2. However full days or weeks or years have been of annoyance, unrest, trouble, even sin, the miracle may be wrought in any life on any morning, by which all the unrest, the trial, the sorrow shall be lifted, the burden removed, and the soul caught up to ineffable joy and life and light. LILIAN WHITING.

3. Religion, the greatest and most important of the efforts by which the human race has manifested its impulse to perfect itself, religion, that voice of the deepest human experience,-does not only enjoin and sanction the aim which is the great aim of culture, the aim of setting ourselves to ascertain what perfection is and to make it prevail; but also, in determining generally in what human perfection consists, religion comes to a conclusion identical with that which culture-culture seeking the determination of this question through all the voices of human experience which have been heard upon it, of art, science, poetry, philosophy, history, as well as of religion, in order to give a greater fulness and certainty to its solution-likewise reaches. Religion says: The kingdom of God is within you; and culture, in like manner, places human perfection in an internal condition, in the growth and predominance of our humanity proper, as distinguished from our animality.

"Sweetness and Light."

MATTHEW ARNOLD.

4. Mr. Burke, who was no friend to popular excitement,— who was no ready tool of agitation, no hot-headed enemy of existing establishments, no undervaluer of the wisdom of our ancestors, no scoffer against institutions as they are, has said, and it deserves to be fixed in letters of gold over the hall of every assembly which calls itself a legislative body,-"Where there is abuse, there ought to be clamor; because it is better to have our slumber broken by the fire-bell, than to perish amid the flames in our bed!"

5. Seated one day at the Organ,
I was weary and ill at ease,
And my fingers wandered idly
Over the noisy keys;

I know not what I was playing,

Or what I was dreaming then;
But I struck one chord of music,
Like the sound of a great Amen.

"A Lost Chord."

ADELAIDE PROCTER.

6. The storm had long given place to a calm the most profound, and the evening was pretty far advanced-indeed supper was over, and the process of digestion proceeding as favorably as, under the influence of complete tranquillity, cheerful conversation, and a moderate allowance of brandy and water, most wise men conversant with the anatomy and functions of the human frame will consider that it ought to have proceeded, when the three friends, or as one might say, both in a civil and religious sense, and with proper deference and regard to the holy state of matrimony, the two friends (Mr. and Mrs. Browdie counting as no more than one), were startled by the noise of loud and angry threatenings below stairs, which presently attained so high a pitch, and were conveyed besides in language so towering, sanguinary and ferocious, that it could hardly have been surpassed, if there had actually been a Saracen's head then present in the establishment, supported on the shoulders and surmounting the trunk of a real, live, furious, and most unappeasable Saracen. DICKENS.

7. Hail to thee, blithe spirit!
Bird thou never wert,

That from heaven, or near it,

Pourest thy full heart

In profuse strains of unpremeditated art.

Higher still and higher

From the earth thou springest

Like a cloud of fire;

The blue deep thou wingest,

And singing still dost soar, and soaring ever singest.

In the golden lightning

Of the sunken sun,

O'er which clouds are bright'ning,

Thou dost float and run,

Like an unbodied joy whose race is just begun.

The pale purple even

Melts around thy flight;

Like a star of heaven

In the broad daylight

Thou art unseen, but yet I hear thy shrill delight.

What thou art we know not;

What is most like thee?

From rainbow clouds there flow not

Drops so bright to see,

As from thy presence showers a rain of melody.

Like a poet hidden

In the light of thought,
Singing hymns unbidden,
Till the world is wrought

To sympathy with hopes and fears it heeded not.

Teach us, sprite or bird,

What sweet thoughts are thine:

I have never heard

Praise of love or wine

That panted forth a flood of rapture so divine.

Chorus hymeneal,

Or triumphal chant,

Matched with thine would be all

But an empty vaunt,

A thing wherein we feel there is some hidden want.

What object are the fountains

Of thy happy strain?

What fields, or waves, or mountains?
What shapes of sky or plain?

What love of thine own kind? what ignorance of pain?

We look before and after,

And pine for what is not:

Our sincerest laughter

With some pain is fraught;

Our sweetest songs are those that tell of saddest thought.

Yet if we could scorn

Hate, and pride, and fear;

If we were things born

Not to shed a tear,

I know not how thy joy we ever should come near.

Better than all measures

Of delightful sound,
Better than all treasures

That in books are found,

Thy skill to poet were, thou scorner of the ground!

"To a Skylark."

SHELLEY.

EMPHASIS

Emphasis consists in giving prominence to words or parts of discourse so as best to express their meaning. The principal means of giving emphasis are by change of force, inflection, pitch, movement, pause, and feeling. Two things are essential to correct emphasis: First, a clear understanding of the thought to be expressed; second, a thorough and practical knowledge of the various modes of emphasis. These modes are usually found in combination, but the best results will be secured by practising them at first separately.

The speaker should thoroughly understand thought "values," the order of their importance and their relation to each other. He should be able to concentrate upon one thought at a time. He must carefully avoid over-emphasis. Too many interpreters of literature try to read into the lines meanings never intended by the writers.

The form of emphasis most frequently used by untrained speakers is that of force. Many people who speak with varied and appropriate emphasis in conversation, change to a loud declamatory style when called upon to address an audience. They endeavor to drive their thought home by force, mere loudness of voice, accompanied by violent physical movements. The difference between conversational style and that of public speaking is illustrated as follows: A cabinet size photograph, if shown to a few individuals, can be seen in all its details. Hold the same picture up before an audience of a hundred or more people, and the result is unsatisfactory. The picture, however, can be enlarged so that everybody in a large audience can see it, and if the process of enlarging it is naturally and symmetrically done the large picture will be as true a likeness as the small one. If it is otherwise enlarged, the result may be a caricature. In like manner, the public speaker who wishes to be natural and effective should enlarge his conversational style to fit the larger occasion, using all the various modulations and modes of emphasis employed in addressing a single individual.

The most intellectual use of emphasis is that of inflection, wherein graceful glides of the voice are used to give added prominence. This is particularly noticeable in the voices

of well-bred children.

To pause immediately before a word gives greater em