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stopped a haggard, thoughtful, gloomy man, who, dragged thus far by the current of the rout, had dismounted, passed the bridle of his horse under his arm, and, with bewildered eye, was returning alone toward Waterloo. It was Napoleon, endeavoring to advance again-mighty somnambulist of a vanished dream. Victor Hugo.

FOR PREPARATION.-I. The road from Brussels runs south nine miles to Waterloo village, then five miles further to Mont Saint-Jean, where it divides; one fork goes to the southwest through Hougoumont, three miles distant, to Nivelles, five more; the other fork runs southerly two miles to La Haie Sainte; two more to La Belle Alliance; three more to Genappe; three more to Quatre-Bras. Vive l'Empereur (vev lõm-pā-rûr).

II. Euï-ras-sierş′ (kwē-), eŏl'-umn (-um), ex-åg'-ger-ātes (egz-aj'-er-), bur'-ied (běr'red), un-doubt'-ed-ly (-dout'-), plä-teau' (-to'), ea-tăs'-trophe, dis-eoŭr'-aged (-kŭr'ějd), ob-lïque'-ly (-leek'-), rein, sã'-ber, ǎt-taek', grǎn'-ite (-it), yield, gi-găn'-tie, çhăs'-seûrş (shǎs'sûrs), heights (hits), gren-a-diers', eon'-quer-org (konk'er-), hedg'-eş, sü'-i-çide, trěach'-er-y, mys-te'-ri-ous, fu'-gi-tives, ha-răngues' (-rǎngz"), threat'-eng (thret'nz) gäpe, rěe'-og-nize, măs'-sa-ere (-ker), en-děav'-or-ing (-děvʼur-).

III. Symmetrical (sym?); unmanageable (un and able?).

IV. Tragic, relate, clamor, calumniating, extermination, ravine, fathoms, projectile, inexorable, abyss, tradition, evidently, contingency, artillery, disaster, decimated, diminished, presentiment, battalion, desperately, assailed, infantry, breaches, cavalry, annihilated, spiked, infuriate, colossal, dismantled, extermination, acclamations, “tricolored flag," carnage, disbanding, disintegration, caissons, haggard, bewildered, "somnambulist of a vanished dream."

V. "Sauve qui peut!" (sōv kẽ pûh) ("Save himself who can!")

LXXXIX. THE SUBLIMITY OF GOD.

1. Bless the Lord, O my soul. O Lord my God, thou art very great; thou art clothed with honor and majesty:

2. Who coverest thyself with light as with a garment: who stretchest out the heavens like a curtain:

3. Who layeth the beams of his chambers in the waters who maketh the clouds his chariot: who walketh upon the wings of the wind:

4. Who maketh his angels spirits; his ministers a flaming fire:

5. Who laid the foundations of the earth, that it should not be removed forever.

6. Thou coveredst it with the deep as with a garment: the waters stood above the mountains.

7. At thy rebuke they fled; at the voice of thy thunder they hasted away.

8. They go up by the mountains; they go down by the valleys unto the place which thou hast founded for them.

9. Thou hast set a bound that they may not pass over; that they turn not again to cover the earth.

10. He sendeth the springs into the valleys, which run among the hills.

11. They give drink to every beast of the field: the wild asses quench their thirst.

12. By them shall the fowls of the heaven have their habitation, which sing among the branches.

13. He watereth the hills from his chambers: the earth is satisfied with the fruit of thy works.

14. He causeth the grass to grow for the cattle, and herb for the service of man: that he may bring forth food out of the earth;

15. And wine that maketh glad the heart of man, and oil to make his face to shine, and bread which strengtheneth man's heart.

16. The trees of the Lord are full of sap; the cedars of Lebanon, which he hath planted;

17. Where the birds make their nests: as for the stork, the fir-trees are her house.

18. The high hills are a refuge for the wild goats, and the rocks for the conies.

19. He appointed the moon for seasons: the sun knoweth his going down.

20. Thou makest darkness, and it is night: wherein all the beasts of the forest do creep forth.

21. The young lions roar after their prey, and seek their meat from God.

22. The sun ariseth, they gather themselves together, and lay them down in their dens.

23. Man goeth forth unto his work and to his labor until the evening.

24. O Lord, how manifold are thy works! in wisdom hast thou made them all: the earth is full of thy riches.

25. So is this great and wide sea, wherein are things creeping innumerable, both small and great beasts.

26. There go the ships: there is that leviathan, whom thou hast made to play therein.

27. These wait all upon thee, that thou mayest give them their meat in due season.

28. That thou givest them they gather: thou openest thine hand, they are filled with good.

29. Thou hidest thy face, they are troubled: thou takest away their breath, they die, and return to their dust.

30. Thou sendest forth thy spirit, they are created: and thou renewest the face of the earth.

31. The glory of the Lord shall endure forever: the Lord shall rejoice in his works.

32. He looketh on the earth, and it trembleth; he toucheth the hills, and they smoke.

Psalm CIV.

FOR PREPARATION.-I. This is the most sublime description in literature; it represents the greatest possible contrast between visible things and the power that moves and sustains them, and it portrays this power not as an abstract force, but as a person with human form.

II. Măj'-es-ty, foun-da'-tions, mount'-ains (-inz), vǎl'-leys, eov'-eredst, in-nu'-mer-a-ble, çē'-darş.

III. Select the words in which st or est indicates that a person is addressed, and present time;-in which th or eth indicates a person spoken of, in the present time;-in which dst indicates a person addressed, and past time.

IV. Chariots, quench, manifold, habitation, leviathan.

V. What allusion to the Deluge, in the 6th verse? Make a list of things mentioned as caused by the Lord in this psalm. "Cedars of Lebanon "grew on what mountains? Why the change in verses 10 to 19 from "thou” to "he"? (for the sake of variety in the music of the words-est for eth? or for agreement with the other clauses that describe the objects created and which use eth-referring to things spoken of). What allusion to volcanoes, in the 32d verse?

XC.-POETIC READING.

I. INTRODUCTION.

Poetry is the union of speech and music. It combines the logical worth of prose with the metric form of song; and though the logical part may predominate in some poems, and the musical in others, yet, in all the best poetry, these two elements blend in perfect har

mony.

No reading is tolerable which habitually violates either the sense or the measure. For if the meter alone is marked, without regard to the thoughts, the reading becomes senseless "sing-song"; and if the ideas are given with no observance of the measure, poetry is degraded to mere prose.

Good reading, then, must give THE MEANING and THE MEASURE in unison, so far as the poet has harmonized them.

Now, that part of poetry which it possesses in common with prose—viz., the sense-must be read precisely as it should be in prose. The same principles of logical and emotional analysis, and the same lights and shades of vocal expression, must be used. The distinctive ideas must be read with the same emphatic force and slides which individuate the important points in good prose speaking or reading. This will go far to break up the "false gallop of verse," and preserve the logical side of poetry.

But the metric form of poetry shows its kinship to music also. The lights and shades of accent and time, which make but irregular rhythm even in the most poetic prose, are moulded into equable measure and regular recurrence in poetry. Rhythm is thus raised to law.

Now, this musical side of poetry, with its great variety of metric and rhythmic forms, cannot be well read without some intelligent appreciation of the special meter and rhythm in which a given poem has been written.

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The metric unit by which poetry is measured is called a "FOOT." Each perfect line is composed of a certain number of equal parts, or "FEET.” FEET." Each standard foot has one accented syllable and one or two unaccented sylla

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