14. Straightway they send, in legal form,
The ingrate forth to bring;

Who, when aroused, began to storm :-
"You dream! What means this thing?"
He came; and soon, though proud his air,
Sunk tamely to the ground;

When, mid the court assembled there,
His hapless horse he found.

15. "Know'st thou this creature?" so accost
Him all the court arrayed.

"Had not thy life long since been lost,
But for his timely aid?

And how dost thou his service pay?
Thou giv'st him, man of ice!
To storms, to boyish sport, a prey,
And hunger's pinching vice.

16. "The accusing-bell has duly tolled;
The plaintiff here you see;
The facts excuseless crime unfold,
And, therefore, we decree :-
That you take back that faithful steed;
Give him his stall anew;
Supply his every proper need,

As Christian man should do."

17. The rich man sighed; he looked awry,
Chagrined and vexed, of course;

Yet, conscious of a crime so high,
He homeward led the horse.
Thus, as the records briefly show,

I've detailed all the facts;

Hence, from that horse of stone, you know
Our noble fathers' acts.

QUESTIONS.-1. What two remarkable objects are alluded to in the first stanza? 2. What had passing strangers often asked? 3. What did the imagination of the poet represent as still hovering round the accusing-bell? 4. To whom was the right given to ring that bell 5. When were the judges obliged to come forth? 6. What was their duty? 7. What, their character? 8. What leading particulars are referred to in the fifth stanza? 9. What, in the sixth? 10. What, in the seventh? 11. What, in the eight? 12. What, in the ninth? 13. What, in the tenth? 14. What, in the eleventh! 15. What, in the twelfth 16. What, in the thirteenth 17. What, in the fourteenth 18. What, in the fifteenth 19. What, in the last!

LESSON CXLIX.

SPELL AND DEFINE.-1. E LU' CI DATES, illustrates; explains. 2. KNOLL' ING, knelling. 3. IN TREP' ID, fearless; undaunted. 4. RE PENT' ANT, showing sorrow for sins. 5. A POS' TRO PHE, a diversion of speech; a digressive address. 6. IN FAT U A TED, affected with folly. 7. SHAT' TER ED, broken; disordered. 8. REM NANT, residue; remaining portion. 9. TEN OR, stamp; character. 10. SUB' SE QUENT, following in time; succeeding. 11. TEM PEST U OUS, turbu ent; rough,

SOUND AS A PRINCIPLE OF MENTAL ASSOCIATION. JOHN KIDD.

1. Of all the objects of sense, sound, perhaps, as a principle of mental association, the most powerfully excites a recollection of past scenes and feelings. Shakspeare briefly elucidates this principle in these lines:

--

"Yet the first bringer of unwelcome news
Hath but a losing office; and his tongue
Sounds ever after as a sullen bell,

Remembered knolling a departed friend.

2. The author of the "Pleasures of Memory" not less forcibly illustrates the same principle.

"The intrepid Swiss, who guards a foreign shore,
Condemned to climb his mountain cliffs ho more,
If chance to hear the song so sweetly wild,
Which on those cliffs his infant hours beguiled,
Melts at the long-lost scenes that round him rise,
And sinks a martyr to repentant sighs."

3. Nor is the principle less powerfully illustrated in that most beautiful Psalm beginning with the words: "By the rivers of Babylon we sat down and wept;" for who can read that affecting apostrophe: "How shall we sing the Lord's song in a strange land ?" without entering into all the pathos of the scene represented by the sacred poet to the imagination? But, if an individual instance of the truth of the pres

ent position was to be selected, it would not be possible, perhaps, to find one more impressive than that which has been recorded of the late emperor of the French.

4. It is said, that at that period of his life, when the consequences of his infatuated conduct had fully developed themselves in unforseen reverses, Napoleon, driven to the necessity of defending himself within his own kingdom, with the shattered remnant of his army, had taken up a position at Brienne, the very spot where he had received the rudiments of his early education; when unexpectedly, and while he was anxiously employed in a practical application of those military principles which first exercised the energies of his young mind in the college of Brienne, his atten、 tion was arrested by the sound of the church clock.

5. The pomp of his imperial court, and even the glories of Marengo and of Austerlitz, faded for a moment from his regard, and almost from his recollection. Fixed for a while to the spot on which he stood, in motionless attention to the well-known sound, he at length gave utterance to his feelings, and condemned the tenor of all, his subsequent life, by confessing, that the hours then brought back to his recollection, were happier than any he had experienced throughout the whole course of his tempestuous

career.

QUESTIONS.-1. What is said of sound in the 1st paragraph 2. What passage from Shakspeare? 3. What passage of poetry is quoted in the 2d paragraph? 4. By what quotation from the Psalms does the author further illustrate his position 5. How is it illustrated in the case of Bonaparte?

LESSON CL.

SPELL AND DEFINE.-1. CHAR' I TY, love; benevolence. 2. CYM'. BAL, a musical instrument of brass in form like a dish. 3. PROPH' EOY, a foretelling; a prediction. 4. VAUNT ETH, boasts. 5. UN SEEM' LY, unbecomingly. 6. PRO VOK' ED, excited; made angry. 7. IN IQ'UI TY, injustice; wickedness. 8. VAN' ISH, to disappear; pass away. 9. A BID ETH, remains; continues.

Articulate distinctly fts in gifts, eth in rejoiceth, hopeth, faileth, &c.

CHARITY.

BIBLE

1. Tnough I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal.

2. And though I have the gifts of prophecy, and understand all mysteries, and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing.

3. And though I bestow all my goods to feed the poor, and though I give my body to be burned, and have not charity, it profiteth me nothing.

4. Charity suffereth long, and is kind; charity envieth not; charity vaunteth not itself, is not puffed up, "doth not behave itself unseemly, seeketh not her own, is not easily provoked, thinketh no evil; rejoiceth not in iniquity, but rejoiceth in the truth; beareth all things, believeth all things, hopeth all things, endureth all things.

5. Charity never faileth; but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away.

6. For we know in part, and we prophesy in part; but when that which is perfect is come, then that which is in part shall be done away.

7. When I was a child, I spake as a child, I understood as a child, I thought as a child, but when I became a man, I put away childish things.

8. For now we see through a glass, darkly; but then face to face; now I know in part; but then shall I know even as also I am known.

9. And now abideth faith, hope, charity, these three but the greatest of these is charity.

QUESTIONS.-1. What is the true import of the word Charity in this piece? Ans. LovE; that is, such good will, or affectionate regard for others, as is ever ready to display itself in kind words and benevolent deeds. 2. What does the apostle declare himself to be without charity? 3. What things become profitless without charity? 4. How is charity described in the 4th paragraph? 5. What is said of the endurance of charity? 6. Which does the apostle declare to be the greatest, faith, hope, or charity?

LESSON CLI.

SPELL AND DEFINE.—1. A E' RI AL, high in air; elevated. 2. Mus'ING, meditating; pondering. 3. FU TU RI TY, future time. 4. PLEDGE, promise; surety. 5. PIO' TUR ED, represented. 6. RAP' TURE, ecstasy; extreme joy 7. PEAL' ED, resounded.

PLEASURES OF HOPE.

THOMAS CAMPBELL

1. At summer's eve, when heaven's aërial bow
Spans, with bright arch, the glittering hills below,
Why to yon mountain turns the musing eye,
Whose sun-bright summit mingles with the sky?
Why do these hills of shadowy tint appear
More sweet than all the landscape smiling near?
'Tis distance lends enchantment to the view,
And robes the mountain with its azure hue.

2. Thus, with delight, we linger to survey
The promised joys of life's unmeasured way;
Thus, from afar, each dim-discovered scene
More pleasing seems than all the past hath been ;
And every form that fancy can repair
From dark oblivion, glows divinely there.

3. What potent spirit guides the raptured eye
To pierce the shades of dim futùrity?

Can Wisdom lend, with all her boasted power,
The pledge of joys' anticipated hour?

Or, if she holds an image to the view,
"Tis nature pictured too severely true.

With thee, sweet Hope, resides the heavenly light,
That pours remotest rapture on the sight;
Thine is the charm of life's bewildered way,
That calls each slumbering passion into play.

4. Eternal Hope! when yonder spheres sublime
Pealed their first notes to sound the march of Time,
Thy joyous youth began,-but not to fade.
When all the sister planets have decayed;