7. Then, since this world is vain,
And volatile, and fleet',

Why should I lay up earthly joys,

Where rust corrupts, and moth destroys,

And cares and sorrows eat'?

Why fly from ill

With anxious skill,

[still' ?

When soon this hand will freeze, this throbbing heart be

8. Come, Disappointment, come!

Thou art not stern to me:
Sad monitress! I own thy sway:
A votary sad in early day,

I bend my knee to thee.
From sun to sun

My race will run;

I only bow, and say, "My God, thy will be done!"

[This Ode to Disappointment is, as a whole, a personification of the third degree (p. 210)-or, an apostrophe, as the latter is now generally defined. It abounds, however, in numerous minor personifications.

Show how Fancy and Meditation are personified in the 2d verse. Hope and Nurse in the 3d verse. Who is the "Nurse" here referred to? Explain the metaphor in the 4th verse. How are Beauty and Earth personified in the 5th verse? Explain the two similes in the 6th verse. How are cares and sorrows personified in the 7th verse?]

LESSON LXXXIX.

"IT DOES MOVE."-GALILEO.

An example of true Apostrophe.-E. EVERETT.

[GALILEO, an illustrious philosopher, was born at Florence, Italy, in 1564. In 1609, with a telescope constructed by himself, he discovered the four satellites of Jupiter, the phases of Venus, etc. For avowing his belief in the Copernican system-that the earth moves around the sun, etc.-he was twice persecuted by the Inquisition on a charge of heresy, and was compelled publicly to abjure the system of CoperniAfter having repeated the formula of abjuration prescribed to him, as he turned away he repeated to himself, in a low tone, "It does move." He was blind three years before his death. He died in 1642.]

cus.

1. YES', noble Galileo', thou art right'. "It DOES move." Bigots may make thee recant it, but it moves, nevertheless. Yes, the earth moves', and the planets move', and the mighty waters move', and the great sweeping tides of air move', and the empires of men move', and the world of thought moves',

ever onward and upward', to higher facts and bolder theories'. The Inquisition may seal thy lips, but they can no more stop the progress of the great truths propounded by Copernicus, and demonstrated by thee, than they can stop the revolving earth.

2. Close, now, venerable sage, that sightless, tearful eye: it has seen what man never before saw; it has seen enough. Hang up that poor little spy-glass; it has done its work. Not Herschel nor Rosse has, comparatively, done more. Franciscans and Dominicans deride thy discoveries now; but the time will come when, from two hundred observatories in Europe and America, the glorious artillery of science shall nightly assault the skies; but they shall gain no conquests in those glittering fields before which thine shall be forgotten.

3. Rest in peace, great Columbus of the heavens ;-like him, scorned, persecuted, broken-hearted! In other ages', in distant hemispheres', when the votaries of science, with solemn acts of consecration, shall dedicate their stately edifices to the cause of knowledge and truth', thy name shall be mentioned with honor.

LESSON XC.

ADDITIONAL EXAMPLES OF APOSTROPHE.
Sometimes called Personification of the Third Degree.

1. ADDRESS TO THE OCEAN.

BYRON.

1. ROLL on, thou deep and dark blue Ocean-roll!
Ten thousand fleets sweep over thee in vain;
Man marks the earth with ruin; his control

Stops with the shore: upon the watery plain
The wrecks are all thy deed, nor doth remain
A shadow of man's ravage, save his own,

When, for a moment, like a drop of rain,
He sinks into thy depths with bubbling groan,

Without a grave, unknelled, uncoffined, and unknown.

2. And I have loved thee, Ocean! and my joy
Of youthful sports was on thy breast to be
Borne, like thy bubbles, onward: from a boy
I wantoned with thy breakers:-they to me
Were a delight; and if the freshening sea
Made them a terror, 'twas a pleasing fear;

For I was, as it were, a child of thee,
And trusted to thy billows far and near,
And laid
my hand upon thy mane-as I do here.

EDWARD EVERETT.

3. Return, thou mysterious traveler, to the depths of the heavens, never again to be seen by the eyes of men now living! Thou hast run thy race with glory': millions of eyes have gazed upon thee with wonder-but they shall never look upon thee again. Since thy last appearance in these

lower skies', empires, languages, and races of men have passed away.

4. Haply when, wheeling up again from the celestial abysses, thou art once more seen by the dwellers on earth', the languages we speak shall also' be forgotten', and science shall have fled to the uttermost corners of the earth. But even then His hand, that now marks out thy wondrous circuit, shall still guide thy course; and then, as now, Hesper will smile at thy approach, and Arcturus, with his sons, rejoice at thy coming.

LESSON XCI.

FROM THE "PLEASURES OF HOPE."

CAMPBELL.

[THOMAS CAMPBELL, one of the greatest lyric poets of the age, born at Glasgow, Scotland, in 1777; died in 1844. At the age of twenty-two he wrote the "Pleasures of Hope;" and before he had reached his twenty-sixth year he wrote "Hohenlinden" and "Lochiel's Warning." He is one of the most correct and elegant of modern writers of verse.]

1. UNFADING Hope! when life's last embers burn,
When soul to soul, and dust to dust return,
Heaven, to thy charge, resigns the awful hour:
Oh! then thy kingdom comes, immortal power!
What though each spark of earth-born rapture fly
The quivering lip, pale cheek, and closing eye!
Bright to the soul thy seraph hands convey
The morning dream of life's eternal day-
Then, then, the triumph and the trance begin,
And all the phoenix spirit burns within!

2. Oh! deep enchanting prelude to repose,
The dawn of bliss, the twilight of our woes!
Yet half I hear the panting spirit sigh,
"It is a dread and awful thing to die!"
Mysterious worlds, untraveled by the sun,
Where time's far-wandering tide has never run,
From your unfathomed shades and viewless spheres
A warning comes, unheard by other ears.

'Tis heaven's commanding trumpet, long and loud,
Like Sinai's thunder, pealing from the cloud!

LESSON XCII.

CHARACTER OF DIALOGUE AND SOLILOQUY.

[The Regular Dialogue; Fancied Dialogue; and Descriptive Dialogue.] [Analysis.-1. What is Dialogue? Difficulties attending it.-2. What is Soliloquy? What it is called in the drama. Ancient example of soliloquy.-3. How most dialogues and soliloquies are treated.-4. Best examples of dialogue and soliloquy. Example from Shakspeare.-5. The scene from Othello (see Note).-6. Modification of the dialogue. An example from Walter Scott.-7, 8, 9. The scene at the meeting of Fitz James and Roderick Dhu.-10. The fancied dialogue. By whom often adopted. Its use.-11, 12. An example from Cicero's Oration for Muræna.-13, 14, 15, 16. An example from his Oration for Milo.-17. The assumed dialogue in public addresses. -18, 19. An example from Everett.-20. Falstaff's soliloquy upon Honor.-21. The Colloquial style of writing.-22, 23, 24, 25. Joseph's interview with his brethren.-26. Advantages of this form of the dialogue.]

1. DIALOGUE, in Rhetoric, is a written conversation between two or more persons. It is the most difficult kind of composition to execute well, whether written in prose or in verse, as it requires a writer of no ordinary genius to put himself in the place of the speakers, and imitate their characters and emotions in a natural and spirited manner.

2. The Soliloquy, which is closely allied to the dialogue, is a talking, or discourse, of a person by himself-sometimes to himself, and sometimes to, or concerning, other objects, fancied or real, present or absent, but never to persons present. In the drama it is called a monologue,-a scene in which one person appears alone upon the stage, and soliloquizes. An ancient example of written soliloquy is the Song of Solomon, an allegorical poem, in which Solomon is alone the hero and the author.

3. In most dialogues and soliloquies, the author, unable to represent passion and emotion as one who feels them, really describes them with all the coolness of an unimpassioned spectator; and although he puts the words into the mouths of the speakers, it is quite the same as though he