How sweet the moonlight sleeps upon this bank.
Give every man thine ear, but few thy voice.

Suffer not yourselves to be betrayed with a kiss.

Shakespeare.

Shakespeare.
- Patrick Henry.

Friends, Romans, countrymen, lend me your ears. — Shakespeare.

Yes, the year is growing old

And his eye is pale and bleared;

Death with frosty hand and cold

Plucks the old man by the beard. - Longfellow.

Night's candles are burnt out, and jocund Day

Stands tiptoe on the misty mountain tops.

Shakespeare.

With storm-daring pinion and sun-gazing eye,

The Gray Forest Eagle is king of the sky. A. B. Street.

Olympus is but the outside of the earth everywhere.

An Austerlitz is not Heaven's stamp of approval.

Sport that wrinkled Care derides,

And Laughter holding both his sides. - Milton.

He then drew a picture of the sufferings of our Saviour; his trial before Pilate, his ascent up Calvary, his crucifixion, and his death. William Wirt.

The waters slept. Night's silvery vail hung low,

On Jordan's bosom. - Willis.

Tender-handed grasp the nettle, and it stings you for your pains; Grasp it like a man of mettle, and it soft as silk remains.

One sees with each month of the many-faced year,

A thousand sweet changes of beauty appear.— Owen Meredith.
What has the gray-haired prisoner done?
Has murder stained his hands with gore?
Not so; his crime is a fouler one—
God made the old man poor. — Whittier.

Announced by all the trumpets of the sky
Arrives the snow, and driving o'er the fields
Seems nowhere to alight. — Emerson.

CHAPTER XI.- STUDY OF AUTHORS.

LESSON XLIV.

HENRY WADSWORTH LONGFELLOW.

Born at Portland, Me., Feb. 27, 1807.

Died at Cambridge, Mass., March 24, 1882.

Each pupil should have a complete copy of Longfellow's poems.

Class should read carefully these ballads, and be prepared to answer orally the questions below.

The Skeleton in Armor.

The Wreck of the Hesperus.
The Luck of Edenhall.

The Elected Knight.

What is a ballad? How was the poem The Skeleton in Armor suggested to Longfellow? What is the meaning of Viking? skald? saga? skoal? What tower is referred to in the poem? Note the similes in the poem. How many syllables in each line of the stanza beginning, "I was a Viking bold"? Which ones are accented? Which lines rhyme? How many syllables in each line of the first stanza of The Wreck of the Hesperus? What circumstances suggested this poem? Which lines rhyme? How many figures in the second stanza? What are they? Where is the Spanish Main? What is a skipper? What allusion in this poem? Is there any historical basis for The Luck of Edenhall? What was the luck? What is a Fountain Sprite? Who once believed in them? What makes a kind of refrain to the poem? Are there any stanzas in The Elected Knight that are without rhymes? Which of the four poems do you like the best?

EXERCISE II.

READ THE FOLLOWING TALES OF A

WAYSIDE INN.

Paul Revere's Ride.

The Falcon of Ser Federigo.

King Robert of Sicily.

The Bell of Atri.

The Legend of Rabbi Ben Levi.
The Ballad of Carmilhan.-

The Legend Beautiful.

Each member of the class should be able to give orally the story of one of these poems, noting its figures, its historical and geographical allusions; telling the number of syllables in each line of the first stanza, the number of lines in that stanza, and which lines rhyme. Who sent Paul Revere on his ride? Did Revere himself reach Concord? The real name of the North Church is Christ Church, and it still stands on Salem Street. Why were the British soldiers called Regulars? Redcoats? Does the English army still wear red? Where is the Arno? How large is it? What is a falcon? What time of year is it in the poem, The Falcon of Ser Federigo? What is the Talmud? What country is Allemaine? What is the Magnificat? Where do we find it? Who first repeated it? What day is Holy Thursday? What kind of a festival is Easter, fixed or movable? What is the Angelus? Where is Stralsund? Who is Klaboterman? Learn at least two selections from these poems. Find and copy at least four figures of rhetoric.

LESSON XLV. —STUDY OF EVANGELINE.

EXERCISE I.-PART THE FIRST.

Pupils should read the poem carefully, and be prepared to answer the following questions.

Where is the Basin of Minas? What does Grand Pré mean? Who were the Acadians? In what year were they removed? By

whom was the removal made? What charges were made against the Acadians as a reason for their removal? Are those charges substantiated by history. From whom did Longfellow get the idea of writing this poem? Learn the introduction. How many syllables in each line? How many accented syllables? Observe that no lines rhyme. When there are six accented syllables in a line, the measure is called hexameter. This is an unusual measure in English. Who were the Druids? What nearly obsolete word do you find in the introduction? Select six similes, four metaphors, two examples of metonymy, two of synecdoche, four allusions.

Make selections which describe places, persons; which relate stories; narrate events. Name the characters in the poems and the relation they bear each other.

EXERCISE II. PART THE SECOND.

What is Part Second the story of? Where were the Acadians taken? What characters of Part First are found in Part Second? Observe the description of the Mississippi. What river is called the Beautiful River? What birds are mentioned in Part Second? What trees? What flowers? Observe especially the beautiful description of the prairies-the Jesuit mission - the infirmary of Philadelphia-the death of Gabriel.

LIST OF SUBJECTS FOR WRITTEN EXERCISES.

The Story of the Poem.

The Proportion of Description to Narration.
The Characters of the Poem.

Rhetorical Figures of the Poem.

The Flowers of Evangeline.

The Birds of Evangeline.

Impression of the Poem as a Whole.

'Tis truth that I speak,

Had Theocritus written in English, not Greek,

I believe that his exquisite sense would scarce change a line,
In that rare, tender, virgin-like pastoral Evangeline.
That's not ancient nor modern, its place is apart
Where time has no sway, in the realm of pure Art.

James Russell Lowell.

LESSON XLVI. GENERAL STUDY OF LONGFELLOW.

EXERCISE I. -ORAL EXERCISE UPON SELECTIONS FROM LONGFELLOW'S POEMS.

NOTE. For this exercise there should be assigned to each member of the class either a single poem or a group of poems. For example, one might take The Voices of the Night; another, the poems By the Seaside; another, Morituri Salutamus; and so on. The preparation of the exercise should be thorough. The poem or poems should be studied until they are well known; if a group, each poem should be treated by itself; its subject given; a slight sketch of it; the measure; its rhetorical figures; its allusions explained; its especial excellences marked; and quotations made from it. The poem may be compared to similar poems of other authors, or to other poems of Longfellow.

All this should be put together with as much skill as each speaker possesses, and brightened by as much wit and learning as possible. The speaker should keep an easy conversational tone and manner throughout, and be prepared to answer questions put by different members of the class at the close of the exercise.

Longfellow is probably the most popular poet of the country. The breadth of his sympathy, the variety of his acquisitions, the plasticity of his imagination, the vividness of his imagery, the equality, the beauty, the beneficence of his disposition, make him universally attractive and universally intelligible. Each of his minor poems is pervaded by one thought, and has that artistic unity which comes from the economic use of rich material. The Hymn to the Night, A Psalm of Life, The Skeleton in Armor, The Village Blacksmith, and other of his minor poems have found a lodgment in the memory of everybody, and it will be found that their charm consists in their unity as well as their beauty, that they are as much poems, complete in themselves, as Evangeline or Hiawatha. Longfellow's power of picturing to the eye and the mind a scene, a place, an event, a person, is almost unrivalled. His command of many metres, each adapted to his special subject, shows also how artistically he uses sound to re-enforce vision, and satisfy the ear while pleasing the eye. - Whipple.