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does not look like one of the sort to take cold. Besides, he'd have better taken cold" than take our only UMBRELLA. -Pooh! don't think me a fool, Caudle. Don't insult me. H-e^ re-t-u-r-n^ the umbrella! Anybody would think you were born yesterday. As if anybody ever did return an umbrella! Men, indeed-call themselves lords of creation! Pretty lords^, when they can't even take care of an UMBRELLA^!”

(From "The Caudle Lectures," by Douglas Jerrold.)

LVI-HYMN TO THE NIGHT.

1. I heard the trailing garments of the Night
Sweep through her marble halls!

I saw her sable skirts all fringed with light
From the celestial walls!

2. I felt her presence, by its spell of might,
Stoop o'er me from above-

The calm, majestic presence of the Night,
As of the one I love.

3. I heard the sounds of sorrow and delight,
The manifold, soft chimes,

That fill the haunted chambers of the Night,
Like some old poet's rhymes.

4. From the cool cisterns of the midnight air
My spirit drank repose;

The fountain of perpetual peace flows there-
From those deep cisterns flows.

5. O holy Night! from thee I learn to bear
What man has borne before!

Thou layest thy finger on the lips of Care,

And they complain no more.

6. Peace! peace! Orestes-like I breathe this prayer! Descend with broad-winged flight,

The welcome, the thrice prayed for, the most fair,
The best-belovéd Night!

Henry Wadsworth Longfellow.

FOR PREPARATION.-I. "Orestes-like I breathe this prayer." (In "Orestes," the drama of Euripides, the raving Orestes, pursued by the Furies of his mother, prays for "the precious balm of Sleep," which relieves his malady: "O divine oblivion of my sufferings, how wise thou art, and the goddess to be supplicated by all in distress!")

II. Rhymeş (rīmz), de-light' (-lit'), häunt'-ed, broad'-winged (brawd’-). III. Make a list of twenty words in which the prefix ad, meaning to, is used; e. g., ad-apt (fit to), ad-duce (bring to), ad-here (stick to), ad-join (join to). The d of ad generally changes so as to agree in sound with the following letter when it is a consonant; e. g., af-fix, ar-range, at-tend, appendix, al-lot, ag-grieve, an-nounce, etc.

IV. Sable, celestial, majestic, “cisterns of the midnight air," perpetual, spell, "haunted chambers."

V. What personifications in this piece? Make a list of the metaphors ("cool cisterns of the midnight air," etc.).

LVII.-SPEECH OF BRUTUS.

1. Romans, countrymen, and lovers! hear me for my cause, and be silent, that you may hear: believe me for mine honor, and have respect to mine honor, that you may believe: censure me in your wisdom, and awake your senses, that you may the better judge.

2. If there be any in this assembly, any dear friend of Cæsar's, to him I say that Brutus's love to Cæsar was no less than his. If, then, that friend demand why Brutus

rose against Cæsar, this is my answer: Not that I loved Cæsar less, but that I loved Rome more.

3. Had you rather Cæsar were living, and die all slaves, than that Cæsar were dead, to live all freemen?

4. As Cæsar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honor him; but as he was ambitious, I slew him. There is tears, for his love; joy, for his fortune; honor, for his valor; and death, for his ambition.

5. Who is here so base, that would be a bondman? If any, speak; for him have I offended. Who is here so rude, that would not be a Roman? If any, speak; for him have I offended. Who is here so vile, that will not love his country? If any, speak; for him have I offended. I pause for a reply.-[CITIZENS cry out, None, Brutus-none!"]-None! Then none have I offended.

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6. I have done no more to Cæsar than you shall do to Brutus. The question of his death is enrolled in the Capitol; his glory not extenuated, wherein he was worthy; nor his offenses enforced, for which he suffered death.

[Enter ANTONY and others with CESAR'S body.]

7. Here comes his body, mourned by Mark Antony; who, though he had no hand in his death, shall receive. the benefit of his dying-a place in the commonwealth : as which of you shall not?

8. With this I depart: That, as I slew my best lover for the good of Rome, I have the same dagger for myself, when it shall please my country to need my death.

William Shakespeare.

FOR PREPARATION.-I. From the play of "Julius Cæsar" (Act III., Scene 2). It is the time when Rome passes from the commonwealth to another form of government-that of the empire. Brutus is animated

with the old spirit, and joins the conspirators who murder Cæsar, the representative of the new spirit, which is destined to rule Rome henceforth. But the killing of Cæsar does not kill what he represents, although patriot Brutus seems to think that it will. Antony. . . who shall receive a place in the commonwealth," etc. (i. e., he shall be benefited by our deed, which saves the republic).

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II. Am-bĭ'-tious (-bish'us), văl'-iant, en-rolled', eoŭn'-try-men (kǎn'-), Cæ'-şar, mōurned.

III. The prefixes generally may be arranged in pairs, having opposite meanings; e. g., ad means to, and ab, from: attract draw to; abstract = draw from. In this way, in is opposed to e or ex: include = shut in; exclude = shut out. (Ex changes to e, ef, or ec, before some roots; in also to il, im, etc.)

IV. Censure, "question [cause or reasons for] his death," extenuated (drawn out, diminished), "awake your senses," bondınan, enrolled.

V. Note in this speech, and in that of Mark Antony (LXIII.), the most consummate oratorical art. Brutus completely carries away the convictions of the people whom he addresses. Mark Antony, in a manner still more skillful, removes the impression that Brutus has made. With Brutus, his transparent honesty gives the strongest effect to his speech; while with Antony, the affected conflict in his mind between grief for his dead friend and the respect in which he holds the conspirators, finally drives the people to utter what he himself keeps back. In § 5, Brutus adroitly prevents any objections, by classifying the objectors in advance.

LVIII.-WE WATCHED HER BREATHING.

1. We watched her breathing through the night,
Her breathing soft and low,

As in her breast the wave of life
Kept heaving to and fro.

2. So silently we seemed to speak,

So slowly moved about,

As we had lent her half our powers
To eke her living out.

3. Our very hopes belied our fears,
Our fears our hopes belied,-

We thought her dying when she slept,
And sleeping when she died.

4. For when the morn came dim and sad,
And chill with early showers,
Her quiet eyelids closed-she had

Another morn than ours.

Thomas Hood.

FOR PREPARATION.-I. "Eke" is chiefly used now for add to or lengthen. It was a very common word for also in old English, and its kindred forms eac (Anglo-Saxon), auch (German), og (Danish), och (Swedish), ok (old Norse), etc., were or are still very much used for and or also.

II. Through (throo), si'-lent-ly, eÿe'-lidş (ï'-).

III. The prefixes ad and ab (to and from), in and ex (in and out), have been mentioned, and the various changes which they undergo to make them agree in sound with the first letter of the root (i. e., the word to which they are prefixed). Make two lists of ten words each, illustrating the prefixes con (with) and contra (against) (e. g., con-clude=shut together; col-lect = bring together; contra-dict: = say against); also of de (down), super and hyper (over), sub and hypo (under), and per (through).

IV. "Wave of life heaving."

V. "Seemed to speak" (i. e., it seemed as though we spoke so low and moved about so slowly, because we had given her the half of our power to eke out her life).

LIX. IN THE MAINE WOODS.

I. THE FORESTS.

1. What is most striking in the Maine wilderness is the continuousness of the forest, with fewer open intervals, or glades, than you had imagined. Except the few burnt lands, the narrow intervals on the rivers, the bare tops of the high mountains, and the lakes and streams, the forest is uninterrupted.

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