CHARACTER OF WASHINGTON. No matter what may be the birthplace of such a man as WASHINGTON, no climate can claim, no country can appropriate him: the boon of Providence to the human race, his fame is eternity; his residence creation. Though it was the defeat of our arms, and the disgrace of our policy, I almost bless the convulsion in which he had his origin: if the heavens thundered and the earth rocked, yet when the storm passed, how pure was the climate that it cleared; how bright in the brow of the firmament was the planet it revealed to us! In the production of Washington, it does really appear as if nature was endeavoring to improve on herself, and that all the virtues of the ancient world were but so many studies preparatory to the patriot of the new. Individual instances no doubt there were; splendid exemplifications of some single qualification: Cæsar was merciful; Scipio was continent; Hannibal was patient; but it was reserved for Washington to blend them all in one, and like the lovely masterpiece of the Grecian artist, to exhibit in one glow of associated beauty, the pride of every model, and the perfection of every master. As a general, he marshalled the peasant into a veterau, and supplied by discipline the absence of experience. As a statesman, he enlarged the policy of the Cabinet into a comprehensive system of general advantage; and such was the wisdom of his views, and such the philosophy of his counsels, that to the soldier and the statesman he almost added the character of sage. A conqueror, he was untainted with the crime of blood; a revolutionist, he was free from any stain of treason; for aggression commenced the contest, and a country called him to the command; liberty unsheathed his sword; necessity stained, victory returned it. If he had paused here, history might doubt what station to assign him; whether at the head of her citizens or her soldiers, her heroes or her patriots. But the last glorious act crowned his career, and banished hesitation. Who like Washington, after having freed a country, resigned her crown and retired to a cottage rather than reign in a capitol! Immortal man! He took from the battle its crime, and from the conquest its chains; he left the glory of his self-denial to the victorious, and turned upon the vanquished only the retribution of his mercy. Happy, proud America! The lightnings of heaven yielded to your philosophy! The temptations of earth could not seduce your patriotism! Write in three ways: COMPOSITION. (a) Washington exhibited in one glow of beauty the pride of every model, the perfection of every master. (b) A conqueror, he was untainted with the crime of blood. (c) Liberty unsheathed his sword; necessity stained, victory returned it. (d) Washington, after having freed a country, resigned her crown and retired to a cottage rather than reign in a capitol. Memorize second and third paragraphs. THE RIVER. IVER! River! little River! RIVER Bright you sparkle on your way, O'er the yellow pebbles dancing, Through the flowers and foliage glancing, River! River! swelling River! On you rush o'er rough and smooth, River! River! brimming River! Broad and deep and still as time, River! River! rapid River! Swifter now you slip away; Swift and silent as an arrow River! River! headlong River! Down dash into the sea; you Sea, that line hath never sounded, Sea, that voyage hath never rounded, Like Eternity. tions: What is said of the river, in first stanza. To what is it compared? Explain the comparison. Why is the river like impetuous youth? Give difference between two uses of word still in third stanza. How is the river like an arrow? How like Eternity? What is a "sounding line" called? foliage impetuous prime rounded ANALYSIS. AGREEABLE EXPRESSION. "Pay close attention to the emotions or feelings the selection suggests." "Give due attention to the vocal tones called for by the selection." "Lay special stress on those points that are to attract the attention of an audience." What are the emotions suggested by "The River”? In the first stanza, a feeling of innocent mirth, requiring "full, lively and elastic" expression. "The River" is here personified, and is to be addressed in the usual joyful, colloquial tones. Thus, River! River! LITTLE RIVER! Bright you sparkle on your way, O'er the yellow pebbles DANCING, Through the flowers and foliage GLANCING, LIKE A CHILD AT PLAY. The last line contains the pith of the stanza, hence "a tonecoloring should call attention to" this "figure of speech, that might otherwise pass unperceived." In the second stanza we have the idea of combat or struggle, requiring bold, defiant tones. Thus, River! River! SWELLING RIVER! ON YOU RUSH O'ER ROUGH AND SMOOTH, LOUDER, FASTER, BRAWLING, LEAPING OVER ROCKS, by rose-banks sweeping, LIKE IMPETUOUS YOUTH. The third and following stanzas suggest solemnity, warning, counsel, and require "grave and sustained tones." Thus, 'BROAD, AND DEEP, AND STILL AS TIME should be given with fulness of voice, slow, deliberate utterance, and a marked pause between each member of the line. The lines require "accellerated motion, to conform to the requirements of imitative harmony." Sea, that voyage hath never rounded Like Eternity," being in the nature of a climax, the voice must be gradually raised till "rounded" is reached, when a short pause, and a change to solemn tone is required for "Like Eternity." EDUCATION OF THE MUSCLES OF EXPRESSION. AS the muscles of the face are the instruments of the mind in the expression of thought, feelings and emotions, it is highly important that they should be well trained to perform with ease and grace their appropriate functions; for the highest degree of beauty, which is the beauty of expression, depends much more. upon the attitudes and movements of the face than upon the shape of the features. We often see a face that is beautiful in repose become ugly the moment it is in action, because the movements of the muscles are so uncouth; and, on the other hand, we often see faces, which are very irregular in the shape of the features, display great beauty when in action, owing to the easy and graceful movements of the muscles of expression. Addison has justly said: "No woman can be handsome by the force of features alone, any more than she can be witty only by the help of speech." Children not infrequently form awkward habits in the use of the muscles of the face, which finally become permanent; and a little observation will convince us that there is nearly as much difference in skill in the use of these muscles as in the use of those of the hand. For higher examples of this skill we need not go to the accomplished orator or actor; we shall find them exhibited, in the ordinary intercourse of life, in those |