green before thee, and with which the whole face of the ocean appears spotted as far as thou canst see, are more in number than the sands on the sea-shore; there are myriads of islands behind those which thou here discoverest, reaching farther than thine eye, or even thine imagination, can extend itself.

15. These are the mansions of good men after death, who, according to the degree and kinds of virtue in which they excelled, are distributed among these several islands, which abound with pleasures of different kinds and degrees, suitable to the relishes and perfections of those who are settled in them. Every island is a paradise accommodated to its respective inhabitants. Are not these, O Mirza! habitations worth contending for? Does life appear miserable, that gives the opportunities of earning such a reward? Is death to be feared, that will convey thee to so happy an existence? Think not man was made in vain, who has such an eternity reserved for him." I gazed with inexpressible pleasure on these happy islands.

16. At length said I: "Show me now, I beseech thee, the secrets that lie hid under those dark clouds which cover the ocean on the other side of the rock of adamant." The genius making me no answer, I turned about to address myself to him a second time, but I found that he had left me. I then turned again to the vision which I had been so long contemplating, but, instead of the rolling tide, the arched bridge, and the happy islands, I saw nothing but the long, hollow valley of Bagdat, with oxen, sheep, and camels grazing upon the sides of it.

Joseph Addison.

FOR PREPARATION.N.-I. Where is Grand Cairo ?-Bagdat? Why does the author pretend to give us the contents of a manuscript he has found? (Think of the pleasure an author has in half-concealing, half-revealing, his

thought; of the intellectual activity it calls forth in his reader, and of the pleasure in discovery which the latter feels.) Contrast this allegory with that of the "Valley of Humiliation" and "Doubting Castle" of Bunyan. Which is more simple and natural? Which is told with an air of the greater probability?

II. €ai'-ro, viş'-ionş (vizh'unz), pub'-lie, sçim'-i-ters, to'-ward (tō'ard), shěp'-herd (-erd), wrôught (rawt), păr'-a-dise, weâr (wâr), häunt, ģēn'-ius, mu-şi'-cian (-zish'an), âirş, ap-prōach', dis-pèlled' (-pěld'), plāç'ing, se'-est, rea'-şon (re'zn), ex-ăm'-ine, bridge, lei'-şure-ly (le'zhur-), sûr'-vey, ärch'-eş, pēo'-ple (pe'pl), păs'-sen-gers, eon-çealed', měl'-anehol-y, pur-suit' (-süt'), dănçed, erēat'-ūreş, trăp'-door, to-geth'-er.

III. Explain the use of capitals in § 11. Collect the samples of ancient" or "sacred" style (use of thou, -est, etc.).

IV. Oriental, manuscripts, translated (1), "fifth day of the moon," forefathers, devotions, profound, contemplation, musing, instrument, qualify, raptures, visible, astonished, transporting, subdued, strains, compassion, affability, familiarized, imagination, apprehensions, soliloquies, pinnacle, prodigious, consummation, pitfalls, multiplied, speculation, multitudes, scimiters, cormorants, envy, avarice, superstition, despair, infest, mortality, tortured, supernatural, dissipated, garlands, myriads, mansions, excelled, relishes, opportunity, adamant.

V. Is there any imitation of the style of the "Arabian Nights" in this article? (Recently discovered, when this was written. The allusions to Bagdat, paradise, genius-the name Mirza, too-suggest that work.) Explain, in the allegory, the "threescore and ten arches," and the " thousand " which it once had (with the earliest patriarchs). "Dropping through the bridge" means what? What are some of the "trap-doors"? (Pestilence, murder, accident, etc.) "Pitfalls"-why very thick at the entrance (infancy) and toward the end (old age)? Why "hobbling march," "gates of death"? (the "gates" called "trap-doors" and "pitfalls" before). Is this a Christian, or a Mohammedan, vision? or does the author attempt to conceal the differences?

CXXV. THE LAST MAN.

1. All worldly shapes shall melt in gloom-
The Sun himself must die,

Before this mortal shall assume
Its immortality!

I saw a vision in my sleep,

That gave my spirit strength to sweep
Adown the gulf of Time!

I saw the last of human mold,
That shall Creation's death behold,
As Adam saw her prime!

2. The Sun's eye had a sickly glare;
The Earth with age was wan;
The skeletons of nations were
Around that lonely man!

Some had expired in fight—the brands
Still rusted in their bony hands;

In plague and famine some!
Earth's cities had no sound or tread,
And ships were drifting with the dead,
To shores where all was dumb.

3. Yet, prophet-like, that lone one stood,
With dauntless words and high,
That shook the sear leaves from the wood,
As if a storm passed by,

Saying: "We are twins in death, proud Sun;
Thy face is cold, thy race is run;

'Tis Mercy bids thee go;

For thou, ten thousand thousand years,
Hast seen the tide of human tears,

That shall no longer flow.

4. "This spirit shall return to Him
That gave its heavenly spark;
Yet think not, Sun, it shall be dim,
When thou thyself art dark!
No! it shall live again, and shine
In bliss unknown to beams of thine,

By Him recalled to breath,
Who captive led captivity,

Who robbed the grave of victory,
And took the sting from Death!

5. "Go, Sun, while mercy holds me up
On Nature's awful waste,

To drink this last and bitter cup

Of grief that man shall taste.
Go, tell the Night that hides thy face,
Thou saw'st the last of Adam's race,
On Earth's sepulchral clod,
The darkening universe defy
To quench his immortality,

Or shake his trust in God!"

Thomas Campbell.

FOR PREPARATION.-I. What pieces of Campbell have you read? (VIII., and "Hohenlinden," in the Fourth Reader.) Can you describe their general character? (There are three stanzas omitted from the middle of this piece.) Compare with Byron's "Dream," CXVIII.

II. Plāgue (plāğ), făm'-îne (-In), cit'-ieş, pròph'-et, a-gain' (-gèn'), se-pǎl'-ehral.

III. Him, Sun, Victory, Death (4)—why capitals?

IV. Assume, mold, prime, expired, clod, brands.

V. Explain the expression, "saw a vision ";-the metaphor, "adown the gulf of Time ";-the personification, "Creation's death";-" skeletons of nations." "Ten thousand thousand "-object of expressing the number in that way? (The English way of expressing our ten millions?)

CXXVI. GOOD MANNERS AT THE TABLE.

1. Family reunions at meals should always be rendered pleasant and agreeable. The occasion is a proper one for the observance of all the social amenities, and should be marked by the most kindly interchange of

thought and feeling. The minor etiquette of the table must always be remembered and observed. Overhaste in eating is as rude and vulgar as it is unhealthful.

2. No family is too poor to have the table covered with a clean white cloth, ornamented with flowers in their season, and made inviting with refined manners and cheerful intercourse.

3. As soon as you are seated, place your table-napkin across your knees and put your roll or bread on the left side of your plate. As soon as you are helped, begin to eat; or, if the viands are too hot, take up your knife and fork and prepare to begin. Never wait for others, and never offer to pass on the plate to which you have been helped at least, unless there should be no servant in attendance. The lady of the house who sends your plate to you is the best judge of precedence at her own table. Soup and fish should never be partaken of a second time. Whenever there is a servant to help you, never help yourself or others, unless requested to do so; when the servant is near, catch his eye and ask for what you want. To make a noise with the mouth or lips while eating or drinking, to breathe hard, to cough or sneeze without covering the face with the napkin, to drink a whole glassful at once, or to drain a glass to the last drop, is inexpressibly vulgar.

4. The knife must never be carried to the mouth, nor should the spoon be, unless the nature of the food absolutely requires it.

5. The bread by your plate is to be broken, never cut. Mustard, salt, etc., are put at the side of the plate, and one vegetable should never be heaped on the top of the other. The wineglass, if used, is held by the stem, and