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SPELL AND DEFINE-1. AUCTIONEER, one who exposes goods for sale to the highest bidder. 2. RELIC, that which remains. 3. ANTIQUE', old; old-fashioned. 4. PA TRI ARCH'AL, belonging to the age of the fathers. 5. LONGEVITY, length of life. 6. DESPOTISM, arbitrary gov-. ernment. 7. SAN'ITY, Soundness of mind. 8. MONITOR, one who admonishes of fault or duty. 9. PLUMAGE, feathers; here means, gaudy ornaments. 10. DESECRATED, profaned. . 11. DEGENERATE, having declined from natural excellence. 12. ANNALS, history related in the exact order of time.
ANOTHER OLD CLOCK.
1. THE clock which for many years hung in the interior of the "old brick" meeting-house, in this city, after various fortunes, lately fell into the hands of the auctioneer. At the time of the sale, the auctioneer actually delivered the following speech, which we have been permitted to publish. We venture to affirm that a more appropriate and witty speech never fell from the lips of the most celebrated orators at vendues.
2. "Here is a relic of the early days of our country's annals, a remnant saved; antique of its kind, and venerable for every association connected with its history,-the old church clock,-bearing a mark of patriarchal longevity in the date, that speaks it one hundred and eighteen years of age. Yet, while it has ticked and struck off the thousands and tens of thousands, who have looked on its calm face, into eternity, it is still in good time, and going! going!
3. "Though its existence was begun in the land of kings, moved by the spirit of our pious fathers, it followed them to the land of pilgrims, and was consecrated to serve in the house of God, whom they came hither to worship as the children of his kingdom, and not as spiritual slaves to earthly despotism. This sober, ever-going clock came over in the days of caution and sanity. It came when a seavoyage was a serious thing, and religion a serious thing, and a church clock a serious thing. It counted the moments while the minister of God was preaching, and his hearers listening, of eternity. It echoed his text, Take heed how ye
4. "Then was there real clock-work and order in men's minds and principles. Vanity did not then stare this venerable monitor in the face, and study the while how to display
its plumage. Avarice did not dare, under its measured 'click, to be planning in the temple how to lay up goods for many years. Nor was pride then puffed up by the breath of its own nostrils, while this minute-hand was showing its duration cut shorter at the beat of every pulse.
5. Now, who will suffer this venerable memento of those days to be desecrated? Who will not wish to possess himself of it as a relic of the age of simplicity and godly sincerity? Look at its aged but unwrinkled face. It is calm, for it has not to answer for the sermons it has heard. Look at it, ye degenerate sons of New England! Do ye not seem to see the shade go back on the dial-plate to the days of your fathers, and to hear the voices of those aged servants of God, who went from their preaching to their reward? I would speak more, but the hour is come. To whom shall it be sold ?"
QUESTIONS.-1. What was exposed for sale by the auctioneer? 2. What did he say of its age? 3. When did it come over the sea? 4. What had been its employment? 5. What was then the character of men? ́
What inflection has going, second verse? What are the two Rules for inflections at questions? How should the last line in the second verse be read?
SPELL AND DEFINE-1. STERN, severe; difficult of access. 2. GIANT like a giant,-very large. 3. MOORED, made fast in a station. 4. AISLES, narrow passages in a forest; walks in a church. 5. HOARY, gray, 6. ANTHEM, a sacred song.
LANDING OF THE PILGRIM FATHERS
1. THE breaking waves dashed high
And the woods, against a stormy sky,
And the heavy night hung dark
The hills and waters o'er,
When a band of exiles moored their bark
On the wild New England shore.
2. Not as the conqueror comes,
They, the true-hearted, came,
Not with the roll of the stirring drums,
Not as the flying come,
In silence and in fear;
They shook the depths of the desert's gloom,
3. Amidst the storm they sang,
And the stars heard and the sea;
And the sounding aisles of the dim woods rang
The ocean-eagle soared
From his nest by the white wave's foam,
4. There were men with hoary hair,
Why had they come to wither there,
5. What sought they thus afàr?
The wealth of seas? the spoils of wár ?—
They sought a faith's pure shrine.
Aye, call it holy ground,
The soil where first they trod:
They left unstained what there they found,—
QUESTIONS.. Describe the waves, the woods, and the night, when the pilgrim fathers reached the New England shore. 2. How did they not come? 3. What is said of their music? 4. Of the ocean-eagle? 5. What different ones were in this band? 6. What did they seek? 7. Where did the pilgrim fathers first land? 8. What did they leave to their posterity?
Why a falling inflection at afar, fifth verse? Why rising at the other questions in that verse? What difficulty in giving a distinct articulation in the last line but one, second verse? What exercise is sometimes calculated to secure a distinct articulation? (Les. II. 7.) Where, in the last verse, occur rhetorical pauses? What two lines in the last verse should be read in a lower tone of voice than the rest? Do the lines of this poetry contain an equal number of syllables ?
SPELL AND DEFINE-1. NARCIS'SUS, a flower, otherwise called the daffodil. 2. STRAND, shore of the sea. 3. MYSTIC, having some secret meaning; obscure. 4. MAIN, the ocean. 5. SUPER AL, higher; heavenly. 6. WHELMING, covering as with water. 7. IRE, anger. 8. ExPUNGE, blot out; hence, to destroy one's self. 9. VIE, to contend; tɔ strive. 10. FRANTIC, mad; wild; raving. 11. CHIDES, rebukes.
RUDBARI AND HASSAN.
[Translated from the German Version of a Persian Poem written in the thirteenth century.]
1. In ancient days, as the old stories run,
2. The ship is on the strand,-friends, brothers, parents, there
But when the ship, like a strong-shot arrow, flew,
Such mystic words as none could understand :—
"On this troubled wave in vain we seek for rest.
Who builds his house on the sea, or his palace on its breast?
3. Then Rudbari spoke :-
To tell, in his native cot, of dangers past.'
Then Hassan said :-" "Think not thy brave boy fears, When he sees the ocean's face, or his voice of thunder hears;
But on these waters I may not abide;
"What mean these looks, and words so strangely wild? Dearer, my box, to me than all the gain
That I've earned from the bounteous bosom of the main !
4. But Hassan soon in his wondering words, betrayed
A light from the INFINITE broke in upon my soul!" "Thy words, my child, but ill become thy age,
And would better suit the mouth of some star-gazing sage." Thy words, my father, can not turn away
Mine eye, now fixed on that supernal day.
5. "Dost thou not, Hassan, lay these dreams aside,
'Tis all I ask, and all I can desire.
And he may solve it, who will self expunge,
6. He spake, and plunged, and as quickly sunk beneath,
As the pearl is by the shell that clasps it round.
QUESTIONS.-1. What was Rudbari's occupation? 2. Where did he wish to take his son? 3. Who uttered the last four lines of the second verse? 4. Did Hassan fear the sea? 5. What did his father threaten to do? 6. What did Hassan say and do? 7. What did Rudbari do? 8. What is said of them in the last line?
What pause occurs near the middle of each line in this poetry ? What are the poetic pauses? (Les. XII. Rem. 6.) Should the sentences, uttered by the father and the son, be read in the same tone of voice? Which should be read in the higher pitch? (Les. X. 4.) What inflection do friends, brothers, parents. take in the first line, second verse? Why is Infinite, printed in capitals, fourth line, fourth verse? What inflection at hear, third verse? How should the last line of this lesson be read? (Les. III. 3.)