the kings upon the earth/ and went to Canute in the year one thousand and thirty-five/ and stretched him dead upon his bed.— Dickens. (74.) HAPPINESS. Go/ fix some weighty truth; Chain down some passion; do some generous deed; Or/ with warm heart/ and confidence divine/ Spring up/ and lay strong hold on Him who made thee. (75.) JUSTICE. Of all the virtues justice is the best; -Dr. Young. Pirates and thieves/ too oft with courage graced/ That's in the soul/ and gives the name of good. (76.) Justice is the fundamental and almost only virtue of social life as it embraces all those actions which are useful to society. It shows that every virtue/ under the name of charity/ sincerity/ humanity/ probity/ love of country/ generosity/ simplicity of manners/ and modesty are but varied forms and diversified applications of this axiom - Do unto another only that which thou wouldest he should do unto thee.- Volney. RULE V. Direct questions—those which may be answered by yes or no— usually take the rising inflection. Pause after each question. (77.) What inflection is proper will be determined by the student noticing how he would utter the sentiment if it were his own. Like every other rule, in case of doubt the arbitrator must be Nature. Earnestness will, generally, disclose the proper tone. All sentences may be classed under one of the following heads:-Affirmatives, Negatives, Interrogatives, or Imperatives-Affirmatives and Imperatives usually take the falling, Negatives and Interrogatives the rising inflection. If the student has acquired a monotonous style, let him, when many members follow in succession, alternate the inflections as much as possible, as: "There is one kind of flesh of men'; another flesh of beasts'; another of fishes'; and another of birds'. There are also celestial' bodies/ and bodies terrestrial'; but the glory of the celestial is one'/ and the glory of the terrestrial is another." EXERCISES ON RULE V. (78.) TABLE OF THE TWO SLIDES OR INFLECTIONS OF THE VOICE. The acute accent (') denotes the rising, and the grave accent (') the falling inflection. 1. Did he walk'/ or ride' to London? 2. Did they speak prop'erly/ or im'properly? 3. Did he speak distinct'ly/ or in'distinctly? 4. Must we act accord'ing to the law/ or contrary to it? 5. Did he go wil'lingly/ or un'willingly? 6. Was it done correct'ly/ or in correctly? 7. Did he say cau'tion/ or cau'tion? 8. Did he say wise'ly/ or wisely? 9. Did he say value/ or val'ue? 12. You must not say fa'tal/ but fa'tal. 14. You must not say i'dol/ but i̇`dol. 15. You must not say o'pen/ but o'pen. 16. You must not say du'bious/ but dubious. 17. They acted prop'erly/ not im'properly. 18. He spoke distinct'ly/ not in'distinctly. 19. We must act accord'ing to the law/ not con'trary to it. 21. It was done correctly/ not in'correctly. 22. He said cau'tion/ not cau'tion. 25. He said wis'dom/ not wis'dom. 27. You must say o'pen/ not o'pen. 28. You must say dubious/ not duʼbious. (79.) Can the soldier/ when he girdeth on his armour/ boast like him that putteth it off"? Can the merchant predict that the speculation/on which he has entered/ will be infallibly crowned with success'? Can even the husbandman/ who has the promise of God that seedtime and harvest shall not fail/ look forward with assured confidence to the expected increase of his fields'? In these and in all similar cases/ our resolution to act can be founded on probability alone'. The most frightful disorders arose from the state of feudal anarchy. Force decided all things. Europe was one great field of battle/ where the weak struggled for freedom'/ and the strong for dominion'. The king was without power'/ and the nobles without principle'. They were tyrants at home"/ and robbers abroad'. Nothing remained to be a check upon ferocity' and violence'. Between fame and true honour a distinction is to be made. The former is a blind and noisy' applause: the latter a more silent' and internal homage'. Fame floats on the breath of the multitude': honour rests on the judgment of the thinking. Fame may give praise while it withholds esteem': true honour implies esteem/ mingled with respect. The one regards particular distinguished' talents: the other looks up to the whole character. Homer was the greater genius'; Virgil the better artist: in the one we most admire the man'; in the other/ the work'; Homer hurries us with a commanding impetuosity'; Virgil leads us with an attractive majesty'. Homer scatters with a generous profu'sion; Virgil bestows with a careful magnificence'. Homer/ like the Nile/ pours out his riches with a sudden overflow'; Virgil/ like a river in its banks/ with a constant stream'. Homer seems like his own Jupiter in his terrors/ shaking Olympus/ scattering the lightnings/ and firing the heavens; Virgil/ like the same power in his benevolence/ counselling with the gods/ laying plans for empires/ and ordering his whole creation.-Anon. (80.) CÆSAR. How long did Cæsar pause upon the bank of the Rubicon'? How came he to the brink of that river'? How dared he cross it? Shall private men respect the boundaries of private property'/ and shall pay no respect to the boundaries of a country's rights'? Why does a (181) C man's heart palpitate when he is on the verge of committing an unlawful deed'? Why does the very murderer'-his victim sleeping below him/ and his glaring eye taking the measure of the blowstrike wide of the mortal stroke'? Is it because an unseen influence surrounds him'? Is it because an invisible hand stays' and an inaudible voice whispers judgment' against the transgressor/ alike of moral/ as of the law of Nature and of Scripture'? Why did this man pause upon the brink of the Rubicon'? What was the Rubicon'? From what did it separate his province'? Was that country a desert'? What was Cæsar that stood upon the bank of that stream`? A traitor/ bringing war and pestilence into the heart of that country. -Phillips. (81.) WE ARE SEVEN A simple child/ that lightly draws its breath/ and feels its life in every limb/ what should it know of death? I met a little cottage girl: she was eight years old/ she said; her hair was thick with many a curl that clustered round her head. She had a rustic/ woodland air and she was wildly clad: her eyes were fair/ and very fair; her beauty made me glad. "Sisters and brothers/little maid/ how many may you be?" "How many? Seven in all/" she said/ and wondering looked at me. "And where are they? I pray you tell." She answered/ "Seven are we; and two of us at Conway dwell/ and two are gone to sea. Two of us in the churchyard lie/ my sister and my brother; and/ in the churchyard cottage/ I dwell near them with my mother." "You say that two at Conway dwell/ and two are gone to sea/ yet ye are seven!-I pray you tell/ sweet maid/ how this may be." Then did the little maid reply/ "Seven boys and girls are we; two of us in the churchyard lie/ beneath the churchyard tree.” “You run about/ my little maid/ your limbs they are alive; if two are in the churchyard laid/ then ye are only five." "Their graves are green/ they may be seen/" the little maid replied/ "twelve steps or more from my mother's door/ and they are side by side. My stockings there I often knit/ my kerchief there I hem; and there upon the ground I sit-I sit and sing to them. And often after sunset/ sir/ when it is light and fair/ I take my little porringer/ and eat my supper there. The first that died was sister Jane; in bed she moaning lay/ till God released her of her pain; and then she went away. So in the churchyard she was laid; and when the grass was dry/ together round her grave we played/ my brother John and I. And when the ground was white with snow/ and I could run and slide/ my brother John was forced to go/ and he lies by her side." "How many are you then/" said I/ "if they two are in heaven?" The little maiden did reply/ "O master! we are seven." "But they are dead; those two are dead! their spirits are in heaven!" "Twas throwing words away: for still the little maid would have her will/ and said/ "Nay/ we are seven!”—- Wordsworth. (82.) Hath not a Jew eyes'? hath not a Jew hands' organs'/ dimensions' senses' affections'/ passions'? Fed with the same food/ hurt with the same weapons/ subject to the same diseases/ healed by the same means warmed and cooled by the same winter and summer/ as a Christian' is?-Shakspere. (83.) What is time'?—the shadow on the dial'! the striking of the clock'! the running of the sand'! day and night'! summer and winter! months'! years'! centuries'! These are but arbitrary and outward signs-the measure of time/ not time itself. Time is the life of the soul'. If not this'-then tell me what is time'?-Longfellow. RULE VI. Pause and change the voice between asking a question and returning an answer. Change the inflection according to the sense, thinking how such a man as the supposed speaker would speak under such circumstances. .EXERCISES ON RULE VI. (84.) "USED UP.” I'm dead with ennui'. Did my father leave me £12,000 a year'? Yes he did. Do I complain'? No I don't. Try a change of scene did you say? My dear sir I have tried it`—what's the use'? Why don't I travel? Why don't I gallop all over Europe'? I have travelled I have galloped but there's nothing in it. Go to Switzerland' -what's Switzerland'? Nothing but a few glaciers some monks' large dogs and bad wine and Mont Blanc'. Was there ice at the top'? Yes there was but it wasn't half so good as Forrester's-more trouble and less in it. And then Italy/ what's it like'? It's a horrible hole. There's the Colosseum round very round'; there's the Capitol toler |