses correct? 'i'his is !'ortia"s last appeal to Shy- lock. ICvery eflbrt she has made to touch his h-'art only serves to reveal ' more clearlv his nuirderous intentions. ! It is still her use. Note diiTeivut i meanings of " still " and of " use." I An age of poverty. -Show how | "age " comes to have the meaning of : " old age,"' which it has hcic. end. — Express iiyn -Speak will The process clause. 49. Speak . . death. of me aftiT I am dead. And he repents. "Repent" here nieans /(» /V4,'^c/; in the preceding line it seems to have tht; stronger meaning, /(' ,i,v/(7'(' to exifss. It cannot mean that Antonio wishes his friend not tu show any grief at all for his loss. For if . . heart, running m till- midst of tragic scenes is not im- common in Shakespeare. Cf. h'ir/iani //. , 11. I, where the (lying John oft i.umi puns on his n.ame. A Wife Which. In the Kli/.abethan age the modern distinction between ic'li'i and loliit/i was not established. Cf. " Our l'"ather 7<'///^//art in Heaven.' I would lose you. ('oni|)ar(t Massanio's previous declaration, jj, 44, II. I, 2. 15assanio, in his an.xiet) for the safety of his friend, does not ;iji- jiear to realize the extravagant nature of his proposed sacrifice. So She could entreat. /'/v^T'/f/c,/ t/iaf she, etc. .See also p. 52, I. 7. The .same lack of dignity may be observed ill (iratiano's speech when contrasted with that of Hassanio,|as in Nerissa's speech whcu contrnstctl with that of I'orti.a. Barrabas.— .So spelled in Tyndale's and Coverdale's translations of tho Hible The metre reijuires the accent on the first syllabic, as on "pursue' below. Shylock's daughter had married Lo- renzo, a Christian, without her father'.^ knowledge or con.sent, and the thought of this intensifies the bitterness of Shy- lock's scorn. Jot. — From tola, the smallest letter of the (Jreek alphabet. This wortl is not usu.'illy applied to a liijuid. If .Shylock had a right to the pound of Hesh, as Portia decided that he had, should not the law grant him the power to get possession of it regardless of the blood it was necessary to shed in cut- ting it out? 50. ConflSCate.— See //. 5. Gram- mar, VIII. 44. O upright judge— Gratiano now takes delight in taunting .Shylock, and his delij.',ht is no dowbt increased by the rciiicm'urancc of Shylock's previous I • TIN': MERCHANT OF VENICE. AS7 Cm I, ^' \ confomplnniis reference to his ((ini- tiaiuVsi wit. A Just pound. -An exact pound. In the substance . . acruple.— Hy the amount of a scruple, or even of a j,'rain. The editors of the ( larendon Press edition find a elinia,v in I'ortia's threat : '■ first, if it be h^hteror lieavier, i.e., according to ordinary tests ; then, if it weigh less or more by a single grain ; 'hirdly, if the sca'e Ik; uneven by a single hair's breadth." Infidel. — How does the meaning here thffcr from the usual meaning? On the hip. —At a disadvantage— a wrtjstjer's phrase. Shylock saifl of An- tonio (Act I., Sc. 3), " If 1 can catch .him once ui)on the hip, I will feed fat the ancient grudge I bear him " - another proof that .Shylock flid "con- trive " against .Antonio. He hath refused . . Iwnd.— This is not good law. The Jew would in l.iw have the privilet-e of changing his niind and taking what he had previ- ously refu.sed. Other instances might hv. adduced to show that the proceed- ings at the trial are not strictly in ac- cordance with law, at least not wuh Hntish law. The truth is, that in this, as in many other cases not so justifi- able, the law w.is found " capable of l)eing bent to the will of its adminis- trators." 51. I'll stay . . question.— I'll argue the matter no further. Allen. — Here, opposed to citizen. The Jews had commercial but no po- litical rights. When did the Jews ob- tain the rights of citizenship in Britain? The party.—" Party " is here used in its strictly legal sense. la the mercy.— We still say "in the p-wcr," but" at the mercy"— an inst.uice of "the appacently cri|)ricious change in the uscof [jrejiositions. " 'Gainst . . voice -Is this phrase necessary to the meaning ? If not, what purpose does it .serve? For It appears . , defendant. — Refer to instances in proof of this. The danger . . rehears'd.— Ex- plain. Distinguish from "danger." as Used elsewhere in the lesson. For half.— As to ha f General state.— The "privy c»ffer," or treasury, of the State. Which . .,flne.—W1iich submis- sion on your part may induce me to commute for a fine. Not for Antonlo'8.- Antonio's sharo nnist not Ix? commuted. May take my life . . live.-^^ •Vot unlike the .sentiment c.vpressed by Antonio in his siK-ech, "Put little," etc., J). 48. 52 To quit the fine. —To remit the fine due the .State. In use. —.Antonio proposes that he manage, as trustee, the hail of the lew's property for the t)etiefit of Lorenzo and Jessica, and that, on Shvlock's death, the whole of the property become theirs. Shylock had disinherited his d.iughterfor marrying Lorenzo ; so the punishment which Antonio proposes to inflict is a just and natural one An- tonio, with characteristic generosity, asks nothing f(jr himself ; his revenge is truly Christian. Presently. — Immediately. Note the changed meaning, caused no doubt by the habit of iirocrastieation, which has put presently farther and farther off. C't)mpare the change in hy <"i>{ fiv, which also at one time meaiit imtiuili. afely, as in Mark vr, 2^. Of all . . poBsessed.- * In re- lative sentences the jueposition is often not repeated."— .-^(^*(?//?. Recant. — Revoke. Distinguish from its present use. 1 pray you . . sigrn it.— The great mental distress here shown by Shylock must be expressed in reading by the per/oral quality of voice. 'I'he same c|uality is required, though in a less de- gree, in reading most of what Shylock .says after, and lieginning with, the speech on p. 50 ; "Is that the law ? " '1 he difference between ihcpecfonil and guttural qua'ities of voice may be shown by contrasting the reading of these pa.ssages with those in the earlier part of the scene, in which .Shylock ex- presses his hatred and scorn Ten more. — That is, to make up a jury of twelve. This appears to havj tjeen an old joke In one of Ren Jon- son s plays the jurymen are called "godfathers-in-law " " Bring" is used in a double sense, a sort of zeugma. I'he sentence of a jury broit^ht a mau to the gallows ; the godfathers accoitt' 4S8 THE men SCHOOr. READER. t'l'iifd llio convert to tlir font. For tlic second meaning, see Acts xxi. Desire . pardon.- An idiom o.nnion ui Shakespenre, .Spenser, and llK' older writers. Serves you not. is not at your dis- Gratify. Reward, recompense Illustrate hy examples from the se- I'Vlion differences In^'tweeii the lan- jju.ige of Sliakes|x;are and that of our u.iy. • Refer to expressions or passages in the selection wliicli cxhiiiii traitsofdiat acter of the persons represented. 1 omt out instances of race prciu ice m the selection. . How is it that a man of such keen inte lect as Shyirxk fails to see the weak points in his case? An article entitled •'The Sisters of r ortia, m Sl,ak,-^p.-a,i„na for Novetn- ber, 1886, shows that in the earlv ve irs of the sixteenth centurv Sl,.,kespeare might easily have found the tvpe of I ortiaamong the literary ladies of nor- thern Italy. IV. OF }{OI,I)NKSS. ■nu; IM.n-..' of this I-ssay is to con.Ien,n vain self-assurance or presun.p.ion to whiih Bacon gives the name of " boldness." ^7;. arammar-scliool text.~In the l-jUin translation of the Hssavs c-xecut- ed under liacons suiiervi.sion, this ex- pression is rendered hw " duteriumr which means a familiar'witty .savin{r Part. ^^Qualification. ' ^ *> i other .senses in which it is used, ami trace tlv connection. Mountebanks. -Quacks, impostors. The wx)rd IS of Italian origin, meaning one who mounts a hauh (It. InuiaA to proclaim the virtues of the medicines Af>t1nTi IJ, 1. . i F'>'>-"aiiii me «„r„Srrf ;," '"'"u """P'^ls Ihc i «hicl, l„. sell,. !;::^:^f.'hr'! -'-» ^c speaks. vS an \ caSnloiS """"'^^ ^'^^"'^' ""' mterestmg reference to the answer of Demosthenes, see the extract from l-ranklinss diary for 1784, quote.l in he article, " lienjann-n Franklin," in the l:ncyclop(Fdia Britiuiniia ^iS.'il!:r^''''^''"*^"'-''^"'^'-"'-'"mplisliment. There Is . . wise. -Discuss this ttatcment. « J?^®"-. '^ charmed, captivated. CivU business. —With what is this contrasted ? Which are the greatest part — ( ompare the similar statement respect- nig "action " Wooden posture. -St iff, awkward expression. This meaning of "wooden ' was cwnmon with old w riters, and is not unfrecjuent in ourfla\-. A stale.— That is. stalemate -a posi- tion m a game of chess, when the kinir "s not in check, but the plaver has no no'»; left except such as would place his king in check. In this case the game IS draum. . ^^ Give examples from this and the preceding selection to show that for reedoni, terseness, and vigor, Eli/i- bethan is superior to Modern Enelish Popular 8tate8.-Xote the use of but i^ 's'„r^.'''"'T '° ^'°'^"" ^"&'''^h. •' popular '-in its prim.-xry .sense Give I luto.1. '"^H^ssed m clearness by the \ \ 1 ^ ^ 1 OF C OA'TJuXTFDXKSS. VI. OF CON'ri-NTEDNKSa 459 The subject of the first panigrapli, that a contented spirit is a ren.erly for all Pvils, IS stat..,l in tlu- first sentence. The main thoughts of the other sentenc-.s of the paragraph may he stated as f.-llows :-The wise man adapts himself to circumstances, and finds in every change of life occasion for the exercise of son.e virt.ie or other. I'overty borne with a contented spirit, in .submission to th.; will of (Jod. is productive of happiness ; whereas the possessor of an ample fortune IS still poor if he be covetous and dissatisfied. Since contentedness is a virtue of such excellence, it is proper to enforce it by the strongest of obligations. Besideourbeing:." Beside" means 'lot loutn-ilt'd until. Master . . act.— See " Piirts," p. .t54. note on 56. For this alone . . nothing. Compare Pauls sentiment in I'hilit)"- pians i\. 11,12. Disagreeing . . appetite. -i:.\- plaineil by the clauses that immedi- ately follow. Composes . . accident.— Con- ti'iits himself with his |)ie'-ciit circum- stances. Trace the different expres- .'■loiis of tliis thought throughout the Jiaragraph. 1 princes ot t'ersia, Israel etc are 57- A proportion fancy. -A spoken of. Thus, Michael is called I roportion suited U, the fancy. What the prince of Israel. I'erhaps the fntl does the writer illustrate by his refer- | chapter of Daniel furnishes the key to Refuse no circumstinces.- .Are de- terred by no (lifticulties or dangers that attend tiie performance of duty. Angel of Judea— Angel of Persia. I —In the book of Daniel, and elsewhere j in the Mible, the guardian angels or "princes" of Persia, Israel eiice to beauty f Andso .'. felicity.- Ha-ppine.ss IS not determined bv nile, that is, by any jiartieular state of fortune; it de- pends uiKuiones disposition and senti- ments. For no man . . so.— Compare what is stated liere. In his proportion. - Relatively. " Proportion ' seems to be a favorite woi,; of the author, used in the seii.se of what falls to ones lot after a just division or distribution. The duty of .submission to the will of (iodis taught the thought in Hamlet, 11,2. " There ! in this i)aragraph. Trace the coniu-e- -s nothing either good or bad, but think- tion with the main .subject, as staled i", '"i^'^h.?"?- ., V the preceding paragraph. tnmlties of sad chances—The en- For . ways. - What is gained nro,'lHl'"^' that are likely to be ' by using the interrrogative form in '?w?h .K -■ <^°'"I''V'"? "»•■ ni'^fortunes these sentences? How are they con- Pnn,'" nn*;"''''/ "'■■'; u ,• W"^'''^ '" 'f^""«''t ^^ <"' the preceding us, nf Vnnn : ''"'-"'^' f the peculiar paragraph ? Compare the .Sentiment use of connectives, and of the onus- I of the last sentence of the paragraph Mon of words necessary to comi)letethe : with Newmans experience, as revealed ■"'* nl-*-.^* J " ! in the poem, I.ead,Ki>idh Lielit in Contentedness . religion.- ; the Im.Irti. Kic.adkk " 1 his IS the subject of the i>aragraph, | 59. Contentedness . spirit- ""%'" ' "■" ^''° "^'•'' P^^-'^-l'll.is is the second division of the topic. Rai»;«,.»„«* r- jcr '1"'' is the subject of this paragraph. Ratherwant.— Give different mean- We ourselves bad -Find . ings of want. In what sense is it similar sentiment in the selection "'"' '''■'■'' • Eligible. -Worthy of choice, desir- My patron . baked— Show connection in meaning witli what pre- cedes. 58. Melancholy.— Fit of iiielancholy or dejection. able. Observe the noble sentiments of the last stMitence of the paragraph, and comp,are them with those of Socrates P- 385. 60. Atrophy, — Literally, want of 46o THE HIGH SCHOOL READER. nouiishrncnt ; a wasting away. Noto the ellipsis in this sentence. Amazement- I'erplexity. Fearful defendlag. Distin^jnishhe- twecn different nie.ininKs of " fearful." What is the statement respecting the adder inlenried to illustrate? Stoics, (ireek philosojihers, who taught, among other things, that men .should view with ec|ual indifference the l)rospeet of pleasure or of ])ain. Anon. .Another time. Generally used adverliiallv. Playing at tablea.— •' Tallies " is a name sometimes given to the game of draughts or haekgnmmon, froiu ihr small tablets used in playing. I'orwhat purjiose ik this illustration used? N'oti- the different purpose for which I luxli'y em|)loys the illustration of a gan>e of chess, p. 412. For no chance unreason- able. -Conipare the sentiment of Soc- rates, p. 388, ".\o evil can happen," etc. Parthian klDgs. The I'anhians lived to the .south-east of the Caspian Sea, and maintained their independence in spite of repeated attacks by the Romans. See p. 143. VII. TO LUCASTA. The lady whom Lovelace celebrated under th(> name of " I.uc.ista" was I.ucy Sacheverell, his lady-love, whoru he usually called l.„x Casta. Lovelace fought on the side of the Royalists in the Civil War, and for his devotion to the King he was imprisoned by the Puritans. The short extract on page 55 is the last stanza of To Althea from Prison, a poem written while he was a prisoner. Nunnery.— This word is used hereto I could . . more.- Perhaps the mdicate a place of (|uiet retirement, in sentiment of these two lines never had contrast with the turmoil of " war and better practical ilhiMiation than in the "''"'^- devoted loyalty shown by the adherents New mistreBB.— War, or the glory of the Stuarts!'' To\\'>iac'ehimTeif'sacri- lattle field. flced his fortune and his health ior ' ' the to be won on the battl ._ ^ ,.>.„,„, .,„ Stronger faith. —This is explained i()st causc^''"a1iT"dTe(^i*l^"pm\TtV amil in the two last lines of the poem. obscurity at a comparatively early age. J i VIII. ANGLING. This selection consists of a dialogue between Venator (Huntsman) and Tisca- tor (Fisherman). Venator has become convinced th.it angling is a more inno- cent recreation than hunting, and he accompanies I'iscator in his angling excur- sions to learn from him the mysteries of " the gentle craft." The language is extremely simple, the words being for the most part Saxon ; and the dialogue nins on in a natural, easy flow, and with a simplicity and quaintness of expression which constitute its greatest charm. The walk in the early morning furnishes occasion for instruction as well as enjoyment, Piscator mingling with his lessons on fly-fishing moral reflections and precepts suggested by natural objects and phenomena, or by the amuse. nient itself, AXcU.AVc;. 4dt i '^ «i-!. HonosLocboldr.— \\ ii,it«|iMlity, if ,iny, (li)i's " hoiicbt '' express hcifi' Sycamore tree. — Thi; byciimoro or |)l;iru; Ircv. of Kritaiii is a spoi'ics of iii;i|)U', f^rowiiij; from 70 to yo fi'ct in lui,>,'lit, uitli ii spn'iuliiiy head which forms an cxcclli'nt shade. Brave breakfast. —" lira ve" wa.s formerly in eomnion use, like "(inainl'' in the last eeiitnry, and "nice "in our (lay, as i f,'eneral term of eonimenda- tion. Another meaning, nage are due to the f.iet that the several paragra|)hs are not taki'U con- secutively from the author's work. What the omitted portions treat of is in- dicated by the context. Smoking shower. .\ sudden show- er on a warm day causes the appear- ance deseribetl as "smoking." The old angler is a close ODscrvcr of nature, as might bi- expected. Earth smells . . too. The earth smells as sweet as \.\w. meadow looks pleasant. Criticise the use of "plea- santly " and "sweetly." Mr. Herbert.—" I'loly (leorge Her bert ' (1593 -1633) was a pious coun- try clergy m.in of noble descent. Hi; was an intimate friend of Lord Macon, who is said to have had so high a re- gard for his learning and judgment that he submitted his works to him be- fore publication. 'l"he lines below, en- titled Virtue, are considered to be the best he has written. His biography was written by Walton, who was born in the same year as Herbert, but sur- vived him ttfty years. Walton intro- duced many beautiful lyrics into J'/u Complete Angler to enforce or illustrate his lessons. The dew . . night. —Coleridge calls the dewdrops "the tears of mournful eve," and another poet speaks of them as " Those tears 01 the sky for the loss of the sun." This pn-tty con- ceit of representing the dew as "Na- ture'" teardrops " is common with the poets. Angry and brave. — Explain the epi- tiiet " angry. ' For "brave," see note on " brave breakfast " above. Bids . . eye — It is an exagger- ated conceit to make the hue of the rose dazzle and weaken the sight of him who gazes upon it. A box . . lie. - A beautiful oom- parison of spring. Exjiand the stanza to bring out fully the meaning. Thy . . ye.'— Can the u.se of these two words here be justified? Closes. — The closing burs of a piece of music. In "shows . . closes'' there mav be an allusion to the mourn- ful refrain that seems to accompany 463 ////; iffGii .^cHoor. Kh.Anr.R. t lu MM.niU 'ft \yMwi' the siKhinn ,,r WW. trci^, ih,. i.u'niniriK cif the „,„,|s ••tij. M.iy M)* iM.-ioanj, ^yf •■ ,„„^i,, •• ,„; I'lilar^cd St. ,„ ,,.i ii^-lutl.- iK/f onlv ihr m.'Uxly, l)iit aW, *h*' sw.-rt ,«|„r-,', llu' "I'lii'iit hii.-s, an.l S "UW !>rauties of 111!' SpllM),' llMIC.'' Only . . lives. Ol.M.rvil.uw i(i,.-thr,-c lirst stanzas l.-ad ,||, ,,, j„„| j||„strato the List stanza, \\lii,li contains tin- siih- J'vt of the ponn. HcrlHit's po.-iii ///,■ 1 //."/(•«/ .1/,///, in the I'dl KTl, Kkaihk , IS an expansion of th,. tlioiiKlit in tir last Stan/a, that \ iiliic alone stands the test in the lioiir of trial. Jlie simile must lUit lie pressed too eloselv, fur ' sr.i.wfi,;/ li„ib,r would he the liisl to I ////•;/ /,' coal in a e(>ntla^'|•atioll. ' wj. It Is an even lay.- I'iscator i seems to say, " J'll make an cvca bet s\'\\\\ you." To'use, — lo jnterubl. TltyruH MellboBus I',m|„ (Iniine, n( .hephenS, 11 ,ed hy X'irgil u. hi, Ijr.t Innoceat recreation. \\\ w alion'^ minute diiv. II., MS f.,r ni.ikini; live l.,iil , and (or plauu);; it ou • *... |„„,|^ j,, j,u^^.|, ■■« "ay that it mav live a lon>. time, have exposed hini to the charge of cruelty. I',yr,)n thou>;ht that ; " The (|iiaint, old, ciuel coxeomh in h: Kiill''t Should have a hook, and a small trout to pull it." VN'iiat Wordsworth and ( owper would have ihouKhl of an^jliiiK mav he ^alh- «;red from ih. last .stanza of il,u/ l,at> Well, and from Ihe /\,.i', \ i. 560, ,•/„,/. Refer to passa>,'es in the selection winch would justify the alternativo title, ,7 I out,- III f la live .\f,,ii< A',- ar.iliiiii, which Walton ijavc lo his book. LX. 0\ THK MORNIXd ()K CHklSTS N.\TI\ IT\-. I his p.,. ,n was svritten l.y Milton in ,629. while he was a,i undergraduate at aml,r,d,.e nnd although the work of a n.ere youth, it has i.een described hv Hallama. i.orhaps the tinest ode in the Knglish languajre." 'J he metre of the mtroductory .stanzas is calle.l •■ Rime Royal," an.l is that in which ( hat.cer wrote t haiicer, hut he ha.s a hexameter line in the seventh place. 67. Work us. — {{ring ahout for us. linsufferable.- The t,ld usaire pre- ferred the laiijlish prefix. Cf. " unca])- ahlt', " p. 40. See //. .V. Grammar, W. 3.|. The midst . . Unity. -The Son ■ IS always named hetv.een tho two other persuiis of the 'I'rinitv. Heavenly Muse. -Milton imitates Homer and \ irj^il in invoking the Muse ■^" the Heavenlv Muse,' hecau.'^e his IS a sacred theme. See also Paradise Lost, I. 6. By . . untl-od.— An allusion to the classical iiotio-i of .Apollo or Phoe- bus, the .sun-god, driving the chariot of the sun across the skv. Hatb . . iprlnt.— Ha" received no impression. For " t>.,ok," : ■ //, 5. Grammar, Vill. 43, d. ^68. Wiiarda.— Thewiseme»fit- . - East. This wgrd has not here \i'\: a, ■■ tfmi)tuous meaning that it usually ha^. for the force of the termination' ,U,: as fre(|uently in the Hihle Secret altar. - .\n ' allusion to Isaiah VI. 6, 7. Had doO'd . . trlm.-Kxplained by the hist line of the stanza It i.s generally helieyed that Christ was not l)orn in December, but at some milder sea.son, when theshcjihen'^ lentedwlih then- Hocks. Milton has in inind an J'.nghsh winter, not a winter in Pales- tine. To wanton . . paramour— \n allusion to the winter days, when the beams of the sun are weakened PoUute. — Polluted. .Sec // S (mrmmar, VHI. 44. Mal«!^n white Thnt i- " i,^ — ■■-^'«.- -inat ia, innocent ox rnr. morxixc. or < //Avsrs xa rrvtTv. \(^'s Ill ill'. Ill'.t i Foul (loformltlOB. \h,\\ . Kr ia- |in'sst(| 111 I ills stiiii/ii .' . To c«aie. r<) liuisc to ccasr. S'l // .V I iiiimiihir, \'lll.7. c. Harblng^er. Litrrally, imfwhofjocs licfiirf itiid pnividi's shrltiT for an iirmv ; lii'iur, a turiTumicr. Turtle, llrif, a (lov.-. 'riuMlovcis iiri riiil)lt;in of iiiiKKciur aiKi |H'aci'. I'or its conni'itioii with tln' olive, str ( Jcncsis \ III. a. Myrtle. I'lH'myrtlfinani iiiutimcs was .isfd at svcddmjjs, .ind was .i syni- ImiI of jiiyand hai)pin»>,', as the cypress was of sorrow. iV.ili liic iiiyrtlf and the dovo wiT'sacri'd toW'iius, tlu-yod- dcss of ; !■ No war, -At thctinu; of ili.' birth of (iirist thi- ti'inple of janiis at Koine was elosed, as a sijjn that there was peaee thiiiii^diimt thi' Koinaii Mmpire. Hooked cbarlot. .\ eliariot armed with scythes fastened to ihu wheels -a Celtic invention. Awful. I'utl of awe, fearful. Sovran. 'I'lie modem spelhntf of tills word has been bronjfht about bv false analojjy, a.s if it were connected with "reijjn." It is derived from the Latin sii/'fritmis, and comes to lis tlirongii tlie I'lench sauveriiiii. Whist.- Hushed - an onomatopoetic word. Ocean.— Here, a word of three syl- lables. Birds of celm.— The halcyon of an- cient fable was believed to brood i« a nest floatinjj on the sea, and to have the power of charming the sea into a perfect calnuiess during the time of brooding— seven days before and seven after the winter solstice. These were calledthe " halcyon days." " Jlalcvon " is probably a poetical name of th." king- fisher. Influence. — This word is used here in its a'-'rological sense, referring to the mys >as power which the heaven- ly bodies were supposed to exercise upon the lives and fortunes of men. \Vhy "precious"? I-'or other survi\als of the old science of astrology, sei; Trench's .S7«(/i'(/n'cn/.f, Chap. i\. 70. For all' . . light.- We have the same meaning of "for" in the school-boy's defiance, " 111 do it for ail you." See //. ^i'. Uiummar, Ji. 7t Lucifer 1 1.. 1. .ming sI.h. f :!•■: .div, the ■' light briiij^ir,'' 6eipalre. I'hepretiv 'be"adds an intensise force to the vi-ib 'iive ex- ample of other uses of tin |)reli.x. " Hid ' is a loniracted weak preterite. See //. .v. Cfiimmiir, \'III. 66. Room. I Mace. "Her' may refer either to "bhadv gloom ' (nighl), or to "day.' As. .\s if .1 common meaning of " as " w idi the older \s rileis. Burning axletree (I I Mnlel viit. 9. Ill old f.nglisli " tree " had the ad- ditional meaning ol -.'I'Cf/, htiiiii. Lawn.' I'rop<'rly, an open space be- tweiii woods. Or ere. -I'robably a reduplicated constnution, "ere" being ailded when "or'' iM'gan to lose the meaning of ^/dri*. which it had in I'.arly laiglish. See Aobot's Sluikespeiiriiin iiiainmar, 131. For another view, see Male's Lou'^er Em^li'ih JWrnt, p. 219. Pan. -Tlu; (jreek god of shepherds. 'I'he name is here «i)|)lied to (Iirist, " the gofid she|)her(l. Was all.- Justify the use of the sin gular verb. 811iy»- This Word has successively meant (1) ha|)i)y, as here, (2I innoient, (3) harmless, (4) fooliMi. Account for these changes of meaning. BtrOOk.- Old preterite form- here used for the |)ast |)arlieiple. Divinely warbled . . took.— An absolute or an a|)positive expression develoi)ing the thought in the first three lines. " .As " is a relative, as it is in the third line. Note instances of im- perfect rhymes in this .ilan/.a. Close. — The cadence at the end of a piece of nmsic. See note on " closes," p. 461. 71. Cynthia's seat.— "Cynthia" was a poetical name for the moon. Diana, the moon-goddess, was .supposed to have been rn at .Mount Cynl?lms, in the island of Delos ; hence, called " Cvnthia." Explain " hollow round." Won.— Persuaded. Its last ftilfilling. — Tts completion. This is oneof the three instances of the use of "its" in Milton's poetry. It had not in his time gained recognition as a reputable word; and his reluet.Tnce to use it is shown in the fourteenth stanza, p. 7a, where he uses "itself" 46^ THE HIGH SCHOOL kEADER. and " her" referring to the same ante- cedent. See remarks on "its" in //. S. Ci ram mar, \'\. 22. Alone. -Has "alone" liere the force of " and only sueli " or "by itself"? Happlerunioa. — Complete the com- parison. Globe. — Mass, as often in Latin; otherwise there is tantology in the line. bhamedlaced.— See //. S. Gram- war, W . 46. a. Cherubim - serapblm. — If Mil- ton intended to mark a distinction Ix'tween these orders of angels, it would appear from the epithets employed that he regarded the former as purely defen- sive spirits, and the latter as more ag- gressive. Unexpresslve. -Inexpressible. Sons of morning. — See Job XXXVIII. 7. VveUering.— Rolling(A. S., wealtan, to roll) ; akin to waltz. Ring out . . spheres,— It is a beautiful pjetie fancy that the move- ments of the heavenly bodies produce a nmsic which is imperceptible to mor- tal ears. The poets make frequent re- ference to this " music of the spheres," the linest, perha]5S, being that of Shake- r.pe'.ire in the Merchant of Venice, V. i. 72 Ninefold harmony.— The an- cients represented the revolutions of the universe as being made on the dis- taff of Necessity, in eight concentric circles, or wheels. Milttn adds a ninth, " the wheel of d-.y and night." lar. Lost, VI I. 135. Consort. —Symphony, agreeable har- TTiony of sounds. The jioet asks that the music of the spheres and the an- gelic songs blend together in a com- plete and harmonious chorus of praise to (jod. Time . . Gold.— It was the be- lief of the ancients that the human race was degent;rating, and so they rcpre- .sented the earth as having passed through several successive periods or a^es, the golden, the silver, the br.-izen, and the iron, in a descending scale of morality and happiness— " from good to ill, from ill to worse." They regarded them.sel.es as living in the iron age, the period v.lien all the virtues had disap- peared from the earth. Milton, and iiuleed all our pojts, fr (lucntly emjiloy this piyth for i'.'.«siruiive cff>'ct. bco, for instance, Cowper's Task, IV, 513, et scq. Speckled vanity.— "Speckled "may be used in the sense oi ,i;aitdy, s/hicv, but it suits the context better to make it nu-an tainted , p. aifue-spottcd. And Heil . . day. — "Hell" in this stanza, and " Heaven ' in the next, are both regarded as feminine ; no doubt because they were feminine nouns in Anglo-Saxon. Like glories. -Similar glories. The i^lorv here alluded to is the luminous halo which is represented in paintings as .surrounding the heads of holy per- sons. The halo in this instance is formed of the rainbow, which is regarcl- ed in Scrijnure as thi; sign of God's covenant of mercy with men. Celestial sheen.— Heavenly bright- ness. With radiant . . steering— Note the greater simplicity of Shakespeare's line, " It droppeth as the gentle rain from heaven." Show that greater glory is here ascribed to Mercy than to Truth and Justice, and give reasons for this. This must . . so.— The return of the golden age of peace and innocence, pictured in the five precedmg stanzas, is not yet at hand ; for by the decree of Divine Providence ("Wisest Fate ") must first come the death of Christ, the resurrection, and the judgment. The heathen myth of the golden age is ele- vated into the Christian conce|)tion of the Millenium. Ychain'd. — See //. j/t'.r.r, who in a sort of de- lirium or " nightly trance" produced by the vapor, uttered sounds ("hideous hum") which theattcndant priests inter- preted as the answers of the god to the questions asked. These answers were " in words deceiving," or capable (jf more tlian one interpretation. " Nightly" is equivalent to night-like. In ' 'breathed ' there is an allusion to the way in which the "spell" or inspiration was pro- duced. The "cell" (Latin, «//,/), or " shrine," was the most sacred part of .Tteniple, where the statue of the god was jilaced. Apollo is represented as leaving his tenijjle with a despairing shriek on the advent of our Saviour. Itwas ageneral, but not a well-founded, belief that oracles became "dumb," that is, were not consulted, after the birth of Christ. 74 The parting geDluB. — " Tart- mg" for departing, as often in poetry. To the mind of the ancients, especially of the poetic Greeks, Nature was not a dull, senseless thing, but was instinct with life; the springs, the trees, the mountains, and other natural objects \vere supposed to be guarded by nymphs, dryads, and various orders of ^^\xwi ox genii. Why are these repre- sented as weeping and sig/tingf lara and Lemures.— The Lars or Lares were the household gods or kind- ly guardians of the family. They were the deified spirits of ancestors that had received proper honors; whereas the Lemures were the neglected sjiirits of the departed, who were inclined there- fore to wander about and do mischief. Urns. — These contained the ashes of the dead. Flamens. —A class of Roman priests ; here used as ageneral word for priests. Quaint.— Odd, strange. See Earle's I'hilologv, sec. 423 c. And the chlU . . seat.— The poet represents the marble statues of the gods as affected by the general terror, each particular fjod forsakintr his accustomedplace. See the story of"ba- gon, 1 Samuel, v. B'lUm. A generic name of the I'bwnician deities, of which Peor or Panl-Peor was one. .Ashtaioth waa the plural form of .\slitoreth, the cor- responding female flivinity. Jt is com- monly supposed that .Ashtoreth was re- garded as th« moon-god, and Haal as the sun-god. The epithet " queen of Heaven" in Jeremiah Vii. 18, is sup- posed toreferto Ashtoreth. The "twice- battered god" is Dagon. Hanunon. — Amnion, a Lybian and Egyptian deity, represented as a man with nun's horns. Thanunuz— Regarded in Par. ImI, I. 448-452, as a Syrian god. He was killed by a wild boar, but was revived for si.\ months of every year. Hence, Ab'lton speaks of him as "yearly wounded.'* Sullen Moloch.— The chief god of the Hioenicians, frequently mentioned in Scripture as the god of the .Ammon- ites. He was represented by a IkjIIow brazen idol, with arms extended lo receive the human victims, chieHy chil- dren, who were offered in sacrifice. See Jeremiah X.XXii. 35. The idol was heated from within, and while the vic- tims were being burned to death, their shrieks were drowned in the noise of clashing cymbals made by the priests as they danced .iround the'idol. Explain the epithets "sullen," "grisly," "dismal," "blue." Brutish. — Because most of the gods of l':gypt were represen.ed either wJioUy or partly as lower animals. Thus I sis is freqv tly represented with a cow's horns I'robably the word has also a moral reference. Osiris and Isiswcrc the chief maleand female deities of Egypt; llorus was their son, and the dog-headed .Anubis w.is the guard and comi)anion of Isis. Osiris is here identified with .Ajjis, who was worshipped under the form of a sacred bull kept at Memphis. 75- Unshowered.— An allusion to the absence of rain in I'-gyjit. Sacred cheat.— Same as " worship. p'd ark," the chest in which the image and the sacred utensils of the god were kept. Piofoundest Hea— In contrast with Sable-Btoled.— The stole was the flowing robe worn by the priests, who with songs and the music of the tim- brel carried the " worshipp'd ark"' 466 THE HIGH SCHOOL READ^IR. Typhon.-This fire-breathinjr mon- Mcr ,s n.en„o,u.cI last, because ^he was he most formidable of all. He wis eper.sonir,cntion of evH, and no doub the ancent stones and representations of the_ monster aided rnatenaliy in for ' "Iff the popular conception of Si tin i hafrtn.- ' '^^^^-When the sun So . grave.-The poet makes the damned crew "of heathen gods flee at Christ's advent, just as the shades of night are scat ered by e nsngsun. -All the supernafuralKin^s wlmm the night brings forth fron, thel ' ■ts, and the like— must flee awnv -.f I Moon-loVdmaze -^-Thefavs, fairies 7^.. Youngest-teemed star -The tiatn flxt . oar TT„.u . , po^rcbi;:''-^^'''^'"'-^-''^ which the -V. CHARACTER OF LORD FALKLAND. TVxIkland and Clarendon were both v«,>n„ , ' ' tween Charles I. and his Parlhn,^ Zl "'" "k'" ''^ """^'^ ^'^^^•-' ^e- the popular party, I,di<,and be^T d e fr^Tp "" T'""^ ^"'^'^"^'^"- °^ afraid of Puritan domination, they went ove o ,1 """^P^"'^^"- «"' heconung appointed to office bv him. Hence Zl thev r . f'' "' "^ '^'■"^' ^^ ^^^^ uliament. ^ong , __ Aduanlstratlons. - Distributions. contented.- An in- I'ailiamcnt. Not well . . stance of IJtotes. •^^J^nentanglei.-U'hat is implied 77. Conversatlon.-Intercourse-an old meanmg. ^" Pxire election. -Distinguish from flie^present ordinary use of" the expre^ Though he . . him. -What bet ter position for this clau e ? Justify ,he ndd.tionofthelast clu.se, '^'andS . ho'^om, and express the nieaninff of the clause m different lancuajje. of "that "in the last sentence of ",h pamgr^ph. where we would "owis::. o^^^^v*? ; • »»«n- -Men highly ac Rate:' '\f "^ ^■^•=^^' scholar! hip. " .^ Ratlecliiatlon.-Process of rcason- Wit- fancy. -These words are used '=!',ic,""go„se„,,- •■ vulgar/' R% -ri.^^fa^.jf' '«-yaK.'?.-.??.1«ft((W?.«,*M«-jr,wd*|« VENI CREATOR; LINES j REASON. s, pixi'ef;, brown- St Hee away at he approaih of • Niglu\i:i^. Milt..np,vfiv,.,||o/<,n„//,^/,„, ii,, '"" "•■^""''•. ^'inril. and M,1|„m • i„„ s,.n„. ,V" '"'"'\ ■"'"'''•"'''■•""^' M.|.|.ns,..| ,„ i\(.l\, I. IiMIM ll|(< ll|H-|llMi; 1)1 A''/', / ""•■■ '!■>•« 111.- M„«.,i,„„v ... ,..,, "•■".';'•"" I MKHIMM I.,ss,.,„..,s. Tl„.s., '"• '-ii|'<'ii.iiily ul k,.l„.„,n to k, ■I""" as., .;ui.lcul tlu.. Mjul, ^•IV. ()\ TilK I.OVi: OK COUNTRY'. o! Whotimon . . mlBfortuno llllslon,m..u,i,!;r.,p|, „t)oi,|s.., ,>„hI,-v^ aiupU-ol a well i-onsinni,',|, ^u.\] |,,| aiuv.l p;UMj;vMpli. Not,- i|„. lollou^ii; m anmociion ilicrow iih : The TODlc sentence. Ih- .„s, s.-.u.-na oonS I ' :'";'>"^"' <;' "'•■ p.«r;.j;r,,p|,, n.,nu-lv, j.uMlivlmo <>i piil)lio siMiit. Unity" v,c!, .sont.-iuy ivlalos to llio suhj.Tt of tho iura^raiili. wliid, it lirlps to do yi-Iop ;n Olio of Mnvral ways l,v con irast, l.y ampliluMiu,,,. in- illnstration siiul so on. Continuity Tiu- m'i' U?nces follow on,> Mnotlu-r in natin'il •iitKT. ooniumingllu- ihiv;„lofti,o,ml,t uiili.Mit l.iv.ik or ini.-nnpiioii Ex- plicit Reference. Th.- t.anlltions Irom M-r.t<-n,(> to .s.-nicmv aiv ,- i.sv an.l natural, and .-adi M-ninuv .slunvs »->• moans o( d<-nionstralivcs, con- lu'ctivos tho rrt|vtiiion of phr.isos, or raihor. tho uso of svnonvnions onos atuin. othrruays, aokar and unn.is- lak.ilJlo roloronoo to tli- .sonloiuv tint prooo>!os. Ihns. in tlio sooond son- lenco, 'this groat inoontivo" rotors to •j«a;,;:o spn-if in the lirst, ■*honoo" in 1110 tliird rotors to " inoontivo " in tin H.vond. " in this l,ohall " in tho (ourtli t» warmth . . wolfaro " in iho tliird r.r.d s.^ on. Variety. -I'ho .sontonoos :i:v (i;l1oroiit m oonsti uction, 'J'lu-ro isa l.Driiisirilniiion of long anel short sontonoos on thoonoliand, andofiooso ;'..ad ivniHi,o sontoncos on tho otiior Will; a iMopondoranoe of thoso t)f ivrj' odio stnioturo. Noto, too, tho rlie- tsorv.inoo of tho laws of IVoportion and I'.irallol ronstruotion Universal degeneracy.- Hy ui,;,, arj;:;ir,i;r<^ iivi,^ the author pr.'no iho f.\ist.;iKC ul this degeneracy? Arc ""•vvalidattho prosont d,,v ? Wri.o ;""'-Mv on Iho onn,,MM„;rlf,vtsoi > p.iinoiio spirit i'ubllc »plrlt. iVduoofron,, ,... ;;;,!^;,;;'„;|'"''""'""-''""''>'nnKot,i„.,.v. «■(• Oaiiantry. Usod in tho l.roa,! sonso n\ //„■ /,rr.;,- rirfurs- //.A^Ih.rT"*'..."''"':" •"'•■"'W>,vv tl V "', "■"•" iModundanl. ^Il|olulliorm, howovor, is likoU „.,„,'. Kad.no pretence. ConM not i,v ol.nni. ■' Depravity. \\h,,t. ./,•.,.,,,■//, is Towards It. - It - rofors to "p„i, Ih\ lial IS, pnl.liointorosi. ' rhero cannot . . others. ||,. j,, •"""■"ons M, tho oyos o| ,|„, ,,„,,,' sl-mona'!'^ '' '""'"'""*' '" "'" '-''^' kni^l".*^^'"*"*"*- (>'i«iMallv, ^ l^"l,^'hl «ho wont ahroa.l in soaivh of ■„ vnuuros Knio,„..rran.rywasl.r::,Jt r-" ^■'""•'."M't an,! ma/,, , ,/. Epidemic vlce.-dvxpandtV, ,i ont tho moanin- hilly '^ a.id'^'f^: '^''""*^"'''' '■'•^"" •■"^'"""' Muster-rolls... RoKis.orso,,,,talMi,n. an,osot,hosold,ors„,oaohoon: P.i'.v- 1 owoan llio soldior 1)0 .miiIiv '"•■•'"'•'" tl'is rosp,.ct;- lU ha W somo ono answor to his namo^ ^ ^ Fantastical height.. |.:..p,vss.Ma,.. ^tfzsr''' ■ • --^^• «5. Usurer. -r.)7.;:v fom.oriv h,,.: ;';• ^^■^"""''^'•"'-- chancre inn. - ^«^n^iima.%^:s-na».m ox ruE r.t)\'E or corxrh'v 4^'9 V siipiiosrd I.I .Ill's civi'in, ,1 lli'is. 11,,. si; Ulll. lily? Writ.- ; t'tti'cts •,.,/, I'<''lllllll.llll. k<'l\ lo |i|i.- iM iiui I ,v V-,,',-//!' is ^ lo "pull rs. I [,. ,.; 'if I'llhli,.. I the fu.xt iiliilly, a lll'llolMd- s|iroiii;|it fllliMIs hy to Ixiiitj iniainiii),' U'll COIIl- 1)0 fruiliv ■ IlilVillJ^ '•■ss "fan. nioduni intry. ilv li,!,; '■f/ lluvv II nuMii, CodrilS. ( , Minis, III,. I.r.t l siic.fc.l liiiii'.is klli»; Jill, I V. Ili,-y iiliDlKlicj lliL' llll,'. I'llf 'riilcnic reads as if ( odiiis ucir 11 Koni.iii. .Sii|j|>ly:ill words iii':wi ( |ir,iiiiii, will, was al war wjlli I; >a).: li.C. 50H (,S,v,S,'ic,|i,,ii 1. 1.), lailiiuj In tiisallcinpl on l'ois,.|ia\ life, Il ; ua> arri'slcMl, and lo show how lull,' 1.0 and his Icljiiw ((ins|) iai,)is fuarcd tDriiii.' or d,'atli, h,- ihnisi his ri^;lit li.iiid iiiio a (lame a'd IkM it tln'r.' i Hiihoiii lliiKhiiiK'. lie afliawards rc- • ''iM'il llic surname (.fSravola, \\u- /,/'/- t..tiiJi\i. I'or what purpose are tlie-.e ilanii's of hi'i-oes inlrodiiied.^ I tiseiiss the iriiih of the sial.nienl made in tin- lleM si-ni,'iiii., " WVi,. Il II, jt . . ys. " To receive nnythlutf . . Borvlce. lo luien to slaiiiler a;;ainst liiibJK;- ^■plnk^l ineii. Boillug heat ambition of man- liood 83lll3h liUr;gUL'8. Suliaiiuie ••xaet ei|iiivaleiils lor lliesi- phrase^. U'liat advaiit.i!,',- ill K'iii"':,- mniJrd, in wliieli sense it is used here. Develop other mi'.iiiings of the word. Ill thispaiaeiaph the author expands lus illusiratio'i lakeii from th.r history of CJieeee and Rome. J'Aamlne this |).ir,ii;raph lor tin; properties ineiiiioned at the lieifinninK-, and eonipare the •strueture of tl.e dilt'eiciit p,iragrai)hs of lile si'leetioii. 80. DemoBthenea. 'Ihoirreat Athe- iiiaii orator, whose devoted 'patriotism »s coiitiM.,ied ill this paragraph with tjie lime ..iTvliij; of ,V: .1 hine . hi . rival Puts his all . . iHjmo I'ai 1 jiliMM- 1,1 Imiiij; out ihi' iiieaiiiii); of '• ail ■■ and '• |.,Mie. " BonoVOlont. ( len.Toir,, lenient. 8. art of pasHloii buIIouiuihs of humor. 11, .w imild lh,..,e r|i,p,, Hi,, lis l)e rvliiliiled liy a lialioii f Common BonHe. ilus ..\pre.si,„i has l.i'<.|i d,.|m,.,| ;, , j.,n„| ,,.„ ,,. .||,|,|„.,| to eoiiiinon ol)j,.(is. Tenor. < omp.nr- the meani « i" "they kejit the nolseli'ss tciKjr ol their way." Covert . . arts. Noi,- .are fully III,. nirt;i|,hor lui,. ,'mp|,,v,.d. It were . . advancement. I e most nolieealili; fealm.. of |hi, |,,.|,,., U'Mpli isthi. loos,, manni'rin which ihu pronouns ar,- Msril. Men of bufllueas As ih- i'reiuh say, mill ,-l,if/„iis, ih.il i,, men eniML'- ed in piilill,- Imsiiiess. Who have . . riches. Note the "split eoii'lruetion" In llns clause. .See I //. .v. Ciiiiiiiiiiiir, W'll. (2. I H7, 'Jhla . . rule. Slale the /-///,•. Observe the sirlkinj,' .•inlilhesis that ■ lollou^, and expiv.s il In ih..' form of.a hal.inrcil sentence Bhroda Of maxims. I'.xpl.iin, Dis- tinj,'uisli In ni,.annii; maxim, ai/as't; Lucubration. I.iierallv, that which IS composed hy ni^ht. The lerm is generally applied to ,1 i ..mposltlon o(a tedious, unlnlereslln),' ch.iiacter Asa mm . . air. What ehan-es 111 tin; sentence are iiecessaiy to make the use of " as" correct } 'I'lie last |)ara,urapli, like the seeond, IS Illustrative ; ilie p.itrioik; sjiirlt, or love ol counlry, isexeinplllied |,y n'.fcr- cnce lo the piil/hc services of I )emrd-.\vitluhe vicwoexi.res^cdiii .Ste( Ic's Lbsay, L 470 rni: JUC.H SCHOOL REAPER. >^'V. THKr.OI.DKNSCAT.KS. In tl.is .scLvtion, win.h is (,..,„ \.,. .,„ , „, ,,,,. ^,. , , , 'ot.ad, us •■„.., .n.l...s,VM-o,vaUu. u v 1 „ ' f "^^'Z ''' "'•• "^"y'^« -'ntond, --rd,„« ... .,...ir r..al ,uul in.rin " > , •. XZ '"'•r'^"'—-'- '"» ■ • <"• - all..p,,v. Tlu. wri,..,. n,,r.s..,,i„. '""""■ '^ .'"^•"''•''•-' ''>■ — K"l.lon scales possess. f tlu- „ w. , > ''■''"'*'' '" " "■•'••"■•' " l'^"'' "' '■.inin« i,„,>.„,a„, issues ''" "'"'"''>"'' ^'"- ""■ I'-n'ov o, .1 't.., ...":;:.::::'r:::;;:;;:;:;;;;;;;;r;r'''-r""-"'^ f:ssay iu the dosin, sent.nJ^. oC u ' V;'" "' "r "^" ^"'^"^' "^ '"- M'U.once. a s.nu.u.v w.II-sui,..,! . o " '".\-^'''''""' '^ ''••""•"-'' '"r tlu- loose 88 Homer's balancG . . jEneas - .Nv llouu-rs //,W, xxii. 2o8~ai\- ^o.hn..u....,vi.^i,i.^:^J^L r fa • of tlu- cou.hatants that is woigh- I nn.: /'■ T'"'" ^;"'»^''"'"K tlu- fate of tlu- ' ^ auK-.| vithcU-ath.'asimlicatingtlu- osc-nl o( tlu- spirit io Mack-s. In the passasv lH-k,w (.on. Miltou's Paradise /■'»f{n y' •" r'^i^-h "eastern iK.\t sentence. It mav, however i.e worthy of remark that the passage iiscf fron. lne//W has been called*" •'nd :7"^J"^'"S?-:^^;"«« also the author^ « M Of as m these bcnteuces, and throughout tlu- Ivssav Way Of thinking; vvh.t is meant? «ji\e s.nonvmous phrases ,Jiaaaeo,i of Scripture. -See Uan- 1 Other places . , wrltlng-s, ^As ' ^i-Wol. XXV.,,.. Proverbs XV,., Psal„,s revK^T^f themselves. -(Jetting rL.i,iy - an old nu'aiung. '^ Betwixt Astrea . . Blgn.-Miito., tioi w huh k)rms the seventh sign of the A.xliac t u- si.v,h sign being .\st, ", 1 ^ "-SO (the .Maiden), a.ul the eight ' Scorpio (the .Scorpion). ^^ ' First.- Ihis word is granuniti.-ili.. Luaitcl. Jlif meaiung mav bese,.n i|no=^ck..iyinthei^hLf^,;;;,^k;: '",-,; ,*,'^/^^''K''«M'>/ "all thin-s Ideated, the " |K-n v | , the- m.-x3s 01 .ur which envelop.-. 1, 1 .^ 'j jM H n iA tM iX, MMM? Hl&'iei,.^i« Till-: CO /.hi: IV sci/j-.s. 47 i 'ssnyist fntonds lu-cs, hut , , :Ue(l l)y means •■•luva pair <>( ' " I'vcryiliini; "(lULVil in tilt- -Ti'd and j-.ro- >l)SC of dl'tlT- s sul)j(vt, and ■ulijcci of ll),. tor till- loosL- essiiys in tlie *i:vi,, Psalms -( I'ttinjT ?n,-Milt(jn I' Alnn'fjhty u> coiistolla' ''^i.Unof tlic : Astnva, or the oiffiith. mniatically not with lay he seen (" what fol- :ill tliinijs ound earth I'K "lie of 111 that has creation — "realms " X» Milton's L'ndulous " I- ii;iy mean manil)ient vens as if ; or, that 'lie »arth, xm .ser\-e.s ' tlie bal- 'iiply that ' tha '^■'rlh is kept in cqtn'pois,., or l.al.ine.:d about It. Ponders. -Wei^jhs. This word is Jxl'lom used e.\(ci)i in its inciaphorieal sense, ' «<;. Th'i sequel . . flight. N'ote the peculiar use of "eaih; " one weight ie|)resents the ivsiili ( "se,|ucl 'j of parl- iiiK. the other of ti^'htinj,'. Kicked the beam. Swings against the lieam of the seales an e.\i)res- Mve phrase, reiletalinK th.' thouKht in 'i|niekti|) tlew.'hoth toKflhershow iii.U till- exeeeding lightness of the weiidit m the seale. Bespake the flend.- Note the force <)( the preh.v /v, {Jive otiicr fcjrce.'^ of the same iirefix. Neither . . given. -Explain. How connected with what follows? ., f^.or mine . . mire. lAidentlv thine and "mine" refer to "strength." Sjiould "it is" or "it were" Ik; sni)- phed before "doubled"? Supply the ellipsis with " nor mine." Where thou . . resist. I'o make till- agree with the eignth line of the e.viiact It must mean, "where thv power nt resistance is weighed," etc., and for a similar reason, " his mounted seide aloft "must mean, " which of the scales had mounted aloft." Otherwise, the.se lines would mean that the lot of (Jahriel was put in one balance and that of Satan in the other. But fled . . night. -VVhv make •Satan a:id night (lee together ?' Com- pare thl! twenty. si.vth stanza of ///,• //I'w//, p. 75, and see the notes there- on. Amusing thoughts. —The primary sense ot "amuse" was to oecupv oV engage wholly, as here. Compare the primary meaning of "divert, " to turn aside, antl trace a shade q/" the.se mean- ings in the present uses of " anmse- inent " and " diversion." Mingling.— Should this be " having nungled," to correspond with " having taken ' ? ° _ Speculations. —Trains of thought. Connect with tliu usual meaning at the present time. I dally . . public. -The 6>f/a- /or appeared daily from March ist 1711, until December 6th, 1712, and was revived for a short time in 1714. It ran through njs numlieis in all, .\.i- (hson eontribiiiing 27.1 papers, and Steele j,|o. An essay. .\ trial. Trace the t ran - sitiiin lo die meaning " es.say" now has III hleraliire. I/O. But before . . earth The chief thought ill this panigiaph is the dillerent value that objeets have when looked at merely (rom a human stand point from that whiih thev have when viewed in the light of eternity. Exert . . gravity. -Shew their real weight. Upon eAiptylng . . others ih.- e.\|jeriment reeorded in this paragraph shows till- vanity of titles and honors, which are .so nmch esteemed among men. Cf I'salm l.xii. 9. The last .sen- tence of the paragra|)h belongs more litly to the next par.igraph. Show in what respect the one sentence is the complement of the other. Edge Of it. Note tliat oven as late as -Addison's time the use of " its" was avoided. See note on "its last fulfil. liiiK," p. 463. Why is Vanity describe'd as a i^lilterim; weight ? To one another. Note that "each other" is used in the ne.xt senl<'nee. .\re Ixjth expressions cor eetly used? Someothers many others.— Name other pairs in each case. I observed . . other.— With the teaching of this paragraph compare 11 Corinthians IV. 17, Cowjjer's line, "lie- hind a frowning jjrovidence He hides a smiling face," and the third stanzii of l.ongfellow's Resignation. Note care- fully whether it would be admissible to int(;rchange "dialect" and "language" as here used. 9t. There ia a saying . . paper. — I'.xamiiie carefully the ti^ac.hing of this p!iragra|)h, and note how greatly the valiK^of the pairs is enhanced by comljination. Show that the |)ans of thediftcTent pairs mentioned are proper- ly co-related. Natural parts. - " Parts" was com- monly used in the last century in the .sense in which we now employ "tal- ents." How does the e.xjM^riment here mentioned conlirm the truth of the Scotch .saving ? Fails of dashing.— RQ-write in the modern idiom. A dash of anything is 473 THE HIGH SCHOOL HEADER. ir'NlrSi'r."' "-''''•""-• "Town "s<-d as ||,<- ,. .1" .""<•>"'«• IS hen; EufirllBh octavo . folio n I'^'r-T.-nv for ,'':■"''' '''^" shows his innvrsvon I. ' ' "'^/''"'"Us von- .92. The first trial ih,, • <'foach nu.nl.or of , I,,- s>/ '^ ''!:"■''-" ""■ i'np.,.sitio„ of the &(''''''■ '''^'^''" "'r ht, h';^^^^^ th.- nH", V. ' "■ •♦■KS,th<> i.KivMs,. ill rornonstrar . 's , c .'A ":""''""^ " ''>■ '<> ™ofth.,n;;::a^:;;',rr-^''""''- '"-th;:.v.A,^;^r;i;;:; :;;;;,:!;"'" "|;;^^sla-p,whcn fancy is let I00S.M0 Ou.-^^lf^an,s repeat the wishes of ,hc S:ueK::.E«^£-;p^^i"^t'- ^^'^- MISJUDGED HOSPITALITY. AUles of thia Wnn nV l"->en inentit^ecl^M"""'^" niles have mor^Ucs' which hXV' '" ,' ' ^'' f"'''" duct, the courtesies of life "■"' •in other InstancsR ii, / i f,i ii,„. ■^""^aces. - - 1 ho reference My appetite . »ono rr^,., ;;Octol..r" is the naS of'f Si::- ^^nte a eo.uposition on tho .V f'i-S.iiti^^Siej^rir'^f ;"'■'••■ inrtuonce. ^^^'- '^ '^''"'"ig Stee'le S't'^J!'''''' '] '""''^l ^'•'^•■•*'^I ''Y times no. L^^' '"'J' P"I^IislH-.l three ^: y^^rio^i^r-^r^^r;-^^^^^^^ uiont * ^ "' "'^> tleport- ^•'1 i" the inci'nr ',''''■'""'; '"^'""="- '» tl'o last sentenee ''■ ^"'^' '""'^'^''i ot'-r plu.se; in the':::Kn'"''' "^'"^ — .^•'""' 94- Aqua cilr-blMa r ■. „ Adthson, an wonderful Nvntcr. ' "~ '-iterally, | contributors. ^(•t of I'nrli.i. >> il !)>■ l.iviiifT liitlic.S/,v/,i. !i<' iiurcasc ill 'I in Xo. 488, irons way to ■t'ived on ac- '• Docs the Icon's ilaiiii 'al |>:i|)cr. I "Kill niotio '' this I'lssay raiislatwl as let loose to shfs of the 'I'fying tlif '■'-. .111(1 an- ■iitli} ivl'cr- J. — How ivtioii ? dt' plume, ■ ift W TOtf. iil)lc-U'fr. a stronj,', nioiitii. a sharp, ' iiu-aii .1 niixtiiro. till it is y is well 1,'OIKTaIly i time, le Latin rneil the gentlo," reliiiiiig- irtcd by 'reseiit state." From brutes . . know, -Supply the elli|)sis. ' ' Bolnc here. -Ihe verb is notional here, as i;i the fifth line, p. 97 . Who sees . . world.- The teach- ing of these Imes is in opposition to tliat o( Matthew x. 31, and other pas- .sajjes of Scri|)tuie. Deism admits the existence of a creating' (Jod, Mt d.'nies to Him any concern in iiuman affaiis . Hope springs . . breast, ihis IS one of the many lines of tlie Esuiy that have jiassed into daily use. The .sentiment of the line finds expression "'■':",'." *'='y''^ 'I'ort' homely savimr, \V hile tliere is life, there's hope. "' The nncientstoryof I 'andora's box illustrates the same .sentiment. The poet makes mans present happiness depend partly U|)on his ignorance respecting future events, and partly upon his lioi)e of a future state of hap|)iness. Expatiates.— Wanders without re- straint. Compare the usual ineaninL' An humbler heaven. — Ihimbicr than the he:;ven for which the tutored imnd hopes. Note the truthful satire in " no Christians thirst for gold, " tlie allusion being to the motive cf the S])anish concjuests in .America 37. Seraph's Are. —The .Serai)him are the fiery, and the Cherubim the winged spirits. " The first jilace or degree is given to the angels of love, which are termed .Serapiiim ; the scco'k! to the angels of liglit, wliich arc tcn.:*cl Cherubim."— Z/,:a'«, , What If the foot . . ordains.— S(?e 1 Corinthians XII. 1 :;-i8. Infjrms our mortal part. "In- forms " has liere its primary niiMiiiiii,'. gives form, power, lif<-, to. 'Thete.irhl ingoftlK! passage, "all are . . all" has its origin in the I'.ible truth that (IchI IS omni|)resent - a truth reco;ni/c(l in- (\w^\ in tlie s, stems of ancient myll.o- logy, and gi;nerally in the beliefs of sav.iire tribes. From the perv(Tsion of this tnith has come the panthi'istie doctrine, which regards the universe, including man. not as a creation, propeilv speaking, but as modes or manifestations of the Divine mind, as (Jod himself. I'anthe- ism IS poetical rather than [ihilosophi- cal, and jiantlieistic sentiment may be found even in the |)oetrv of those 'who would not care to be called pantheists 98. Beho d the child . . o'er! — I'ope endorses I )rvdeirs opinion that " men are Ijut children of a lai"er grouth"; they merely change tlfeir tO_\'S. ■vindicate. —Lay claim to. Tra.;o connection with the usual meanin;'- 99- A3 short of reason. rilP out the comparison. The poet in this .sec- tion, "llasCd . . for all, "teaches that all aiimials, including man, aro mutually (lependeiit upon one another. Wiat«'er . . best. Compare the concludinglmesof(ioldbmith's7>iiuis. It is also used to distinguish all who embraced Mohammedanism. 103. Alcoran.— That is, The Koran, \ the sacred book of the followersi of Ma- homet. It literally means the l^vk (cf. '' Bible"), al being the Arabic article found also in algebm, alcohol, alcove! etc. The egregious , . princes - Gregory VII., whose name was Hilde- brand, became Pope in 1073, and at once set himself to make the supieni.acy of theC'liurch over the State acknow- ledged throughout Christendom. HeiiiK opposed by Henry I\-., l^mperor of tiermany, ho brought about the deiK)- sitionol that monarch, who was obli.n'd to humble himself by standing nearly naked in the castle yard of Canossa for three days in the depth of winter . 104. Seculars. -This word was .some- times used todescribethe.frt7/A?r//7<,/., or those who did not belong to anv monastic order; here, however it is used for iaymen. io6. Theholywar . . humanity — 1 his e.\|)lains the reference in " meri- torious ■• near tl.c bottom of page 106 and elsewhere in the selection Two ruling passions.- War and re- hgion. Observe that Hume regards all religions as mere superstition.: 107. Walter the Moneyless.— 1 his THE nAND. 475 lis of liiiij; (|(», \>/ipe(l on its march through the defiles of .Snowdon by an old twrd the last the race— who, from the summit of a lofty rock, denounces the king for the ruin and misery he has caused, and especially lor the slaughter of his fellow-bards. Even mute nature .seems to sympathize with him in his sorrow, and to call down vengeance upon the cruel king. In the third stan/a, the bard pays a tribute of affection to his dead compan- ions, ending with a jiathetic lament which is interrupttid by the sudden ajjpear- ance of the spirits of the dead men, who unite with him in pronouncing the doom of lidward and his race. I'irst, he foretells the awful fate of Edward II., who, forsak(;n by his faithless >vifj.', is foully murdered in Merkcley ("astle. Then follows the prophecy of the victories of ICd ward III. in France, his mother's land, which seem like a judg- ment for her w ickedness ; of lOdward's sad and lonely death ; of the reign of Richard II., with its splendid beginning and its shameful end ; and of Richard's ignominious death by starvation. He then predicts the Wars of the Roses, the murder of Henry VI. and other jjrinces in the Tower of London, and the death of Richaril III. He is proceeding to foretell the death of KIward's queen, *hen the spirits of the dead bards take their departure, having ended theii*de- ininciation, for their country is avenged ; the throne of their murderer is tille.l by a prince of \\'elsh descent (Henry \'II), and henceforth the Welsh have a share in the glory and splendor of this throne. The glorious reign of lOlizabeth is next foretold, and the brilliant literary out- burst ef the Elizabethan pt^riod, which seems to the bard like a revival of the palnm' days of Welsh minstrelsy. In the liist stanza are foreshadosved Shakespeare's dramas, Milton's epic, an, I the " distant warblings" of the poets after Milton's time. Turning his thoughts once more to Kdward, the bard reminds him that his attempt to extinguish the light of poetic genius is vain, that in spite of his cruelty it will blaze forth with increasing brilliancy, and that "the triumph of justice and the final glory of his own cause " are assured. This cuds his sontj, and he plunjcs into the river tha* roll.s a.t I'is f'.ct. 476 THE ///i;/f sc/mor. reader. nul\ **"*" • • ^'"8. This „l, r l|>l iN'Kiiinmj; IS mnir forcililr lh;iii if IU'|M,r,n ..,„,i,,KM,lia,|..s,n,,t,<,„ „( ».mv..|K,t tohcalastiiiKtriiimph. 'Jb ^Viiat is (.'n,/ii<-st coiii|)arc(P J^'.^^^'^X y.lT'uoa, What is the fonx o' ceil .M'i)ran,stiinat,.of|.;,|uanl's character, s,.e (inrns Uhl^ry of the y://.,V/v// /■,,,//,■, Chap IV •' Mffhtly . . fears. -What rlifTrr- 'vit inea.iin-s has " ni^rhtlv "? 'rh,.„.r. ron,.. a Kuiltycunscicnce-are depicted Cambria. — AnciVnt and pootieal name ot V\ al,.s. What is «ained l.y the rejK.tition of " from ( aiuhria's "? Created prlda.- hiduards warriors, of which he was i)roiid. Xote the inc- Wn!*'-^ ''•''*'^"" "'^•'•I'itl'^'t "crested." Wild dismay. -■■ Wil.l ■• adds t„the notion of confusion implied in "dis- may. Shaggy-.— A common poetical epi- thet for forcKt-covered ' He wound . . array — \n c\ ^^ ith the thud line of the /•.7,.,r,, SiOUt GlO'ster. -How well the poet ■sums the .■darn, uhich the banl'swl.rds pioduced, by representin.q- one of Kd- >ards distinguished generals struc. speechless with t<,.rror, and another call- mg his men to arms as if about to b, •Utacked by an enemy. (Jloucesterand A ortimer were two of the most poNver- ful nobles of I-:dward's reign ; the for- nier was the kings son-in-law, and the atter had been regent while lulward ^vas in the Last, at the beginning of his Couch'd . . lance. -To conch a spear or lance is to bring it down from tne perpendicular position in which it is carried when not in use, and to hold it with head to the front, in readiness for attack or defence. " Quiverini' " fs piuoauly iiuiuitoU Jro:u t!: Latin /'vw,v( //„r/„, and int.iirled tortfscribfl !•• Mbraiing motion m.ide by th,. han. I usually of a,h), or bv tlu'. sp,.,,r it- ''-•ll when hurled against aiivd.ing in which It sticks. Then, inav ,i'K„ U- an •dlusion here to the tivinor caused i,y ■Mortiin.r s f,.;;r ' OnaroclJ. ■■Th,.rock is probably '"•"'""'■ ''■'""•"■n-m.iur,th,.n„ithern '•nninat.on of tli,- Sii.nvdon rifnge " How would an artist p.iint "a roJ'; Hiios,. hau:;li(y brow fr.mns".^ Jfow Would h,. paint ■■frowning Wrath •■•• Ihefonni.ris l',.rs,.iMl .M.iaphor- the laltf.r, I'ersonilicalioii on foamlug:. How do thes..epi. th<' s hannoni/e with the gen,.ral spirit ol tlie poini .■' Robed . woe. Compare in Ix'.nilv and ,..vpn.s.iv,.n..;v, with its pr,jse '•'l«iival..nt, ■■cl..dinm,.urning^^ Haggard. Show the connection in incaning with lun;. Llk3 a meteor. -Th.. comparison is probably sugg...t..d by .Milton's .L'scrii,- ti'.n of .Satan's ensign, which ■■shone Nk.. a meteor streaming to the wind." /'//•. /."i7, I. 537. Proph3t"8flre. -Inspiration. Struck . lyre. .\ highiv poetical ne---,,si.thebar,rs lyre svi'npathi.ed w Ith his sorrow. So in the l.ulv of tft,- '-"'^'■. n. 7, the old minstrel's hari) .seemed to forbodc disaster I '2. Hark . . beneath. --Th.^ poe's licjui.ntly repivsent nature a.s sympathizing with huin.ui grief. ( 'om- 'ar... liyrons line, " grieving, if aught niammate c-r grieves." Hundred arms. -^-Phe comparison of "•anche.s o( trees to arms is common am,)ng the poets. Longfellow describes tlie trees as ' waving their long arms to |UKl fro, and "clapping their liaK- hands ,ngl..e." The comparison of Uaves to hands is as old as the time of isaian. Hoarser murmurs. -Murnnns be- coming hoarser and hoarser. The si-h- ..l^'of the trees changes t« hoarse nm,;. muis of revenge Vocal no bore. -The oak groves vere the temples of the Druids and hence the resort of the bards ^^ Cambria's fatal day. -What is U0V7ellyn._Lither a Lard, or the THE BARD. 477 prince of that nnmr', who is tlcscrifuvl as " i.li'Wi'llyn lli<- iiiiM." Coid head - N'ntr the power of the hard's soiifjs, liki' that of ()r- pheiis, tlK- sweet sin>;er of (ireeian my- thology, whose mil-lie w as so (li\ iin' that " trees uprooted left their place sefjua- eioiis uf the lyri'. " Flinllmmon. One of the loftiest of the Welsh mmmlains, near the source of the river Severn. /rvon'B shore. "The shores of l'aern.ir\()iishire opposite to the isle of Anjjiesey " ((irayi. Ol'serve how the poet adds to his ghastly picture, by representing even the famishee. Why .■• The Hlack I'rince died in June, 1376. The swarm \ . born.- Complete- the (|uestioM. Mxplain what is meant by "born in thy nijontijie beam," and show that this expression isusodappro- |)riati'ly with " swarm." The' rising morn.— The new king, kichard II., whose reign was ushen-d in with great rejoicing. Ivxplain fully the meaning of the comparison luadc in the six lines that follow , and show in what res])eet they htly illustrate the reign of kichard II. Jtalr laughs . . goes,— Describe :i litu^hi/ii; morn. What is gamed by using " zephyr " and "azure realm"? (iivee(|uivalent prose expressions, "(jal- lant " is used in the .sense of^^'VM', shotcy. What is the line, " In . . goes," in- tended to illustrate? Youth . . helm.— .\ favorite sub- ject for artists. In k'nhard If. 11. i, the conversation between John of ( launt and the Duke of York reveals the life of jjleasure which kichard led. Grim repose. J'.xplain. What evcnii, in kichard'.s reign may be de- scribed as a \[ hirlu'ind's swuv f HU U:gh guest. — In these 478 THE HIGH SCHOOL READER. lines there is fin allusion to Richard's love of pleasure, and to the supposed cause of his death. Baletul smile.— A smile full o{ bale or calamity. Distinguish from ghastly smile. i\\. Heard . . way. — A prophecy of the Wars of the Roses. Bittle bray.—" liray " is from the same root as " brawl.'' Trace any con- nection in meaning. Long years . . way. — Express in prose diction. Show the appropri- ateness of " kindred " and " mow." Ye towers. — "The oldest, part of the Tower of London is vulgarly attri- buted to Julius Ca'sar" (Gray). Refer to some of the foul murders that took place in the Tower. JfleeK usurper— In Gray's opinion the Lancastrian line had no right of inheritance to the crown. Henry's consort, Margaret of Anjou, was a woman of heroic spirit, who struggled hard to save the crown for her husband and her son. " Meek " is a mild term to apply to the weak-minded royal ci- pher, Henry VL Above . . spread, -If there is any historical reference in these lines, it is probably to the varying fortunes of the rival houses during the thirty years which the war lastea. 'Ihe bristled boar.— .\ name given to Richard III. because his crest was a silver boar. Observe the continuance of the comparison in the use of " wal- lows." In "thorny shade," there is probably an allusion to the finding of the crosvn near a hawthorn bush after the battle of Bosworth. What is the allusion in " infant-gore"? tlow . . doom.— The change of metre from tetrameter to pentameter, and then to hexameter in the last line, produces a rhetorical effect, greater per- haps in this stanza than in the other two stanzas where the same changes occur. In these two lines we seem to see the weavers bending to their task with incieased delight and energy Greater vividness is produced also by the tro- chaic effect of the first foot of the last line, and by the em|iioyment of the abrupt -ending consonant sounds, 'Why is the loom accurskd'i Tbe thread is spun.— An allusion to the work of the three Fates of classical mythology, one of whom held the dis- taff, a second spun out the thread of life, and the third cut the thread when the period of life allotted to each individual came to an end. Half Of thy heart— So Horace, in Ode I. 3, 8, calls Virgil the half of his .'oul. 'rhe allusion here is to Eleanor of Castile, wife of Edward I., whose heroic proof of affection for herhusband is thus referred to by Tennyson in A Dream of Fair Women : — "Who kneeling, with one arm about her king, Drew forth the poison with her balmy breath." Eleanor died shortly after Edward's re- turn from Wales, and he showed his sorrow for her loss by erecting a cross to her memory at each place where her funeral procession halted for the night on the journey to Westminster, from Hardby, in Nottinghamshire, where she died. Some of these crosses still re- main. Charing Cross in London re- ceived its name from the Eleanor cross erected at that spot. Stay, stay ! - ■ Addressed to the spirits of the departed bards. Wity does the poet dismiss them at this point? Forlorn. — An Anglo-Saxon partici- ple, from the same verbal stem as lose (leosan). An example of rhotacism, or the interchange of s and r. Compare ^■aofrore and/rose, rear and raise. In yon . . sWes.— A poetical de- scription of the glow of the setting sun. But oh! . . soul!— The vision changes ; it is no longer a vision of de- I struction and death, but one of glory, in which the Welsh people have a share. Glittering skirts. — There seems to be a contrtist with the " winding sheet" of II. I., on which were traced the char- acters that foretold the doom of Ed- ward's race. These " skirts," on the other hand, bear in glittering characters the prophecy of Britain's glory, which the bard imagines to begin with the ac- cession of Henry VII., a prince of W^isli descent. 1 he future glories of Britainseemto spread themselves before him like a panorama, until his eyes become wearied and his mind Qonfused THE BARD. 479 of classical ?ld the dis- reiid of life, 1 when the individual Horace, in half of his to Eleanor I., whose er husband lyson in A arm about her balmy d ward's re- showed his ting a cross e where her ir the night nster, from ;, where she 5es still re- London re- eanor cross ssed to the rds. W.ty em at this !on partici- stem as lose lotacism, or Compare k1 raise. poetical de- the setting -The vision vision of de- ne of glory, lave a share, re seems to iding sheet" ;ed the char- oom of Ed- rts," on the g characters jlory, which with the ac- a prince of lie glories of selves before itil his eyes ind ggnfused with the rapid succession of pictures that are presented to his enraptured vision. There is no doubt an allusion to the revival of learning, to the spirit of discovery, and, in general, to the greater activity in every department of life which marked the opening of the sixteenth century, as if a new era had dawned upon the world. Long-lost Artbur. — "It was the conmion belief of the Welsh nation that King.Arthur was stillalive in Fairy- land, and would return again to reign over I-lritain " (Ciray). It was doubtless in deference to this belief that Henry Vll. named his son Arthur. Genuine kings.— What is the force of "genuine"? ■' I^th Merlin and Taliessin had prophesied that the Welsh should regain their sovereignty over Britain ; which seemed to be accom- plislied in the house of Tudor.'' (Gray. ) Sublime . . rear. — "Sublime" has here its literal meaning, raised on high, elevated. The reference is to the Tudor sovereigns, and to the splendor of their reign. In the expression, " bearded majesty," we have no doubt an allusion to the fashion of wearing bcanis, which became common in the reign of Henry VIII., the king himself setting the fashion. Note the value of the comma after " dames." 115. In tbe mfdst . . grace.— Gray in these lines follows the f;ishion of .Spenser and other writers of Khza- beth's reign, who gratified her vanity by addressing her in a strain of fulsome flattery. Wbat Strings . . play.— Under the figure of a bard singing and ac- companying himself with the harp, we have a prophecy of the poetical revival of Elizabeth's reign. Taliessin. — .\ distinguished bard who flourished in the sixth century. High praise is bestowed upon the poetry of this period when the bard deems it worthy of Taliessin. Brigbe . . wings.— Explain the personification. The bard seems to be enraptured with the bright vis- ion now presented to him. If it is possible lu make a particular applica- tion of the comparison in these lines, we may find in the expressions, " the eye of heaven" and " many-color'd," an allusion to the sublimity and bril- liancy of the writings of this time and to the great variety of these writings respectively. 'ihe verse , . dreat.- What is the subject of "adorn"? These lines refer to Spenser's Fairie Quart , from which Gray borrowixl the language: " Fierce wars and faithful loves shall moralize my song.'' In busMn'd , . breast. — The tragedies of Shakespearj are meant. The buskin was a shoe worn among the ancients by tragic actors. It had a very thick sole and was intended to give the actor an elevated ap|)earance. In "pleasing Pain" we have the figure Oxymoron. Dryden, Tennyson, and other poets use the same expression. Note the forcible way of expressing the agitation produced by Horror. Ex- amine the appropriateness of the epi- thets employed. A voice , , bear. — Milton. In " Gales . . bear,'' we have an allu- sion to his chief poem. And distant . . expire.- "The succession of poets after Milton's time." (Gray.) Fond, Impious man.— F;dward I. " Fond " is used in its original sense of fooli< read throughout \\ ith sus- tained force. They furnish good exaniplen of the loud, or strong equable concrete. The last sentence of the paragraph should be read in the same manner, increasing the force with the repetition of " never." 121. America is in ill humor — The Americans were receiving assis- tance in money and in men — notably Lafayette- from !•' ranee, but they wish- ed to be recognized as an independent nation. This advantage they gained by the treaty with ]•' ranee in 1778. 122. The sound parts Of America ~ In the preceding paragraph Chatham gives his views as to the relations which sliould e.\ist between I'ngland and her colonies. Many of the "colonists be- lieved with Chatham in "reserving always as the sacred right of the mother country, the due constitutional (le|u'n, the heathen j;od- riage. Justasab- ig as an ,\niazon in ding habit. edition. Distin- nyms. 'I'he sliort- d to conijilete the )ne of tlie most re- ches in the narra- flx. — The use of ly of notice. Our le sense of make s an Americanism. le. —An ingenious eel," r.pjilied to a iread, is becoming "spool " taking its . opposition. — ;e of " invproves." Vicar's neighbors an nature common 11 described in the of a passage from ivenal : — ■ in man no charm g our neighbor's nortal scandals fly, »s are but born and , . . approve. ;s must yield to the y of his wife and 5mc of terrifying a suitor with a rival appears to li;nc been a common one in .Addison's time. .See the letter on " .Shoeiiig-liorns " in No. 536ofthe.S//YA/Av-. Wlial word slumid "then" nio.lify? Should there be a comma after "prevent it' ? 131. Warm fortunes. -- "Warm" means sutTieient to produce i-ase and comfort, moderately rich. Cf. "warm man," p. 132. Madam . . , provide.— Note the correct Use of "should " and " wmild" in this paragraph. ■J'he X'icars wife, in her conversation with Thornton, is not artful enongli to coiice.il her design or "to discover the honor of his addresses," and she is too simple-minded, and too an.xious for her daiigliter's welfare to detect an\ insin- cerity ill the fulsome language and stagey manner of the profligate. XXITT. MEETING OF JOHNSON WITH WILKES. James IJoswell, eldest son of the Laird of .\uchinleck, was born at Edinburgh, and educated for ' le bar. He w.as a thorough hero-worship|XT, and nothing so delighted him as to make the acquaintance of men who had become celebrated f)r notorious. He became acquainted with Johnson in 1763, ami though twice rebuffed by him at their first meeting, and many times afterwards, he .i-verthe- less became the devoted follower and admirer of the great literary dictator, to the intense disgust of the old laird, his father, who thought that Jamie was " J>''^''" '-■'<''i'» gyt« (i-'razy), in pinning himself to the tail of an auld dominie. " His worship of Johnson, and of eminent men generally, made him the laughing^ stock of his associates ; but " he had the faculty of sticking," as Ooldsmith said, and f .■ twenty years he stuck to John.son, took note of his appearance, his habits, his words, i.is actions, and, indeed, of the minutest details of his daily life ; and he; gave the result of his observations to the world in the Most charm- ing biography that has ever been written. For different est'imates of Hoswell's intellectual capacity, see Macaulay's criti- cal review of "Ooker's edition of l^iwaW's.Ufeof Johnson, and Leslie Stephen's Samuel Jo/msm in the " I'^nglish Men of Letters " series. great painter, and the founder of the famous Literary Club to which Johnson, 133. Pars magna ful— These lines from Virgil's ^neid, 11, 6, may be translated, "I played an important part." Two men more different.— Wilkes w.TS a Whig, an infidel, -and a " p.a- triot"; Johnson was a High-church Tory, and detested " patriots." I have ever delighted . . person. —Perhaps this analytical bent of Ros- well's mind may account for his habit of thrusting himself upon celebrated men. Sir John Pringle. — An eminent Scotch physician. !n 1772, he w.ts elect- ed president of the Royal Society, of which Boswell was corresponding secre- tary. 134. Sir Joshua Boynolds. — The (ioldsmith, Rurke, and other distin- guished liierary men belonged. 135. Jack Ketch. — In i:ngland. a name given to a hangman ; so called from John Ketch, a noted executioner who lived in the seventeenth century. It was he who beheaded Monmouti 136. Buffeting his books. - , "m- .son's library, in the earret of his hoi.se in Fleet Street, was '' a large and mis- cellaneous collection of books, falling to pieces, and covered with dust. Blrs. TT l i ilr . tP .a. — Joiiii.sun's kind- ness of heart led him to open his house as an asylum to several poor people ; one of these was a blind old lady named Williams, whom he installed at the head TiiF. men SCI 100 r, reader. of lliL' cstiililishincnt. Anotlicr ihciiiIkt of his hniisclioKl \v:is I'Yank lliirhcr, :i negro, whom Jolmson liad hciit to school and afterwards n-taiivi'd in liis service; but what services I'rank ri'iul- ered to Jolinson has not licen asciT- lained, for liis master's elotlies were usually as ihisty as his Ijooks, and his wiijwas "as inipenetraljlc iiy a comb us a quickset liedge." 137. Qretna Green. Springfield, or Cireina (ircen, a village in iJumfries- shire, near tiie I",nglisii border, was noted for th(! marriages of runaway J'.nglisli couples which were contracted there. Mr. Arthur Lee. —A member of a tlisti\iguishc(l Virginian family, to which Robert !•".. I .ee, the well-known (Confed- erate general, also belonged. He was at this time (1776) in luitjland, advocat- ing the rights of the colonies, and act- ing as agent for several of them. In 1777, he was one of Franklin's col- leagues in !■' ranee. .See note liis Lordship, tin; far-fanK'd iig that palron- — A buffoon ; Horde, a i)liy- wlio attracted Uients l)y face- iltitiide. Dunslnane.— r(jm f.' Allegro, e Swiss against 1 century, and Montenegrins illustrations of nark. Cannot Fthe Highland- nd devotion to called "clan- . — An adapta- ne, " Ofif with Buckingham I " <: hard J II., in. . . fugae. cnowledge at a ut such stupid, ere character- .tlqufl. — The the wholu body d other repr>- r governniein. •dor unnatur.ii ig of Johnson 1 show that the ntirely at their i them to be ? (tnces, and the frequent recurrence of antitheses and elegantly rounded periods, render his style somewhat monotonous and tiresome. 142. Ancient renowu . . valor. - The frequent use of the abstract for the concrete noun is characteristic of Gib- bon s style. I'oint out examples. 143. Enjoyed — abused.— I'"..\pand the sentence to bring out the full meannig expressed in these two \vords. Executive powera.— I )istinguished from legislative and from judicial powv-Ts. Seven first centuries.— The period from the founding of the city H.C. 753. For the order of words, see //. H, drammar, XVI II. 19. Remote wars. — Note that ' ' remote" is emphatic, and that the truth of the three statements that follow depends upon the remoteness of the wars. Arrows of the Partblans. — The allusion in "arrows" is to the Par- thian mode of warfare. They fought on horseback, their chief weapon being the bow and arrow. After the first discharge, they turned their horses as if in full flight, while fitting a second arrow to the string. This was then discharged backwards, and so they continued the tight until they exhausted their arrows or gained the victory. Htncc, the expression " I'arthian ar- ro\/ ' is used figuratively for a parting shut at an opponent. Defeat of Crassus.— This event took place B.C. 53. Crassus formetl with Cassar and Pompey the first Triumvirate, H. C 60, and was made governor of Syria. Horace, in Ode III. 5, eulogizes Augustus for wresting the standards from the I'arthians. 144. Signal act of despair.— The Germans rose in revolt under their great national hero, .Vrminius (T.atin for Hermann), and defeated and des- troyed the Roman legions commanded by Vanis, A.I). 9. Why is this revolt called an " act of despair'' ? 145. No less fatal to himself — /vz/rt/ through the jealousy of the I'".m- jierors, as intimated in tht; first ciausi; of the sentence. For example, (ier- manicuswas recalled from liermany by Tiberius and Agricolafrom Hritr.in by Domitian. See p. 146. What irregu- larity in the second clause ? After a war . yoke -The Kmperors referred to in this .sentence are Claudius, Nero, and Domitian. Without conduct. — " Conduct " means h(Te good generalship. Trace the connection with theu'iual meaning. Wild Inconstancy.— What added ideain "wiUl'? Has " while" its usual meaning in the clause thavfollows ? Felt . . Inspired.— On account of Domitian's atrocious cruelties, a conspiracy was formed against him, and he began to feel the same insecu- rity of life which he had made others feel. 146. Navigation.— The reference is to the west coast of Britain. Had observed— is divided.— On what ground can the sequence of tenses be justified ? The native Caledonians . . valor— Compare Johnson's reference to the Highlanders, ]>. 140, and see note thereon. Compare (jibbon's style with that of Hume (Selection Xl.x), and note that the former habitually uses the period, and the latter, the loose sentence. bon's history, abounding ir condensation •ther result of itructure. He ure of his sen- XXV. ON THE ATTACK UPON HIS PENSION. In 1794, Burke retired from Parliament, and the king was about to raise him to the peerage, with the title of Lord Beaconsfield, when the sudden death of his only son, " the heaviest of all calamities," made him indifferent to the honor. He was induced, however, toacw-pt a pension, and this led to the Duke of Bedford's ungenerous attack, and to Burke'5 lctt:r in reply, which is one of th«3 486 THE HIGH SCHOOL READER. finest efforts of his Rcnius. an.l is claimed by John Morley to be si)l(;n(lia ivpaitco ia the liiiglisli Idiiguuge." ' the most 1^7. Mortuary pension.- \\y the us(! of the word "mortuary," Murke intimates that th« pension was a debt due him for his pui)lie services. A mortuary is a j>a\iinMit nia.ie to tlie minister of a |)arish oil the death of a parishioner, and seems to iiave been oriK'inally intended tomaiaragra|)h enumerates some of the ob- stacles that oppose the progress of a man who must depend uixjn his own merits and exertions for the honors which he gains. The Duke's . . . bounds.— The total amount of Burke's pensions was jL?,<7<^, and they were granted with- out the consent of parliament, nmeh to his chagrin. But the amount of the pensions and the irregular way in which they were granted were only the ostensible reasons for the attack ; the real motive of his assailants was to find grounds of complaint .against the government, of which Pitt was the leader— a mode of attack not uncom- mon in our day. 149. Homer nods.— .\ translation of Horace's " dormitat Homer us " (/;>/.?- Ma ad Pisones, 359). The expres- sion IS used of anvono who makes nustakes in a subject with which lie is supposed to be familiar. Golden dreams.- .\n allusion to the Duke's wealth. Burke's contention is that the reasoning of the Duke was cor- rect, but that his premises were wrong The Stuff . . miade.— See Shakes- peare s Tempest, iv. i. Creatures of the crown.— The net of making a man a peer is called a creation. Show how the word "crea- ture " comes to have the contemptuous forge which Burke give§ to '\\, rood. —See ParadisA He lies . Lost, I. 196. Spiracles.— Blow-holesof cetaceans Ihis enumeratius corrup- tions have been devised which are none the less violations of the third command- ment. Tambour. — .\ circular frame for working embroidery on ; also, the em broidery worked upon it. 163. Rid on a hurdle. Ihe hurdle was a sort of sledge on which criminals were drawn to execution. Death was the penalty for the crimes to which Sir Peter compares the offences of the scan- dalmongers, namely, making and cir- culating counterfeit money, and clij)- ping the current coin of the realm. 166. Poor'B-box.— Now used with- out inflection—poor-box, lOB. A La Cblnoise.— Chinese-like. Spa. - .\ fashionable watering-place in iJelgium. Tabic d'lt6l-\s;\ wnwwow name on the Continent for the imblic dining-table of a hotel. To join Issue. — Properly, to be at variance. C'rabtree uses the term in- correctly. 169. law merchant.— A system of rules by which trade and commerce are regulated, and which Sir Peter would apply to slander. Write an essay to prove the truth of Sir I'eter's remark that true wit is allied to good nature. nistry was only XXVIII. THE COTTER'S SATURDAY NIGHT. This poem was written in 1785. and according to the statement of the poet's brother, Gilbert, we are indebted for it to the deep impression made upon the author's mind by the phrase, "Let us worship God," used by the head of a family introducing family worship. This brother also states that the ' ' cotter '' was an exact copy of his father, "in his manners, his family devotions, and ex- hortations. " Robert Aiken, a solicitor of Ayr, to whom the poem is dedicated, was one of the poet's early friends and patrons. The more homely passages of the poem are written in the poet s native Ayr- shire dialect. For the more elevated p.assages he employs l':nglish, as he does in most of his serious poems„probably because he thought the colloquial forms of speech were not sufficiently dignified for his higher themes. Cotter " was the name given to a sub-tenant who rented a cottage and an acre Oi two of land from the small farmers. The term was afterwards applied to the small farmers themselves, to which class Burns's father belonged. 171. No mercenary , . pays.— ] field, p. 484. An allusion to the once common prac- Thelowly train . . scene —For tice of dedicating a book to some ui.nn lines simihr to thi-; and* the eiL-hteenth of wealth or rank for the sake of .secur- line. " And weary . bend " see lag his patronage and thus ensuring a Gray's Jiles^y. " "I'rain " was a favorite mure ready sale of the work. See the word with the poets of the last crntury reference to Johnson s letter to Chester- Show that the wt-pieaning. i/nrw or h 490 77//'; ///(/// sci/oor. reader. the difTorent uses of drag, is fouiirl jti " train." Moll. -The vert) " moil," from which tho iKjiin is formed, meant (i) to mois- ten or Wet, (ij) to stain with jiioisture, to soil, ( ^) to hecome soiled or dirty with toil, (4) to toil. The worrl is now generally used in lonneetion with "toil," the two words iiUistratinp the tendency to couple together words of simiiai^soundsand meauinjfs. Compare " carking cares. " See Jiarle's Phiioioi'v sec. 628. '''^' I'rofessor John Wilson says of this Stan/a that it is "in itself a picture, one may say a poem, of the poor man's life." Toddlln. — Not formed 1)V droppin;,' the J,-- of "toddling," l)ut b'v dropping; the d of the old i)articiplc entlinj,'. See //. .v. Vnammar, \'\\\. 42. 172- Wee bit—riieLowlaml Scotch i.s especially rich in diminutives. See Karle's Philology, sec. 377; also sec. 171, for tht pronunciation of " toil " in this stanza. 173- Kye.— Cows. " Kine" is a double plural. See //. 5. Grammar V. 38, b. 174. How f was . . beU.— A na- tural touch, exemplifying well the rural mode of reckoning lime. The cheese was a year old at the last flax-blossom- ing. H*'— BiWe.— A large edition of the Bible, such as lay in the hall or princi- pal I oom of houses. la simple guise.—" Gui.se " has re- ference to the plain psalm tunes " Dun- dee," etc. , in contrast with the ' ' Italian trills" which Burns condemns for pur- poses of worship. But is it true of the latter that " nae unison hae they with our Creator's praise " ? 175- Other holy seers. — Name them, and explain all the allusions in this and the following stanzas. Springs . . wing. — l his quo- tation is from Pope's Windsor Forest, " .And mounts exulting on triurMphant wings. 176. While circling . . sphere. —What is the objiot of the cumulation in "circling," "round," "sphere?" Note the harmony of the line. Compared with this. Not.- care- fully the contrast made in this stanza Heart—desert. —The erm" desert " was probably pronounced lik<- ar, as in the; present pronunciation of scrjiant. See l';arle's Philolgy, sec. \(v.). Youngling.— Compare the force of the dmimulive ling in this word with its force in "lordling. " Princes . . Ood.— .See Goldsmith's Descrttd Milage, 1. 53, and Pope's hsuiy on Man, IV. 247; and refer to other poems of Burns that contiiin sen- timents similar to tho.s« in this and the following stanzas. Account for the changes in diction that occur throiigliout the poem. Describe the metre - Spenserian stanza- and name other jioems written in the same metre. " It is easy to .sei- in this piece- the in- fluence of (Jray, of (Joldsmith, and of I'oiH', but easier still to observe the freshness and originality of it."' Illus- trate this statement by reference to the poem. Higher complim, nt was perhaps never paid to this jioem than that which it received from a bov whom .Vicol, the comi)anion of Burn,s in his Highland tour, asked which of lUirns's poems he liked best. The boy replied, "1 like best The Colter s SaturUav Xi^'ht, al- though it made mo greet (cry) when my father had me read it to my mother/' Lady Nairne's pcsem, 7'he Land o the Leal, has been sometimes attributed to Burns through the b; under of chang- ing " John "to " Jean." Of this blunder the authoress says, in a letter written late in life: — "I was present when it was asserted that Burns composed this S(>jig on his death-bed, and that he had it 'Jean' (his wife's name) instead of 'John'; but the parties could not de- cide why it never appeared in his works, as his last song should have done. I never answered. " It was writ- ten in 1798, and was occiisioned by the grief of a friend over the death of her littli! daughter. Lady Nairne al.so wrote J'he Laird o' Cockpeti, Caller //errin, and many other familiar Scotch songs. Her I I'h.i II be iiiig but Char- lie f and other Incobite.S'.'!!L''^h.T.veiiro- cnred for her the name of the poet-lau- n'.iif of the Stuart cause " Leal " means faithful, true ; hence the expression ' ' the land u! the leai " Till: IRIAI. nv COM HAT. 49» '(I like ai\ iis ill on i)( sfrjfant. •o. \tv.). re thf forct! of lis word with its lfo(Jol(Ismith'.s >,, nnd I'opc's ; and rcffr to at contain si>n- in this and the fji's in diction I' poem. - - Spvnsfrian pounis written lispifccthe in- IsTnith, and of .) obstTvi; the <'tit.- lllus- -iurcncc to the was iH'rhai)s lan tliat which oni Xicol, the his Highland ns's poems he 3lii'd, "1 hke ay Xii^ht, al- [cry) when my my mother." Th^ Land o nes attributed iderof chang- 'f this blunder letter written :sent when it omposed this d that he had e) instead of could not de- :-Mred in his should have It waswrit- sioned by the death of her Kairne also kpi'n, Caller miliar Scotch iiii' but Char- t!?'^ have pro- the poet-lau- true ; hence of the leaj " means tlie home of the faithrul, that i> means uie nome o the faithfu , that i>, I ^..od exan.ples f.,r th.. practice of tile Jleaven. 1 his selection will furnish | //v;;/,'r in re'i.hni;. XXX. •\\\V. TRIAI, WX COMHAT. The Idea of The Talhrna,, as a name for this novel was taken, as Seott tells us, from a curious coin inserted in a stone which was brought home as a charm from a subseears to Ix; that the lance was thrust into the wound up to the shaft or hancile. Azrael.— Tlie angel of death in the Mohammedan mythology. . igr. Blondel.— Richard's favorite minstrel. Rich, ird was imprisoned in Austria when returning from the Cru- sade, and it is said that Plondel, roam- ing over the land in search of him, dis- covered the place of his captivity by singing, under the windjws of the stronghold in which ho was confined, a song known only to Richard and him- self which Richard answered from within, ig2. David, Earl of Huntingdon. --This is the hero of the storv, but the real Earl, who was present in this eru- sade, wa5 the brother of WiHam the 492 THE HIGH SCHOOL READER. '! I Lion, of Scotland, not the Prince Royal. His wife was Matilda, daugh- ter of the Earl of Chester, and he is noted in history as the prince through whom both Bruce and Halliol derived their claims to the throne of Scotland. BoruBSla. — Latin name for Prussia, which in the thirteenth century was conquered by the Teuionic Knights, one of the orders, partly military and partly religious, to which the Crusades gave birth. Two other pc*verful orders which originated at nearly the same time, and from the same cause, were the Knights Templars and the Knights of St. John. 195. NectabanuB.— Adwarf in the retinue of Berengaria, Kicliarti's queen, afterwards sent as a present to Saladin. Accclpe hoc- Take this. 196. Ilderim. —This is one of the names under which the disguised Sala- din became known to Kenneth on their first meeting in the desert, HaJdm Adonbec. — Another disguise of Saladin. It was as a Hakim (phv- sician) that he visited Richard and cured him of his fever, and in the same disguise he pleaded with Richard for Kenneth's life. By "the distressed Ethiop" is meant Kenneth himself in his disguise as a Nubian slave. Does on. — Dons, which is merely the contracted form. What is the op- posite term ? FranglBtan. — The land of the Franks, by which name the .Saracens designated all the people of Western Europe. 197. Maronltes.— A semi - Chris- tian peo]5lj of Syria. 2or. Paynlmrie. — Heathendom. This is a collective term from pavnim, which comes through the ]-"rench paien, from the \.^X\\\ pagan us, and was ai)plied, like " infidel," 'to the followers of Mahomet. 'I'hat a challenge to mortal combat, " in all love and honor," should be given at such a time, is in- compatible with modern views of life, but in the days of chivalry such a pro- ceeding was not uncommon. The student should not fail to read the whole of The Talisman, in order to have a clear understanding of the selection. It is one of Scott's most attractive romances, and has, more' over, a basis of historical truth. XXXI. FRANCE : AN ODE. Coleridge's republican sympathies in early life made him an ardent supportei of the French RevoliUion, but when he saw the revolutionary leaders attacking th? ancient Republic of Switzerland, his feelings towards France underwent a change which found expression in this magnificent ode. First, the poet calls upon all nature, which itself is free, to bear witness to his deep love of liberty. He then tells of the delight with which he hailed the French Revolution, as the harbingL't of freedom to the enslaved states of Europe, and of his confidence in, and con- tinued sympathy with, the principles of the Revolution, even when atheism and blasphemy were rampant in France. But the attack upon a free people dispels his dream of the sublime mission of France, and proves to him that " the spirit of divinest Liberty " cannot exist among a people who are still slaves of their own dark and sensual passions. Disappointed, the poet turns to Nature, and finds among the elements that liberty which he had sought in v.ain among men. 205. That listAn, . wind, — ■ The ' ioim w'ill they wreathe the air into woods are representfd as being at irst I music. " Reclined " is |)robably sug- ( " nvlined " ) listening to the night- gested by the appearance of trees gnnv- Ijjrijs, save wiiyu gf U)«ir own impcr- ; ing on ;v'*tecp slope. How i:> ilw idea DER. By " the distrerssed mt Kenneth himself in I Nubian slave. )ons, which is merely brm. What is the op- — The land of the :h name the Saracens the people of Western Ites.— A semi - Chris- lyria. Qrte. — Heathendom. ive term from pav/iim, through the 1-Yench \A\.mp mmrAmcm*^ „f .l_ ,-^ .. sroups of islands lying north-west of i unliK"'^^'''''''"'^ °^ *^« ^o^y, n( Afrlc. How does B];„^„i„U,i/.Sf,'l:rdlL'cts,"°XV*^/>S^ 'ADER. REF.CE. le emancipation of Greece It spots in his l)rief, turbu- r passionate outbursts of ul patriotic lyric, from the tcrest of the poet's fellow- dence. The song is put ould, or could, or should iaidee. ;n state of Greece? bains . . slave.— Give a le statement in the two 'pes the expression " Fer- necessarily imply that vere buried there ? thoy,—" Sea-born," ap. land, is an ornaniental Id " by thousands " and be interchanged? What le interrogative form in inhere. . mine.— Com- expression of a similar Dear harp . . mine, ' p. Ingr. . tear.— How does the degradation of the stanza, especially in .he . face"? Account for t.ie last line, and note % contrast in the next imb.— The recollection eeds of the dead would spiration when the liv- ive themselves capable The bard's call to the rhermopylae is a most ch to the living cowards iChanal.— A Bacchanal of Bacchus, a wine- ' the sarcasm in this :cially in the combina- cchanal." 'I he poet irousing was more a- ireeks than fighting. r, an absolute lord, and many (ireek tyrants were humane, beneficent rulers. Show how the word naturally comes to have its present meaning, and note a similar change in "despot,'' which originally meant waiter. Fill high. . own.— Parga is an i riatic seaport on the coast of Alb . in Turkey, and Suli is a town .. ,.i mountainous district farther south. Both are included in that part of the pashalik of Janina, to which the Greeks now lay claim. In the struggle against the Turks, Suli's rock produced one heroic leader, Marco Bozzaris, "the Leonidas of Modern Greece." He was killed in a victorious night-attack upon the Turks while marching to relieve Missolonghi, not long before Byron arriveii there. His death forms the subject of a spirited poem by Eitz-Greene Halleck, an American poet. The Dorians wen; the most warlike people of Ancient (Jreece. By the Ihnicleidun blood is meant the descendents of Hercules, w ho became the rulers of the Dorian states of the Peloponnesus. Trust not. . broad.—" Frank " was a general naine for the peojile of west- ern ICuroiw, but Byron probably refers to the I'rench, whose king at that time was Eouis XVIII. There is no par- ticular historical incident to justify Byron's charge unless he has reference to the friendly relations which some ten years before existed between Na- poleon Bonaparte and AH Pasha, a treacherous satrap of Albania. Vet Greece owes her independence to the interference of England, France, and Russia in her behalf. What is inn-'-jJ I in the epithet " broad "? Express in •in^e diction the meaning of the last ne. 214. Place me. . wine.— Sunium was the ancient name of Cape Colonna, which receives its modern name from the marble columiii that still remain of the splendid temple of Athena (Minerva) which once crowned the height. The notion that swans sing at the approach of death is probably nothing n\ore than a poetical fancy. It is a favorite tradition of the poets, and has been developed fully and beauti- fully by Tennyson in his Dying Su'an, XLT. THE CLOUD. In the preface to her husband's poetical works, Mrs, Shelley remarks that "the odes To the Skylark and The Uoud in the opinion of many critics, bear a purer poetical stamp than any other of his productions. " They are both examples of what IS sometimes called /«;r or absolute poetry. " in which the overflowing emotion or passion of the poet finds utterance in the most charming rhythmical lan- guage." Such a^joem is a simple lyric, a product of pure emotion, wrought into a variety of beautiful forms by a highly artistic fancy. This emotion may be the result of close, sympathetic intercourse with nature, as in The Cloud ; or it may be produced by religion, love, patriotism, grief, as in Dryden's Veni Crea- torSpiritus, Lovelace's To Lucasta, Byron's /sles 0/ Greece, Tennyson's Break. Break, Break, respectively. In general, moje or less of reflection is mingled I; 11 If. ^ 496 T///r nrait school kEADER. The' Skylark vvilh thopocti. feeling; there is more reflection, for example, n. than in The Cloud. The C/.W possesses the loftiest poetic qualities in the highest decree Not- how much there ,s,m th poem of the imaginnt ve qualitv the purt poetr.tf «„t. . .ch cannot possibly he expressed in prose Withoutmucli:;: d,m,nut,on of meanmg. The exuberance of this qualitv in Shelley's verse hJ irocurecl^ for l>in, the name of - the poets' poet." ' ^ " Like strips. , high," and in the des- cription of the appearance jrroduci-d 219 I bring. . thunder.— Shelley hiay have had ift mind the opinion, \\ Inch is probably correct, that there IS more development and growth of plant-life at night than during the day • lence, the leaves sleep at noon and the buds are wakened in theeveniwrbvthe dew. ^ ■ Islft. . rains.— It would seem natu- ral to represent the cloud as awake and active II. the storm. Wh.it suggests the opposite idea? It is more common to say by Jits than at fits. Shelley m.-xkes use of the ancient notion that each natural object— the seas, the lakes the mountains, etc.— has its s^enius or guardian divinitv. The Genii attr.act- iiig the lightning, and thus moving the cloud at will, calls to mind the spirit "th.it made the ship to go " in Coleridge's Ancient Mariner [V^n v ) Note the poetic way of expressing the thought that r.ain accomp.anies light- ning. This passage is extremely im- agm.ative. 220. ThesaufiTulne. . dove.— Xote the use of ' • sanguine "in its literal sense, htudy carefully the highly poetical de- scription of sunrise, apparently after a siorm. as indicated by the rack or Droken clouds drifting across the sky ■ and contrast it with the description of tne calm, quiet sunset, with which com- Pjire Wilson's beautiful poem. The Az'emng Cloud (Lesson xi. in the Fourth Rkader). Note how well the language in both descriptions har- monizes with the thought. Observe too, the similes : the sunrise is com- pared to a restless eagle alighting for a moment on a mountain-crag; the sunset, to a brooding dove quietly' fold- mg her wings to rest. That orbed. . these.— Why is the moon represented as a maiden ? P's- — ..^u.,.1 D.-iivet.-:: pucp and "peer. ^'"•° •-" onderfull by the tnin, fleecy cloud scudding across the sky. Who has not s-en through rifts in the clouds " the stars N.-hirl and flee ".> Whv, in the ''.fth stanza are the stars said to " reel and swim ? 221, Iblnd.. below. -T-i.e^,,;-,//,/,. -one gndle) and the ^^irdle 0/ pearl are the Imlos which are seen around the sun and moon respectively, before a. storm. Note the comjwrison of the cloud to a victorious geiier.nl in "my banner unfurl," "triumphal arch'' I owers. . chained to my chair " or ch.-inot ; and explain all the coinp.ari- sons. The two last lines descrilie the I lormation of the rainbow. I am the daugh^.er. . again. -The first four lines give a poetical descrip- iton of the origin of clouds. See how Bryant in To th^ l-venin^ Wind ex- presses the same thought that we have here in the fourth line. A cenotaph is a tomb erected to one who is buried elsewhere. The clear sky, or blue ^'w of heaven, is a sign that the cloud is buried out of sight ; hence it is fan- cifuily called the cloud's cenotaph. 1 he cloud IS said to unbuild the ceno- taph by re-appearing and obscuring poc the thoughts (mii„ "th9 Wat. . hear Observe how the comparison of the various fields of literature to realms states, etc., is carried through Koat's first sonnet (Selection Xl.ii). Explain the allusion to Apollo, the god of music. " ipf 4}''ipman's translation of Homer, ^yhlch Keats admired so highly, Mat- thew Arnold wrote : " I confess that I can never read twenty lines of Chap- man 3 version without recu^^n" to Bentjey's cry, ' This is not Honier.^ ' In the first eight lines of the son- net th«^ subject is introduced and ex- 1 ■.ADEm. -example, in The Skylark the highest degree. Xot- rjuality, the pure poetry of ose Without niucli loss and ality in Shelley's verse has i- . high," and in the des- tho appearance jrroduced 1, fleecy cloud scuddiiig cy. Who lias not seen i in the clouds " the stars e"? Why, in the fifth le stars said to " reel and Id., below.— T-l.e buruinif and the ^^in^le of pearl i which are seer, around moon respectively, before ote the comparison of the ictorious general in " my rl," "triumphal arch,'' Gained to my chair," or explain all the compari- wo last lines descrilje the he rainbow. augh'jer. . again.— The give .1 poetical descrijv gin of clouds. See how the l.venin^ Wind ex- ne thought that we have rih line. A cenotaph is I to one who is buried rhe clear sky, or blue 1, is a sign that the cloud f sight; hence it is fan- the cloud's cenotaph. lid to unbuild the ceno- jearing and obscuring 5 UNTHO UFHTFULNESS. 497 f the comparison of the of literature to realms, carried through Kcat's lection XMi). Explain o Apollo, the god of 's translation of Homer, Iniired so highly, Mat- ote: "I confess that I twenty lines of Chap- without recurring to rhis is not Honier.^ " eight lines of the son- is introduced and ex- a - ^:S!,^^dlS^•n^:St^:^i?rS'S^ r^^r'''^'"^ '^ -''- --Pl^tdy car- i .nust relate to one lin'^?^'^ K 1 1:^^,^^^^]^ »- '" the XUV.THE POWER AND DANGER OF THE CKSARS .re'uToT.T^ ''""' 'f'''"" ""' P-'-^S'-'-'Phs. wefind that the first paragraph tn ats of the immortaluy of the imperial office, and of the danger to which I e on.ce exposed the person w^ho held it. The second division'of U /e sc-IV ■ '7 V"''''"^ counter-charm," etc.. and is continued into t cond paragraph. Then follows an illustration of this part of the subiect wl ic .s continued through the third and fourth paragraphs' In the as ^ ." 'Tmos ' tw ;:: '^ ^ "^'^ ^'^^""'^--^-^'^ -'-^-^ -^ ^r the illustration, sC power wthJttrl ,",""■ '°"'" ''" """' P'^'^^" there was united fa. -reaching power w ith utter helplessness to ward off danger near at hand he selection might be divided into paragraphs to correspond more nearly «>-h its four divisions; the illustration might fo.m two paragraphs, th« first sent'"';:' hl't'rr'^- • "''^•■-'''^ ^^'°'^ -^--^^'"^ '^^ P^r.,r.,LL ai pre- sem. In what different ways is the first paragraph subject stated ? DeQumceydoes not observe the principles of paragraph-structure, except that of I- xphct Reference ; his connections are always clear and exact I-ind Illustrations of the following characteristics of De Quincey's style — Preponderance of words of Latin origin ; (.) Frequent use of eoithets U) I- requent employment of the periodic sentence (but note the change in th ;h rd paragraph, and the effect produced thereby) ; (4) Melody-" He is on of o'" greatest masters of stately cadence, as well as of sublime composition " XLV. UNTHOUGHTFULNESS. folHws ZTT""', "It? •'"' '''■' ''''^'"°" ""^y ^' ''^'^^ consecutively as Mght of God , (3) Those who are idle and careless in secular pursuits are equally o abou religious duties ; (4) There is also a lack of a spirit of manly Christian nl ute, (6) ny serving as an unhealthy stimulus merely, and not as nourishment tothemindsofyouth; (7) They thus gfve the mind a^listaste or sZusmd; and reflection, without which there can be no real spiritual life. ^ 227. For tbe number . . fools — vv.i.. I.. ne<, ,ptiui: ui inc two classes <:- people referred to here, compare Matthew Arnolds description, pp. 400. 4- Note the repetition of " common sense . . tenn." for the sake of ex- actness ; also the gradation ofepiihrts producing a climax. 228. But the opposite . . Cfod -'Paul wrote: " The wisdom of this 498 r^'£ moHscHoo,. ,,,:^,,,,^ 3; . n ^°^ '^'•"'l this part r?f A ' ''' ^"^'--'ent guide f'"'-'''''^"^'-"""^titute 8uS ^^" ^« otlaer lawft.1 piea r'^'^'"'"" '^ '"' tt a h'is'f %"- ^^ this ■ "1 .irnoifi ■s time. place of e."ecution Z^T """'P^^^^^doveritfrom^h .^'■''°"- ^"'^ «« ^"usion to this bridge ^"" '^"^''"^ '^^ ^-«^ Canto of ^T'^'"''^ '° '^"^ .. , ; , . ''"'^'- ^^'•oW with an It was said of Hood tha " h' '/'°'" '^^^ '^'-'al child of 'the ' "■'"' ''"'^ sources of tear^ ■■ J . "^ touched ahke fh„ • '^ °'^''-'- LI. HORATIIJc; According to th I ^'■^ ^^Jo. '^v OI 'viU£;u/ij, I Ui, V ""'^^l^"^ •« here he additional an,lhX ' to our neighbor in thi^ , ;7 principles coHMitue Je for our conduct whh ?enceni anything wK Snf"' .hey^hS houw ,ke use of this '^orks of ainusen;ent a course of read n^ ;| against light. tSh,^.' ture--a warning tha rtnold' "" p^^^^t ".irnolfi, time. w TT/^- A'^ TA yV. 499 4 247. Lars. — An Etruscan title of nenor ; often rendered ' ' Lord. "' Nine gods.— The higher deities, to whom the Etruscans attributed the power of hurling the thunderbolt. 248. Maasllla's triremes. — M.xssil ia was the ancient name of Marseilles. ^air hair was a characteristic of the Celtic race. 249. Nurscla.— An Etruscan divin- ity. Observe how Macaulay, by means of some descriptive epithet, or by connect- ing some local circumstance or incident with each name, succeeds in imparting interest to hisenimieration of the Etrus- can cities that sent troops to the aid of I'arquin man settlers. The Titics, the tribe to I which Herminius belonged, were of j Sabine origin, a later addition, and it has been conjectured that Horatius be- longed to the third patrician clan, the Luceres, who were said to be of Etrus- can origin. 252. For Romans . . old.— The supposed Roman author of the ballad .s pictured by Macaulay as " an honest citizen, sick of the disputes of factions, and much giv«;n to pining after good old nmes which had never really exist- ed. " The Tribunes were Roman magis- trates elected a.i-ually to protect the interests of the common people Meanwhile . . ttr.e —Note the Imitative Harmony, used to represent ^shed Eoman.-Many Romans ::;:ts[::^^z?'n^;;sL;:rK^;:' mS^ E'" rl° ""!" , "^*'»»l»°"- nva was the anSt mammus.— Princeof I usculum, and name of Elba son-in-law of Tarquin. Yellow Tiber— 'Ihe Tiber is gener- ally j^Mw with soil washed down from the mountains. Rock Tarpelan.— A name given to one side of the Capitoline Hill over which criminals were thrown. It was the burial place of Tarpeia. who in the early history of Rome betrayed to the Sabines the citadel, of which her father was the commander. The fathers.— The senators. 250. I wis.— See Earle's Philology, sec. 256. Twelve fair cities. —The cities of the Etruscan league, several of which have been named in the poem. ':.rcumo.— An Etruscan lord of lower graue than s^ Imks. 251. SertUS.— Son of Tarquin. His villany was the immediate cause of the expulsion of his familv. Note the vivid picture of th(> greeting he received. The holy maidens.— The vestal vir- gins, or priestesses of Vesta, who kept the fire burning continually on the altar of Vesta. A Ramnian proud.— The Ramnians were the old families, t^e original Ro- 253- Nequlnura. — Called Narnia, after its conquest by the .Romans. It was on the river Nar, a tributary of tne Tiber. 254. The she-wolfs litter. — The Roman people. The allusion is to the well-known story of Romulus and Re- mus being suckh^d by a she- wolf. Augurs.— .\ class of priests who pre- dicted future events by observing nat- ural phenomena, the actions of ani- mals, etc. Great variety of e.xpression ■s required in reading the passage, "But hark . . cheer." 256. Father Tiber.— The river-god of the Tiber was said to have been a former king of Alba who was drowned in Its waters. Note how tht author ijrings out the contrast between the brave Porsena and the cowardly, false- hearted Se.xtus. This is an excellent selection for [jrac- tice in reading. It contains a .succes- sion of stirring pictures and incidents with which the student by careful study should make himself thoroughly famil- iar, m order to describe them with pro- per e.xpression. LII. THE RAVEN. Many conjectures have been made respecting the origin and meaning of this singularly weird poem; but in ^n ^'.s^y enihX^d 'The Philosophy o/Compod. 500 7y/A- man SCHOOL a^k^der. "Pcnences; but if the description in th. ^ '"""'''"^ "^'^■'^""'"••''' own ^--.s entirely a product of C in "'in,.' T "'^ '•'^'^^" ---'v. T^e cf'oscM, wiSch Sh■lkc?n!n*re~:Tll^!'''!'^^ '''-'"''« room. "'-■cupation of tl c s,„ r7^ '-■'!,'^''-'''^' "le darkness nK'^'""f' "^^' ronlnis of andancienT;:*;!*^' ^"""^y' ^^^-^•[Si:^lo j:!^^'' '^ nevertheless LVII. DEATH OF price of the •i^Jc* French, as the |"gli.h t oop^r^The'"'''-"^^' ^^ 'h^ Spain of the sen h^ , 'Capture from ders. ^'-a-board towns of Flan Europe. ^ °' ^^"^ °"ier courts of berii^he?ecoS,f r ^i^yPOle-EI'^a- and Frances vhLlf J^'^'^g'-'t. Marv, had been aea^ °nh ."f ^"''^ '^^'■- f^'-^h Society of FnVnH« ^""nder of the THE PKOTECTOR. SriC?efcr''''^''^""^''^"^««>^''^ther- 276. Hacker's men — c oion,.! w , the court stables wh' ''""*' ^'"''' '" ChaHngCr^2!trr°'r"^^^ Was thy own life . tree a reading hlSre"K"sS'Tor^ worn a leather jacket ^'''^'^ /or7e'oftI.^^^T'^,tm •^"''' '-^^ I nears »n be thif - ^/^*^'"eanmg ap- P'»y«, all co„sidarf,i„,rotrhe 'SJ KACH AND ALL. it'i eonstniction. s wife, probably the authors' own n seriously, The t was first ])ub- utowas tlie god ' t'lL' renlius of uw the Raven's 501 •vcrniore' i'.iKJent's ques- .11 earnestness in the pasMon- ith stanza. «f .si)e!linff of word lidcn; . . floor.— leniatical ex- ' "t-'vertheless iisidering the light "throws hut the beau- the last two sorrow fronj —more than icongruity in s to Icather- lonel Hack- s officers. >e given to itood near tree.— An Jits, one of allow- trees id to have oni of the us an ac- Vote the "ling ap- Jesire for salth be- of every e Divine will being disregarded. 280. Fauconberg.— Husband of Cromwell s daughter Mary. Ihelr works follow . , here — C-dyle's language is vigorous, and even approaches coarseness, in his de- nunciation of the Star-Chamber cruel- ties and (jf the efforts to belittle the charactt-T and \wrk of CTomwell. 281. Hypocrisls. - A l-atinized form ofaClreek word which means pltivim^ a />m which became more bitter as he grew older ; in fact, he railed against Cant and .Sham until his very railing became a species of cant. LVIIL EACH AND ALL 282. Little . . alone.— The main thought of the poem finds (expression in the two last lines of this stanza. They teach the doctrine of mutual depen- dence, that " each lives for all, and all live (or each. " Compare the teaching of Pope on page 98, " Has God . all. I he clown and the heifer each unconsciously adds a charm to the landscape, just as the sexton uncon- sciously gave delight to Xapoleon, or as each life may unconsciously influence another life. I thought . . none.— The beauty of the sparrow's song is enhanced by the accompaniment of " river and sky," and the beauty of the shells by their s'c't- tingof " thesun and the sand." -So, too, the lovers " graceful maid '' look- ed niore beautiful among the other maidens ; yet in the transformation from fiiiry Xowife, dues she not becom- ! ' a more noble being, " a spirit still, and ; bright with something of an angel- ! light " ? Is not the change in each of these instances caused rather bv getting possession of the object, than by its re- moval from the other objects that are usually associated with it ? j 283. Then I said . . whole — I The poet concludes that the beautv which is merely lent to things bv their surroundings is onlv a .ww///-- beautv a cheat, and that he nmst look for real beauty elsewhere than in nature. Kut even as he is speaking his eve takes in all the separate parts of the landscape from the ground-pine beneath his feet to the sky above his head, and his ear IS greeted by the songs of bird., ; and however unlovely each part may be in Itself, he discovers in the harmonious ijlendingof all t!.e parts, the perf.-rtion ol true beauty. 502 THE HIGH SCHOOL READER. \X. THE DIVER. This ballad is founded on an historical incident. It is related that about the year 1500, Frederick, King of Naples, induced a celebrated swimmer anfl diver, named Nicolas, to attempt the exjiloration of the mysteries of Charybdis, a whirlpool on the west side of the Strait of Messina. The historical diver is (juite an ordinary character, he dives for the gold that is offered huii, and perishes in the whirlpool. Schiller, with a poet's license, invests his (xto with poetic in- terest ; he is a noble, fearless young squire of the king's retinue, and in the second plunge he risks his life for the king's daughter. The spirit of the original poem is admirably reproduced in Lyttons transla- tion. Note especially how vivid is the description of the youth's thrilling ex- perier-e, ending with the abrupt, hurried allu.sionto the terrible devil-fish, " the demon of the deep. " The first line on page 299, " And Heaven . . space," does not giveSchil- ler's meaning ; a more literal rendering of the original would be, " His soul is seized with heavenly force. " The "fond eyes" mentioned in the last stanza are those of the royal maiden who is specifically referred to in the original, "She bends over with loving look." LXVII. THE HANGING OF THE CRANE. The title of this poem is siif^gested by the old, homely custom of celebrating the home-coming of the newly-married couple, by hanging the crane in the old- fashioned fireplace. This signified that the house was finished, and ready for the pair to begin their housekeeping in. The poem presents, in a succession of bright pictures, the fortunes of the family from the beginning of the home to the golden wedding-day. 336. TheUfiThts . . long.— In a few simple words, the poet very happily introduces his subject by fancying him- self one of the merry guests of the even- ing, who stays behind after all the others have gone ; and while gazing perhaps into the flickering fire-light upon the hearth, his "shaping spirit of imajyin- ation " creates the visions of the future life of the happy couple. Show that " harmonious" is a suitable epithet to apply both to the course of a star and to a happy home. And now . . sight, — Note the different means employed by the poet, in this and the three following preludes, to sliow the indistinctness of the pro- phetic vision. 337.— The light Of love . . alL— Observe the poetic art in making the literal intrc times of chivalry. 'Ihe pas.sage, " that tr.ivels . . eludes, ' may be taken to illus- trate the day-dreams of vouth, and it- self finds atimirable illustration in .Sir . Vreivale's account of his search of the Holy tjrail, a knight-errantry of legend- ary times that might well be called aiyme. See Triinyson's poem, The tioly (iiail. 340, sweet Ulusions . ; lost. — Another harmonious clo.se, giving beautiful expression to the thought that "y;. , ^r .1,.. 1 /■_' •,'"' ."t can juoge same thought in the last Find the stanza. But no word . . sped— Nature cannot give any explanation of the iuy.sterics of death, 01 any aaburunce of immortality. And eyes . . fate. —The suflfer- ing and down-trodden ask in vain why of the harvest from the kind of seed we are sowing. See Galatians vi. 7, 8. 'I he refrain of the poem hints' at a time when knowledge .shall be more complete, but it exhibits a lack of that fulness of confidence which I'aul mani- fests in 1 Corinthians, .xiii. 12. So6 TH^ HIGlt SCmoL HEADER. LXXIX LXXXI. LORP OF BURLEIGH • BREAK BREAK, BREAK ; THE '« REVENGE ' ' portraits fro. Tenny.so'ns P cttal.ery oTwir" ""'^ °' "^--har.ing . , complete expression in that noblest of all eL" Z S' '"•' "'"' '"'■'' "^'^^ . a^atr^epoe. ... ..tes the won.^ e^^!^-:-; ^ ^ -^ "^ s:;rs^;:^s ::r^^o^f r ^-' f -^ - -- " - he succeeded in X79.. The «- villlge t^^T '" t"" ""^ ''^"'^ '^^^'^»- V.OUS year, was a farmer's d aught ^^0^ ^^T^" ''^' ""^*'^'' ^^^ P- Countess," as the people of^tamfordcal her t 7^'"'- '^'^^ " ^"°"^Se poet bestows upon her She diedTn z7ol \ f'"' •'''' ^" ''^'^ P''''^''^^ »hat the hangs in - Burleigh House byta.X? ^^n ' ^ '"'"" '^ '"^^•^^•"^'''' -'^■''-■'^ t o'cl The pathos of the closing 1 nis ^^f ' '""f ^'^^'^ ^^-P>-«-0"s in ■■ r^. j, ., tious wedding-dress ot the C^esrS''^:^ very touching ; the unpret'en- the happy si„,p,icity of the first year; he?w?;°r,V":^'^ '^ ^^-h"'-' of m the midst of all her grandeur ''^'' '^°'" ^^'^''^^ she had pined -^Xrr^\r^-r7jL- - s^tementth. the poem, morning." If th„ ,-3 true, it is n'erdy one of m " " '''^"'^' ''^' ' '"'^'^'^'^ '» ^^e the mind of a poet in his moments o inspl^ ioT'If '''T'''' ^'^'^'^ '^^^^ how by h.s surroundings. 'nspiration may be entirely uninfluenced p-;;^^::? j^r Sii'irr ::^r " "^^"^-^ ---^ - -'^^ ^^ ^-^^ -hen he was in a melancholy^moon^d 1" ^7 •:^^'.^'- "^^^-th of ..is friend, -ate it with any particular local." i^o'^e^^^^^^ " '! ""' "— ^y to asso: P.ec,ated. we may fancy the poetLnspor ed ■„ f ' "J""^"" "-^^ '"^'-d - ^P- setsh.re, the burial-place of the Hal W tnd ^;;°"f ' '^ ^^''^-don in Somer- upon the broad estuary of the Severn 'all tt '^^ ''°"" ''•°'" ^'^« '^'iff from his own sad thoughts. The mou;n?uK T7'^ '''' ''''°'' '^^'^ color tuallyonthe .'cold gnay stone ."Te^tob a '"r'"'"^''"^ '-«•-- deep, unutterable emotion ; the ^hd shnm r' , '^"^P^'hetic response to his the song of the sailor lad r^caU to hfs m „d tl^ 'T °" ^'^ "^^^^ -^ Sh.os passing ont of sight into therpo" 1 „ , H "Z "'' " '''' " ' ^^ ''^'^ -t^heorder in Which theo,ectX-::tp::S::?:--^^ BREAK, BREAK, BREAK: THE REVENGE, ^o^ —the nearest first; and note, too, how joy, life, and satisfied desires (II. 5-10) are contrasted with the poet's grief and unsatisfied longings (11. 11-12). In the first stanza the sea breaks on the stones ; hut in the fourth it breaks at the foot of the crags, to indicate how utterly futile is the poet's passionate wish. In the pathetic allusion of the last two lines of the poem, the poet shows a more resigned mood ; liis dead friend will never return. A favorite occupation of Drake and other naval commanders of Elizabeth's time, was the capture of Spanish treasure-ships, as they were returning from South America and the West Indies. It was on such an errand that Lord Thomas Howard was sent, when, with his squadron of seven ships, he fell in with a Spanish fleet. The earliest and ijerhaps the best account of the fight is a " Report " by oir Walter Raleigh, published in the same year (1591). Ten- nyson follovvs Raleigh's " Report " in the main. 374. Ships of the line.— The old name for war-ships of not less than two tiers of guns, but a "liner "of Eliza- beth's fleet was an insignificant craft compared wi.h the huge "wooden walls " of this century. Why is Grenville, the second in com- mand, mentioned first? Cowaxd.— Show how a different meaning could be g;iven to Sir Richard's words by different inflections upon this and other emphatic words of the stanza. Past. — .X favorite form of the verb with Tennyson. In " Enoch Arden " alone it is used sij: times. Thumbscrew and the stake.— Im- plements of torture of the Spanish In- quisition. Note the irony in this line. Heaving . . bow. —A nautical expression meaning, to appear in sight on the windward side of a ship's bow. " Lee" is the opposite word to ' ' weather. " 375. Fourgalleons.—Thescfour arm- ed merchantmen of gi;eat size and strength were deputed to destroy the Revenge. We are told that the Span- iards lost four ships in the action, and these may have been the four galleons which made the first attack. The San Philip was the flag-.ship of the Spanish fleet. " Starboard " and " larboard " are the right and left sides, respectively, to one facing the bow. ' ' Port " is now generally substituted for "larboard." Having that- . . Ill-content.— The San Philip probiblv had what the sailors call "a shot lietween wind and water," that is, a shot-hole near the water's edge, whi h is particularly dan- gerous. Note the contempt expresserl by the comparison in the last two lines , of the stanza. Note how the repetition of " ship . . long " in the ne.xt stanza renders more vivid the terrible struggle throughout the night. The fight lasted from three o'clock in the afternoon of September loth, till day-break the ne.\t morning, and the Spaniards were driven off fif- teen times. The repeated words should be prolonged in the reading. 376. Sink me the ship.— "Me" is an e.\ample of the ethical dative, or dative of interest. 377. They yielded to the foe.— Note the use of ' ' they " instead of ' 'we," as if the sailor who is supposed to be relating the story were a man of Sir Richard's temper. And away she . . own.— It is a fine poetic touch to represent the Revenge as mourning for her lost crew. When a wind . . main.— Note how the description seems to gather force, like the storm it describes, both reaching a clima.x in the line, "And the whole . . Spain.'' In reading, the voice .should rise with the rising storm, and become softened and pathetic in the last two lines. Raleigh says that the storm was from the west and north-west, and that the Revenge was lost upon the isle of St. Michaels, one of the Azores group. The pupils should be required to de- scribe and name the several pictures presented in succession throughout the po'-ni. The ballad is generally adapted for singing and resembles the song in this respect, but it dilTfrs from the song pro- per in being narrative, and in having nior« of an antique cast. So8 TH^ MiGir SCHOOL kEADEn. LXXXII. HERVE KIEL. After the defeat of the French at I a If succeeded in escaping through tlie Race lfZ\ '" '^^^' "" '■'"'"^"' °^ ""'''" ^^^^ tween the is.and of Alder^./and ,' ^::,'' r^' ^ ^^'^^ ^^^ ^^- dent of this escape that Brownin.r .„i , ^' '"' "" ''o"'^t. -t^ 'nci- or place a„a dr^u,„su„cerS"|:;';;;;:: ■" '"'^ '»"»"■ "'" »* *-Ses the commander of the fleet ,, ''f '^ '-•onimon prize for a horse- 379. Simple Breton saUor -Ob \\f ILT^'''' '*'''''''-"''''''}' f''^^ Ml was serve w,th what fine effect theooet lea k Z * ''^ '""'-'• •'^"'-''i '-'oHoquial ev- up to this expression. ""^P°^' ^^^^'H P-^^'^^^ons as this, and "sure as fate" Crolsiokese.-A native nf r--^- • V^-' 3°9.. are quite in keenintr with tji^. i/;j/.«/«. are natives o. St MalS ' '"VP^'^''^ °f '^^'-' '«"'-^^' ■'^ 'v'"^ Qreve.—Asmallfortifiednortaf th^ 1 '•0«'«^e-; 'I'he national i)icture-<^al. momh of the Ranee. Solico^r a for | Sfme^th 'J?' '' ''^' '^'^'^^' ^'^'"'<' ' ' -^ .1 lor I shame that I ranee ha. ,;o memorial of tified height farther up the river 380. stm the north wind grace. —God is thanked for the nortli ^^J)"i, a favo.able wind for a sh i p ^ L^t^nk"" ^'°^"« *« St Zia A8 Its Inch . . profound -As If the passage had the width and depVh ot the open sea. ' 381. Let the , . Ranee. -How would tins enhance their rapVureV f.„ff«* a symptom . . We.- Compare the modest conduct of Abi- gail Becker, p. 448. Note the man's ,1, , , '■^ iici.^iij iiiemorir I the brave deed done by He.ve Rid Tv?vn,l^^-'''°"'^ ^."""^' (Selection LXXXI Ogives poetical expression to he noble thought tiiat nolhing greS >s accomplished in life without patient persistent effort. Note the diK t ways m which this thought is presente and give a suitable name to the some ' x\^l ^ '"'errogative form in which ... ,-;. ,.. ^^^. „u,^- tne man's I amhnr .r^"?' ^'T ^"'''"^' ''^ ''^^^' t''^^ Mmplicitv m asking only forleaveTo go ence thnf'^,''''' '" *'''' ""''^•^'''^'^l ^^^P^'i" anlsee his wife, and he a " pressed ev^r.. "°. "^'i^^'-'st. thoughtful man sailor "too. P'^'-sst-d e\er attains his ideal. Hosvever much sailor " too. 382 Not a head . . smack - An allusion to the figure- heado com- monly placed on the bous of vessels -domuchmo.;;mai;.;XZS; lor our Ideals grow with our growth and assume a more perfect form as we seem to appraach them. LXXXVII. OF THE MYSTERY OF LiPE. 390. The first . , lessons. -See me same lesson suggested in Dr. Wil- son's poem, Our Ideal. State conc-ise 1 V what the three lessons are ttat Rus-' km wishes to teach. „ 392. Agriculture.— Let our coun*rv t^oys note the high praise given^CaeVT ibse ver "°'"'^'=V1'"^'^'^^^' '-^""'her keen ooserver, says of the same q— ■ -, (L.-.M.n i.xxxi in the FofKTii Kka',','- ^v.). .Nuch commendation of this "^rtof kings - should make ourbovs consider well before they decide to forsake k for a more " genteel " calling rnfh'l-" •^''"■'='' Cantons " are the seven Cathohc cantons of Switzerland; the noble Protestants" are the W'alden^ ses, who now inhabit three valleys on the Italian side of the Cottian Alps south-west of Turin. It is diffleuluo unuenitand how these mountain dis: i->lled the "garden of Europe." RUGBY CHAPEL. IdlOtlam.— Here used for " idiocy " The allusion is to the cieiinisin of the Alpine valleys, a disease that produces deformity and imbecility. Uarden of the Hespertdes. —In my- thology, the name " Hesperide? " was formerly applied to ihe daughters of Hesperus (the evening star), who guard- ed certain golden apples in a Ijeautiful garden ; afterwards applied to the gar- 509 den itself. In what sense does Kuskin use the name ? Virgin Ctoddess.— Athena, or Min- erva, the patroness of all the arts and trades. Ruskin's wonderful skill in the choi<-p of words, the richness of his imagi-rv the fervor and brilliancy of his thought- are apparent in every paragraph, if not m every sentence, of -he selection LXXXVIII. THE ROBIN. 397- Armed . . Tltmou8e.-An allusion to the following lines from i!.mersons poem, T/te Titmouse: " For well the soul, if stout within, tan arm impregnably the skin." Bloomfleld. — Robert Bloomfield JI766-I823) wrote poems of eonsider- aole merit, which Lowell, however seems to regard as prosy. ' Poor Richard.- A name assumed by Benjamin Franklin, who published a series of almanacs, beginning in 17-32 and continuing for twenty-fne years 1 hey inculcate the prudential virtues, as diligence, Jrugality, etc.. bv means of maxims or precepts. Cherries , . Asia-minor. ~ Cher- ries are said to have been first brought to Europe from Cerasus, an ancient town on the southern shore of the Black hea. He has a finer taste . . Johnson's r,?u^ the humor in this sentence, and the allusion to Dr. Johnson's well- known table habits. Right of eminent domain —The sovereign right claimed by a ruler or governme -t to appropriate anv private property that is thought necessary to the public good. .398. Sweet Argos. — Argos was a city of ancient Greece ; here regarded "^^^^^l^l^ofthe foreign grape-vine. Fair Fidele.— No doubt a playful allusion to the author's wife. 399- Primitive flre-worehippers — I .'s worship of fire, and of the sun as the source of light and heat, was prac- tised by the ancient Persians ; also among the ancient Peruvians. . Pecksniff. -A hypocritical "character m Dickens' Afartm Chuzzleivit I his selection affords a fiiie specimen ot Lowell's humor and of his bright racy style, much of the humor being in the allusions and in the grotesque pic- tures suggested. His allusions s( aid be carefully studied, or the delicate point of the humor may sometimes be missed. XC. RUGBY CHAPEL. .i°^- Coldly . . laid. -Observe with what art the poet introduces his subject. The theme is a sad one, and he therefore selects a gloomy Novem- ber evening as the time of his supnnspd visit lu Rugby Chapel, Nigju is rapidly closing in ; the trees fade into dimness • the boys are leaving the playground, enable onger to see anything without, his eyes are turned to the interior of the chapel, which appears all the dark- er and more cheerless in contrast with the lighted streets and school-room _v!. ._!...... „nf!, finally, they rest upon his father's burial-place, the goal of his thoughts. 402. Brings thee back. — By the lorce oi contrast, for his father wasno^ 'i V 510 THE HIGH SCHOOL READER. a gloomy man. Note the various ex- pressions used throughout the poem to show the cheerfulness of his father's disposition. What lines in this section best express its leading thought ? At a call unforeseen.— Dr. Arnold died suddenly of heart-disease, June i2th, 1842. His celebrated son, the author of this poem, also died sudden- ly April 15th, 1888. O strong Boul . . vain.— The poet's faith in a future life seems to be based entirely upon his belief in the indestructibility of force. He cannot be- lieve that the ceaseless activity of his fath- er while on earth has ended with death ; yet how different from the hesitating half-belief of the poet is the a-surance of a conscious, active future state of being which the believer in Divine reve- lation possesses. 403. Still thou npraiseat . . earth. —Observe how the poet has led up to this description of his father's life- work ; and name and explain the three chief features of that work. Eddy about. —Show that the poet's description of the conduct of most men fairly suggests this expression. Why does the poet introduce the word ' ' perish " ? With the fate of the class described in this section, compare tne fate of the selfish, unpatriotic man in Scott's Lay of the Last Minstrel, VI. i. And there are some.— This section describes the earnest seekers for truth, men who have an aim in life, among whom the poet places himself. 404. but something to "natch . . grave. —The student of the classics will recall Horace's presage of immortality in Ode lU., 30: "I shall not wholly die ; but a great part of me shall escape obli\'ion." Along, steep Journey . . snow.— f This comparison of life to an Alpine ascent presents a vivid picture of the difficulties that 1 .set an ardent, aspir- ing soul. To what else is life compared in the poem ? The allegory is not con- tinued to the end, for there is nothing at the end of a successful life that " the gaunt and taciturn host " of the Alpine inn represei..s. The whole picture is extremely realistic, and seems to be a recollection of one of the poet's own Alpine experiences. 405. Thou wouldst not alone.— By the use of the word " alone "the poet is enabled to pass natui allv to the descrip- lion of the third class," the few noble, helpful, unselfish spirits of whom hi", father seemed the most noble ex-ir.-.ple ; those who not only reached their c.vn goal but helped others forward also. 406. And through thee . . gone.— A 1 :jh tribute to a father's example, that it was his noble li/e alouR which made it possible for his son to believe that the accounts of great and noble men who had lived in lie past were "ot expressions of a longing desire for such men rather than statements of actual facts. Souls tempered with lire.— Men who have faced difficulties and endured temptations are best able to help others. Ah, but . . long.— Contrast th« despairing tone of this line and of the section that follows with the animation and hope of the last section. Observe how in the last section one thought sug- gests another, one expression is ampli- fied by another, leading up to a climax ; the whole settion presenting a graphic description of the united army pressing forward, encouraged and inspired by the presence and example of the few fervent heroic leaders. XCII. MORALS AND CHARACTER IN THE EIGH- TEENTH CENTURY. 409. Arch-verslfler. --An epithet ap- clergyman in Fielding's Joset)k An. pjicato rope to ae.sciibe ins skill in rf> T "'' ' the g. ^^, ,,, ,,„ ^^, ,,^ ^^^„_ w"h: chtTi:::; rthr :?:: here to destroy the one gaunt, bleak blossom, whose drv dishevr^^H nn ance only enhances the desolateness of the picture ^'^hevelled appear- The poet then imagines the garden in the dnv<; nf ;.= w and be charmed with the melody of his verse and hk3! . of the poet. stiTiftTc^rs-rt^r^ life and If the^!;:':rcome. ' ' ' '^'''"^^"' "'"'' '^"P^^"' ^^ ^^^^ ^^ ^^'^ CV. THE RETURN OF THE SWALLOWS. 437. Out . , Infinite.— This stanza pictures to us a fresh English meadow on a spring morning, and pre- sents a niarked contrast to the parched and and African landscape depicted in the second stanza. This alternate re- presentation of English and African scenery is a noticeaole feature of the poem, and it will be observed that the words used harmonize well with thp scenes described. Compare, for in- stance, the spiritless monotone of the second and third lines of the second stanza with the animation of the corrcs- pondmg lines of the third stanza. ' ! Shlverlnsr with sap. — Bv the use of the word " .sh-. .ing'' the poet suggests that the flowing of the j^ap produces a quivering motion simi- ar to that caused by the circulation of the blood, and, like the latter, it is a proof of t;*/a/iO'~" shivering with sap- being in plain nrose, " full of life » ^^Shoot^lnto alr.-Mudie describes • l^'nJ"''' -/"^T' ^^ "'^ succession of leaps, as if a heavy body were raised by a succession of efforts, -or steps with pauses Ix-tween." Compare ShoN ley s description, " From the earth thou ipringeu, like a cloud of fire. " 512 •''nipare ' '•■nu.uon-fl describe th;^'^^;?^''"^'''''''^ ^^•«"' -'^ Now that ^ "^ ^,^;il1 ^''"' ascends. cloudy winter mo;ni^Tn~-^"" nion to the diniat,w!f# f '"°''*^ '^""i- thatof Call" t^.. '?^''l"'' '^^" '° . . • on the c.earestt\\.r„?e°dar^''^ even '^Prins advances, ^"'"'"'"^■"^y ^^ ofu;^Sru:h.IikJ^r:f^--Thcsong ^;^'f.clear;andnu"^ ''"'"'■'^''^ Sweet ihrushl whcen strain Salutes the openin^r yen, ^enew those m-irLn. ■ . And soothe my";:^ 3 5,j'^;i.«&^'n, Maslcal thougut «„,+ This means either thaf'f^ " • ^°^^^'~ the music of birds or .h ^'l '"^ ^"'J of influences of tSn'rin^ti"' '^^ ^"^^^^ birds to sinJ ■r2h2^:'y"?KP''TP'the worth seen.s^to Rf t^Kt^er H °'''" h-s mind when he n^fers ,o ,/ ^ '" -?;^/'aIlindepenS'^'^,^t? unSj^^^SJ^i^-othe^pid days. warm spring And the droopine- The familiar haumf ^f' ,u' ^^^S-- are represpnted 1 ^ '^"^ swallows ionshipoflSe "'f'"fftheeompan. for their mumf, 5 ■:'''• ^'^^'^ the time The white Ai^^"^ "'-"''^'■• quently called ■V?";7;;^'^i^'-'^ '' <"'-« the houses are huih J .f""'!''^""' . stone which faiHvHf'^ °^ ''^^^^ under the noonSa^su?"'^^ ''^^ '^y^ poetical way of des'rrlh' *«"•- 'i"he edinSw^i^S^t^-^^conn^^.- connection in meaning ^'''*-^ ' gives ^^;^,,iJ;;^njorn,ng,,.,. r//£ HIGH SCHOOL READER. ,, /■fafage.— For the more usmtI ««v,» foliage." Which .-''"/^c usual word, lar formation? '^ the mo,., ro^'u- flpray. — T;,is wo-d ;, „,,■,., , Sad slave woman — aIp v, c i, , been a noted piratic^ neJtiCh.'''' centuries previous tn ;♦= '"'^'-''^ theFrenclVin 830 TheX*""^' ^-^ rates were the terror of th^r^f""'- P'" ean, and even vJn? ^^'''^^^'''tt'fan- ffin their songin the sDriL''^''"y '?^- 'n the third and fiffh^^ ^' ^°t« also of the advance of'Ipring'""'"'^"^^^ ^-hSS^iKS^'^"^^^"^^^'^ one''^Sfthe''j:P°^'"''^"«--- harmoni.e":itirhJ;\"g^^^^' -P'°.' Mate the leading thou/ht of , • stanza, and combintthemsf I a synopsis of the poem '■ ' thp'nlV'" P^^^as^s which .','.. • -hat the^poet IS a correct observe, .ft er: r the more usiifiiwoi* iich isthemcv rc,;u' Vt n>'!ig water, s of . Palu.- The low, ' tlie swallow is re- ■i rain, ^oke. ._mnt was ■7"0', ihnt. "awoke" vc.ini'ijscoonecuun, is til, //,,.,. of Ihp florinAfiicL? Qivt- ;\\or. >•— fn tile centre of Piorsisa Jargeand ithcburoptaiistvic ^ery-day WU, j./.^,; suggest tlu; epithet aan.^,\Ip;r.r.s had (-•al nest k,- three •o Its cone,,. -St by TheAlgerii,:ipi- of the xMeditei ran- red as far as the \ ft^'zed ships, and defenceless towns itants or carryini^ In oiieoftheif (.^^ i the town of liai- >' Ireland. The sad slave woman " £v pathos which be present, rds used to de- lode of flight are =h the birds are )robab]y intends 1 which they be- '■"ig- Note also lanzas evidences riateness of the "S. (different poetic le poem, em is a sim- ■• ia?e emplo. 2Ct ? ought of t ■-. «SC . " ... , ich ;,' , ■ bserve,- < ihat 1-