"Hume said he would go twenty miles to hear Whitefield preach" (here the circumflex implies the contrast), "but he would take no pains to hear an ordinary' preacher."

"A man who is in the daily use of ardent spirits, if he does not become a drúnkard', is in danger of losing his health and character."

The rising inflection on the closing syllable of drunkard would pervert the meaning wholly, and assert that, in order to preserve health and character, one must become a drunkard.

"The dog would have died if they had not cut off his head."

The falling inflection on died would make the cutting off his head necessary to saving his life.

A physician says of a patient, "He is better'." This implies a positive amendment. But if he says, "He is better'," it denotes only a partial and perhaps doubtful amendment, and implies, "But he is still dangerously sick."

THE MONOTONE.

RULE XII.-The monotone, which is a succession of words on the same key or pitch, is often employed in passages of solemn denunciation, sublime description, or expressing deep reverence and awe. It is marked with the short horizontal dash over the accented vowel.

EXAMPLES. And one cried unto another, and said, Hōly, hōly, hōly is the Lord of hōsts. The whole earth is full of his glory.

Blessing, honor, glory, and power be unto him that sitteth on the throne, and to the Lamb forever and ever.

PRINCIPLES OF GENERAL APPLICATION.

The first and most important is, "Be sure you understand what you read, and endeavor to express the sentiments of the author as you would express the same if they were your own, and you were talking." No one can read well who does not fully adhere to this principle.

In the second place, those who would excel in reading should cultivate every manly and noble virtue; for no one can fully express noble sentiments unless he feels them. Counterfeit imitations will be detected. In the language of Dr. Blair: "A true orator" (and, we may add, a correct and effective reader) "should be a person of generous sentiments, of warm feelings, and of a mind turned toward the admiration of all those great and high objects which mankind are naturally forced to admire. Joined with the manly virtues, he should at the same time possess strong and tender sensibility to all the injuries, distresses, and sorrows of his fellow-creatures; a heart that can readily enter into the circumstances of others, and make their case his own."

KEY TO THE SOUNDS OF THE LETTERS.

Fate, fat, für, câre, last, call, what, mête, mět, thêre, term, prey, pïque, pine, pin, bird, note, not, dove, pröve, wolf, book, mute, but, rûle, full.

Call, chaise, chorus, gentle, has, thine, lon"ger, vi"cious,

1. "COME', Alice'," said Frank to his sister, "be quick": We will blow such fine bubbles to-day';

The basin is ready, and so is the pipe,
And mamma has just said that we may.

So lay down your doll, for I long to begin,

And whoe'er blows the largest and brightest shall win.

B

2. "You may blow the first bubble-so take up the pipe-While I blow them up high in the air.

Ah! how pretty they look as they float in the sun,
With their colors so lovely and rare!a

I wish they would last for an hour or more;

But they burst in the air, or soon sink on the floor.

3. "Ah! look'! Alice', look'! what a bubble you've blown'! Such a beautiful yellow and pink!

4.

'Tis the largest and brightest that I have seen yet,
And the highest, I really think.

Now, Alice', 'tis my turn, and I'll have a try',
And you shall blow', sister', again, by-and-by."

So each blew the bubbles, and both did their best,
Till at length their mamma came to say

It was time to attend to their studies again,

And to put pipe and basin away.

"But first," said mamma, "I've a few words for each:
Let us see if the bubble some lesson can teach.

5. "There are bubbles of gold', of pleasure', and fame`,
And their colors are gaudy" and bright';
And many there are who the shadows behold,
That are dazzled and charmed by the sight;
But again and again they lead people astray:
They are bubbles that burst, or soon vanish away.”

6. "When temptation shall urge you, my children, to do What you know to be wicked and wrong,

Though the sin may seem pleasant, and pretty to view,
As it floats very gayly along',

Go not after the phantom, but earnestly say,

It is but a bubble that passes away.'"

RARE, uncommon, and beautiful.

b GAUD'-Y, showy; splendid.

Anon.

eCHÄRMED, delighted.
TEMPT-A-TION, enticement to evil.

SHAD'-OWS, the bubbles of gold, etc., are PHAN'-TOM, an unreal, or delusive appearhere called shadows.

d Dǎz'-ZLED, blinded by the light.

ance.

[ANALYSIS of the Lesson, to aid the Teacher in questioning the Class.-Frank and his sister Alice are blowing bubbles, as shown in the cut on the preceding page. Both do their best, till their mamma calls them away to attend to their studies, when she draws a moral from bubble blowing. Different kinds of bubbles: their appearance; they dazzle and charm, and lead people astray. Temptation to wrong, though it may seem pleasant, and pretty to view, is but "a bubble that passes away.

What is prose? What is poetry? What is rhyme? (See p. x.) This lesson is in the

form of descriptive poetry; and its leading object is to trace a simile, or comparison, between bubbles and the allurements of gold, pleasure, and fame, for the purpose of presenting sinful temptations in a more impressive light. What is a simile? (See p. x.) What beautiful figure of speech is introduced in the 6th verse? (Ans. A simile. Sin is represented as floating gayly along, like a beautiful bubble.)]

LESSON II.

MARY AND MABEL; OR, WHO IS RICH? WHO IS POOR?

1. "THERE, puss," said little Mary, "you may have my dinner if you want it. I can't eat it'. I'm tired' of bread and milk'. I have bread and milk every' day." And she gave the bowl of bread and milk to puss, and then went out into the garden.

2. “I'm tired of this old brown house," said Mary. "I'm tired of that old barn, with its red eaves. I'm tired of this garden, with its rows of lilacs, its sunflowers, and its beds of catnip and pennyroyal. I'm tired of the old well, with its polę balancing in the air. I'm tired of the meadow, where the cows feed, and the hens are always picking up grasshoppers.

3. "I'm tired of every thing," said she. "I'm tired of this old brown dress', and these thick leather shoes', and my old sun-bonnet'. Why shouldn't I be tired of such old things'? Why should I be happy`?

Isn't that nice'!

How smart the How nice it must

4. "There! there comes a fine carriage. How smooth and shiny the horses are'! coachman looks, with his white gloves! be to be rich, and ride in a carriage! Oh! there's a little girl in it no older than I, and all alone, too!—a rich little girl, with a pretty rose-colored bonnet, and a silk dress, and cream-colored kid gloves. How happy she must be!

5. "See, she has beautiful curling hair; and when she tells the coachman to go here, and to go there, he minds her just as if she were a grown lady'! Why did God make her rich', and me poor'? Why did he let her ride in a carriage', and make me go barefoot'? Why did he clothe her like a butterfly', and me like a caterpillar1?”*

* The principle of comparison and contrast (Rule VI.) would require the first clause in

6. I had heard what the little girl said, and I called to her to come to me. Now climb into my lap; lay your head upon my shoulder-so. Now listen. You are well and strong, Mary, are you not'? Yes. You have enough to eat and drink'? Yes. You have a kind father and mother'? Yes. You can jump', and climb fences', and run about', and play almost any where you choose', can you not? Yes.

7. Well, the little girl with the rose-colored bonnet, whom you saw riding in the carriage, is Mabel Gray: she is a poor little cripple. You saw her fine dress, and pretty pale face, but you did not see her little shrunken foot danglinga helplessly beneath the silken robe.

8. You saw the white-gloved coachman, and the silvermounted harness, and the soft velvet cushions: but did you see the tear in their little owner's soft, dark eye, as she spied you at the cottage door, rosy and light-footed, and free to ramble 'mid the fields and flowers? And yet you thought she must be happy.

9. You did not know that her little heart was aching for somebody to love her. You did not know that her mother loved her diamonds, and silks, and satins, better than her own little girl. You did not know that when her crippled limb pained her, and her head ached, she had no one to comfort her.

10. You did not know that through the long, weary day, her mother never took her gently on her lap, nor kissed her pale face, nor read to her pretty stories to charm her pain away, nor told her of that happy home where sickness, and pain, and sorrow never come.

11. You did not know that her mother never went to her child's little bed at night, to smooth her pillow, or put aside the ring ets from the flushede cheek, or kneel by the little bed, and ask our heavenly Father to heal and bless her child. You did not know that the mother often

cach of these three questions to take the rising inflection, and some would read them in that way; but the rule for indirect questions requires the falling inflection, which we think the most appropriate here.