THE NATIONAL PRECEPTOR : OB, ERSITY SELECTIONS PROSE AND POETRY; CONSISTING OP NARRATIVE, DE>?CRIPTIVE, ARGUMENTATIVE, DIDACTIC, PATHETIC, AND HUMOROUS PIECES; TOGETHBK WITH DIALOGUES, ADDRESSES, ORATIONS, SPEECHES, dui. CALCOUITBO TO IMPROVE THE SCHOLAR IN READING AND SPEAKING; AND TO IMPRESS THE MINDS OP YOUTH WITH SENTIMENTS OP PIETY AND VIRTUE. DESIGNED FOR THE USE OF, SCHOOLS AND ACADEMIES. FOURTH EDITION. BY J. OLNEY, AUTHOR OP "a practical SYSTEM OF MODERN GEOGRAPHY AND ATLAS." PUBLISHED BY GOODWIN & CO. AND ROBINSON & PRATT. 8TBR£0TYPBD BY JAMES CONNER, NUW-YORS. 1835. ^ DISTRICT OF CONNECTICUT, ss. rr e 1 BE IT REMEMBERED, That on the eighth day of August, in the flflr- L-"* ^'J fourth year of the Independence of the United states of America, Messrs. Goodwin «fc Ca, of the said District, have deposited in this office the title of a Book, the right whereof they claim as proprietors, in tlie words following, to wit: " The National Preceptor, or Selections in Prose and Poetry ; consisting of narrative, descriptive, argumentative, didactic, pathetic, and h\unorous pieces: together with dialogues, addresses, oi'ations, speeches, &c. ; calculated to improve the scholar in reading and speaking, and to impress tlie minds of yoiilh with sentiments of piety and virtue. Designed for the use of schools and academies. By J. Olney, Autlior of ' A practical system of modern Geography and Atlas.'" In conformity to the act of Congress of the United States, entitled, " An act for the encouragement of learning, by securing the copies of Maps, Charts, and Books, to the authors and proprietors of such copies, during the times therein mentioned." — And also to the act, entitled, " An act supplementary to an act, entitled, 'An act for the en couragement of learning, by securing the copies of maps, charts, and books, to the au- thors and proprietors of such copies, during the times therein mentioned,' and extend- ing the benefits thereof to the arts of designing, engraving, and etching historical and other prints," CHARLES A. INGERSOLI^ Clerk of the District of Connecticut. A true copy of record, examined and sealed by me. CHARLES A. INCERSOLL, Clerk of the District of ConttecticuL PREFACE. The art of reading well, is a highly valued accomplishment, and in all our schools should be considered of the first importance; it is not only the foundation of good speaking, but it may be termed the basis of a finished education. Experience has convinced me that it may be easily taught, by beginning with such lessons as are intelligible find interesting to the learner, and making each selection witli reference to i\\e natural progres.s of the mind. Where emotions are excited, there is little need of mles for their expres- sion. Cluestions like the following are often asked : — Why do children and youth more frequently fail in good reading, than in any other branch of education 1 Why do we often hear a youth, whose tones in conversation are varied and agreeable, read in a dull, monotonous manner'? Why are tliere so few good readers in society 1 We believe a correct answer will be found in the fact that bo.d habits have been formed by a practice of reading uninteresting if not unintelligible exercises. Let any competent judge examine the books used in teaching this valuable art, and he will see tliat their comjiilers have hitherto but little known or regarded the taste, wants and capacities of those for whom they have laboured. The following work is designed for the middle and higher classes in our Academies and Schools. In preparing it, great care has been taken to select such lessons, as are calculated to give exercise to the various emo- tions of the mind and the corresponding tones and inflections of the voice. It will be found to contain a greater quantity of interesting and useful matter than any other similar work ; and the different selections are so arranged as to give the learner a knowledge of reading the various kinds of style, from the simple narrative to the lofty epic. The compiler flatters himself tliat the work is such an one as has long been needed ; and in the earnest hope that it may be found useful to the young in improving their Btyle of reading, and in exciting them to virtuous action, Humbly submits it to the candor of an enlightened public J. OLNEY. Hartford, April, 1831. iv PREFACE. The following extract from the North American Review is inserted here for the benefit of teachers and others interested in the education of youth. "It ought to be a leading object in our schools to teach the art of read- ing. It ought to occupy three-fold more time than it does. The teachers of these schools should labor to improve themselves. They should feel, that to them, for a time, art committed the future orators of the land. We had rather have a child, even of the other sex, return to us from school, a first-rate reader, than a first-rate performer on the piano-forte. We should feel that we had a far better pledge for the intelligence and talent of our child. The accomplishment, in its perfection, would give more pleasure- The voice of song is not sweeter than the voice of eloquence. And there may be eloquent readers, as well as eloquent speakers. We speak of perfection in this art; and it is something, we must say in defence of our preference, which we have never yet seen. Let the same pains be devo- ted to reading, as are required to form an accomplished performer on an instrument ; let us have our pkonasci, as the ancients had, — the formers of the voice, the music-masters of the reading voice ; let us see years devoted to this accomplishment, and then we shall l)e prepared to stand the comparison. It is, indeed, a most intellectual accomplishment. So is music, too, in its perfection. But one recommendation of the art of read- ing is, that it requires a constant exercise of mind. It demands continual and close reflection and thought, and the finest discrimination of thought. It involves, in its perfection, tlie whole art of criticism on language." ELEMENTS OF ELOCUTION. SIMPLIFIED PROM THE WORKS OF PORTER, WALKER, AND RUSH. All who attentively observe the movements of the voice in reading or in speaking, will perceive that it rises and falls as in singing. Let any one count slowly, and he will easily discover these variations of the voice, as, snt, hod, three,— four, five, six ; — here it will be seen that the voice varies in its tones. Let these words drawl off the tongue and these slides of the voice will be still more apparent. In the question and answer, — Will you go to-day 7 No — any one will easily perceive that the voice is inclined up- wards on die word day, and downwards on no. These movements, or slides of the voice are called inflections, which include all those gradual waving variations which arc heard in good reading, or in animated conversation. The modifications of tlie voice are four — viz. The rising inflection, which turns the voice, upwards, marked thus (') — the falling inflection, which turns the voice downwards, marked thus (") — the circumflex, which is a union of the falling and rising inflections, marked thus («^) — and the Tiionotone, which is a sameness of sound, marked thus (_). That the learner may acquire a practical knowledge of these inflections, it is important that he should be exercised on examples like the following, till he can easily distinguish one from the other. RISING INFLECTION. FALLING INFLECTION. Will you ride or walk ^ Will you read or spell 1 Did he act properly or improperly "? Is he rich —————or poor '? Is he learned or ignorant 1 Will you go or stay 7 Did you see him' or his brother? Did I say fame or blame 1 Did I say read or read '? You must not say no — '■ but no. Is he studious 7 So am 'I. Does he stvidy 1 I am idle. Is he rich 1 I am poor. Does he ride 1 I shall walk. Will you walk? I shall ride. Rule 1. When interrogative sentences, connected by the disjunctive or, succeed each other, the first ends with the rising inflection, the latter with the falling; as, Did you say no or yes 7 Did you riin or v/alk 7 Will you write or read? Rule 2. A direct question, or tliat which admits the answer of yes or »o, has the rising inflection, and tlie answer has the falling; as, Did you say fajne 7 No. I said name. Did you speak 7 I did. Will you ride 7 I will walk. Rule 3. The indirect question and its answer, has the falling inflection; Why are you idle? I have no book. Why do you study 7 That I may learn. What is your name 7 A good scholar. 1* vi ELEMENTS OF ELOCUTION. Rule 4. When a sentence is composed of a positive and negative part, which are opposed to each other, thb positive must have the falling inflec- tion and the negative the rising ; as, He did not say yours ^but mine. He did not say younger but older. He will not go to-day but to-morrow. Study not for o/musement but for imprdvem.ent. Kule 5. Commands, denunciation, reprehension, generally require tlft falling inflection ; as, Give me the book. Hence! begone! away! Stand ! the ground's your own, my braves. Wo unto you Pharisees I Why tempt ye me. Rule 6. When two members consisting of single words commence a sen- tence, the first has the falling, the second the rising infleciion ; as, Idleness '&nd Ignorance are insepax'able companions. Rule 7. The final pause, or that which denotes the sense to be finished, requires the falling inflection ; as, Love, joy, peace; long-suffering', gentleness, goodness, faith', meekness', and temperance, are the fruits of the Spirit. Rule 8. Tender emotions require the rising inflection ; as, Jesus saith unto her, Mary. You too, Brutus. Rule 9. The circumjlex is generally applied to phrases that are of a hy- pothetic nature, and to negations contrasted with aflirmations ; as, If ye love me, keep my commandments. The kingdom of God is not in words, but in power. PAUSES. Pauses are distinguished into two kinds; viz. The Grammatical Pause, designated by points, and addressed to ihe eye ; and the Rhetorical Pause, dictated by the sense, and therefore addressed to the ear. It is taken for granted that the learner is already acquainted with the Jirst, which renders it unnecessary to give any explanation of it here. The Rhetorical Pause is that cessation of the voice which the reader or speaker makes after some important word in a sentence, and upon which he wishes to fix the attention of the hearer. When a proper name, or a word which stands for the subject of a dis- course, begins a sentence, it requires a pause after it, although the gram- matical relation would allow no visible punctuation ; as Hypocrisy is a homage that vice pays to virtue. Prosperity gains friends ; adversity tries them. Homer was the greater genius ; Virgil the better artist. Here, although the grammatical relation would admit no visible pause after the words in Italic, yet the ear demands one, which no good reader would fail to make. The following examples are marked to show more fully the use of this pause. Some — place the bliss in action, some — in ease ; Those — call it pleasure, and contentment — these. Thou — art the man. The young — are slaves to novelty ; the old — to custom. ELEMENTS OF ELOCUTION. Vll Memory — is the purveyor of reason. Man — is the merriest species in the creation. Virtue — is of intrinsic value. The great pursuit of man — is after happiness. The good reader will perceive the propriety of pausing after the first word, as the subject of the sentence. By this pause the mind is fixed upon the principal object of attention, and prepared to proceed witli clear- ness and deliberation to the reception of what follows. PITCH OF VOICE. By Pitch of Voice is meant those high and low tones which prevail in speaking. Every person has three pitches of voice, which are easily dis- tmguished ; viz. — the natural or middle pitch, — the high pitch, — and the Imo pitch. The natural or middle pilch is that which is heard in com- mon conversation. The high pilch is used in calling to one at a distance. The low pitch is employed when we speak to one quite near, and who, though surrounded by many, is the only one supposed to hear. The learner must be informed here, that high and lond., and low and soft, have not the least affinity. To render the different pitches of the voice clear and intelligible to the learner, the following diagram is inserted, ex- hibiting to the eye a scale of speaking tones, similar to that used in music 2 3 4 5 7 6 6 4 3 2 • High Pitch. 1 5 Middle Pitch. • 1 1 Low Pitch. 1 Let the learner commence in as low a bass-key as possible, and count up the diagram, rising a tone* oach number, the same as sounding the eight notes in music, and he will easily discover that the degrees of pitch in speaking, are the same as those in singing. This scale of speaking" tones, may seem difficult at first, but a very little practice will render it easy. Let the learner speak one in as low a bass-key as possible — then two, «&c. and he will find tliat he can speak these with as much ease and correctness as he can sing them. When he has acquired a knowledge of these different pitches and tones — let him take a sentence and read it on the lowest note— then read it on a note higher, and so on, till he has reached tlie highest note of his voice. Take the following line. " On, — on, — to tlie just and glorious strife." " The Semitone between the 3 and 4 is not noticed here, being unnecessary in ihe present case. viii ELEMENTS OF ELOCUTION. A little practice, it is believed, will give the reader a perfect eommand of his voice in ail the degi-ees of tone from the lowest to the highest notes to which tlie voice can be raised. ACCENT. Accent is a stress of voice given to a particular syllable to distinguish it from others in tlie saxne word; as in the word a-tone'-ment, the stress is laid on the second syllable. Accent is, in a measure, dependent on em- phasis, and is transposed where the claims of emphasis require it ; as when words occur, which have a partial tameness in form, but are con- trasted in sense ; as, Neither jMstice nor hijustice. ! \ Neitlier hdnor nor (fishonor. He must increase but I must decrease. He that cscended is the same as he that descended* Neither Idicfu] nor ii?z lawful. Neither ic6rlhy nor tt/jworthy. EMPHASIS. Emphasis is a stress of voice laid on particular words in a sentence, to distinguish them from others, and convey their meaning in the best man- ner ; as, " You were not sent here to play, but to study. ^' The learner will perceive that the words play and study are pronounced with more force than the rest of the sentence, and are therefore termed the emphatical words. « A word, on which the mea.ning of a sentence is suspended, or placed in contrast, or in opposition to other words, is ahoays eviphatical. As to the degree or intensity of force that the reader or speaker should give to impoi'tant words in a sentence, no particular rules can be givtn. He must enter into the spirit of what he reads — -feel the sentiment ex- pressed, and he will seldom fail in giving each word its proper force, or emphatic stress. Emphasis is ever associated with thought and emotion ; and he who would become eminent as a reader, or speiUier, must remem- ber that tlie " soul of eloquence 'i& feeling." EXAMPLES FOR EXERCISE. I do not request your nttention. but rlemand it It is not so difficult to talk well, as to live well. Prosperity gains friends, adversity tries them. 'Tis hard to say, if greater want of skill Appear in writing or in judging ill. Angels! and minitJters of .j^race, — defend us. I come to bury Ceesar, not to praise him. A METHOD OF MARKING THE DIFFERENT FORCES OF WORDS. Various methods have been devised to mark the diiterent forces of words in sentences, in such a manner as to convey a clear idea of the pronuncia- tion. The most simple and practical metliod is to unite the unaccented words to those diat are accented, as if they were syllables of them. This classification naturally divides a sentence into just so many portions, as it contains accents ; as in the following sentence : Prosperity | gains friends | and adversity | tries them. "When there is no uncommon einphasis in a sentence, we can pronounce it wiUi more or fewer accents, without materitdly affecting the sense. The CONTENTS. ix following sentence may be pronounced in four portions, or in ten, without any injury to the sense of it. Pitchuponthdtcourseoflife | whichisthemost6xcellent ] andc{istom | will makeitthemostdelightful. Pitch I uponthdt | course | oflife | whichisthem6st | excellent | andcds- tom I willmakeit | themost | delightful. Some I place the bliss | in action | some | in ease. Those I call it | pleasure | and contentment | these. The following extract from the poems of Ossian is inserted as scored by Dr. Rush: And is the son of Semo fallen 1 \ Mournful are Tura's walls. | Sorrow dwells at Dunscai. | Thy spouse is left alone in her youth. | The son of thy love is alone ! | He shall come to Bragela, | and ask why she weeps 1 I He shall lift his eyes to the wall, | and see his father's sword. | Whose sword is that? | he will say. | The soul of his mother is sad. j Who is that, I like the hart of the desert, | in the murmur of his course 1 \ His eyes look wildly round | in search of his friend. | Conal | sonofColgar, | where hast thou- been | when the mighty fell 1 | Did the seas of Cogorma roll round thee 7 | Was the wind of the south in thy sails 1 \ The mighty have fallen in battle, | and thou wast not there. ] Let none tell it in Sel- ma, I nor in Morven's woody land. | Fingal will be sad, | and the sons of the desert I mourn. CONTENTS. LESSONS IN PROSE. Lesson Page 1. My Dog and my Shadow, _.---_- 13 2. The Honest Moravian, - - Thompson's Collection. 15 3. The Dervis, - - - - - - - Spectator. 15 4. The Old Lark and her Young Ones, ----- 16 5. Moderate Wishes the source of Happiness, - - _ 17 6. Affection to Parents Rewarded, ------ 19 7. The Golden Mean, - - 20 8. Against Religious Persecution, - -A Rabbinical Tale. 21 9. Story of Goffe, the Regicide, - - - - President Dioight. 22 10. The Affectionate Dog, - - - 23 11. The French Merchant, - - . - Child's Monitor. 25 12. Running for Life, __-_-_- -27 13. Charles 2d and William Penn, - - Priend of Peace. 30 14. The Ungrateful Guest, ----- Goldsmith. 32 15. Parental Tenderness, --------33 16. No Rank or Possessions can make the guilty mind happy, Cicero. 34 17. Beauty and Deformity, - - - - Percival's Tales. 35 18. The Discontented Pendulum, - _ - Jane Taylor. 36 19. Battle of Lexington, -___-_ Weems. 39 20. Battle of Bunker's Hill, - - _ - Charles Botta. 41 21. Application, ----------46 22. The Shortness of Life, 47 23. The Faithful Greyhound, . - - _ M. Ihcight. 4ft 24. Mortality, ------- Barbauld. 51 25. Immortality, - - - • - -_- - Barbauld. 52 CONTENTS. 26. The End of Perfection, - - - - Mrs. Sigourney. 53 27. The Two Bees, DodsUy. 55 28. Heroism of a Peasant, ------- 56 29. Biographical Sketch of Major Andre, - - - - 57 30. The Miracle— a German Parable, 60 31. The Compassionate Judge, __--.- 61 32. The Prudent Judge — an Eastern Tale, - Mass. Magazine. 62 35. Lion and Dog, ---------66 38. The Gentleman and his Tenant, - - _ _ _ 73 39. Dishonesty Punished, ----- Kane's Hints. 74 40. Socrates and Leander, __----. 74 41. Socrates and Demetrius, ------- 76 42. The Dead Horse, - Sierne. 77 43. Biographical Anecdotes, --------79 44. The Revenge of a Great Soul, - - - » - - 80 45. Death of Prince William, _ - - - Goldsmith,. 81 48. Naval Action, ---------86 49. Damon and Pythias, -------.90 50. Test of Goodness, 92 51. The Mysterious Stranger, ----- Jane Taylor. 93 52. Earthquake in Calabria, ----- Goldsmith. 98 53. The Starling, Sterne. 100 54. Alcander and Scptimius, ----- Goldsmith. 102 55. Ingratitude — Story of Inkle and Yarico, - - - - 104 60. Story of the Siege of Calais, - - - - - - 112 61. Examples of Decision of Character, - - John Foster. 116 62. Ortogrul: or, the Vanity of Riches, - - Dr. Johnson. 118 63. Schemes of Life often Illusory, - - - Dr. Johnson. 121 61. The Hill of Science, AiHn. 123 65. The Vision of Mirza, Spectator. 126 70. The Voyage of Life, Dr. Johnson. 137 71. The Journey of a Day — a picture of human life, Dr. Johnson. 140 75. Destruction of Jerusalem, ------- 148 76. Destruction of Jerusalem — concluded, - - - - 152 79. Address to the Sun, ---._- Osslan. 160 81 Formation of Character, - - - - J. Hawes, D. D. 162 82. On Happiness of Temper, ----- Goldsmith. 16-1 84. A Good Scholar, May. 168 85. Select Sentences, - - - - - - - - -170 86. Select Paragraphs, -------- 173 87. Happiness is founded in rectitude of conduct, - Hams. 177 88. Virtue and Piety man's highest interest, - -^ Harris. 178 89. Importance of Virtue, ------ Price. 179 90. The Folly of Inconsistent Expectations, - - Aikin. 180 91. On the Beauties of the Psalms, - - - - Home. 182 98. On tlie Irresolution of Youth, - - - - Goldsmith. 190 99. The Hero and the Sage, 193 100. The .Blind Preacher, - - - - - - Wirt. 194 101. Specimen of Welch Preaching, London Jewish Expositor. 196 102. Happiness, -_.--_- Lacon. 199 107. The Dervis and the Two Merchants, _ - - Lacon. 214 108. On the Present and Future State, - _ - Addison. 215 113. The Just Judge, 223 114. On Happiness, - - - -^ - - - Sterne. 226 CONTENTS. XI 115. 116. IVJ. 1-20. 1-25. 1-26. 127. 132. 133. 134. 138. 139. 110. 141. 14(3. 147. 149. 23. 33. 34. 45. 46. 47. 52. 56. 57. 58. 59. 6(». 67. 68. 69. 72. 73. 74. 77. 78. 80. 83. 92. 93. 94. 95. 96. 97. 104. 105. 106. 109. 110. 111. On Sincerity, -_-.-_ Tillotson. Story of Le Fevre, -_-_._ Sterne. Speech of a Scythian Ambassador to Alexander, Q. CurLius. Diogenes at the Isthmian Games, The Nature of True Eloquence, - The Perfect Orator, - - - Rolla's Address to the Peruvians, Character of William Pitt, Characterof the Puritans, Character of Washington, Address to the Patriots of the Revolution, Specimen of the Eloquence of James Otis, _ _ _ On Conciliation with America, _ . . - Bv.rke. Speech on the Glucstion of ^Var with England, Patrick Henry Hannibal to Scipio Africaiuis, -..._. Scij)io's Reply to Hannibal, .._--- Brutus Speech on the Death of Cesar, - - Shakspeare D. Webster. - " - Sheridan. Sheridan. Edinburgh Review. Phillips. D. Webster. LESSONS IN POETRY, Beth Gelert, or the Grave of the Greyhound, The Fox and the Cat, Might makes Right, - - _ _ He never smiled again, - - _ _ The Shepherd and the Philosopher, The Youth and the Philosopher, The Wild Boy, - The Battle of 'Blenheim, - The Dog and the Fox, - The Hare and tlie Tortoise, W. Spencer. Mrs. Hemans. Byron. Smith. Cowper. - Whitehead. Charles W. Thompson. Souihey. - - - Gay. Lloyd, Tlie Painter who pleased Nobody and Every Body, - Gay. Tlip Chameleon, ---... Merrick. The Countiy Bumpkin and Razor Seller, - P. Pindar. The Gascon Peasant and the Flies, - - - - - The Progress of Untruth, - . - - The Mummy, ------- The Negro's Complaint, - - - - Victory, ----.---__ The Wan'ior's Wreath, - - - - - Elegy written in a Country Church Yard, - - Gray. The African Chief, - - - U. S. Literary Gazette. The Sleepers, . - - - Miss M. A. Browne. Two Voices from the Grave, - - - Karamsin. The Battle of Linden, ----- Campbell. The Indian Chief, ---.__-_ The Burial of Sir John Moore, - - - - Wolfe. Boadicea, -------- Cowpe.r. The Common Lot, ----- Montgomery. The Philosopher's Scales, - - - - J. Tmilor. Goody Blake and Harry Gill, - - - Wordsiiu)rth. The Three Warnings, - - - _ Mrs. Thrale. My Mother's Picture, ------ Coniprr. Ode to Disappointment, - - Henry Kirke White. What is Time, ----- 1 Manden. 228 230 244 245 254 254 255 267 268 271 275 277 278 280 288 290 293 49 64 65 82 83 85 99 106 108 109 110 130 132 134 136 143 145 147 1.56 156 161 167 183 185 186 187 188 189 205 208 211 218 219 220 xu CONTENTS. 112. 121. 122. 123. 12-1. 128. 129, 130. 131. 135. 136. 137. 142. 143. 144. 14.5. 148. 150. 151. 152. 153. 154. 155. 156. 157. 158. 159. 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. 171. 172. 173. 174. 175. 176. 177. 178. Casablanca, Mrs. Hemans. 222 Diversity in the Human Character, . . - Pope. 247 On the Pursuits of Mankind, Pope. 249 The Road to Happiness open to all Men, - - Pope. 251 Providence Vindicated in tlie Present State of Man, Pope. 252 The Hennit, Bcattie. 256 The Marriner's Dream, ----- Viviond. 258 Alexander Selkirk, ------ Coxoper. 259 The Hermit, Parnell. 261 Stanzas addressed to the Greeks, - - - _ 272 Song of the Greeks, 1822, - - - - CampbcU. 273 Warren's Address to the American Soldiers, - Pierpont. 275 On the Existence of a Deity, - - - - Young. 283 To-morrow, -------- Cotton. 284 Vanity of Power and Misery of Kings, - Shakspeare. 285 Darkness, -- Byron. 286 Cassius instigating Erutus, - Tragedy of Julius Cesar. 291 Antony's Speech over the Body of Cesar, - Shakspeare. 294 Othello's Apology for his Marriage, - Tragedy of Othello. 296 Soliloquy of Hamlet on Death, - Tragedy of Hamlet. 298 Cato's Soliloquy on the Immortality of the Soul, Trag. of Cato. 299 Speech of Catiline before the Roman Senate, Crohfs Catiline. 300 The Rich Man and the Poor Man, - - khemnitzer. 301 Address to the Ocean, ----- Byron. 302 Wisdom, Pollok. 304 The Inhumanity of Slavery, - - - - Cowper. 305 The Cuckoo, __--___ Logan. 306 The Star of Bethlehem, - - - - J. G. Percival. 307 The Last Man, ------ Campbell. 308 Picture of a Good Man, - r '_ Z :. Young. 310 Hymn on a Review of the Seasons, - - Thomson. Sii Gluestions and Answers, - - - - Montgomery . 313 On the death of Mrs. Mason, - - - - Mason. 314 Ode from the 19tli Psalm, ----- Addison. 315 Rest in Heaven, -------- 316 The Star of Betlilehem, - - - - H. K. Whit€. 316 Address to Time, ----- Lord Byron. 317 Absalom, - Willis. 319 The Miami Mounds, - - - - S. L. Fairfield. 322 On Time, H K. White. 323 Jugurtha in Prison, ----- Rev. C. Wolfe. 325 Rienzi's Address to tlie Romans, - - Miss Mitford. 328 Batde of Waterloo, Lord Byron. 330 Power of Eloquence, ------ Cary. 331 Death of Mai'co Bozzaris, - - - - - Halleck. 333 Dream of Clarence, ----- Shakspeare. 335 DIALOGUES. 36. Scene from tlie " Poor Gendeman," - - - - _ 37. Scene between Captain Tackle and Jack Bowlin, - - - 103. William Tell, Knotclcs. 117. Prince Henry and Falstaff, - - - - Shakspeare. 118. Prince Arthur and Hubert, - - - - Shakspeare. 67 70 201 237 241 13 NATIONAL PRECEPTOR. LESSON I. My Dog and my Shadow. 1. In a solitary excursion through the woods, Major Halden fell in with a man whose singular appearance attracted his at- tention. He was sitting on the ground at the foot of a beech tree, eating a crust of bread, which he shared bit by bit with his dog. 2. His dress betrayed the utmost poverty, but his counte- nance exliibited every symptom of cheerfulness. The Major saluted Iiim as he rode past, and the man pulled ofl' his hat. " Do you see ?" said he to his dog, laughing. " What could tlie dog see?" asked the Major, whose curiosity was much ex- cited by the man's happy looks. 3. The stranger laughed. " Aye," said the man, in a humor- ous tone, *' I wish to make the dog take notice of your civility ; it is so uncommon for a well-dressed person on horseback, to lift his hat or cap to a tattered foot passenger like me." "Who are you then?" said the Major to the man, looking at him attentively. " A child of fortune." 4. "A child of fortune ! You mistake, without doubt; for your coat seems to speak otherwise." " My coat is in the right, sir. But as I can joke in this coat, — the only one I have, — it is of as much value to me as a new one, even if it had a star* upon it." "If what you say does not proceed from a disorder- ed mind, you are in the right, countryman." 5. " A disordered mind, or a light mind, is sometimes the gift of God, at least for children of fortune of my case. — My fate once hung heavy on my mind like lead ; but care now passes through it as the wind does through my coat, and if that De a fault, it makes up for a great deal of misfortune." " But," says the Major, "whence did you come, and whither are you going?" ■ ♦ Star, a badge of rank. 2 14 NATIONAL PRECEPTOR. 6. " That question is not difficult to be answered, sir. I came from my cradle, and I am now going straight forward to my grave. With these two stages of my life I am well acquaint- ed. In a word, I am endeavoring to soften my fate ; but I must have something very engaging, for my dog and destiny remain faithful to me ; and my shadow also, but like a false friend, only when the sun shines. 7. " You shake your head, sir, as if you mean to say I have made choice of bad company. I thought so at first, but there is nothing so bad as not to be useful sometimes. My destiny has made me humble, and taught me what I did not before know, — that one cannot unhinge the world. My dog has taught me there is still love and hdelity in it, and — you cannot imagine what fine things one can talk with, and respecting, one's shadow !" 8. " Respecting one's shadow ? that I do not understand." " You shall hear, sir — at sunrise, when I am walking behind my long towering shadow, what conversation I hold with it on philosophical subjects. 9. "Look," say I, " dear shadow, art thou not like a youth, when the sun of life is rising the earth seems too small ; just when I Hft a leg, thou liftest another, as if thou wouldst step over ten acres at once ; and yet when thou puttest down thy leg, thy step is scarcely a span long. 10. " So fares it with youth. lie seems as if he would destroy or create a world ; and yet, in the end, he does none of those things which might have been expected from his discourse. Let the sun now rise higher, and thou wilt become smaller as the youth boasts less, the older he grows. 11. "Thus I compare, you see, the morning, noon, and evening shadow, with a hundred things ; and the longer we walk together, the better we get acquainted. At present I can for.eofo many things M'hich I formerly considered indispensable necessaries. 12. " The shadow is my watch and my servant. It is only a pity, that a man cannot exist in his shadow, as his shadow does in him." " Well, and what do you say in the evening to your shadow ?" 13. " A man's shadow then is a very serious thing — the best moralist. — When the shadow runs before one, still becoming longer and less visible, as if already hiding its head in the darkness of eternity, while behind one is the setting sun, and before one a rising star — the shadow then seems to say, thou art on the brink of eternity, — thy sun is going down, — but lose NATIONAL PRECEPTOR. 15 not courage ; like me, thou wilt become always greater ; and before thee is already suspended a better star — the first ray of eternity beyond the grave." 14. With these words the man became serious, and the Major alsoi. Both looked at each other in silence. " Come," said the Major, " you must go with me, countryman." He took the stranger by the hand, and conducted him to his house. LESSON IL The Honest Moravian, — Thompson's Collection. 1. During the last war in Germany, a captain of cavalry was out on a foraging* party. On perceiving a cottage in the midst of a solitary valley, he went up and knocked at the door. Out came one of the Moravians, or United Brethren, with a beardf silvered by age. 2. "Father," says the officer, " show me a field where I can set my troopers a foraging." " Presently," replied the Mora- vian. The good old man walked before, and conducted them out of the valley. 3. After a quarter of an hour's march, they found a fine field of barley. "There is the very thing we want," says the captain. " Have patience for a few minutes," replied his guide ; " and you shall be satisfied." 4. They went on, and at the distance of about a quarter of a league farther, they arrived at another field of barley. The troop immediately dismounted, cut doAvn the grain, trussed it up and remounted. 5. The officer, upon this, says to his conductor, " Father, you have given yourself and us unnecessary trouble : the first field was much better than this." " Very true, sir," replied the good old man, " but it was not mine." LESSON HI. The Dervis.X — Spectator. 1. A Dervis travelling through Tartary, II having arrived at the town of Balk, went into the king's palace by mistake, as thinking it to be a public inn, or caravansary. Having looked * For-a ging, collecting food for horses. + Pronounced Beerd. t Dervis, a Turkish Priest. U A country in Asia, 16 NATIONAL PRECEPTOR. about him for some time, he entered into a long gallery, where he laid down his vv allet,* and spread his carpet, in order to re- pose himself upon it after the manner of the eastern nations. 2. He had not been long in this posture before he was dis- covered by some of the guards, wlio asked him " what was his business in that place ?" The Dervis told them that he intended to take up his night's lodging in that caravansary. The guards let him know in a very angry manner, that tlie house he was in, was not a caravansary, but the king's palace. 3. It happened that the king himself passed through the gal- lery during this debate, and smiling at the mistake of the Dervis, asked him how he could possibly be so dull as not to distinguish a palace from a caravansary? "Sir," says the Dervis, "give me leave to ask your majesty a question or two :" 4. " Who were tlie persons that lodged in this house when it was first built?" The king replied, "my ancestors." "And who," says the Dervis, "was the last person that lodged here?" The king rejilicd, " my father." " And who is it," says the Dervis, " that lodges here at present ?" The king told him, that it was he liimself. 5. " And who," says the Dervis, " will be here after you ?" The king answered, " tlie young prince, my son." "Ah, sir," said the Dervis, " a house that changes its inhabitants so often, and receives such a perpetual succession of guests, is not a palace but a caravansary." LESSON J V. The Old Lark and her Young Ones. \. Ax old lark had a nest of young ones in a field of wheat, which was almost ripe, and she was not a little afraid that the reapers would be set to work, before her young ones were large enough to be able to remove from the place. 2. One morning, therefore, before she took her flight to seek something to feed them with, "my dear little creatures," said she, " be sure that in my absence you take tlie strictest notice of every word you hear, and do not fail to tell ine of it, as soon as I come home again." Some time after she was gone, in came the owner of the field and his son. 3. "Well, George," said he, "this wheat, I think, is ripe enough to be cut down ; so to-morrow morning, as soon as the sun is up, go and desire our friends and neighbors to come and * Wallet, a small hag, or knapsack. NATIONAL PRECEPTOR. 17 help ; and tell them, that we will do as much for them the first time they want us." 4. When the old lark came back to her nest, the young ones began to nestle and chirp about her, beg<^ing her to remove t)icm as fast as she could. " Hush," said she, " hold your silly tongues ; for, if the old farmer depends upon his friends and his neighbors, you may take my word for it, that his wheat will not be reaped to-iiiorrow." The next morning, therefore, she went out again, and left the same orders as before. 5. The owner of the field came soon after to wait for those to whom he had sent ; but the sun grew hot, and none of them came to help him. "Why then," said he to his son, "our friends have left us in the lurch, so you must run to your uncles and your cousins, and tell them that I shall expect them to-morrow, betimes, to help us reap." 6. This also the young ones told their mother, as soon as she came home again. " Never mind it," said she to the little birds ; " for if that is all, you may take my word for it, that his brethren and his kinsmen will not be so forward to assist him as he seems willing to persuade himself, But be sure to mind," said she, " what you hear the next time ; and let me know it without fail." 7. The old lark went abroad the next day as before ; but when the poor farmer found that his kinsmen were full as back- ward as his neighbors, " You perceive," said he to his son, " that your uncles and cousins are no better than strangers ! but hark ye, George, do you provide two good sickles against to-morrow morning, arid we will reap the wheat ourselves.^* 8. When the young birds told the old bird this ; " Now," said she, " we must be gone indeed ; for wlien a man resolves to do his work himself, you may then be assured it will be doney LESSON V. Moderate Wishes the source of Happiness. \. The youthful shepherd Me-nal-cas, being in search of a stray lamb from his flock, discovered in the recesses of the for- est, a hunter stretched at the foot of a tree, exhausted with fatigue and hunger. " Alas, shepherd !" he exclaimed, ** I came hither yesterday in pursuit of game ; and have been unable to retrace the path by which I entered this frightful sol- itude, or to discover a single vestige of a human footstep. I 2* 18 NATIONAL PRECEPTOR. faint with hunger ; give me rehef, or I die !" Menalcas, support- ing the stranger in his arms, fed him with bread from his scrip,* and afterwards conducted him through the intricate mazes of the forest in safety. 2. Menalcas being about to take leave of the hunter Eschi- nus,t was detained by him. " Thou hast preserved my life, shepherd, he said, and I will make thine happy. Follow me to the city. Thou shalt no longer dwell in a miserable cottage, but inhabit a superb palace, surrounded with lofty columns of marble. Thou shalt drink high-flavored wines out of golden goblets,! and eat the most costly viands from plates of silver." 3. Menalcas replied, "Why should I go to the city ! My little cottage shelters me from the rain and the wind. It is not surrounded with marble columns but with delicious fruit trees, from which I gather my repasts ; and nothing can be more pure than the water which I draw in my earthen pitcher from the stream that runs by my door. Then on holidays I gather roses and lilies to ornament my little table ; and those roses and lilies are more beautiful, and smell sweeter, than vases of gold and silver. , Eschinus. Come witii me, shepherd, I will lead tliee through sumptuous gardens, embellished wiih foimtains and statues ; thou shalt behold women, whose dazzling beauties the rays of the sun have never tarnished, habited in silks of the richest hues, and sparkling witli jewels ; and tliou shalt hear concerts of musicians whose transcendent skill will at once astonish and enchant thee. Menalcas. Our sun-burnt shepherdesses are very handsome. How beautiful they look on holidays, Avhen they put on gar- lands of fresh floAvers, and we dance under tlie shnde of our trees, or retire to the woods to listen to the song of the birds! Can your musicians sing more melodiously than our nightin- gale, black-bird, and linnet ? No ; I will not go to the city. Eschiiius. Then take this gold, and with it supply all thy wants. Menalcas. Gold is useless to me. My fruit-trees, my little garden, and the milk of my goats supply all my wants. Eschinus. How shall I recompense thy kindness, happy shepherd ? What wilt thou accept from me ? Menalcas. Give me only the horn that hangs to thy belt. Horn is not easily broken; therefore, it will be more useful to me than my earthen pitcher. ♦ Scrip, a little bag. t Pronounced Es-ki-nus. t Goblet, a bowl, or cup. NATIONAL PRECEPTOR. 19 The hunter, with a smile, took the horn from his belt and presented it to the sheplierd, who hastened back to his cottage, tlie abode of contentment and happiness. LESSON VI. Affection to Parents rewarded. L Frederick, the late king of Prussia, having rung his bell one- day, and nobody answering, opened the door where his servant was usually in waiting, and found him asleep on a sofa. He was going to awake him, when he perceived the end of a billet, or letter, hanging out of his pocket. 2. Having the curiosity to know its contents, he took and read it, and found that it was a letter from his mother, thanking him for having sent her a part of his wages, to assist her in her distress, and concluding with beseeching God to bless him for his filial attention to her wants. 3. The king returned softly to his room, took a roll of ducats,* and slid them, witli tlie letter, into the page's pocket. Return- ing to his apartment, he rung so violently, that the page awoke, opened the door, and entered. 4 " You have slept well," said the king. The page made an apology, and, in his embarrassment, happened to put his hand into his pocket, and felt wdth astonishment the roll. He drew it out, turned pale, and, looking at the king, burst into tears, without being able to speak a word. 5. " What is the matter?" said the king; "what ails you?" " Ah ! sire," said the young man, throwing himself at his feet, -" somebody has wished to ruin me. I know not how I came by this m.oney in my pocket." 6. " My friend," said Frederick, " God often sends us good in our sleep : send the money to your mother ; salute her in my name ; and assure her that I shall take care of her and youy 7. This story furnishes an excellent instance of the gratitude and duty which children owe to their aged, infirm, or unfortu- nate parents. And, if the children of such parents follow the example ol Frederick's servant, though they may not meet with tlie reward that was conferred on him, they will be amply * Ducat, a coin of SLvenl countries in Europe, struck in the dominions of a duke. It is of silver, or gold. The silver ducat is generally of the value of an American dollar ; and the gold ducat of twice the same value. 20 NATIONAL PRECEPTOR. recompensed by the pleasing- testimony of their own minds, and by that God who approves, as he has commanded, every expres- sion of fihal love. LESSON VII. The Golden Mean. 1. When the plains of India were burnt up by a long drought,* Hamet and Selim, two neighboring shepherds, faint with thirst, stood at the common boundary of the grounds, with their flocks and herds panting round them, and in the extremity of distress, prayed for water. 2. On a sudden, the air was becalmed, — the birds ceased to chirp, — and the flocks to bleat. They turned their eyes every way, and saw a being of mighty stature advancing through the valley, whom they knew, on his nearer approach, to be the genius of distribution. In one hand he held the sheaves of plenty, and in the other the sabref of destruction. 3. The shepherds stood trembling, and would have retired before him : but he called to them with a voice gentle as the breeze that plays in the evening among the spices of Sabopa;;): " Flee not from your benefactor, children of the dust! I am come to offer you gifts, which only your own folly can make vain. 4. "You here pray for water, and water I will bestow; let me know with how much you will be satisfied ; speak not rash- ly;