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Thou makest darkness, and it is night,

Wherein all the beasts of the forest do creep forth.
The young lions roar after their prey,

And seek their meat from God.

The sun ariseth, they gather themselves together,
And lay them down in their dens.
Man goeth forth unto his work,
And to his labor until the evening.

7. O Lord! how manifold are Thy works! In wisdom hast Thou made them all:

The earth is full of Thy riches.

So is this great and wide sea,

Wherein are things creeping innumerable,
Both small and great beasts.

There go the ships:

There is that leviathan, whom Thou hast made to play

These wait all upon Thee,


That Thou mayest give them their meat in due season.

That Thou givest them, they gather:

Thou openest Thy hand,—they are filled with good :
Thou hidest Thy face,-they are troubled:

Thou takest away their breath,-they die, and return to their dust.

Thou sendest forth Thy Spirit,-they are created;

And Thou renewest the face of the earth.

8. The glory of the Lord shall endure for ever:
The Lord shall rejoice in His works.

He looketh on the earth,-and it trembleth:
He toucheth the hills,--and they smoke.

I will sing unto the Lord as long as I live:

I will sing praise to my God while I have my being.
My meditation of Him shall be sweet:

I will be glad in the Lord.

Let the sinners be consumed out of the earth,

And let the wicked be no more.

Bless thou the Lord, O my

soul! Praise ye the Lord!

QUESTIONS.-1. How is the Supreme Being described in the first verse? 2. Mention some of His works. 3. What is said of the trees? 4. of the beasts? 5. Of the sea and its inhabitants? 6. What reflections are made in the last verse?

What inflection at Lord, first verse? What, at soul? What, at God? Why the falling at great? Why does Spirit, seventh verse, begin with

a capital? For what does them stand, third verse? What difficulty in distinctly articulating such words as coverest, coveredst, strengtheneih, beasts. &c.? Point out the different sounds of th, as it occurs in the words of the sixth verse. (Les. II. Elemental consonant sounds.)


SPELL AND DEFINE-1. GOBLIN, a frightful phantom or appearance: appearing like a goblin. 2. ASSAS'SIN, one who kills by secret attack. 3. INVINCIBLE, not to be conquered. 4. MEN A CING, threatening. 5. RECEIPTS, instructions for preparing certain medicines. 6. FORTIFY, to make strong. 7. BANQUETING, feasting. 8. TER RENE', earthly. 9. DIS SONANCE, a mixture of harsh, unpleasant sounds; discord. 10. DOMAIN, a possession; here means, the earth, considered as our dwelling-place.


1. EACH Son of Adam's family beheld,
Where'er he turned, whatever path of life
He trod, thy goblin form before him stand,
Like trusty old assassin, in his aim,
Steady and sure as eye of destiny,

With scythe, and dart, and strength invincible,
Equipped, and ever menacing his life.

2. He turned aside, he drowned himself in sleep,
In wine, in pleasure; traveled, voyaged, sought
Receipts of health from all he met; betook
To business, speculate, retired; returned
Again to active life, again retired;
Returned, retired again; prepared to die,
Talked of thy nothingness, conversed of life

To come, laughed at his fears, filled up the сир,

Drank deep, refrained; filled up, refrained again;


Planned, built him round with splendor, won applause,

Made large alliances with men and things,

Read deep in science and philosophy
To fortify his soul; heard lectures prove
The present ill, and future good; observed
His pulse beat regular, extended hope;
Thought, dissipated thought, and thought again;
Indulged, abstained, and tried a thousand schemes
To ward thy blow, or hide thee from his eye.

3. But still thy gloomy terrors, dipped in sin,
Before him frowned, and withered all his joy.

Still, feared and hated thing! thy ghostly shape
Stood in his avenues of fairest hope;
Unmannerly and uninvited, crept
Into his haunts of most select delight.
Still, on his halls of mirth, and banqueting,
And revelry, thy shadowy hand was seen
Writing thy name of Death.

4. Vile worm, that gnawed

The root of all his happiness terrene, the gall
Of all his sweets, the thorn of every rose
Of earthly bloom, cloud of his noon-day sky,
Frost of his spring, sigh of his loudest laugh,
Dark spot on every form of loveliness,
Rank smell amidst his rarest spiceries,
Harsh dissonance of all his harmony,
Reserve of every promise, and the if,-

Of all to-morrows!



O LISTEN, man!

A voice within us speaks that startling word,


Mân, thōu shält never die!" Celestial voices
Hymn it into our souls: according harps,

By angel fingers touched, when the mild stars
Of morning sang together, sound forth still
The song of our great immortality:

Thick clustering orbs, and this our fair domain,
The tall, dark mountains, and the deep-toned seas,
Join in this solemn, universal song.

1. O listen, ye, our spirits; drink it in

From all the air! "Tis in the gentle moonlight:
'Tis floating 'midst day's setting glories; Night,
Wrapped in her sable robe, with silent step,
Comes to our bed, and breathes it in our ears:
Night, and the dawn, bright day, and thoughtful eve,
All time, all bounds, the limitless expanse,

As one vast mystic instrument, are touched
By an unseen, living Hand, and conscious chords
Quiver with joy in this great jubilee.

The dying hear it; and as sounds of earth

Grow dull and distant, wake their passing souls
To mingle in this heavenly harmony.-R. H. Dana.

QUESTIONS.-1. To what is the extract from Pollok addressed? 2. How is death represented as being equipped? 3. How does man seek to avoid death? 4. Where does he meet with it? 5. To what is allusion made in the last lines third verse? 6. By what name is it called in the fourth verse ?-7. How is it that man will die, and yet live for ever?

What inflection at the semicolons, second verse, and why? (Rule VIII.) To what does thy and thee refer, last line of the second verse? To what does worm refer, fourth verse? What inflection has worm. gall, thorn, &c., fourth verse? (Rule VII. Note I.) With what modulation should the fourth verse be read? Point out the different, uses of the apostrophes, in the second and third lines of the last verse. How should the quotation, first verse, second part, be read?


SPELL AND DEFINE-1. EX TEM PO RA'NE OUS, speaking without previous study. 2. INVENT, to find out something; to contrive. 3. FACILITY, ease of performance. 4. COM'PASS, range of sound above and below the natural key. 5. COMPREHENSIVE, embracing much. 6. DEGENERATED, grown worse or inferior.


1. THE history of the world, is full of testimony to prove how much depends upon industry. Not an eminent orator has ever lived, but is an example of it, Yet, in contradiction to all this, the almost universal opinion appears to prevail, that industry can effect nothing, that every one must be content to remain just what he may happen to be, and that eminence is the mere result of accident. Thus multitudes, who come forward as teachers and guides, suffer themselves to be satisfied with the most indifferent attainments, and a miserable mediocrity, without so much as inquiring how they might rise higher, much less making any attempt to rise.

2. For the acquirement of any other art, they would have served a long apprenticeship, and never would have expected to practice it in public, before they had become thoroughly skilled in it. If any one would sing, he attends a master, and is drilled in the very elementary principles, and only after the most laborious process, dares to exercise his voice in public. This he does, though he has scarcely any thing to learn but the mechanical execution of what lies, in sen

sible forms, before his eyes. But the extemporaneous speaker, who is to invent as well as to utter, to carry on an operation of the mind as well as to produce sound, enters upon the work without preparatory discipline, and then wonders that he fails!

3. If he were learning to play on the flute for public exhibition, what hours and days would he spend in giving facility to his fingers, and attaining the power of the sweetest and most impressive execution! If he were devoting himself to the organ, what months and years would he labor, that he might know its compass, and become master of its keys, and thus be able to draw out, at will, all its various combinations of harmonious sounds, and its full richness and delicacy of expression.

4. And yet he will fancy that the grandest, the most complex, the most expressive of all instruments, which the infinite Creator has fashioned, by the union of an intellectual soul with the powers of speech, may be played upon without study or practice. He comes to it a mere uninstructed tyro, and thinks to manage all its stops, and command the whole compass of its varied and comprehensive power! He finds himself a bungler in the attempt, is mortified at his fáilure, and settles in his mind forever, that the attempt is vàin.

5. Success in every art, whatever may be the natural talent, is always the reward of industry and pains. But the instances are numerous of men of the finest natural genius, whose beginning has promised much, but who have degenerated wretchedly, as they advanced in life, because they trusted to their gifts, and made no effort to improve. That there have never been other men of equal natural endowments with Cicero and Demosthenes, none could venture to suppose; but who have ever so devoted themselves to their art, or become equal in excellence?

6. If those great men had been content, like others, to continue as they began, and had never made those persevering efforts for improvement, what would their countries have been benefited from their genius, or the world have known of their fame? They would have been lost in the undistinguished crowd that sunk to oblivion around them. Of how many will this remark prove true, who, by application, might become eminent and useful! What encouragement is thus given to the industrious! With such encour agement, how inexcusable is the negligence, which suffers the most interesting and important truths to seem heavy and dull,

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