arms and left the tall ship, it would wallow and roll about, and drift hither and thither, and go off with the refluent tide, no man knows whither. And so I have known more than one genius, high-decked, full-freighted, wide-sailed, gay-pennoned, that, but for the bare toiling arms, and brave, warm, beating heart of the faithful little wife, that nestled close in his shadow, and clung to him, so that no wind or wave could part them, and dragged him on against a the tide of circumstance, would soon have gone down the stream and been heard of no more.

2. Woe now to all body-guards, mercy is none for them! Miomaudre de Sainte-Marie pleads with soft words, on the grand staircase, descending four steps to the soaring tornado. His comrades snatch him up by the skirts and belts; literally from the jaws of Destruction; and slam to their door. This, also, will stand for few instants; the panels shivering on like potsherds. Barricading serves not; fly fast, ye body-guards! rabid Insurrection, like the Hell-bound Chase, uproaring at your heels!

3. The terror-struck body-guards fly, bolting and barricading; it follows. Whitherward? Through hall on hall; woe, now! towards the Que n's suite of rooms, in the urthest room of which the Queen is now asleep. Five sentinels through that long suite; they are in the ante-rooms knocking aloud: "Save the Queen! Trembling women fall at their feet with tears; are answered: "Yes, we will die; save ye the Queen!"

4. The coach stops here half an hour, gentlemen: dinner quite ready! 'Tis a delightful sound. And what a dinner! What a profusion of substantial delicacies! What mighty and iris-tinted rounds of peef! What vast and marble-veined ribs! What gelatinous veal pies! What colossal hams! Those are evidently prize cheeses! And how invigorating is the perfume of those various and variegated pickles! Then the bustle emulating the plenty ; the ringing of bells, the clash of thoroughfare, the summoning of ubiquitous waiters, and the all-pervading feeling of omnipotence from the guests, who order what they please, to the landlord, who can produce and execute everything they can desire. 'Tis a wondrous

sight. Why should a man go and see the pyramids and cross the desert, when he has not beheld York Minster, or travelled on the road?

5. Like Windsor Castle, the palace of the Alhambra is situated upon the northern brow of a steep hill, commanding an extensive prospect over a beautiful country, and towering with venerable aspect above the City of Grenada. The sides towards the citadel are so dilapidated, or encumbered with modern buildings, that very few traces are visible of the ancient external walls. But the interior remains of the palace are in tolerable preservation, and present a striking picture of the romantic magnificence of its former kings. How strange does every object in this edifice appear! how different from all that we are accustomed to behold! Yet, even in its present deserted state, we recognize in architecture the condition of the owner, the seat of power, and the gravity of the Arabian character. But the splendor of the turbaned monarch has vanished, and the throne of the son of Nasr is filled by bats and owls.

We cannot let our angels out, that archangels may We do not believe in the

6. We cannot part with our friends. go. We do not see that they only go come in. We are idolaters of the old. riches of the soul, in its proper eternity and omnipresence. We do not believe there is any force in to-day to rival or recreate that beautiful yesterday. We linger in the ruins of the old tent, where once we had bread and shelter and organs, nor believe that the spirit can feed, cover, and nerve us again. We cannot again find aught so dear, so sweet, so graceful. But we sit and weep in vain. The voice of the Almighty saith, "Up and onward forevermore !" We cannot stay amid the ruins. Neither will we rely on the new; and so we walk ever with reverted eyes, like those monsters who look backwards.

7. Nothing is more amiable than true modesty, and nothing is more contemptible than the false. The one guards virtue, the other betrays it. True modesty is ashamed to do anything that is repugnant to the rules of right reason: false modesty is ashamed

to do anything that is opposite to the humor of the company. True modesty avoids everything that is criminal, false modesty everything that is unfashionable. The latter is only a general undetermined instinct; the former is that instinct, limited and circumscribed by the rules of prudence and religion.

8. On the other side he looked down into a deep mountain glen, wild, lonely, and shagged, the bottom filled with fragments from the impending cliffs, and scarcely lighted by the rays of the setting sun. For some time Rip lay musing on the scene; evening was gradually advancing; the mountains began to throw their long blue shadows over the valleys; he saw that it would be dark long before he could reach the village, and he heaved a sigh when he thought of encountering the terrors of Dame Van Winkle.

man

9. Manners are partly factitious; but, mainly, there must be capacity for culture in the blood, else all culture is vain. Every - mathematician, artist, soldier, or merchant-looks with confidence for some traits and talents in his own child which he would not dare to presume in the child of a stranger. The Orientalists are very orthodox on this point. "Take a thornbush," said the Emir Abdel-Kader, "and sprinkle it for a whole year with water; it will yield nothing but thorns. Take a datetree, leave it without culture, and it will produce dates."

10. He issued from the hut, followed by little Joe, who kept fast hold of his father's hand. The early sunshine was already pouring its gold upon the mountain-tops; and though the valleys were still in shadow, they smiled cheerfully in the promise of the bright day that was hastening onward. The village, completely shut in by hills, which swelled away gently about it, looked as if it had rested peacefully in the hollow of the great hand of Providence. Every dwelling was distinctly visible; the little spires of the two churches pointed upwards, and caught a fore-glimmering of brightness from the sun-gilt skies upon their gilded weathercocks. Scattered likewise over the breasts of the surrounding mountains there were heaps of hoary mist or cloud, hovering in the gold radiance of the upper atmosphere. Stepping from one

to another of the clouds that rested on the hills, and thence to the loftier brotherhood that sailed in the air, it seemed almost as if a mortal man might thus ascend into the heavenly regions. Earth was so mingled with the sky that it was a day-dream to look at it. II. The figure of Rebecca might, indeed, have compared with the proudest beauties of England, even though it had been judged by as shrewd a connoisseur as King John. Her form was exquisitely symmetrical, and was shown to advantage by a sort of Eastern dress. Her turban of yellow silk suited well with the darkness of her complexion. The brilliancy of her eyes, the superb arch of her eyebrows, her well-formed aquiline nose, her teeth as white as pearl, and the profusion of her sable tresses which, each arranged in its own little spiral-twisted curls, fell down upon as much of a lovely neck and bosom as a simarre of the richest Persian silk, exhibiting flowers in their natural colors embossed upon a purple ground, permitted to be visible, — all these constituted a combination of loveliness which yielded not to the most beautiful of the maidens who surrounded her.

EXERCISE LXXXIL

RHETORICAL ANALYSIS.

1. Examine No. 1 of Exercise LXXXI. under the following heads :

a. The choice and use of words:

(a) Is every word used in its proper sense?

(b) Is every word the best that can be found to express the meaning intended?

b. The formation of the sentences:

(a) Is each of the sentences so formed as to present its meaning readily and clearly?

(b) Does each sentence deal with a single idea, or does it give prominence to its leading thought?

(c) Is due attention given to melody and the other require ments of elegance?

c. Construction of paragraphs:
:-

(a) Is there a topic sentence?

(b) Are the sentences arranged in logical order?

(c) Are the sentences smoothly and properly connected?
(d) Does the paragraph possess unity; that is, do all the
sentences bear on the topic?

(e) Is there due proportion between the theme and the
illustration, or does the illustration occupy so much

space and attract so much attention as to overshadow the main thought?

d. Figures of speech. Name the various figures of speech that occur, and remark on the rhetorical value of each.

2. Go through the Exercise, dealing with each of the parts in a similar manner.

EXERCISE LXXXIII,

REPRODUCTION.

1. Study No. 1 of the preceding Exercise till you are thoroughly familiar with its meaning and sentiment.

2. Then close the book, and try to reproduce them in other language.

3. Next compare your work with the original, and if yours suffers by the comparison, try again.

4. When you feel satisfied with the manner in which you have brought out the sense and spirit f th passage, make a critical examination of your work, as indicated in the preceding Exercise. 5. Rewrite with emendations.

Note the suggestions made in Lesson XXXIV.

6. Go through the Exercise, dealing with each part in a similar

manner.