more on the tones of the voice for their expression than on the words.

If we now generalize this lesson, we have for the use of simple and compound slides these suggestive principles: SINCERE, HONEST, SIMPLE IDEAS SHOULD BE READ WITH THE SIMPLE SLIDES."

66

JESTING, SARCASM, RIDICULE, SCORN, IRONY, ETC., SHOULD

LIX. SUMMER WIND.

1. It is a sultry day; the sun has drunk
The dew that lay upon the morning grass ;
There is no rustling in the lofty elm

2.

3.

4.

That canopies my dwelling, and its shade
Scarce cools me.

All is silent save the faint

And interrupted murmur of the bee,

Settling on the thick flowers, and then again
Instantly on the wing.

The plants around

Feel the too potent fervors; the tall maize

Rolls up its long, green leaves; the clover droops
Its tender foliage, and declines its blooms.

But far in the fierce sunshine tower the hills,
With all the growth of woods, silent and stern,
As if the scorching heat and dazzling light
Were but an element they loved.

Bright clouds,

Motionless pillars of the brazen heaven—

5.

6.

7.

8.

9.

Their bases on the mountains, their white tops
Shining in the far ether-fire the air

With a reflected radiance, and make turn
The gazer's eyes away.

For me, I lie

Languidly in the shade, where the thick turf,
Yet virgin from the kisses of the sun,

Retains some freshness, and I woo the wind
That still delays its coming.

Why so slow,

Gentle and voluble spirit of the air?

Oh, come and breathe upon the fainting earth
Coolness and life!

Is it that in his caves He hears me? See, on yonder woody ridge, The pine is bending his proud top, and now, Among the nearer groves, chestnut and oak Are tossing their green boughs about. He comes! Lo! where the grassy meadow runs in waves! The deep, distressful silence of the scene Breaks up with mingling of unnumbered sounds And universal motion.

He is come,

Shaking a shower of blossoms from the shrubs,
And bearing on their fragrance; and he brings
Music of birds, and rustling of young boughs,
And sound of swaying branches, and the voice
Of distant waterfalls.

All the green herbs Are stirring in his breath; a thousand flowers,

By the roadside and the borders of the brook,
Nod gayly to each other; glossy leaves

Are twinkling in the sun, as if the dew
Were on them yet; and silver waters break
Into small waves and sparkle as he comes.
William Cullen Bryant.

FOR PREPARATION.-I. Who is the author of this piece? Did he not live in the city? Who describe country scenery best: those who live in the country constantly, or those who come from the city to visit the country? Compare this with Lesson XXXIX. in regard to season described, tone of sadness or of joy, and in regard to the images of nature called up.

II. Copy, with diacritical marks, the following words, dividing them into syllables, indicating the accent, and explaining peculiarities of spelling, as in Lesson XXXIV.: Māize (ai for ā), dăz'-zling (zz), heav'-en (hěv'n) (ea for ě), fiërçe (ie for ē), eye (1), breathe, chestnut (silent t), ōak, boughs (bouz), měad'-owş (ea for è and ow for ō), scene (sc for 8), blŏs'-soms, gãy'-ly (written also gaily), sway'-ing (ay before i).

III. Explain the change from canopy to canopies;-the 's in gazer's ;— the s in waves;-the omission of the hyphen in roadside and waterfalls ;the meaning of un in unnumbered ;—of ful in distressful.

IV. Define or give synonyms for potent, fervors (too potent fervors= too powerful heat), foliage, canopies, ether, radiance, languidly, voluble, blooms (blossoms), as they are used in the poem.

V. How do you distinguish poetry from prose? (By its rhythm, or regular succession of feet, each foot being composed of accented and unaccented syllables. "It is a sul-try day'; the sun' has drunk'," etc.: here there are five feet to each line, and each foot has two syllables, one accented and one unaccented.) Point out the feet of the third and fourth lines. (Besides the rhythm of a poem, there is also requisite a peculiar style of expression. Inanimate or lifeless things are conceived and described as living and acting like persons [personification]; and persons, on the other hand, are compared with things and natural forces [metaphor]; things are likewise compared with other things, as, in section 4, "bright clouds" are called "motionless pillars." Thus, the poet finds similarity or likeness of things to persons, and of things to things. He looks upon the world as filled with resemblances-one thing reflecting