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There was no light in heaven but a few stars;
The boats put off, o'ercrowded with their crews;
She gave a heel, and then a lurch to port,
And going down headforemost-sunk, in short.

2. Then rose from sea to sky the wild farewell;
Then shrieked the timid, and stood still the brave;
Then some leaped overboard, with dreadful yell,
As eager to anticipate their grave;

And the sea yawned round her like a hell,

And down she sucked with her the whirling wave,
Like one who grapples with his enemy,
And strives to strangle him before he die.

3. And first a universal shriek there rushed,

Louder than the loud ocean, like a crash
Of echoing thunder; and then all was hushed,
Save the wild wind and the remorseless dash
Of billows; but at intervals there gushed,
Accompanied with a convulsive splash,
A solitary shriek—the bubbling cry
Of some strong swimmer in his agony.

Lord Byron.

FOR PREPARATION.-I. Byron here paints the horrors of shipwreck. Have you read his "Waterloo"? (LXXXVIII.) Note the excellence of Byron in describing scenes of moral suffering and dread; consider this in connection with his misanthropy (see XLIV.).

II. Shrieked (shreekt), an-tiç'-i-pāte, whirl'-ing (hwirl'-).

III. Overboard, yawned, rushed. Describe the meter of this poem.

IV. Chance, toss, remorseless, intervals, convulsive, crash, "gave a heel" (leaned over), "lurch to port" (inclined to the left).

V. In the last line of the 1st stanza, what trace of indecorous feeling? (The description that precedes uses the technical language of sailors, as if in a sort of defiance of poetic taste; and Byron sums up its verbiage by the words "sunk, in short," to betray his careless state of mind, so unaffected

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at the solemn nature of the event that he can be facetious with the language in which he describes it. In the next two stanzas he throws off this lack of earnestness, and is adequate to the subject.) Explain the metaphor, “like one who grapples" (2). Select the descriptive passages which you consider the most admirable.

LXXVI. HIDDEN BEAUTIES OF CLASSIC AUTHORS.

1. The hidden beauties of standard authors break upon the mind by surprise. It is like discovering a hidden spring in an old jewel.

2. You take up the book in an idle moment, as you have done a thousand times before, perhaps, wondering, as you turn over the leaves, what the world finds in it to admire; when suddenly, as you read, your fingers press close upon the covers, your frame thrills, and the passage you have chanced upon chains you like a spell, it is so vividly true and beautiful.

3. Milton's "Comus " flashed upon me in this way. I never could read the "Rape of the Lock" till a friend quoted some passages from it during a walk.

4. I know no more exquisite sensation than this warming of the heart to an old author; and it seems to me that the most delicious portion of intellectual existence is the brief period in which, one by one, the great minds of old are admitted with all their time-mellowed worth to the affections.

5. With what delight I read, for the first time, the "kind-hearted plays" of Beaumont and Fletcher! How I doted on Burton! What treasures to me were the "Faerie Queene" and the "Lyrics" of Milton!

N. P. Willis.

FOR PREPARATION.-I. Have you read Milton's "Comus"?-Pope's "Rape of the Lock"? Did you ever experience the "surprise" which the author describes, at the discovery of the depth of meaning in a piece of literature? What piece was it? Who were Beaumont and Fletcher? (Robert Burton's "Anatomy of Melancholy" is referred to in the next line.) Name one of Milton's Lyrics." (See CXXXVIII. and CXL. for two of the best.) Who wrote the "Faerie Queene "?

II. Beau'-tieş (bū ́tiz), ex'-qui-şite (-kwi-zit), de-li'-cious (-lish'us), treas'-ure, wan'-der-ing.

III. Change the following words so as to make them have reference to more than one: this, is, my, has, its, thy, box, child, man, brother, runs.

IV. Lyric, vividly, spell, quoted, "standard authors," doted.

V. What of the aptness of the metaphor “like discovering a hidden spring in an old jewel "?

LXXVII. THE LAUNCH OF THE SHIP.

1. Then the master,

With a gesture of command,

Waved his hand.

And at the word,

Loud and sudden there was heard,

All around them and below,

The sound of hammers, blow, on blow,
Knocking away the shores and spurs.
And see!-she stirs !

She starts! she moves! she seems to feel
The thrill of life along her keel!
And, spurning with her foot the ground,
With one exulting, joyous bound,
She leaps into the ocean's arms!

2. And lo! from the assembled crowd
There rose a shout, prolonged and loud,
That to the ocean seemed to say,
"Take her, O Bridegroom, old and gray,

Take her to thy protecting arms,

With all her youth and all her charms!"
How beautiful she is! How fair
She lies within those arms, that press

Her form with many a soft caress
Of tenderness and watchful care!
Sail forth into the sea, O ship!

Through wind and wave, right onward steer;
The moistened eye, the trembling lip,
Are not the signs of doubt or fear.

3. Thou, too, sail on, O Ship of State!
Sail on, O Union, strong and great!
Humanity, with all its fears,
With all the hopes of future years,
Is hanging breathless on thy fate.
We know what Master laid thy keel-
What workmen wrought thy ribs of steel-
Who made each mast and sail and rope;
What anvils rang, what hammers beat;
In what a forge, and what a heat,
Were shaped the anchors of thy hope.

4. Fear not each sudden sound and shock-
'Tis of the wave, and not the rock;
'Tis but the flapping of the sail,
And not a rent made by the gale.
In spite of rock and tempest's roar,
In spite of false lights on the shore,
Sail on, nor fear to breast the, sea.
Our hearts, our hopes, are all with thee;

Our hearts, our hopes, our prayers, our tears,
Our faith triumphant o'er our fears,
Are all with thee-are all with thee!

H. W. Longfellow

FOR PREPARATION.—I. Have you read "The Building of the Ship” ? (from which these extracts are taken). If you have read Schiller's "Song of the Bell," make a comparison of the subjects, and methods of treatment.

II. Gĕs'-ture, fōrge, as-sem'-bled (-bld), beau'-ti-ful (bū ́-), tri-ŭm'phant, flăp-ping, hăm-merş, wrought (rawt), ăn-vilş.

III. Examine the meter, and select one line of each variety of lines as a specimen.

IV. Shores, spurs, "Ship of State," "anchors of thy hope," lights on the shore."

"false

V. Collect and arrange the examples of personification and metaphors of the piece.

LXXVIII. BUILDING THE HOUSE.

1. Near the end of March, 1845, I borrowed an ax and went down to the woods by Walden Pond, nearest to where I intended to build my house, and began to cut down some tall, arrowy white pines, still in their youth, for timber. It is difficult to begin without borrowing; but perhaps it is the most generous course thus to permit your fellow-men to have an interest in your enterprise. The owner of the ax, as he released his hold on it, said that it was the apple of his eye; but I returned it sharper than I received it.

2. It was a pleasant hillside where I worked, covered with pine woods, through which I looked out on the pond, and a small open field in the woods where pines and hickories were springing up. The ice in the pond was not yet dissolved, though there were some open spaces, and it was all dark-colored and saturated with water. There were some slight flurries of snow during the days that I worked there; but, for the most part, when I came out on to the railroad, on my way home, its yellow sand heap stretched away gleaming in the hazy

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