10. Rod-tyranny. 11. Veil-conceal. 12. Paint-describe. 13. Blush-become red. 14. Drink-absorb. 15. Sealclose. 16. Dance move gracefully. 17. Steal move silently. 18. Frown upon-testify disapprobation of 19. Fly-move swiftly. 20. Scum-unworthy portion.

LESSON LXXVI.-EXERCISE IN ALLEGORY.

Two examples of Allegory, extracted from The Spectator, are presented below. The one is an apologue, or fable, which, to convey a great moral truth, represents the lower animals as possessing reason, and inanimate objects as endowed with life and intelligence; the second is an allegory proper, which, with the same end in view, personifies the abstract qualities. Imitate the latter model in allegories representing,

I. TRUTH AND FALSEHOOD.

II. DILIGENCE and IDLENESS. III. MODESTY and ASSURANCE.

IV. Man, a voyager, addressed on the one hand by PLEASURE, on the other by VIRTUE.

THE COMPLAINING DROP.

"A drop of water fell out of a cloud into the sea; and, finding itself lost in such an immensity of fluid matter, broke out into the following reflection:6 Alas! what an inconsiderable creature am I in this prodigious ocean of waters! My existence is of no concern to the universe; I am reduced to a kind of nothing, and am less than the least of the works of God.' It so happened that an oyster, which lay in the neighborhood of this drop, chanced to gape and swallow it up in the midst of this its humble soliloquy. The drop lay a great while hardening in the shell, until by degrees it was ripened into a pearl; which, falling into the bands of a diver, after a long series of adventures, is at present that famous pearl which is fixed on the top of the Persian diadem."

THE PALACE OF VANITY.

(From an Allegory entitled "The Paradise of Fools".)

"At last we approached a bower, at the entrance of which Error was seated. The trees were thick woven, and the place where he sat artfully contrived to darken him a little. He was disguised in a whitish robe, which he had put on that he might appear to us with a nearer resemblance to Truth; and as she has a light whereby she manifests the beauties of nature to the eyes of her adorers, so he had provided himself with a magical wand, that he might do something in imitation of it, and please with delusions. This he lifted solemnly, and, muttering to himself, bid the glories which he kept under enchantment to appear be

fore us. Immediately we cast our eyes on that part of the sky to which he pointed, and observed a thin blue prospect; which cleared as mountains in a summer morning when the mist goes off, and the palace of Vanity appeared to sight. ***** "At the gate, the travellers neither met with a porter, nor waited till one should appear; every one thought his merits a sufficient passport, and pressed forward. In the hall we met with several phantoms, that roved amongst us and ranged the company according to their sentiments. There was decreasing Honor, that had nothing to show but an old coat of his ancestor's achievements. There was Ostentation, that made himself his own constant subject; and Gallantry, strutting upon his tiptoes. At the upper end of the hall stood a throne, whose canopy glittered with all the riches that gayety could contrive to lavish on it; and between the gilded arms sat Vanity, decked in the pea cock's feathers, and acknowledged for another Venus by her votaries. The boy who stood beside her for a Cupid, and who made the world to bow before her, was called Self-Conceit. His eyes had every now and then a cast inwards, to the neglect of all objects about him; and the arms which he made use of for conquest, were borrowed from those against whom he had a design. The arrow which he shot at the soldier was fledged from his own plume of feathers; the dart he directed against the man of wit, was winged from the quills he writ with; and that which he sent against those who presumed upon their riches, was headed with gold out of their treasuries. He made nets for statesmen from their own contrivances; he took fire from the eyes of the ladies with which he melted their hearts; and lightning from the tongues of the eloquent, to inflame them with their own glories. At the foot of the throne sat three false Graces; Flattery with a shell of paint, Affectation with a mirror to practise at, and Fashion ever changing the posture of her clothes. These applied themselves to secure the conquests which Self-Conceit had gotten, and had each of them their particular polities. Flattery gave new colors and complexions to all things; Affectation, new airs and appearances, which, as she said, were not vulgar; and Fashion both concealed some home defects, and added some foreign external beauties."

LESSON LXXVII.-EXERCISE IN HYPERBOLE.

Represent the following subjects by Hyperbole :EXAMPLE.-An impressive speech. His speech was so deeply interesting and impressive, that the very walls listened to his arguments, and were moved by his eloquence.

1. The brightness of a lighted room.

2. The splendor of a dress ornamented with jewels.

3. The number of persons in a crowd.

4. The quantity of rain which has fallen in a shower.

5. The thirst of an individual (by the quantity of liquid he consumes)

6. The size of a country (by the rising and setting of the sun).

7. The affliction caused by the death of a distinguished individual.

8. The depth of a precipice.

9. The waves of the ocean in a storm.

10. The heat of a summer day.

11. The refreshing effects of a shower.

12. The excitement of city life.

13. The darkness of night.
14. The selfishness of a miser.
15. Vegetation in the torrid zone.

LESSON LXXVIII.-EXERCISES IN VISION AND APOSTROPHE,

I. Employ Vision in brief descriptions of the following

scenes:

I. A Battle-scene.

II. A Storm at Sea.

III. An Earthquake.

IV. A Thunder-storm.

II. Alter the following passages, so that they may contain examples of Apostrophe:

1. I can not but imagine that the virtuous heroes, legislators, and patriots of every age and country, are bending from their elevated seats to witness this contest, as if they were incapable, till it be brought to a favorable issue, of enjoying their eternal repose. Let these illustrious immortals enjoy that repose! Their mantle fell when they ascended; and thousands, inflamed with their spirit, and impatient to tread in their steps, are ready to swear by Him that sitteth upon the throne and liveth for ever and ever, that they will protect Freedom in her last asylum, and never desert that cause, which they sustained by their labors, and cemented with their blood.

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2. Thus passes the world away. Throughout all ranks and conditions, one generation passeth, and another generation cometh"; and this great inn is by turns evacuated and replenished by troops of succeeding pilgrims. The world is vain and inconstant. Life is fleeting and transient. When will the sons of men learn to think of it as they ought? When will they learn humanity from the afflictions of their brethren; or moderation and wisdom from the sense of their own fugitive state?

LESSON LXXIX.-EXERCISE IN PERSONIFICATION.

I. Introduce into sentences the following expressions illustrative of Personification :

Sleep embraces-Nature speaks-The evening invites-The moon gilds-The morning smiles-The sun climbs-Care keeps watchNight spreads-Vengeance bares his arm-Time has tamed-Years had ploughed-Britain saw-Death prepared his dart-Memory wept-Freedom shrieked-Rapine prowls-Murder stalks-The vessel cleavesWisdom strays-Hope fled-Love watches.

II. Write sentences containing the following subjects personified :

EXAMPLE.-Contentment.

If Contentment, the parent of Felicity, and the faithful companion of Hope, would whisper her consolations in our ears, in vain might Fortune wreck us on inhospitable shores.

LESSON LXXX.-EXERCISES IN CLIMAX AND ANTITHESIS.

I. In each of the following passages, arrange the parts so as to form a Climax :

EXAMPLE.-Improperly arranged. What a piece of work is man! in action how like an angel! how noble in reason! in apprehension how like a god! how infinite in faculties ! in form and motion how expressive and admirable!

Arranged in the form of a Climax. What a piece of work is man! how noble in reason! how infinite in faculties! in form and motion how expressive and admirable! in action how like an angel! in apprehension how like a god!

1. Nothing can be more worthy of us than to contribute to the happiness of those who have been once useful and are still willing to be so; to be a staff to their declining days; to make the winter of old age wear the aspect of spring; to prevent them from feeling the want of such pleasures as they are able to enjoy; and to smooth the furrows in their faded cheeks.

2. The history of every succeeding generation is this. New objects attract the attention; new intrigues engage the passions of man; new actors come forth on the stage of the world; a new world, in short, in the course of a few years, has gradually and insensibly risen around us; new ministers fill the temples of religion; new members, the seats of justice.

3. It is pleasant to command our appetites and passions, and to keep them in due order, within the bounds of reason and religion, because that is empire; it is pleasant to mortify and subdue our lusts, because that is victory; it is pleasant to be virtuous and good, because that is to excel many others; it is pleasant to grow better, because that is to excel ourselves.

II.-Represent the following subjects in Antithesis, remembering the principle stated in § 374:

EXAMPLE.-A Wise Man and a Fool. A wise man endeavors to shine in him self; a fool, to outshine others. The former is humbled by the sense of his own Infirmities; the latter is lifted up by the discovery of those which he observes in others. The wise man considers what he wants; the fool, what he abounds in. The wise man is happy when he gains his own approbation; and the fool, when he recommends himself to the applause of those about him.

Summer and Winter.
Modesty and Prudery.
Gratitude and Ingratitude.
Morality and Religion.
Knowledge and Ignorance.
Geography and History.

Pride and Humility.

Moderation and Intemperance.
Peace and War.

Discretion and Cunning.
Cheerfulness and Melancholy.
Spring and Autumn.

LESSON LXXXI.-PARALLELS.

A Parallel is a comparison showing the points of simili

tude and difference between two persons, characters, or objects, that resemble each other either in appearance or in reality. In this variety of composition, individual peculiarities are often contrasted by means of Antitheses with fine effect. From Dr. Johnson's Life of Pope, we extract the following fine specimen of the Parallel :

DRYDEN AND POPE.

"In acquired knowledge, the superiority must be allowed to Dryden, whose education was more scholastic, and who, before he became an author, had been allowed more time for study, with better means of information. His mind has a larger range, and he collects his images and illustrations from a more extensive circumference of science. Dryden knew more of man in his general nature, and Pope in his local manners. The notions of Dryden were formed by comprehensive speculation, and those of Pope by minute attention. There is more dignity in the knowledge of Dryden, and more certainty in that of Pope. Poetry was not the sole praise of either, for both excelled likewise in prose; but Pope did not borrow his prose from his predecessor. The style of Dryden is capricious and varied; that of Pope is cautious and uniform. Dryden obeys the motions of his own mind; Pope constrains his mind to his own rules of composition. Dryden is sometimes vehement and rapid; Pope is always smooth, uniform, and gentle. Dryden's page is a natural field, rising into inequalities, and diversified by the varied exuberance of abundant vegetation; Pope's is a velvet lawn, shaven by the scythe, and levelled by the roller.

"Of genius,-that power which constitutes a poet; that quality without which judgment is cold, and knowledge is inert; that energy which collects, combines, amplifies, and animates ;-the superiority must, with some hesitation, be allowed to Dryden. It is not to be inferred, that of this poetical vigor Pope had only a little, because Dryden had more; for every other writer, since Milton, must give place to Pope: and even of Dryden it must be said, that if he has brighter paragraphs, he has not better poems. Dryden's performances were always hasty, either excited by some external occasion, or extorted by domestic necessity; he composed without consideration, and published without correction. What his mind could supply at call, or gather in one excursion, was all that he sought, and all that he gave. The dilatory caution of Pope enabled him to condense his sentiments, to multiply his images, and to accumulate all that study might produce, or chance might supply. If the flights of Dryden, therefore, are higher, Pope continues longer on the wing. If of Dryden's fire the blaze is brighter, of Pope's the heat is more regular and constant. Dryden often surpasses expectation, and Pope never falls below it. Dryden is read with frequent astonishment, and Pope with perpetual delight."

Draw Parallels, in the style of the example just given, between,

1. Napoleon and Washington.

2. Lafayette and Howard.

LESSON LXXXII.-EXERCISE IN PARALLELS.

Draw Parallels between,